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  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, Countess of Portmore (21 December 1657 – 26 October 1717), daughter of Sir Charles Sedley, 5th Baronet, was the mistress of King James II of England both before and after he came to the throne. Catherine was noted not for beauty but for her celebrated wittiness and sharp tongue.

  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. 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

  5. 15 de jul. de 2021 · Charles Sedley inherited the title (5th baronet) in 1656 when his brother William died. By his first wife Lady Katherine Savage, daughter of John, 2nd Earl Rivers he had only one legitimate child, Catherine, Countess of Dorchester, mistress of James II. The couple lived in Great Queen Street. After his first wife had been sent to a convent in ...

  6. 22 de mar. de 2024 · 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.

  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.