The Hampton Court Beauties are a series of portrait paintings executed by the English Baroque artist Sir Godfrey Kneller between 1686 and 1689. The work was commissioned by Queen Mary II and was intended to parallel the earlier “Windsor Beauties” painted by Sir Peter Lely for Charles II.
Composition and subjects
The series comprises eight full‑length portraits of prominent women of the court of William III and Mary II. Each sitter is depicted in fashionable attire of the late 17th century, shown against a relatively plain background that emphasizes the individual’s elegance and rank. The identified sitters are:
- Lady Frances Howard, Duchess of Norfolk
- Lady Mary Cowper (later Countess of Cowper)
- Lady Margaret Howard, Duchess of Argyll
- Lady Anne Murray, Countess of Atholl
- Lady Henrietta Gibson, Countess of Portland
- Lady Elizabeth Pine (later Countess of Lichfield)
- Lady Arabella Cavendish, Duchess of Devonshire
- Lady Mary Calvert (later Countess of Portland)
(Variations in naming and exact titles appear in some sources; the eight women are consistently recognized as the “beauties” of this series.)
Historical context
The paintings reflect the court’s interest in showcasing the refinement and status of its leading ladies, and they served as a visual representation of the monarchs’ cultural patronage. By commissioning Kneller—who had succeeded Lely as court painter—to produce a new set of “beauties,” Mary II sought to update the royal portrait tradition in line with contemporary artistic tastes.
Location and display
All eight portraits originally hung in a gallery at Hampton Court Palace. They remain part of the palace’s permanent collection and are displayed in the state apartments, where they are viewed alongside other works from the late Stuart period.
Artistic significance
The Hampton Court Beauties are noted for their elegant rendering of textile, lace, and jewelry, illustrating the opulent fashion of the era. Kneller’s style combines the grandeur of court portraiture with a softer, more naturalistic approach to the subjects’ expressions, marking a transition in English portraiture toward the early 18th century aesthetic.
Related works
The series is often mentioned together with the “Windsor Beauties” (c. 1660s) and later collections such as the “Royal Academy of Portraits.” These groups collectively document the evolving representation of aristocratic women in English art.
