John de Critz the Elder

The following condition report is provided by Rebecca Gregg, who is an external expert and not an employee of Sotheby's. The original canvas appears in good condition. There are small planar deformations in the lower corners, probably as a result of debris behind the stretcher bars. There is a small patch on the reverse, located in the lower left quadrant (as seen from the front); this has caused a slight planar distortion to the front of the canvas. The painting has been lined and the adhesion between the original and the lining canvases appears stable, the overall tension is good and all the keys are present. The paint layers are in a good condition, there are no recent damages or losses and the adhesion between the paint and ground layers and the support appears good. There is evidence of minor frame damage, scuffing along the edges. There are losses scattered throughout which have been re-painting during previous restoration campaigns, these have discoloured. There appears to have been at least two campaigns of restoration. There is a series of over-paint located primarily in the sitter's costume, but also in isolated areas of the carpet in the foreground and in the background. This campaign is also in evidence on the sitter's hands and across the face. The forehead, chest and neck have been extensively glazed, there is no evidence of such large losses in these areas, there are small damages present across the chest, however these appear relatively minor and it does appear that in some areas this glazing layer covers original paint layers. The discoloured natural resin varnish layer strongly fluoresces under ultra violet examination. There are small areas of over-paint present which appear to be below this layer and date from a previous restoration campaign. There is a light layer of surface dirt present.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

This splendid portrait of Anne of Denmark is the finest example of the group of portraits of her dating from c.1605 which are the earliest depictions of her as Queen of England. They have all been associated with the artist John de Critz, who was appointed Serjeant Painter to the King on 11th May 1605. On the 20th August 1606 de Critz was paid £53.6.8 for painting three whole length portraits of King James, Queen Anne and the Prince of Wales for the Archduke of Austria (see R. Lane Poole, 'An Outline of the History of the de Critz Family of Painters', Walpole Society, vol. II, 1912-13, p. 48).

Another full length portrait of the Queen by de Critz is a Loseley Park and a three-quarter length version was formerly at Tyninghame (sold Sotheby's in the Tyninghame sale, 29th September 1987, lot 53).  Another three-quarter length version was sold at Christie's on 11th November 1994, lot 2. The present portrait is very close in composition to the picture at Loseley Park though with rather more elaborate costume.  In both portraits the Queen stands on a richly patterned carpet with a magnificent chair to the left.

The second daughter of Frederick, King of Denmark and Norway, and his wife Sophia, daughter of Ulrich, Duke of Mecklenburg, Anne became betrothed to James VI of Scotland in 1589. She was only fourteen years old but already a great beauty and well educated with a great love for music and architecture. They were married in Upslo in Norway following an unsuccessful attempt by the young princess to reach England through severe storms. In May 1590 she reached Scotland and was crowned at Holyrood Abbey in May. Her first child Henry was born in 1594 at Stirling Castle. She bore a large number of children but only her daughter Elizabeth and son Charles survived childhood. In 1603 Elizabeth I died and Anne travelled south with her young son Henry to be crowned with James at Westminster Abbey on 25th July, St James's day. Although she had little influence on her husband's political activities, Anne took paticular interest in finding suitable matches for her children. She was also a keen patron of art and architecture. She commissioned and performed in six masques at Hampton Court and Whitehall - these were mostly designed by Inigo Jones whom the Queen employed at Oatlands Palace and at the Queen's House in Greenwich. She built up a considerable collection of paintings which were housed at her palaces at Oaklands and at Greenwich, and at her London palace, Denmark House. She also surrounded herself with musicians and played several instruments herself.

Anne was subsequently painted by Marcus Gheeraerts the Younger.  The finest example is the full length portrait at Woburn Abbey, and there is a three-quarter length version in the Royal Collection.  The third artist to paint the Queen was Paul van Somer for whom she sat in 1617 for the celebrated portrait of her in hunting dress in the Royal Collection.