Beskrivning: Se även beskrivning i den engelska versionen

Catalogue raisonné: Description in Flemish paintings C. 1600-C. 1800 III, Nationalmuseum, Stockholm, 2010, cat.no. 193:

Technical notes: The support consists of three
pieces of plain-weave fabric of varying breadth joined
horizontally. All three lengths are closely and evenly
woven and are of medium density. The canvas has been
folded round the edges and the ground and paint layers
extend to the edges. The tacking edges have been preserved
but are trimmed to some extent all round. The
painting has been mounted on a non-original stretcher.
The reddish-brown ground has been covered with a
warm light grey imprimatura. The paint layers are
opaquely applied and today partly abraded. Greenish
white glaze is used on the gown, for instance over a layer
of white lead. Sections of impasto in the highlights have
been applied with white lead. The drapery contains remnants
of red glazes. The painting has been lined and
reveals extensive overpainting such as retouches to the
background, hands and flesh tones. There are also partial
retouches to the subject’s gown and shoes. The painting
underwent conservation treatment in 1927.

Provenance: Rudolf II’s Kunstkammer 1648 (?); Grips -
holm inv. 1745.

Bibliography: Cat. Gripsholm I, 1951, p. 172, no.
1226.
Princess Anne of Denmark was the daughter
of the Danish king Frederik II and Sofia von Mecklenburg.
She married King James I of England and VI of Scot-
land. This full-length portrait depicts her as a middleaged
woman, standing facing three-quarters left next
to a table. Her white hair is arranged in a strict coiffure
decorated with a row of pearls, a rhomboid piece
of jewellery with a poiré and a cut gem in a square setting
on the left. Her elongated thin face is characterised
by a long thin nose, blue eyes and small determined
mouth. She is wearing a pearl necklace with
round pearls and poirés and pear-shaped earrings. Her
high raised lace collar is decorated with Christian IV’s
crowned monogram and her mother’s initial in the
form of an S. Her dark-green gown has a deep décolletage
a bodice embroidered with pearls, slits in the
upper sleeves, stiff lace cuffs, is decorated with small
green rosettes and she has a pendant in the form of an
oval with a cross of table-cut stones. In her left hand
she is holding a fan with plumes of blue, white and red
and a golden handle with the initials “R.I.”, she has
three pairs of bracelets on each wrist, a ring on her left
hand and white shoes, laced in gold with pink rosettes.
The subject is resting her right hand on a table with a
red cloth patterned in gold. The background is dark
purple, a hue that is also found in the colour of the
floor. The stylised rendering of the subject emphasises
the details of her garments and jewellery rather than
her physical build and personal features. The twodimensionality
and the subject’s role as a symbol of a
social position rather than a person of flesh and blood
characterised many of the portraits painted by Paul
van Somer I and his circle, like those by Marcus Geerarts
I and Daniel Mytens at the English court. There
are a number of portraits of Queen Anne that resemble
the one in the Gripsholm collection, such as the
full-length depiction at Gaunö (inv. no. 211), in the
collections at Hampton Court (where there is a more
detailed background in the form of an architectural
backdrop) as well as half-length portraits at Rosenborg
and in the National Portrait Gallery in London. A
portrait by Van Somer depicting Queen Anne standing
next to a horse and hounds dates from 1617 and
can be seen at Hampton Court. Queen Anne was also
painted by Marcus Gheerarts II in a full-length portrait
from about 1615, where the subject is depicted as
in the Nationalmuseum’s work with no apparent physical
volume but in richly decorated garments and with
a fan in one hand. On stylistic and technical grounds
the portrait in the Gripsholm collection can be attributed
to Van Somer’s circle rather than to the master
himself.
KS

1 Walpole, Anecdotes of Painting in England; 
with some Account of the Principal
Artists, 3 Vols., London 1876.
[End]

Titel (sv): Anna, 1574-1619, prinsessa av Danmark, drottning av England och Skottland
Titel (en): Queen Anne (1574–1619), Princess
of Denmark, Consort of James I of England and Scotland
of Denmark, Consort of James I of
England and Scotland

Title (sv): Anna, 1574-1619, prinsessa av Danmark, drottning av England och Skottland
Title (en): Queen Anne (1574–1619), Princess
of Denmark, Consort of James I of England and Scotland
of Denmark, Consort of James I of
England and Scotland