Atributted to GODFREY KNELLER (Lübeck, Germany, 1646-London, 1723)."Feminine portrait".Oil on canvas. Relined painting.This piece belongs to the collection of the Hotel Marbella Club.Measurements: 129 x 103 cm; 141 x 116 cm (frame).The present canvas offers us a delicate and courteous image, dominated by the protagonism of a woman whose youth is reinforced by the voluptuousness of her clothing, both in form and color. The lady wears a blue dress that allows to see the ruffles of her shirt, and rests her right arm on a table of marble surface barely discernible due to the red curtain of baroque heritage that covers it. The outlined face shows expressive, intense black eyes, whose gleam indicates restrained emotion. The scene opens up to an open exterior typical of this type of composition, determined by a lake landscape that is typical of the English landscape of the time and, more specifically, of the town of Castle Combe in Wiltshire. Technically, the work presents an exquisite technique, based on the use of a dense brushstroke, delimited and appreciable to the naked eye, although the artist combines it with a characteristic detail, configuring a precious work.Because of its physical and formal characteristics, the present work can be attributed to Sir Godfrey Kneller, the leading portraitist in England during the late 17th and early 18th centuries, as well as the court painter to English and British monarchs from Charles II to George I. His major works include The Chinese Convert and The Chinese Convert. His major works include The Chinese Convert (1687; Royal Collection, London); a series of four portraits of Isaac Newton painted at various junctures in Newton's life; and a series of portraits of up to ten reigning European monarchs, including King Louis XIV of France. Trained by great masters such as Ferdinand Bol and Rembrandt, Kneller's early career was devoted to painting historical subjects. After his arrival in England in 1676, Kneller concentrated almost entirely on portraiture: with an entrepreneurial spirit, he founded a studio that produced portraits on an almost industrial scale, based on a brief sketch of the face with details added to a formula model, aided by the fashion for gentlemen to wear full wigs. His portraits set a pattern that was followed through to William Hogarth and Joshua Reynolds.