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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 ...
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.
Barbara Howard, Countess of Suffolk (née Villiers; May/June 1622 – 13 December 1680), formerly Lady Wentworth, was an English courtier and the wife of James Howard, 3rd Earl of Suffolk. She served as First Lady of the Bedchamber for the queen of England, Catherine of Braganza , from 1660 until 1681.
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.
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".
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
