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5 de abr. de 2024 · The real story behind the duo was in many ways even stranger than the new fictionalized retelling. James indeed lavished wealth and status on his much-younger male favorite, George Villiers ...
They were at Hampton Court by June 1835. All appear to be wholly by Lely’s own hand except Anne Digby, Countess of Sunderland (RCIN 404515) which is probably a studio copy. Barbara Villiers was Charles II’s principal mistress between 1660 and 1670 and the most powerful woman at court until she was supplanted by Louise de Kéroualle.
Born in 1664; died in 1717 (some sources cite 1718); illegitimate daughter of Charles II, king of England, and Barbara Villiers (c. 1641–1709); married Edward Henry Lee, earl of Lichfield, in 1677 (died 1716). In 1670, Charles signed the Treaty of Dover with France. Under the terms of this agreement, France and England united to make war ...
Barbara Berkeley, Viscountess Fitzhardinge ( née Villiers; c. 1654 – 19 September 1708) was a lady-in-waiting to Queen Anne of Great Britain and governess to Prince William, Duke of Gloucester. [2] Her sister Elizabeth Villiers (later Countess of Orkney) was the acknowledged mistress of William III of England from 1680 to 1695.
More numerous than suggested by the selection of images analysed here, Barbara Villiers’s portraits as a group present one of the more straightforward and enlightening cases for a study of a Restoration sitter. 8 Two factors determine this assertion: (i) she was without question the woman most often represented in painted portraits during the first decade of the Restoration; and (ii) the ...
RCIN 404957. This picture forms one of the ‘Windsor Beauties’ series, a set of eleven portraits of celebrated women at the Restoration court painted by Sir Peter Lely. The series was apparently commissioned or at least assembled by Anne Hyde, Duchess of York, probably around 1662-5. Pepys recorded on 21 August 1668 that he ‘did first see ...
Barbara Villiers was Charles II's principal mistress between 1660 and 1670 and the most powerful woman at court. She devoted much energy to public demonstrations of the king's favour through displays of jewels and wealth. She was painted frequently by Lely, who described her beauty as ‘beyond the compass of art’. Cat. 57
