Yahoo Search Búsqueda en la Web

Resultado de búsqueda

  1. 29 de jul. de 2010 · A solid, if average, historical novel, elevated by the personality and wit of its protagonist, Katherine Sedley, the Countess of Dorchester. Despite the constricted era in which she lives, Katherine's unusual upbringing - with a "mad" mother, and "libertine" (drunken adulterer) father - grants her a greater sense of personal freedom than many women of her station in Restoration England.

  2. Catherine Sedley, Countess of Dorchester. by Peter Cross. watercolour on vellum, circa 1685-1690. 3 1/8 in. x 2 3/8 in. (79 mm x 60 mm) oval. Purchased, 1913. Primary Collection.

  3. Catherine Sedley, Countess of Dorchester.jpg 603 × 780; 176 KB Godfrey Kneller (1646-1723) - Catherine Sedley (1657–1717), Countess of Dorchester - 108811 - National Trust.jpg 846 × 1,200; 96 KB Godfrey Kneller - Catharine Sedley, later Countess of Dorchester - Kenwood.jpg 760 × 944; 160 KB

  4. 29 de mar. de 2009 · Catherine Sedley, Countess of Dorchester; Talk:Leonardo da Vinci/Archive 7; User:Jane023/Paintings in the National Portrait Gallery; Usage on fr.wikipedia.org Catherine Sedley; Usage on it.wikipedia.org Catherine Sedley; Usage on ja.wikipedia.org 女性に対して創設されたイギリス爵位一覧; Usage on pl.wikipedia.org Catherine Sedley

  5. The title Countess of Dorchester had previously been created in the Peerage of England in 1686, together with the title Baroness Darlington, as life peerages, for Catherine Sedley, a mistress of King James II. Both titles became extinct on her death in 1717, but her heirs were Earls of Portmore in the Peerage of Scotland.

  6. 4 de jul. de 2020 · File: Godfrey Kneller (1646-1723) - Catherine Sedley (1657–1717), Countess of Dorchester - 108811 - National Trust.jpg From Wikimedia Commons, the free media repository Jump to navigation Jump to search

  7. This convinced the Gallery to re-identify the oil portrait as that of Catharine Sedley, Countess of Dorchester (1657–1717), mistress to King James II. This is one of over a hundred portraits in the Gallery’s collection whose sitter identification has been queried, debated and then dropped.