Paolo Roversi’s three portraits of Catherine, Princess of Wales, were made at Kew Gardens in November 2021 and released in January 2022 to mark her 40th birthday. Their formal poses, references to royal dress and jewellery, and a documented visual echo of a nineteenth-century royal portrait give them the stately character behind the “future queen” reading. That is an interpretation of the images—not an official description or a statement about succession. They were released when Catherine was Duchess of Cambridge.
Three portraits, three different moods
The National Portrait Gallery (NPG) catalogues the photographs individually as NPG x201520, x201521 and x201522. Together, they move between composed formality and a more relaxed expression rather than presenting one uniform official image.
| Portrait | What it shows | Why it matters to the series |
|---|---|---|
| Black-and-white profile | Vogue describes Catherine in a white gown with pearl-drop earrings associated with Diana. The NPG catalogue identifies this object as a platinum palladium print (NPG x201520). | The profile and restrained palette give this image the strongest link to the historical comparison discussed below. |
| Red-dress portrait | Vogue describes an off-the-shoulder red dress and earrings from Queen Elizabeth’s collection, and identifies Alexander McQueen in the series. | The vivid color and jewellery provenance connect the image to royal style while giving it a more expressive tone. |
| Relaxed portrait | Vogue describes Catherine smiling in a ruffled white dress. The NPG identifies NPG x201522 as an inkjet print. | Its less formal expression broadens the set beyond ceremonial grandeur. |
These descriptions of clothes and jewellery come from Vogue’s January 2022 coverage; the catalogue records establish the objects and their media, not every styling detail. For NPG x201520, the Gallery records paper dimensions of 600 × 430 mm and image dimensions of 500 × 330 mm.
Why one portrait recalls an earlier royal image
The clearest documented art-historical connection concerns the black-and-white portrait. The Royal Collection Trust (RCT) says its gown and pose bear a striking visual resemblance to Franz Xaver Winterhalter’s 1864 portrait of Alexandra, Princess of Wales, held in the Royal Collection. That comparison gives the photograph a visible place in a longer tradition of royal portraiture.
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The RCT also notes that Roversi used a traditional printing technique, giving the image a mood associated with an earlier era. This is a description of the photograph’s effect; it does not establish that Winterhalter’s painting was Roversi’s stated inspiration. The RCT identifies the gown in the portrait it catalogues as specially designed by Sarah Burton for Alexander McQueen.
How the portraits use royal visual language
Formal dress, controlled poses and jewellery linked in contemporary coverage to members of the royal family make the photographs read as more than birthday keepsakes. The range matters: the profile portrait leans toward stately tradition, the red dress introduces color and theatricality, and the smiling image softens the overall presentation. The NPG records establish the commission and collection objects; these descriptions of mood are readings of the images, not official labels.
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Vogue compared the photographs’ glamorous, stylised quality with Cecil Beaton’s official portraits of Queen Elizabeth and Princess Margaret in the 1940s and 1950s. That is Vogue’s critical comparison, distinct from the RCT’s specific comparison with Winterhalter.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.From birthday commission to public collection
Roversi gave the three works to the NPG in 2022, and they became part of its permanent collection. The Gallery says Catherine had been its patron since 2012. During 2022, the photographs travelled through the NPG’s Coming Home project to Berkshire, St Andrews and Anglesey, places with personal connections to Catherine. Those are past touring locations, not a current exhibition listing.
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The portraits’ institutional afterlife adds another dimension to their significance: they were not only released to mark a milestone but also entered a national portrait collection and were shown in places connected to the sitter.
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