William Reader: The 2 Best-Known Paintings
Of all William Reader's paintings, John II Bankes, MP (1692-1772), as a boy (1702) is the most famous; it hangs in the Kingston Lacy, Wimborne Minster. Among the 2 works by William Reader in our catalogue, these 2 are the most celebrated, each shown with its date, its museum and its story.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated November 2026. Each painting on this page can be ordered as an oil reproduction painted by hand on linen canvas, or as a fine art print, made to the size you choose.
- Works in our catalogue
- 2
- Most famous
- John II Bankes, MP (1692-1772), as a boy (1702)
- Most works at
- Kingston Lacy
William Reader's 10 most celebrated paintings
Where William Reader's canvases hang
The museum that holds the most of the paintings on this page.
| Museum | City | Works by William Reader | Paintings from this list |
|---|---|---|---|
 Kingston Lacy |
Wimborne Minster | 2 | John II Bankes, MP (1692-1772), as a boy, John I Bankes, MP (1665-1714) |
Your questions on William Reader's paintings, answered
Which is the most celebrated painting by William Reader?Read the answer
John II Bankes, MP (1692-1772), as a boy (1702).
How many paintings by William Reader are known?Read the answer
2 works by William Reader are in our catalogue.
Which museums hold William Reader's best-known canvases?Read the answer
Mostly in Kingston Lacy (Wimborne Minster); the list above names each museum and its canvases.
What can I see by William Reader at the Kingston Lacy?Read the answer
The Kingston Lacy, Wimborne Minster holds 2 of the works on this page, among them John II Bankes, MP (1692-1772), as a boy and John I Bankes, MP (1665-1714).
Can I order a hand-painted copy of a painting by William Reader?Read the answer
Yes. Every painting on this page can be ordered from its own page as an oil reproduction painted by hand, or as a fine art print, in the size you choose.
William Reader: the painter's story
The Shadow of the Master
Maidstone, United Kingdom, provides the setting for the beginning of a life defined by the brush and the patronage of the elite. Born the son of a clergyman, William Reader enters the world of art through the disciplined guidance of Gerard Soest. This apprenticeship shapes his hand, grounding his technique in the traditions of the era. He moves through the social strata of the late seventeenth century, finding himself under the protection of a wealthy nobleman in the west of England. This connection provides the stability necessary for a developing painter to find his footing in a competitive landscape.
The work of Reader often exists in the periphery of history. His name frequently appears in the margins of larger legacies, sometimes obscured by the signatures of more prominent contemporaries. He captures the likenesses of the era, most notably in his portrait of Dr. John Blow, a work that achieved further life through the mezzotint engravings of T. Beckett. While his name may be lost to some, his presence remains etched in the visual record of the period.
A Life of Contrasts
The trajectory of Reader's career reveals a stark shift from the comforts of patronage to the isolation of poverty. His active years span the late seventeenth century, a time of shifting artistic tastes and social upheaval. His output is characterized by the following elements:
- The influence of Gerard Soest's training on his portraiture style.
- A connection to the landed gentry through long-term patronage.
- The preservation of his likeness through the portrait of Dr. John Blow.
- The final, quiet years spent as a pensioner at the London Charterhouse.
The transition from a painter supported by nobility to a man facing the end of his life in diminished circumstances marks the final chapter of his story. He dies in London, leaving behind a body of work that serves as a window into the social fabric of his time.
The Legacy of the Portraitist
Today, the remnants of his hand are found in significant collections, such as those at Kingston Lacy and Wimborne Minster. These works, including portraits of figures like John Bankes, I, offer a glimpse into the technical skill he maintained throughout his life. His existence is a reminder of the precarious nature of the artistic life in the seventeenth century, where the distance between a nobleman's salon and the London Charterhouse was often a matter of fortune and fate.