Mary Villiers, hertiginna av Richmond och Lennox 1622-1685. Tidigare kallad Henrietta Maria 1609-1669, prinsessa av Frankrike, gift med Karl I av England.

Oljemålning på duk. Höftbild fas höger, uppsatt hår lindat med pärlsnodd, örhängen och halsband med stora pärlor, djupt urringad vit klänning, slitsad svart robe, sammanhållen av smycken med stora pärlor och smaragder, över ena axeln kildraperad blågrön mantel, hålls upp av vänster hand. Brun fond. Kilad spännram. Klistrad grov förstärkningsduk. Förgylld ram av furu med pastellage, pastellageornament i hörnen, ramlist 100 mm.

Tilhörande lapp: Detta portraitte af Ebba Brahe är kommit från Riks Canzlern Axel Oxestiernas samlingar och skall enligt anteckningar vara Orginal Portraitte. Det är skänkt till Skoklosters samlingar den 25 September 1839 af Hof Marskalken Friherre August Liljecrantz, Stockholm den 2ra November 1839 M. Brahe.

Portrait of Mary Villiers, Duchess of Richmond and Lennox. Mary Villiers was the daughter of the 1st Duke of Buckingham. She married James Stewart, the 1st Duke of Richmond in 1637. This unsigned portrait of Mary Villiers was probably painted around 1640. It shows influence from the many portraits of Mary Villiers executed by Van Dyck at the same time, although it can not be regarded as a reproduction of one in particular. The composition of the body shows a resemblance to the portrait of Mary Hill executed by Van Dyck in 1638.
The portrait was given as a gift by the owner of Hjulsta estate Fredrik August Liljecrantz to Magnus Brahe, the owner of Skokloster Castle in 1839, as it was thought that the portrait depicted Ebba Brahe (1596-1674). According to tradition the portrait once belonged to the collection of the Swedish Lord High Chancellor Axel Oxenstierna (1583-1654). The painting was possibly at Hjulsta estate, which belonged to Oxenstierna family during the 17th century. This portrait is connected to the bust-length portrait of Mary Villiers in the collection at Gripsholm Castle. The origin of that connection, however, is still unknown. It is possible that since both of them once supposedly belonged to the Oxenstierna family, the bust-portrait was painted after the larger one at Skokloster when the misleading connection to Ebba Brahe became standard. 19th century copies of the bust-portrait exist in both Sinebrychoff in Helsinki and at the museum in Jakobstad, Finland.