EVERETT FINE ART - Key Persons
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. The daughter of the Royalist William Villiers, 2nd Viscount Grandison (1614-43), she married Roger Palmer (1634-1705) in 1659; she was granted the title of Countess of Castlemaine in 1661 (entailing the ennoblement of her cuckolded husband Roger Palmer as Earl of Castlemaine) and was elevated to Duchess of Cleveland in her own right in 1670.
After a public disagreement between Charles and Catherine of Braganza in 1662, Lady Castlemaine was made a Lady of the Bedchamber to the queen, and given a pension and lodgings at Whitehall Palace. Between 1660 and 1665 she bore the king five children, all of whom received titles, and though she did not achieve official recognition as maîtresse en titre like the powerful mistresses of French monarchs, her position allowed her to act as an intermediary and negotiate for patronage and benefits on behalf of others.
She devoted much energy to public demonstrations of her hold on the king's favour, through displays of jewels and wealth and her frequent appearances at court balls and entertainments. Pepys observed in 1663, ‘this day I was told that my Lady Castlemaine hath all the King's Christmas presents, made him by the peers, given to her .. at the great ball she was much richer in jewels than the Queen and Duchess put together'.
During the 1660s Lady Castlemaine served as the muse of the king's painter, Sir Peter Lely. She appeared in many paintings by Lely represent as historical or biblical figures but also throughout her life as studio portraits. She was fully aware of the importance of images as promotional tools and Ley was happy to represent ‘her sweetness and exquisite beauty'. We imagine she is near 40 in this portrait.
Frames Lester has work exclusively with frame restoration and making for 40 years and specialises in traditional English compo, a skill that is now fast disappearing. He also is an extremely skilled gilder and paint finishing and continues to make bespoke period style frames of a very high standard for a wide range a clients demanding many styles and periods to correctly compliment their pictures.
Painting Conservator ACR Marine trained in painting conservation at Sorbonne University in Paris before moving to England and work both in private studios and public Institutions (Victoria and Albert museum,Tate) she is an ICON accredited member and member of the BAPCR's council (British Association of Painting Conservators Restorers).
Stretchers Michael has been with us for over 25 yeas and does all our fame carcase work ranging from making and constructing period style frames to cutting down and restoring frames and all the timber work. This includes the skilled task of making all the stretchers and pegs required for the studio and for many other clients.
The Dutch artist Peter Lely was trained in Haarlem and came to London in the 1640s. In the early part of his career, he painted Biblical and mythological scenes, but it was as a portraitist that he established his reputation, and he worked throughout the civil wars and Interregnum, becoming the dominant portrait painter to the court.
Paintings Tim continued the family restoration business founded in 1951 and for over 40 years has continued to develop and improve the range and specialisations that are undertaken. Tim Specialises in the conservation of the canvas itself and is a glue paste liner.
Retoucher We first worked together over 30 years ago and Zelie had run her own restoration business in Devon. However, her skill and experience as a retoucher is invaluable.