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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, Duchess of Cleveland, daughter of William Villiers, 2nd Viscount Grandison, first met Charles II during his exile in The Hague, and had become his mistress by May 1660. She bore the king six children and was created Duchess of Cleveland in 1670 before being supplanted in Charles II's affections by the Duchess of Portsmouth.
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 ...
13 de abr. de 2024 · Barbara Villiers figures prominently in Bernard Shaw's play In Good King Charles's Golden Days. Barbara is the protagonist in Royal Mistress, by Patricia Campbell Horton (1977) Barbara Palmer née Villiers, as Countess of Castlemaine, features prominently in Kathleen Winsor's scandalous 1944 bestseller "Forever Amber".
10 de feb. de 2023 · The most powerful woman in England: Barbara Villiers. Though only 23 herself, Barbara was a pro at the machinations of court. By June 1663, she had borne two of the King’s illegitimate children and was pregnant with their third.
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.
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
