The Royal Danish Collection Presents
‘MIGHT AND VALOUR – The World of Christian V’
The rich exhibition of portraits, artifacts, weapons, and habits is generously funded by the New Carlsberg Foundation and will run from 10.10.2020-28.02.2021.
A crucial time in the history of the Danish Monarchy
Christian V (1646-1699) ascended the Danish throne 350 years ago. The year was 1670, and only ten years had passed since his father, Frederik III, had instituted hereditary and absolute monarchy in Denmark. Christian V was the first king of Denmark to inherit the throne without a vote taking place first, and his early years on the throne were highly dramatic.
Christian V is quite a fascinating character due to his willingness to risk life and limb. The King was not an intellectual like his father, but a man of physical strength with a passion for fighting, hunting and horseback riding. He made the most of these abilities, which came to define his image as a king.
A unique atmosphere
The Royal Collection has a great number of objects and costumes, enabling us to paint a nuanced portrait of the King and the particular challenges that he was facing. Among other things, the exhibition displays the anointment robe of Christian V and habits of the orders of knighthood. The antlers of the stag that allegedly caused Christian V’s death, will be moved from the basement to the Knight’s Hall, which will be darkened for this exhibition in order to create an intense atmosphere.
[photo: Berit Møller. Carousel costume]
Facing the King
Guests are given the opportunity to meet the King “in person”. In a collaboration with the Royal Collection, designer Jim Lyngvild has recreated the face of Christian V, based on the King’s death mask. The result is vivid and somewhat out of the ordinary.
An Outdoor Installation at Rosenborg
With reference to items in the collection, an outdoor installation will add an extra dimension to the experience. The theme of the installation is the so-called ‘carousels’ – grandiose war games, which Christian V excelled at. In a ‘carousel, the competitors got to demonstrate their skills as riders and warriors with a number of weapons. The installation brings to life a painting from the castle, depicting the King on his horse.
About the exhibition:
MIGHT AND VALOUR – The World of Christian V
Period: From Oct. 10th 2020
Location: Rosenborg Castle, Øster Voldgade 4A
Opening hours: Open Tue-Sun. 11pm-16am (10pm-16:am every day in 42)
Entré: Adults: 120 kr., Children (0-17år): Free, Students: 85 kr. Buy your ticket online here.
The exhibition is supported by Ny Carlsbergfondet.
ITEMS IN THE EXHIBITION
1-10: ROYAL WAR GAMES
1. Carousel Costumes
One of Christian V’s most magnificent costumes, embroidered with gold thread and lined with embroidered silk, which can for example be seen in the turn-ups of the sleeves. The broad, knee-length skirt is made to lie beautifully across the saddle.
2. Two Tournament Pistols
C. 1685, Friedrich Ostermann
Used by Christian V for carousel riding. The pistols bear the King’s monogram and are richly decorated with gemstones and coloured glass, as well as five cameo portraits of women.
Used by Christian V at a carousel at Gottorf Castle. The sword is in itself relatively ordinary, although it is engraved VIVAT CHRISTIANUS QUINTUS REX ET DOMINUS MEUS (long live Christian V, my king and master).
4. Agate Goblet
C. 1620, Johann Kobenhaupt
The goblet is presumed to have come to Denmark as a present to Christian IV from the Duke of Württemberg. It was put up as a prize by Dowager Queen Sophie Amalie at the carousel of 1680 and won by her son, Christian V.
5. Three Battle Prizes Won by Christian V
1670s and 80s, attributed to Paul Prieur
Two of the battle prizes feature a rider as a motif, the third a shield. On the opposite sides are the monograms of the women who put up the prizes: Dowager Queen Sophie Amalie, Queen Charlotte Amalie, and Princess Ulrike Eleonore.
6. Twelve Paintings of the Carousel
C. 1690, unknown artist
The paintings show Christian V, Crown Prince Frederik (IV) and Prince Carl executing various disciplines at a carousel. Using a number of different weapons, the aim was to ‘bring down’ the various trophies: rings, heads of wood or papier mâché, spheres, and more.
7. Tournament Cuirass With Elephants
Used by Christian V at the carousel on the occasion of Ulrike Leonore’s wedding in 1680. Elephants were used in the second half of the 1600s as a symbol of the King, who therefore had this cuirass made with elephants on the shoulders and helmet.
8. Joust and Spear
1700s, generously lent from the State Inventory
Tho joust was used to catch the ring and other targets, and a specific challenge was to break the joust, as has happened with this one. The short spear (called a javelin) was thrown after its targets.
9. Equipment for Carousel Riding
1700s, generously lent from the State Inventory
Heads could be made of both wood and papier mâché, and would look either african or osmanic like this one. The shield was worn by a rider on his back and used to throw balls at. To the right is a “ring” made for tilting at the ring.
10. Sketch of a Carousel
Made by Christian V
To the left are listed the weapons that will be used, with numbers corresponding to the drawing to the right. Two teams, the red and the black, will compeed against each other. Also illustrated are the columns of differing height.
11-22: HUNTING AND HORSEBREEDING
11. Two Equestrian Portraits
C. 1690, unknown artist
On the horse to the left is seen the King’s crowned monogram. A horse bearing the King’s stamp was not something one dared to steal. The King was involved in horse breeding with several different aims.
12. Animal Bone With Bullet Holes
It is said that Christian V, during a visit to the town of Varde, had to demonstrate that he was a good shot. A citizen held this bone in his hand and the King shot two holes in it. A verse about the event was painted on the bone.
13. ‘The Stud Farm Goblet’
C. 1686, attributed to Johan Kohlmann
A tribute to the grace and potency of the horse. The goblet is thought to have been made to commemorate the royal stud farm in Østrup, now Fredensborg. This was one of several stud farms under Christian V’s equerries.
14. Drawing of Copulating Horses
The drawing is thought to be by the hand of a very young Christian V. Lessons in draughtsmanship were part of his education, and the interest in horse breeding seems to have begun early.
15. Christian V’s ‘Hunting Elephant’
1670s, Paul Kurtz
Insignia of the Order of the Elephant with a non-precious stone. The tower has been made into a whistle. It is said that Christian V always carried the elephant on par force hunts and used it to give signals.
16. Hunting Set With Rapier and Knives
This French set was probably used by Christian V on his par force hunts. The rapier with an agate hilt can be used both as a dagger and a knife. The two small knives are meant for skinning.
17. Long Hunting Knife
An impressive knife with an agate hilt and gilt detailing, which belonged to Christian V. Long hunting knives such as this one were used by the King to cut the animal’s throat.
18. Hunting Goblet
The antlers of which this magnificent goblet is made probably stem from a stag which the King brought down. The antlers are mounted on a foot of gilt silver, and a large silver bowl is positioned between their points.
19. Christian V’s Riding Crop
Riding crop with a wooden handle, decorated with two gold mountings and four rings with diamonds. The crop shows signs of frequent use and a couple of gemstones are missing.
20. Christian V’s Crop
Crop with ebony handle, inlaid with silver. The silver knob is embossed with Christian V’s monogram. The crop came to Rosenborg after 1699 but does not bear traces of the same degree of use as the other.
21. Antlers of the Stag Which Killed Christian V
On 16 October 1698 Christian V was about to kill a stag when it summoned the last of its energy, stood up, and kicked the king in the hip. This allegedly led to the King’s death on the 15th of August the following year.
22. Christian V’s Death Mask
The death mask was made as a plaster cast of the head of the deceased. This form was then used to make another cast in positive, so that the face of the King appears as it actually looked.
23-29: GOD’S ANOINTED REPRESENTATIVE
23. The Throne Chair of the Kings of Denmark
1662-71, Bendix Grodtschilling
The throne was made to order of narwhal tusk (‘unicorn horn’) for Frederik III. The gilt figures were made by Johannes Kohlmann and added during Christian V’s reign. The throne was only used at the anointing of the kings — most recently in 1840.
24. Three Silver Lions
1665-70, Ferdinand Küblich
The lions were commissioned by Frederik III and there were originally to have been twelve of them, the number of lions at King Solomon’s throne. With the need to save money, three lions came to symbolise the three lions on the Danish coat of arms instead.
25. Christian V’s Anointment in Frederiksborg Palace Chapel
1671, Michael van Haven
Painting of the ceremony’s high point, where the King kneels before the alter and receives the blessing after having been anointed. This representation is not exactly true to the actual palace chapel, which is a narrow space.
26. Christian V on the Throne
1671, Michael van Haven
Allegorical painting. The King’s robe is held by Justitia (justice) and Pietas (piety). The baldachin is carried by four gods: in front Neptune and Hercules, at the back Minerva and Apollo. Fama, the goddess of fame, is seen above in a heavenly light.
27. Christian V’s Anointment Costume and Anointment Robe
The costume mimics the time of Christian IV and became a model for later anointment costumes. The robe is embroidered with approximately 1400 crowns and lined inside with ermine. It was only used for anointment ceremonies and on the castrum doloris.
28. The Royal Baptismal Font
Frederik III bought this gilt silver font in Hamburg, along with a new baptismal set in gold, which can be seen in the Treasury. Since then all royal children have been baptised in this font.
29. Christian V With His Sons
C. 1685, after Jacques d’Agar
The King is dressed as a Roman general, but wrapped in his anointment robe. He is surrounded by his three sons, Frederik (IV), Wilhelm, and Carl. An angel hangs in the drapery, holding a laurel wreath above the king’s head.
30-34: QUEEN CHARLOTTE AMALIE
30. Queen Charlotte Amalie With Her Court Dwarf
C. 1690, Jacques d’Agar
In the painting Charlotte Amalie wears a close-fitting pearl necklace, which is still used by HM the Queen and is exhibited in the Treasury. At the Queen’s side is the female dwarf Elsken, who was a trusted lady-in-waiting.
31. New Year’s Gifts From the Court Dwarf to the Royal Couple
The female dwarf Elsken was close to the Queen, and seems to have had a practical nature. Seen here are a pair of walnut shells converted into a little purse (1691), two vases woven of silver thread with silk flowers (1697), and an item of lacework (1692).
32. Chalice and Disk Featuring Charlotte Amalie’s Coat of Arms
The Reformed church in central Copenhagen, where these objects were used, was built at the behest of Queen Charlotte Amalie. The Queen attained freedom of religion for herself, her court, and later for all her fellow believers.
33. Box Containing the Death Masks of Four Children
The masks are made of wax. The identities of the children are unknown, but the two behind might be the deceased children of Frederik III and Sophie Amalie, while the two in front are those of Christian V and Charlotte Amalie.
34. From Queen Charlotte Amalie’s Collection of Oriental Porcelain
Charlotte Amalie was an avid collector and left a large amount of Chinese and Japanese porcelain. Most of it was later sold, but seen here is a selection of what was preserved. The figures are Chinese, while the bojan and vases are Japanese.
35-45: CHRISTIAN V AND THE ORDER OF DANNEBROG
35. Throne From the Chapel of the Royal Orders of Knighthood
1694, Christian Nerger
In connection with the new statutes of the orders of 1693, Christian V established the Chapel of the Royal Orders of Knighthood at Frederiksborg Castle Chapel. The King’s throne stood in the gallery farthest to the back, surrounded by 36 stools for the knights, of which four are seen here.
36. The State Coat of Arms With Collars of the Order
C. 1693, attributed to Josias Barbette
The new statutes of 1693 enforced that, on particular days, the insignia of the order had to be worn on a collar, which also had to encircle the knight’s coat of arms. Seen here is Christian V’s coat of arms.
37. Copperplates With Habits of the Orders
The statutes of the Danish orders of chivalry of 1693 required that habits of the order be worn on special occasions. The King bears the Order of the Elephant’s habit on the upper drawing, and an unknown Knight of the Order of Dannebrog bears his habit on the lower one.
38. Silver Seal Capsule
C. 1670, Jeremias Hercules
A seal capsule was used to protect a pendant wax seal. This example was made by the royal medalist around the time of Christian V’s anointment, and shows the King on the Throne Chair with the three lions in front of him.
39. The statutes of the Order of Dannebrog
The rules of the order determine who can be a member, and which requirements a knight must live up to. For example, if members made public appearances without the insignia of the order, they had to pay ten gold ducats to the poor in the town of Hillerød.
40. The Statutes of the Order of the Elephant
1693 (printed and bound in the early 1800s)
Christian V’s rules of the “most outstanding order”. The Knights of the Order of the Elephant are here among other things instructed to wear the elephant as their sole insignia because it trumps all others.
41. Elephant With Collar
First half of the 1700s
Insignia of the order with Christian VI’s monogram. Elephants were included on the collar of the insignia for the order of Virgin Mary that preceded the Order of the Elephant. The collar seen here was introduced with the new statutes of 1693.
42. The Grand Cross of the Order of Dannebrog With Collar
Copy from the 1700s
It was said that the Order of Dannebrog was actually founded in 1219, when the Dannebrog flag fluttered down from the sky in Estonia. The Grand Cross therefore has a collar formed alternately of a C5 for Christian V and a W for Valdemar the Victorious.
43. Christian V’s Knighthood Jersey
1679-1693 (date unknown)
Silk woven with silver. The pattern consists of stars of the Order of Dannebrog, stars of the Order of the Elephant, and elephants framed by laurel vines. The jersey has been enlarged in several places.
44. Christian V’s Knighthood Coat
Silk velvet with forearms of white silk woven with silver, and stars of the Order of the Elephant sewn on with silver thread. Possibly sewn for the first festivity of the orders, which took place on 4 July 1694 at Frederiksborg Castle.
45. Staff of the Marshall of the Order
The staff is decorated with a gold collar featuring Frederik VI’s crowned monogram, a tower, Christian V’s crowned monogram, a Dannebrog cross, the monogram of Valdemar the Victorious, and an elephant. The staff is a more recent item honouring Christian V.
46-72: THE SCANIAN WAR 1675-79
46. The Capture of Landskrona, 11 July 1676
After capturing Helsingborg, the Danish army marched south and on 8 July began the siege of Landskrona. After three days under fire the Swedes abandoned the town and retreated to the citadel, which was one of the strongest fortresses in the North.
47. The Battle of Køge Bay, 1 July 1677
The Scanian campaign depended on victory at sea. Niels Juel lay in wait in Køge Bay for the Swedish Navy, which arrived at the end of June with 36 ships against 25 Danish. With a mixture of luck and strategic ingenuity the Danes won a crushing victory and captured several ships.
48. Pieces of Charles XI’s Jacket
The jacket must have been intercepted by Christian V’s men on the way from Paris to Stockholm, where it was to have been sewn. A matching cloak, which was probably sent by a different route, can be seen in the Swedish Royal Armoury.
49. Miniature Portrait of Charles XI
C. 1680, attributed to Elias Brenner
Charles XI (1655-1697) became King of Sweden at the age of five. In 1680 he married Christian V’s sister Ulrike Eleonore to secure and celebrate the peace between Denmark and Sweden after the Scanian War.
50. The Capture of Damgarten, 6 October 1675
Christian V began the war by attacking Sweden’s possessions in northern Germany, since the Swedes had attacked Brandenburg, which was his ally. Damgarten, on the border with Swedish Pomerania, was the first place to be captured after a brief battle.
51. The Landing at Rügen, 17 September 1677
After the Battle of Køge Bay, part of the navy turned to capturing the northern German island of Rügen from the Swedes. With the help of Brandenburg, the whole island was captured one month after landing. The narrow cove seen in the tapestry is an artistic interpretation.
52. Buff Coat
Worn by Christian V in the Scanian War. The sleeves are sewn of thinner leather with embroidered flowers and gold thread. The torso would be covered by a cuirass and is therefore not decorated in the same way.
53. Two Flintlock Short Rifles
At the Battle of Lund, Christian V was armed with a pair of short rifles made by Lorenz Helbe in Strasbourg. In the heat of the battle the King lost one of them, and many years later he had a local gunmaker produce a copy.
54. The Capture of Kristianstad, 15 August 1676
The Danish troops marched on Kristianstad to confront the Swedish army, but the army had deserted the town and Christian V decided to attack it. This took the Swedes by surprise, and they quickly had to surrender the strategically important fortress.
55. The Capture of Helsingborg, 3 July 1676
Helsingborg was the Danish army’s first target in Scania. The town came under fire, which destroyed the water supply, and capitulated after just one day. Many of the tapestry’s details were unfortunately lost following an unsuccessful restoration attempt in 1835.
56. The Battle of Öland, 1 June 1676
Admiral Niels Juel succeeded in cutting off five Swedish ships from the main fleet, so that an attack could be made. A misinterpreted Swedish signal led to their man-of-war ‘Kronan’ capsizing and exploding. Another ship was captured, and a third ran aground and sank.
57. The Landing at Råå, 29 June 1676
While the main Danish fleet was sent to Ystad to divert the attention of the Swedes, 14,487 men with artillery and horses were sailed across the Øresund Sound to Råå south of Helsingborg. Christian V danced for joy when he stepped onto Swedish soil.
58. Buff Coat
Thick leather coat worn by Christian V in the Scanian War. It is lined with silk taffeta and features a rapier holder. On the tapestry to the left Ulrik Frederik Gyldenløve is seen dressed in a buff coat.
Christian V may have carried this rapier into battle. The steel hilt is Danish, the blade is made by the Spanish swordsmith Tomas de Aiala. It combines the elegance of the small sword with the efficiency of the battle weapon.
60. The Capture of Marstrand, 23 July 1677
While the war in Scania progressed slowly, the campaign down into Bohuslän from Norway was going well. It was led by the King’s half-brother, Ulrik Frederik Gyldenløve, who is this tapestry’s central figure. During the course of July, he captured Marstrand and the Carlsten fortress.
61. The Battle of Møn, 1 June 1677
Eleven Swedish ships sailed through the Great Belt Strait on 20 May 1677 to join the Swedish Navy in the Baltic Sea. Admiral Niels Juel lay at Møn with a similar number of warships and attacked on a day with calm weather. Four Swedish ships were captured, and several were destroyed.
This small anchor had the honour of saving Christian V from shipwreck, when in October 1677 he ran into a storm in the Baltic Sea after having taken Rügen. Thomas Kingo wrote a poem in honour of the anchor.
63. Iver Hoppe’s Signet Ring
Captain and later Vice Admiral Iver Hoppe commanded the man-of-war Fredericus Tertius in the Scanian War. The ship took part in the Battle of Køge Bay on 1 July 1677 and sailed the King through the storm in the Baltic Sea.
64. Ivory Relief Featuring Christian V
1676, Joachim Henne
The King rides a rearing horse flanked by Justitia (justice) and Pax (peace). Beneath the horse lies a satyr with a mask (falsehood) and a woman with snakes in her hair (envy).
65. Ivory Relief Featuring Christian V and Copenhagen
1693, Gottfried Wolfram
The King wears a hat with a feather, and raises the baton in his right hand. Troops are depicted in the middle ground, and in the background Copenhagen. The three small towers farthest to the left must be Rosenborg.
66. Flintlock Musketoon
C. 1675, Thuraine
This French musket was used by Christian V during the siege of Wismar in December 1675. A musket is a muzzle-loaded gun, the barrel of which is smooth on the inside and therefore does not make the bullet rotate like a rifle does.
67. Flintlock Rifle
C. 1670-75, Paul Nielsen Norman
This rifle accompanied Christian V in the Scanian War. As with any gun of the time it operates with a flintlock, where a sprung arm with a piece of flint strikes a spark which lights the charge.
Christian V used this baton with a knob of gold and diamonds when he was crown prince. The baton is a simple symbol of authority, which helps to give clear commands.
69. Bullet Bag
The bag features Christian V’s crowned monogram and was probably used during the Scanian War. A bullet bag was part of the standard equipment of the soldiers, who took tools to make bullets themselves in the field.
69A. The Capture of Landskrona Citadel, 4 August 1676
Landskrona Citadel was a challenge for Christian V’s troops. After a three-week siege and intense bombardment, the Swedish commander surrendered, but King Charles XI later decided that the citadel had been surrendered too easily and had the commander executed.
70. Military Emblem
Probably made as decoration for an officer’s coffin. Depicted on the plate are two kettledrums surrounded by various weapons: canons, rifles, lances and banners featuring Christian V’s monogram, as well as the Swedish Three Crowns.
71. The Capture of Wismar, 13 December 1675
The Danish army began the siege of Wismar on 23 October 1675. Almost two months passed before they succeeded in storming the town. This tapestry shows Christian V accepting the capitulation, while Queen Charlotte Amalie sits in a carriage in the background.
72. Flying Fish Made of Rock Crystal
A present given to Christian V by his mother, Dowager Queen Sophie Amalie, after having captured the town of Wismar. The fish was cut at the Miseroni workshop in Milan, while the dish wash made in southern Germany around 1640.
73-93: CHRISTIAN V ON CANVAS
73. Portrait of Christian V
C. 1685, Jacques d’Agar
When d’Agar was given the position of “court maker of likenesses”, his first task was a realistic, fashionable royal portrait in the French manner. Dressed in armour and a tall allonge wig, Christian V here appears as a Danish Sun King.
74. Portrait of Christian V
C. 1690, Jacques d’Agar
The King, dressed in armour, stands in front of drapery with a view onto nature to the left. The light falls on his face, his fine lace neckwear, the blue sash of the Order of the Elephant and the red sash. Louis XIV also had himself painted in this stance.
75. Portrait of Christian V
C. 1671, Abraham Wuchters
The King wears armour in the majority of Wuchters’ portraits of him. Christian V has his anointment robe, which is embroidered with gold crowns and lined with ermine, slung over his shoulder. Across his shoulder hangs the Order of the Elephant on its blue silk sash.
76. Portrait of Christian V With the Regalia
1670s, Abraham Wuchters
Sketch for a full figure portrait of Christian V, which was never completed. The king stands in the same dress as in the oval portrait, but with the marshal’s baton in his right hand. Behind him the regalia are seen against red drapery.
77. Portrait of Peder Griffenfeld
C. 1672, Abraham Wuchters
Peder Schumacher (1635-99), who in 1671 was ennobled with the name Griffenfeld, was the most important figure in the first five years of Christian V’s reign. Griffenfeld is painted according to the latest Parisian fashion, in a dressing gown. The painting was a gift to his mother.
78. Portrait of Christian V
1696, Jan Frans Douven
The Dutchman Douven (1656-1727) was sent to Copenhagen at the behest of Emperor Leopold I to paint the King and his children — in particular his daughter Sophie Hedevig, who was a potential wife for the emperor’s son.
79. Christian V as he may have looked
2020, Jim Lyngvild
Design artist Jim Lyngvild has brought the King to life based on his death mask. This is probably the closest we can get to experience Christian V today.
80. Portraits of Christian V and Charlotte Amalie
C. 1675, Abraham Wuchters, on loan from the Danish National Gallery
The sketch of the King may have been made as a study for a civilian portrait. It is colouristically refined, with warm colours and a bright red sash. In the sketch of Charlotte Amalie, her red mouth catches one’s attention.
81. Two Miniature Portraits of Christian V
C. 1675, attributed to Abraham Wuchters. The square example is on loan from SMK
During the reigns of Frederik III and Christian V, miniature portraits had a heyday, and were often given to people as a special honour. In this tiny format Wuchters dared to depict the King less flatteringly than he otherwise did.
82. Three Miniature Portraits of Christian V
1674, Paul Prieur (2 examples); 1693, Josias Barbette
Paul Prieur painted many miniatures of the young Christian V after Abraham Wuchters’ template portrait. Josias Barbette, who painted the elderly King, was a Calvinist like Jacques d’Agar, after whom the miniature is painted.
83. Miniature Portraits of Christian V and Hans Leth
1675, attributed to Paul Prieur after Wuchters
The royal portrait was a gift to the Court Confessor Leth (1625-88), given as a sign of the King’s favour. Leth was also portrayed by Prieur in 1675. It is not known whether Leth gave the King his own portrait in return.
84. Miniature Portraits of Christian V and Queen Charlotte Amalie
C. 1690, Josias Barbette after d’Agar
Barbette was one of the many Calvinist artists who enjoyed the Queen’s protection. He came to Copenhagen from Strasbourg in 1690, and painted several portraits of the royal couple and their children.
85. Two Miniature Portraits of Peder Griffenfeld
1673/1675, Paul Prieur after Wuchters
Griffenfeld is portrayed as a Knight of the Elephant (though one is an adapted portrait of him as a Knight of Dannebrog). The similarity to the corresponding portrait of the King is remarkable, and Griffenfeld has even dared to dress in ermine.
86. Miniature Portrait of Christian V and Queen Charlotte Amalie
1672, Louis Goullon after Wuchters
The portraits are variations on Abraham Wuchters’ first official portraits, inset in costly gold capsules with the monogram in blue enamel on the reverse. Goullon is presumed to have been Flemish, but very little is known about him.
87. Ivory Portrait of Christian V
1693, Jean Cavalier
The King wears a large allonge wig (down over the shoulders) in the French fashion. He is dressed as a Roman general with a cuirass and a robe.
88. Ivory Portrait of Queen Charlotte Amalie
1693, Jean Cavalier
The Queen sports a tall, piled-up hairstyle and a chignon (a false knot of hair). Cavalier was one of many exiled French Calvinist artists who toured Europe at the end of the 17th century. He visited Copenhagen twice.
89. Ivory Portrait of Christian V
1683, Wilhelm Heinrich Wessel
The King is as usual portrayed in a cuirass, but without the Order of the Elephant. The artist came from Northern Germany and was briefly employed at the Danish court in 1683-84.
90. Ivory Portrait of Queen Charlotte Amalie
1683, Wilhelm Heinrich Wessel
The portrait of the Queen shows a mature Charlotte Amalie without any beautification. This is a bit unusual, since medallion portraits like these mostly tend to idealise.
91. Ivory Portrait of Christian V in Profile
1689, Joachim Henne
One of the finest portraits of the King. He is dressed in a cuirass and cloak, with his monogram on his shoulder. The Order of the Elephant is hidden under his armpit. Several of Joachim Henne’s masterful reliefs can be seen in the basement.
92. Ivory Portrait of Christian V in Profile
1693, Jean Cavalier
An elegant profile portrait of the King in a large allonge wig with a laurel wreath on his head. The portrait later belonged to the King’s daughter, Princess Sophie Hedevig.
93. Ivory Portrait of Christian V in Profile
1695-99, Gottfried Wolfram
A profile portrait of the king made in the last year of his life, showing him with plump cheeks and a double chin. Gottfried Wolfram served Queen Charlotte Amalie in the 1680s and was later employed as an ivory carver.