Titam et le beau siècle

Corseteries, taffetas et broderies, où l'art de vivre des 17ème et 18ème siècles. 

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Attributed to Charles-Joseph Natoire (Nimes 1700-1777 Castel Gandolfo). Portrait of a lady, half-length, in a white dress with pearl ornaments and a garland of flowers, a landscape beyond

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Nancy Parsons in Turkish dress, by George Willison, 1741–1797, British, active in Italy (1760–1767) and India (1774–80), ca 1771.

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Portrait of a Woman 1717-18, British school, early georgian.

This has been identified as a portrait of the famous travellor and advocate of innoculation, Lady Mary Wortley Montagu (1689-1762); if so it must date from her time as wife of the British Ambassador to Turkey (1717-18). The sitter is shown in a fictive stone oval, wearing Turkish costume with head-dress comprising red silk, lace, pearls and feathers; her hair in plaits with pink and white roses.

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Portrait of Sarah Churchill, Duchess of Marlborough (1660-1744) by Maria Verelst (1680-1744).  Sarah Churchill, Duchess of Marlborough, Princess of Mindelheim, Countess of Nellenburg (5 June 1660  – 18 October 1744), was an English courtier who rose to be one of the most influential women of her time through her close relationship with Anne, Queen of Great Britain. Sarah's relationship and influence with Princess Anne were widely known, and leading public figures often turned their attentions to her, hoping for favor from Anne. By the time Anne became queen, Sarah’s knowledge of government and intimacy with the queen had made her a powerful friend and a dangerous enemy.

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Portrait of a Lady, by Charles Jervas (c.1675–1739)

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Portrait of Hannah Sophia Chambers, wife of Brownlow, 8th Earl of Exeter, Maria Verelst (1680-1744).

Hannah Sophia (c.1702-1765), who married the 8th Earl in 1724, was the daughter and co-heiress of the Derby foundry owner Thomas Chambers. Her substantial inheritance revived the family fortunes which had been depleted by the 5th Earl on four Grand Tours.

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Portrait de femme en Flore, attr.  Jean-François Delyen (1684-1761)

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A portrait of a lady in a white dress, thought to be Mrs. William Wright, Circle of Andrea Soldi (Florence circa 1703-1771 London).

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Mrs Shakespeare, by Philippe Mercier (1689–1760), 1739.

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Catherine Eléonore Eugénie de Béthisy (1707-1767), future Princess of Montauban, and her brother Eugène Eléonore de Béthisy (1709-1781), future Marquis de Mézières, by Alexis-Simon Belle, 1717. 

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Portrait of Marie-Nicole Vestier, by  Antoine Vestier, 1785.

Born in Paris in 1767, Marie-Nicole Vestier was the daughter of Marie-Anne Révérand and Antoine Vestier, a miniaturist and portrait painter. In this painting he exhibited at the Paris Salon of 1785, Antoine Vestier shows his daughter, at her easel, painting his portrait.   In 1789, Marie-Nicole Vestier married François Dumont. Only few of her own works remain. After her marriage, she probably worked with her husband in his workshop, collaborating on the production of miniatures. 

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Mrs. Thomas Pelham, by  John Vanderbank. The portrait was attributed to Vanderbank only in 2018.

Pelham (b. 1707), married merchant Thomas Pelham—nicknamed “Turk” due to his frequent trading jaunts to Constantinople—when she was just 18. Less than 10 years later, she was dead of unknown causes. She sat for the portrait around 1726, the year after her marriage to Thomas. 

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Portrait of Lady Anne Barbara Russell, by George Romney (1734-1802).

The painting represents a three-quarter-length portrait of Lady Anne Barbara Russell, née Whitworth (1764-1814), sitting in a green dress with white collar, and her eldest son Henry (1783-1852) standing on a table looking at his reflection in a looking-glass. 

She married Sir Henry Russell, 1st Baronet (1751-1836) as his second wife in 1782. Their eldest son, also Henry, was born in 1783. She had four more sons and five daughters. Her husband became a judge in India in 1797, Chief Justice of Bengal in 1806, and returned to England and was given a baronetcy in 1812. He survived his wife by 22 years. Sir Henry Russell 2nd Baronet (1782-1852), the little boy in the picture, was British resident at Hyderabad from 1810-1820.

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Catherine Fleming (1732-1786), Lady Leicester, by Francis Cotes (1726–1770)

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Maria Luisa of Parma (1751–1819), Later Queen of Spain, 1765, Laurent Pécheux. 

Although born in France, Pécheux was called to Parma, Italy, in 1765 to paint a portrait of Princess Maria Luisa of Bourbon-Parma for the family of her fiancé, the Prince of Asturias, later Charles IV of Spain. Maria Luisa, granddaughter of both Philip V of Spain and Louis XV of France, wears the decoration of the Habsburg order of the Croix-Étoilée pinned to her dress and holds a snuffbox with a miniature of her future husband in her right hand.

Maria Luisa was Queen consort of Spain from 1788 to 1808 leading up to the Peninsular War.  In total, Maria Luisa had twenty-four pregnancies of which fourteen children were born and ten miscarried.

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Portrait of Charlotte Beatrix Strick van Linschoten, Mattheus Verheyden, c. 1755,  presumably standing in front of her country House Eemwijck at Voorburg.

Charlotte van Linschoten (1732-1795) was the second wife of Gerard Cornelis van Riebeeck. She is shown here dressed in her finery. Her décolletage is visible above the plunging neckline of her dress, which is worn over a tight-fitting corset. Because silk fabrics were relatively narrow, her skirt is made up of several widths. It is obvious that the patterns to the left and right of the seam at lower centre do not match up.

Gerard Cornelis van Riebeeck (1722-1759), an influential regent and town clerk of Delft. He is standing in front of his country house 'Essensteyn' in Voorburg

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Portrait of an Unknown Lady, possibly Madame Deshanges, by Roslin, 1753.  Roslin painted it the same year that he was elected to the French Academy of Fine Arts, just 18 months after his arrival in Paris.