Start with the museum databases

Knights painted slowly and died young, at forty-eight. The result is a body of work small enough that no single archive holds all of it. The Tate's online catalogue is the natural first stop. It lists The Deluge, the large allegorical painting that made her name, and its entry pages give dates, dimensions and provenance notes. The images are zoomable and free to view.

Two other institutional sources matter. The Museum of New Zealand Te Papa Tongarewa holds The Marriage at Cana, a major work acquired in the mid twentieth century, and its collection pages reproduce it. The UCL Art Museum, which grew out of the Slade School where Knights trained, lists drawings and studies. Search each institution by name rather than through a general image search, which surfaces low resolution copies and mislabeled files.

Why the record feels so thin

The reader who has searched before knows the frustration. Most artists of her standing have thousands of works digitised. Knights has dozens. She destroyed or abandoned much of what she made, she worked on a few large compositions for years at a time, and much of the rest sits in private hands, uncatalogued and unphotographed. No archive can show what was never recorded.

The 2016 retrospective at Dulwich Picture Gallery gathered much of the surviving work under one roof, and its catalogue remains the closest thing to a complete survey. That exhibition is over, but reviews and the catalogue itself document paintings that appear nowhere else online. For a full picture, the printed catalogue is still ahead of anything on a screen. Her subjects and style are covered separately in a companion piece on what makes her work recognizable the subjects that define her paintings.

Finding reproductions worth buying

Reproduction is a separate market from the museum record. Because Knights is a specialist taste, general poster sites carry little or nothing, and what they do carry is often scanned from poor sources. Look for sellers who state the source image and the print size honestly. A painting like The Deluge survives reproduction well because its design is flat and ordered. Loose brushwork is what dies in a print, and Knights had little of it.

Where a seller does not offer her work, the same advice applies to adjacent artists. Compare how a seller handles source quality before buying anything, since it is the one variable that separates a print worth framing from a blurred enlargement. The choice between a framed print and a canvas affects the result as much as the image itself choosing a framed print or canvas. If her work proves too scarce, a similar period landscape can fill the wall while the search continues a tranquil river landscape print.