File:Anne Marie Louise d'Orléans, Duchess of Montpensier (so-called portrait of Henrietta of England).png

"The canvas, originally mounted on an oval frame, has been enlarged and pictorially integrated to fit the rectangular frame; It is probably a 19th century adaptation wanted by a collector and determined by the desire to expose the work in their picture gallery according to the dictates of the era. We believe that the woman depicted may be identified as Princess Henriette-Anne Stuart (Exeter, 16 June 1644, Saint-Cloud, 30 June 1670) born Princess of England and Scotland and became Duchess of Orléans for her marriage to Philip of France, brother of Louis XIV [...] The comparison with other works depicting Henriette-Anne, of which we offer some significant examples, is conclusive in identifying the subject of the painting. Particularly significant is the comparison with a painting whose composition is taken from a work by Jean Charles Nocret, Princess Henriette-Anne Stuart, and preserved in the collections of Dunham Massey, in the County of Cheshire in England. The princess here portrayed in the act of showing a small painting, with the portrait of her husband Philip of France. Kneeling next to the woman, a servant boy hands her the painting and holds a little dog, with which the princess loved to be portrayed. Henriette-Anne wears the same dress as the woman in the painting in question: the light silk that covers the décolleté is adorned with the same precious clasps, as the shoulder of the dress has equal decoration in pearls, gold and precious stones. It changes only the colour of the dress, from red and black. Other variations are found in the hairstyle and the drapery of background. In the canvas of Dunham Massey Henriette-Anne also wears a crown with gems and precious stones and a long veil descends on her back; she does not wear a pearl necklace. The composition of the painting by Jean Charles Nocret was successful and was revived by some painters of his circle, as evidenced by a painting by Leeds Museums and Galleries, the work of an anonymous painter of the school of Nocret. There is also an engraving of 1799 by William Platt that again portrays the princess with the same dress and the precious crown on her head. The physiognomy of the face, the refined investigation of the details and the composition of the engraved drawing have clear references to the work of Nocret." [1]