This virtual exhibition was created as part of an internship at the Friedrich-Alexander University’s Institute of Art History. The students worked on this project under the direction of Prof. Dr. Christina Strunck. To do this, we dealt intensively with the exhibits and gained practical experiences in many areas, including the conception of exhibitions and the mediation of art and culture. To provide more details about specific exhibits, we have also produced screencasts. Thus, the project combines different media into a holistic exhibition.
The exhibition uses selected objects to illustrate the daily life of King Charles II, royal duties, and private life. To enable an insight into courtly culture, value was placed on the multifaceted nature of the exhibits. The contents of the exhibition are related to Prof. Dr. Strunck’s research project ‘Art and Crisis’ within the DFG Priority Programme ‘Early Modern Translation Cultures (1450-1800)’ (see https://www.spp2130.de/index.php/en/art-and-crisis/). Therefore, the issue of cultural translation also had an important influence on the selection of the items displayed. The exhibits show how nobles, artists, and diplomats as well as art and ideas from continental Europe were perceived in England.
At this point, we would like to thank the media assistants of the Institute of Art History, Ingrid Nirschl and Tatjana Sperling, for their support in implementing the website. Thanks are also extended to Dr. Sarah W. Lynch, who helped us translate the texts into English. Furthermore, thanks are due to Ms. Madlen Gulitsch, who helped us tremendously by introducing us to the “Camtasia” program, which was used to create the screencasts.
The following initials are used:
A. Mo. Anastasia Monastyrskaya
F. vdDi. Femke van den Dijssel
H. Bi. Hannah Biesenecker
K. He. Kaya Hezel
L. Kl. Lena Klose
L. Sch. Laura Schneider
M. Kl. Martina Klobucar
M. Rei. Michelle Reichelt
M. Ren. Melissa Renner
M. We. Michelle Werthner
N. Bo. Natalie Bonnacker
R. Re. Robin Rein
S. Me. Samantha Menke
S. Wo. Suzanne Wong
T. Hi. Tina Hiller
Y. Tj. Ylva Tjelle
Illustration Credits:
Introduction:
Cat. no. 1.1: The Execution of Charles I, c. 1650, Published by Francoys van Beusekom, Engraving from two plates, 41.4 x 51.6 cm (plate), 43.8 x 53.9 cm (sheet). (published in: Rufus Bird and Martin Clayton (eds.): Charles II – Art & Power. cat. exhib. London 2017, p. 35.)
Cat. no. 1.2: Peter Stent, Charles II with the Royal Oak, c. 1660 – 65, 29.4 x 21.8 cm, Royal Collection. (published in: Rufus Bird, Olivia Fryman, Martin Clayton (eds.): Charles II. Art and Power. cat. exhib. Royal Collection Trust 2018, p. 94.), link to the original: https://www.rct.uk/collection/602671/charles-ii-with-the-royal-oak.
Cat. no. 1.3: Pierre Philippe after Jacob Toornvliet, Celebratory Banquet for Charles II in the Mauritshuis in the Hague, 1635-1701, 40.6 x 48.8 cm, Etching, Virtuelles Kupferstichkabinett, Herzog August Bibliothek. (Link to the original: http://www.virtuelles-kupferstichkabinett.de/en/, as of: 27.09.2021.)
Cat. no. 1.4: After Elias Küsel, Equestrian Portrait of Charles II, 1660, 71.3 x 46.9 cm, Royal Collection. (published in: Rufus Bird, Olivia Fryman, Martin Clayton (eds.): Charles II. Art and Power. cat. exhib. Royal Collection Trust 2018, p. 65.), link to the original: https://www.rct.uk/collection/602638/charles-ii.
Cat. no. 1.5: John Michael Wright, Charles II, ca. 1671-76, 281.9 x 239.2 cm, Palace of Holyroodhouse, Royal Collection. (published in: Rufus Bird, Olivia Fryman, Martin Clayton (eds.): Charles II. Art and Power. cat. exhib. Royal Collection Trust 2018, p. 115.), link to the original: https://www.rct.uk/collection/404951/charles-ii-1630-1685.
Cat. no. 1.6: Samuel Cooper, Miniatur von Catherine of Braganza, c. 1662, 12.3 x 9.8 cm, Royal Collection. (published in: Margarette Lincoln: Samuel Pepys: Plague, Fire, Revolution. cat. exhib. Royal Museums Greenwich 2015, p. 122.), link to the original: https://www.rct.uk/collection/420644/catherine-of-braganza-1638-1705.
Cat. no. 1.7: Willem van de Velde the Younger, ‘Holmes’s Bonfire’: The Burning of Dutch Merchant Ships between Terschelling and Vlieland on August, 1666-76, oil on canvas. (published in: Rufus Bird und Martin Clayton (eds.): Charles II – Art & Power. cat. exhib. London 2017, p. 114.)
Cat. no. 1.8: A True Narrative of the Horrid Hellish Popish-Plot. To the tune of Packington’s Pound. The second part, c. 1682, published by: Matthew Turner, print made by: Anonymous, satirical print, engraving from two plates, 30 x 40.2 cm (plate), 53.8 x 40.2 cm (sheet), British Museum (published by: British Museum, URL: P_1849-0315-80, as of: 27.09.2021.)
Cat. no. 1.9: The Royal Gift of Healing; Print made by: Robert White, Print, c. 1684, Engraving: 15.6 x 9.8 cm, British Museum. (published by: British Museum, URL: P_1872-1012-5141, as of: 27.09.2021.)
Cat. no. 1.10: Anonymous, Charlesʼ II Death Mask, 1685, 33.90 cm, gesso and wood, The British Museum. (Link to the original: https://www.britishmuseum.org/collection/object/H_SLMisc-1987, as of: 27.09.2021.)
Cat. no. 1.11: Sir Peter Lely, James II when Duke of York, 1665-1670, 239.5 x 148.6 cm, oil on canvas, Royal Collection Trust. (Link to the original: https://www.rct.uk/collection/405673/james-ii-1633-1701-when-duke-of-york, as of: 27.09.2021.)
Cat. no. 1.12: Jan Wyck, William III Landing at Brixham, Torbay on 5 November 1688, 1688, 157.5 x 132.1 cm; oil on canvas, National Maritime Museum. (Link to the original: https://artuk.org/discover/artworks/william-iii-landing-at-brixham-torbay-5-november-1688-176186, as of: 27.09.2021.)
Morning Rituals:
Cat. no. 2.1: John Webb, Design for the Alcove in Charlesʼ II Bedroom at Greenwich Palace, 1665. (published in: Bird, Rufus/ Clayton, Martin/ Fryman, Olivia (eds.): Charles II. Art & Power. cat. exhib. London 2018, p. 216.)
Cat. no. 2.2: King James II’s bed with matching furniture, 1688, in Knole. (published in: Bird, Rufus/ Clayton, Martin/ Fryman, Olivia (eds.): Charles II. Art & Power. cat. exhib. London 2018, p. 218.)
Cat. no. 2.3: John Michael Wright, Astrea returns to Earth, 1661, ceiling painting for Charlesʼ II Parade Bedroom, Nottingham City Museums & Galleries. (Link to the original: https://artuk.org/discover/artworks/astraea-returns-to-earth-the-apotheosis-of-charles-ii-46893, as of: 27.09.2021.)
Cat. no. 2.4: William M. Thakerey, Caricature after Hyacinthe Rigaud’s Portrait of Louis XIV, published in „The Paris Sketch Book” by Mr. Titmarsh, with numerous designs by the author, on copper and wood, Vol. II, London 1840. (published in: Meister, Jan: Der Körper des Princeps. Zur Problematik eines monarchischen Körpers ohne Monarchie (= Historia Einzelschriften 223). Stuttgart 2012.)
Cat. no. 2.5: Simon Verelst, Charles II., c. 1677-1685, oil on canvas, 219.1 x 135.8 cm, London, The Queen’s Gallery, Buckingham Palace. (published in: Bird, Rufus/ Clayton, Martin/ Fryman, Olivia (eds.): Charles II. Art & Power. cat. exhib. London 2018, p. 120-121.). Link to the original: https://www.rct.uk/collection/themes/exhibitions/charles-ii-art-power/the-queens-gallery-buckingham-palace/charles-ii-7.
Cat. no. 2.6: Peter Lely, Two Heralds, mid 1660s, 518 x 363 mm, London, The Courtald Gallery. (published in: Millar, Oliver: Sir Peter Lely, 1618-1680. London 1978, p. 84-85.). Link to the original: https://courtauld.ac.uk/whats-on/events/pen-to-brush-british-drawings-and-watercolours/.
Cat. no. 2.7: Doublet and petticoat breeches, 1662, silk damask, metal thread and silk-and-metal ribbons, Claydon House, The Verney Collection (The National Trust). (published in: Lincoln, Margarette: Samuel Pepys. Plaque, Fire, Revolution. cat. exhib. London 2015, p. 124.). Link to the original: https://www.nationaltrust.org.uk/features/revealing-the-fashion-treasures-in-our-collection.
Cat. no. 2.8: Designer unknown (English), Silver Tissue Dress, c. 1660, silk and silver thread, Bath, Fashion Museum. (published in: https://www.fashionmuseum.co.uk/news/silver-tissue-dress-returns-bath), Link to the original: https://www.fashionmuseum.co.uk/news/silver-tissue-dress-returns-bath.
Royal Audiences:
Cat. no. 3.1: Johannes Vorsterman, A View of Windsor Castle, c. 1678-82, 53.5 x 83.4 cm, oil on canvas, Royal Collection. (Link to the original: https://www.rct.uk/collection/405265/a-view-of-windsor-castle, as of: 27.09.2021.)
Cat. no. 3.2: Charles Wild, St. George’s Hall, Windsor Castle, 1816, 20.2 x 25.4 cm, aquarelle/paper, Royal Collection. (Link to the original: https://www.rct.uk/collection/themes/exhibitions/charles-ii-art-power/the-queens-gallery-buckingham-palace/st-georges-hall-windsor-castle, as of: 27.09.2021.)
Cat. no. 3.3: Charles Wild, Windsor Castle: The King’s Audience Chamber, 1818, 20.6 x 52.2 cm, aquarelle/paper, Royal Collection. (Link to the original: https://commons.wikimedia.org/wiki/File:Windsor_Castle,_King%27s_Audience_Chamber,_by_Charles_Wild,_1818_-_royal_coll_922109_257033_ORI_0.jpg, as of: 27.09.2021.)
Cat. no. 3.4: Antonio Verrio, The Sea Triumph of Charles II, c. 1674/76, oil on canvas, 224.5 x 231.0 cm, Windsor, Queen’s Guard Chamber, Windsor Castle. (Link to the original: https://www.rct.uk/collection/406173/the-sea-triumph-of-charles-ii, as of: 27.09.2021.)
Cat. no. 3.5: Unknown artisan, combination of silver table, candelabras and mirror, c. 1670, Holz/Silber, 101.0 x 45.0 x 39.5 cm (gesamte Kombination), Windsor, Queen’s Gallery, Windsor Castle. (Link to the original: https://www.rct.uk/collection/search#/1/collection/35298/silver-candelabra-stands, as of: 27.09.2021.)
Cat. no. 3.6: Lorenzo Lotto, Andrea Odoni, 1527, oil on canvas, 104.3 x 116.8 cm, London, Hampton Court Palace, The Royal Collection. (published by: The Royal Collection Trust: Charles II. Art & Power. Cat. Exhib. London. Trento 2017, p. 274.), link to the original: https://www.rct.uk/collection/405776/andrea-odoni, as of: 27.09.2021.
Cat. no. 3.7: Godfrey Kneller and Jan Wyck, Mohammed Ohadu, the Moroccan Ambassador, 1684, oil on canvas, 313 x 231 cm, London, Chiswick House. (published in: Margarette Lincoln: Pepys, Tangier and Islam. In: id.: Samuel Pepys. Plague, Fire, Revolution. cat. exhib. London 2015, p. 158), link to the original: https://artuk.org/discover/artworks/the-moroccan-ambassador-178923, as of: 27.09.2021.
Cat. no. 3.8: François Duchatel, Entry of Claude-Lamoral I of Ligne in London, 1660, width: 482 cm, Hennegau/Belgium, Château de Belœil, The Ambassador’s Sitting Room. (aus: Susan Tipton: Diplomatie und Zeremoniell in Botschafterbildern von Carlevarijs und Canaletto (RIHA Journal 0008 | 01 October 2010, published in: Riha Journal, Suchanfrage: Diplomatie und Zeremoniell in Botschafterbildern von Carlevarijs und Canaletto, p. 21), link to the original: http://www.chateaudebeloeil.com/en/visiting-the-castle/, as of: 27.09.2021.
Cat. no. 3.9: Gillis van Tilborch, Audience in Banqueting House at Whitehall Palace, 1660, width: 385 cm, Hennegau/Belgien, Schloss Belœil, The Ambassador’s Sitting Room. (published in: Susan Tipton: Diplomatie und Zeremoniell in Botschafterbildern von Carlevarijs und Canaletto (RIHA Journal 0008 | 01 October 2010, published in: Riha Journal, Suchanfrage: Diplomatie und Zeremoniell in Botschafterbildern von Carlevarijs und Canaletto, p. 21), link to the original: http://www.chateaudebeloeil.com/en/visiting-the-castle/, as of: 27.09.2021.
Cat. no. 3.10: Antonio Verrio, Charles II Giving Audience at Christ’s Hospital, 1680, 93.5 x 125.6 cm, oil/wood, London, Victoria and Albert Museum. (Link to the original: https://collections.vam.ac.uk/item/O78682/charles-ii-giving-audience-at-painting-verrio-antonio/?carousel-image=1, as of: 27.09.2021.)
Cat. no. 3.11: John Hayls, Samuel Pepys aged 33, 1666, oil on canvas, 75.6 x 62.9 cm, London, National Portrait Gallery. (published in: Aileen Ribeiro: Fashion and fiction: dress in art and literature in Stuart England. New Haven 2005, p. 387, link to the scan: https://prometheus.uni-koeln.de/de/image/genf-3c575db4fd306d2d7c2b8fec309d9b128496450e), link to the museum: https://www.npg.org.uk/collections/search/portrait/mw04948/Samuel-Pepys, as of: 27.09.2021.
Cat. no. 3.12: Basil Ringrose, The South Sea Waggoner, Shewing the making and bearing of all the Coasts from California to the Streights of Le Maire, 1682/86, London, National Maritime Museum. (Link to the original: https://www.rmg.co.uk/collections/objects/rmgc-object-492506, as of: 27.09.2021.)
Dining Culture:
Cat. no. 4.1: Gerrit Houckgeest, Charles I, Queen Henrietta Maria and Charles II when Prince of Wales Dining in Public, 1635, oil on canvas, 63.2 x 92.4 cm, Standort unbekannt. (URL: https://www.rct.uk/collection/themes/trails/public-dining-in-the-reign-of-charles-ii-1630-1685/charles-i-queen, as of: 03.08.2021).
Cat. no. 4.2: Peter Vandrebanc after Antonio Verrio, The Ceiling of the King’s Presence Chamber, c. 1682-1686, Engraving, 55.4 x 52.0 cm, Royal Trust Collection, London. (published in: Rufus Bird und Martin Clayton (eds.): Charles II – Art & Power. cat. exhib. London 2017, S. 201). Link to the original: https://www.rct.uk/collection/700584/the-ceiling-of-the-kings-presence-chamber
Cat. no. 4.3: Antonio Verrio, The Banquet of Gods, 1675-1684, oil on plaster, Windsor Castle, London. (Link to the original: https://www.rct.uk/collection/408425/the-banquet-of-the-gods, as of: 01.08.2021).
Cat. no. 4.4: Anonymous, basin and ewer, dated 1660/61 and 1690, silver-gilt, Buckingham Palace, London. (published in: URL: https://www.rct.uk/collection/themes/exhibitions/charles-ii-art-power/the-queens-gallery-buckingham-palace/basin, as of: 02.07.2021).
Cat. no. 4.5: Hendrick Danckerts (attributed to), The Gardener John Rose Presenting Charles II with a Pineapple, c. 1677, oil on canvas, 96.6 x 114.5 cm, Houghton Hall, Norfolk. (published in: https://www.prometheus-bildarchiv.de/ (as of: 02.06.2021), there after: Ribeiro, Aileen. Fashion and fiction: dress in art and literature in Stuart England. New Haven 2005, p. 387).
Cat. no. 4.6: Pieter Gerritsz van Roestraten, Still Life with Chinese Teacups, 1670, oil on canvas, 35.0 x 48.0 cm, Gemäldegalerie Berlin. (Link to the original: https://de.m.wikipedia.org/wiki/Datei:Pieter_Gerritsz._van_Roestraeten_-_Still-Life_with_Chinese_Teabowls_-_WGA19651.jpg, as of: 01.08.2021).
Cat. no. 4.7: George Garthorne, Coffee pot in silver, 1681/82, Sterling-Silver and leather, 25 x 21.5 x 12 cm, Victoria and Albert Museum, London. (Link to the original: https://collections.vam.ac.uk/item/O78577/coffee-pot-unknown/, as of: 03.08.2021).
Cat. no. 4.8: Johann Hass, Salt of State, 1630, gilt silver and enamel decorated with gemstones, 45.7 cm x 30.2 cm x 30.2 cm, Jewel Tower, London. (published in: Rufus Bird und Martin Clayton (eds.): Charles II – Art & Power. cat. exhib. London 2017, p. 83). Link to the original: https://www.rct.uk/collection/31772/the-exeter-salt-the-salt-of-state
Leisure:
Cat. no. 5.1: Francis Barlow, The Last Horse Race Run before Charles the Second of Blessed Memory by Dorsett Ferry near Windsor Castle, 1687, Radierung, 36.9 x 51.5 cm, London, Royal Collection. (published in: Rufus Bird / Martin Clayton (eds.): Charles II. Art & Power. cat. exhib. London 2017, p. 403). Link to the original: https://www.rct.uk/collection/602686/the-last-horse-race-run-before-charles-the-second-of-blessed-memory-by-dorsett
Cat. no. 5.2: Anonymous (in the style of Francis Barlow), A hunting Accident, date unknown, drawing, 126.1 x 24.2 cm, London, Royal Collection. Link to the original: https://www.rct.uk/collection/917239/a-hunting-accident
Cat. no. 5.3: Matthäus Merian the Younger (attributed to), The Highborn Prince James, Duke of York, c. 1640-50, etching, 18.5 x 11.4 cm, London, Royal Collection. Link to the original: https://www.rct.uk/collection/602772/the-high-borne-prince-iames-dvke-of-yorke
Cat. no. 5.4: Hendrick Danckerts, Hampton Court Palace, c. 1670, 102.5 x 99.7 cm, London, Hampton Court Palace. (published in: Rufus Bird / Martin Clayton (eds.): Charles II. Art & Power. cat. exhib. London 2017, p. 204). Link to the original: https://www.rct.uk/collection/402842/hampton-court-palace
Cat. no. 5.5: Anonym, The Famous Water of Talc and Pearl, 1670, London, British Library. (published in: Brett Dolman (ed.): Beauty, Sex and Power. A story of Debauchery and Decadent Art at the Late Stuart Court (1660-1714). cat. exhib. London 2012, p. 96). Link to the original: https://journals.lww.com/plasreconsurg/Fulltext/2000/03000/Beauty_and_the_Body__The_Origins_of_Cosmetics.58.aspx
Cat. no. 5.6: Robert Hooke, Microscopic View of a Flea, Micrographia 1665, engraving, 31 x 66 cm, London, The Royal Society. (published in: Tim Batchelor: Illusion and Deception. In: Tabitha Barber (eds.): British Baroque. Power and Illusion. London 2020, pp. 63 – 77, here: p. 63). Link to the original: https://www.bl.uk/learning/timeline/large107702.html
Cat. no. 5.7: Richard Tompson after Sir Peter Lely, Mary Davis, c. 1678-1679, mezzotint, 35 x 25.7 cm, London, Royal Collection. (published in: Rufus Bird / Martin Clayton (eds.): Charles II. Art & Power. cat. exhib. London 2017, p. 343). Link to the original: https://www.rct.uk/collection/653410/mary-davis
Cat. no. 5.8: Raphael, The Holy Family (La Perla), c. 1518, oil/wood, 147.4 x 116 cm, Madrid, Museo del Prado. (published in: Rufus Bird / Martin Clayton (eds.): Charles II. Art & Power. cat. exhib. London 2017, p. 248). Link to the original: https://www.museodelprado.es/en/the-collection/art-work/the-holy-family-known-as-la-perla/f3d745b8-f800-437a-a664-9f3d065ce127
Evening Amusements:
Cat. no. 6.1: Jacob Huysmans, Catherine of Braganza as a Shepard, or the Holy Agnes, c. 1662-1664, oil on canvas, 216.5 x 148.8 cm, London, Windsor Castle.
Cat. no. 6.2: Charles Wild, Windsor Castle: The Queen’s Drawing Room, 1816, pencil and aquarelle, 20.0 x 25.3 cm, London, Royal Collection. Link to the original: https://www.rct.uk/collection/922102/windsor-castle-the-queens-drawing-room
Cat. no. 6.3: Peter Lely, Madam Hughes, c. 18th cent. after an original from 1677, print on paper, 30.3 cm x 24.9 cm, London, Victoria and Albert Museum. Link to the original: https://collections.vam.ac.uk/item/O229940/h-beard-print-collection-print-lelly-p/
Cat. no. 6.4: Anonymous, Inside of the Dukes Theatre in Lincoln’s Inn Fields, spread from Elkanah Settle’s Libretto The Empress of Morocco, London 1673, 28.4 cm x 18 cm, London, British Museum. Link to the original: https://www.britishmuseum.org/collection/object/P_1868-0822-5905
Cat. no. 6.5: William Dobson (Workshop), portrait of the composer Matthew Locke, unknown date / c. mid-17th cent., oil/wood, 74.2 x 61 cm, Oxford, Faculty of Music and Bate Collection of Musical Instruments, University of Oxford. Link to the original: https://artuk.org/discover/artworks/matthew-locke-221309
Cat. no. 6.6: Ralph Agutter, baroque violin, c. 1685, aus Pinienholz, 58,5 cm x 20.5 cm, London, Victoria and Albert Museum. (published in: Anthony Baines: Non- keyboard instruments. London 1998, p. 16). Link to the original: https://collections.vam.ac.uk/item/O58890/violin-agutter-ralph/
Cat. no. 6.7: Hieronymus Janssens, Charles II Dancing at a Ball in Den Haag, c. 1660, oil on canvas, 140.2 x 213.8 cm, London, Royal Collection. Link to the original: https://www.rct.uk/collection/400525/charles-ii-dancing-at-a-ball-at-court
Cat. no. 6.8: Frontispiece of The Dancing Master, London 1652. (published in: Dean-Smith, Margaret und Nicol, E.J.: The English Dancing Master: 1651-1728. In: Journal of the English Folk Dance and Song Society, Vol. 4 Nr. 4 (Dec. 1943), pp. 131-145. URL: https://www.jstor.org/stable/4521201)
Night Life and Love:
Cat. no. 7.1: Carlo Dolci, Salome with the Head of John the Baptist, 1682, oil on canvas, 162 x 102 cm, London, King’s Drawing Room, Kensington Palace. (URL: https://upload.wikimedia.org/wikipedia/commons/9/95/Carlo_Dolci_%28Florence_1616-86%29_-_Salome_with_the_Head_of_John_the_Baptist_-_RCIN_405639_-_Royal_Collection.jpg (as of: 09.07.2021)). Link to the original: https://www.rct.uk/collection/405639/salome-with-the-head-of-john-the-baptist
Cat. no. 7.2: Sir Peter Lely, Barbara Villiers with her Son, c. 1664, oil on canvas, 124.7 cm x 102.0 cm, London, National Portrait Gallery. (URL: prometheus.uni-koeln.de (as of: 11.06.2021), there after: Catherine Macleod u. Julia Marciari Alexander: Painted Ladies: Women at the Court of Charles II. cat. exhib. 2001.). Link to the original: https://www.npg.org.uk/collections/search/portrait/mw84914/Barbara-Palmer-ne-Villiers-Duchess-of-Cleveland-with-her-son-probably-Charles-FitzRoy-as-the-Virgin-and-Child?LinkID=mp00915&role=sit&rNo=1
Cat. no. 7.3: Antoine Masson (?) after Henri Gascar, Nell Gwyn and Her Two Sons, c. 1677-1680, etching on paper, 35.6 cm x 45.4 cm, London, The British Museum. Link to the original: https://www.britishmuseum.org/collec- tion/object/P_K-60-93
Cat. no. 7.4: Sir Godfrey Kneller, Charles Beauclerk, Duke of St. Albans, c. 1690-95, oil on canvas, 126.7 cm x 102.9 cm, New York, Met Museum. Link to the original: https://www.metmuseum.org/art/collection/search/110001267
Cat. no. 7.5: Henri Gascar, Louise de Kéroualle, c. 1675, oil on canvas, 71.1 x 127 cm, London, Philip Mould Ltd. Link to the original: http://www.historicalportraits.com/Gallery.asp? Page=Item&ItemID=723&Desc=Louise-de-Kerouaille,-Duchess-of-Portsmouth-%7C-Henri- Gascars
Cat. no. 7.6: Sir Godfey Kneller, Charles Lennox, 1st Duke of Richmond and Lennox, c. 1703, oil on canvas, 91.44 cm x 71.12 cm, London, National Portrait Gallery. Link to the original: https://www.npg.org.uk/collections/search/portraitExtended/mw05329/Charles-Lennox-1st-Duke-of-Richmon- d-and-Lennox?search=ap&npgno=3221&eDate=&lDate=
Cat. no. 7.7: After Sir Peter Lely, Mary (Moll) Davis, before 1680 (1673?), oil on canvas, 125.7 cm x 101.6 cm, London, National Portrait Gallery. (URL: https://upload.wikimedia.org/wikipedia/commons/7/70/Mary_Davis_by_Sir_Peter_Lely.jpg (as of: 11.06.2021)). Link to the riginal: https://www.npg.org.uk/collections/search/portrait/mw01746/Mary-Davis
Cat. no. 7.8: Bernard Lens II, The Lady Mary Radclyffe, c. 1680-1725, mezzotint, 41.8 cm x 25.2, London, British Museum. (URL: https://media.britishmuseum.org/media/Repository/Documents/2014_11/12_16/4e049a55_17ed_4141_b19a_a3e101129d8d/mid_00114069_001.jpg (as of: 11.06.2021)). Link to the original: https://www.britishmuseum.org/collection/object/P_P-6-202
