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| Gerrit van Honthorst Mary Henrietta, Princess of Orange (eldest daughter of King Charles I) ca. 1650 oil on panel National Trust, Ashdown House, Oxfordshire |
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| Jakob Ferdinand Voet Portrait of a Gentleman ca. 1660-70 oil on canvas Hatton Gallery, Newcastle-upon-Tyne |
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| Adriaen Hanneman Portrait of a Lady 1655 oil on canvas Museums Sheffield, Yorkshire |
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| attributed to Samuel van Hoogstraten Sir William Morley of Halnaker 1662 oil on canvas National Trust, Killerton House, Exeter, Devon |
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| attributed to Pieter Borsseler Catherine of Braganza, consort of King Charles II ca. 1665 oil on canvas Warwick Shire Hall |
"As the prospect diminished of her bearing children to Charles, several schemes were set on foot for procuring a divorce on various pretexts. As a Roman Catholic and near to the king's person Catherine was the special object of attack by the inventors of the Popish Plot. In 1678 the murder of Sir Edmund Berry Godfrey was ascribed to her servants, and Titus Oates accused her of a design to poison the king. These charges, of which the absurdity was soon shown by cross-examination, nevertheless placed the queen for some time in great danger. On the 28th of November Oates accused her of high treason, and the Commons passed an address for her removal and that of all Roman Catholics from Whitehall. A series of fresh depositions were sent in against her, and in June 1679 it was decided that she must stand trial; but she was protected by the king, who in this instance showed unusual chivalry and earned her gratitude. On the 17th of November Shaftesbury moved in the House of Lords for a divorce to enable the king to marry a Protestant and have legitimate issue; but he received little support, and the bill was opposed by Charles, who continued to show his wife "extraordinary affection." During the winter the calumnies against the queen were revived by Fitzharris, who, however, before his execution in 1681 confessed to their falsity; and after the revival of the king's influence subsequent to the Oxford parliament, the queen's position was no more assailed."
– Encyclopædia Britannica (1911)
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| Peter Lely Horatio, 1st Viscount Townsend ca. 1670 oil on canvas National Museum Cardiff, Wales |
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| attributed to Mary Beale Abigail Jordan, later Lady Webster ca. 1670-80 oil on canvas Battle Abbey, Sussex |
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| Abraham van den Tempel Portrait of a Gentleman 1670 oil on canvas Fitzwilliam Museum, Cambridge |
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| John Scougal Portrait of a Lady ca. 1675 oil on canvas Thirlestane Castle, Lauderdale, Scotland |
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| Pieter Rijs Portrait of a Lady 1680 oil on canvas Mercer Art Gallery, Harrogate, Yorkshire |
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| Jacob van Schuppen Prince James Francis Edward Stuart (later known as The Old Pretender) ca. 1693-95 oil on canvas National Trust, Sizergh Castle, Cumbria |
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| Godfried Schalcken The Honourable Mary Lowther ca. 1690 oil on canvas Sewerby Hall Museum and Art Gallery, Yorkshire |
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| Henri Gascars Lady Anne Fitzgerald (Mrs Francis Robartes) 1686 oil on canvas National Trust, Lanhydrock, Cornwall |
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| Willem Wissing Laurence Hyde, Earl of Rochester ca. 1685-87 oil on canvas Holburne Museum, Bath |