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| Georg Engelhard Schröder Portrait of Fredrik I, King of Sweden and Queen Ulrika Eleonora ca. 1730 oil on canvas Nationalmuseum, Stockholm |
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| Lorens Pasch the Younger Portrait of the Dowager Queen Lovisa Ulrika of Sweden 1775 oil on canvas Nationalmuseum, Stockholm |
"The past, the past – everyone tried to hold on to it, this thing that had gone, festooning its immateriality with beads and baubles, with bits of themselves."
– John Banville, writing as Benjamin Black in Holy Orders (2013)
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| Ulrica Pasch Portrait of Dorothea Elisabeth Schultz 1771 oil on canvas Nationalmuseum, Stockholm |
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| Ulrica Pasch Portrait of Lovisa Sofia af Geijerstam 1780 oil on canvas Nationalmuseum, Stockholm |
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| Michael Dahl Portrait of Mrs Françoise Leijoncrona 1700 oil on canvas Nationalmuseum, Stockholm |
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| attributed to Georg Desmarées Portrait of architect Nicodemus Tessin 1723 oil on canvas Nationalmuseum, Stockholm |
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| Carl Gustaf Pilo Portrait of Mrs Charlotta Pilo née Desmarées 1756 oil on panel Nationalmuseum, Stockholm |
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| Carl Gustaf Pilo Portrait of Caroline Matilda of Great Britain, Queen of Denmark ca. 1765-75 oil on canvas Nationalmuseum, Stockholm |
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| Carl Gustaf Pilo Portrait of Louise, Queen of Denmark ca. 1745 oil on canvas Nationalmuseum, Stockholm |
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| Carl Fredrik von Breda Portrait of the artist's father 1797 oil on canvas Nationalmuseum, Stockholm |
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| Adolf Ulrik Wertmüller Self-portrait ca. 1795 oil on canvas Nationalmuseum, Stockholm |
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| Adolf Ulrik Wertmüller Portrait of medal-engraver Lars Grandel ca. 1780 oil on canvas Nationalmuseum, Stockholm |
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| Adolf Ulrik Wertmüller Portrait of Madame Aughié (friend of Marie-Antoinette) as a Dairymaid in the Royal Dairy at the Trianon, Versailles 1787 oil on canvas Nationalmuseum, Stockholm |
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| Adolf Ulrik Wertmüller Portrait of Queen Marie Antoinette and two of her children walking in the park at the Trianon, Versailles 1785 oil on canvas Nationalmuseum, Stockholm |
"Adolf Wertmüller was commissioned by King Gustav III to paint this portrait of Marie Antoinette and two of her children. The painting was displayed at the Salon in Paris in 1785, four years before the French Revolution. Wertmüller's autobiography explains how the portrait came about – "I travelled to Versailles and from there to Petit Trianon, where she spent her summers. That is where I painted portraits of her and the Princess, who was six years old at the time. The Queen welcomed me with the greatest of kindness and distinction, and gave the order that I should paint His Highness the Dauphin at La Muette while I was here. I then headed back to Paris and painted a large canvas of natural size and the full length of the persons." Wertmüller ordered two mannequins for his studio in Paris – one for the Prince's portrait and one for the Princess. It was common to lend the portraitist the clothing that you wanted to be depicted in. It is therefore assumed that the costumes in which the mannequins were dressed actually belonged to the Royal children. Wertmüller also ordered a special coiffure from the Queen's wig-maker Monsieur Léonard, and he is likely to have had access to the robe à la turque that Marie Antoinette is wearing in the portrait. Wertmüller portrays the Queen in an environment where she spent much of her time, the gardens surrounding her palace, the Petit Trianon, near Versailles. It is the Queen's role as a mother that is highlighted in the portrait, in the spirit of Rousseau. This is a conscious choice, part of a strategy to change the official image of Marie Antoinette from a frivolous foreigner who loved life's luxuries to the mother of all France. . . . Marie Antoinette was thirty years old when the portrait was painted. Louis-Joseph was four. He died three years later of tuberculosis. Princess Marie-Thérèse Charlotte was the only member of the family to survive the Revolution."
– curator's notes from the Nationalmuseum, Stockholm