William Reader's most famous painting is John II Bankes, MP (1692-1772), as a boy (1702), in the Kingston Lacy, Wimborne Minster. Our catalogue lists 2 works by William Reader; the 2 below are the ones the world looks at most, each with its year, the museum that holds it and why it matters.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated November 2026. Every masterpiece on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, at the size you choose.
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) |
John II Bankes, MP (1692-1772), as a boy (1702).
Our catalogue lists 2 works by William Reader.
Most of them are in Kingston Lacy (Wimborne Minster). The table above lists the museums one by one.
John II Bankes, MP (1692-1772), as a boy and John I Bankes, MP (1665-1714) are among the 2 works on this page held by the Kingston Lacy, Wimborne Minster.
Yes. Every painting on this page can be ordered as a museum-quality, hand-painted oil reproduction or a fine art print, in the size you choose, from the painting's own page.
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.
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 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.
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.