The third sketch for a painting of Caroline Mathilde of Denmark with crown prince Frederik

Als employed transparent watercolor to render fine details in fabric and architecture without heavy outlines. The folds of the queen’s pink dress are suggested through subtle tonal shifts, while the boy’s simple white attire contrasts with the rich green curtains and wall. Delicate brushwork defines the vase on the table and the texture of the upholstery. The style reflects Als’s training in academic portraiture, emphasizing clarity, light, and spatial harmony over dramatic effect.

The sketch was produced during Als’s active period as a court painter, when he was commissioned to document members of the Danish royal family. It remained in Denmark, likely within royal or artistic circles, before entering the collection of Statens Museum for Kunst. Its survival as a preparatory work offers insight into the artist’s process, as the final painting was never completed, leaving this study as a key record of the intended composition.

In late 18th-century Denmark, royal portraiture increasingly favored intimate, domestic scenes over ceremonial displays. Als’s work aligns with this shift, influenced by French and British trends that emphasized naturalism and private life. The presence of books and refined interiors reflects contemporary ideals of enlightened monarchy. This sketch thus participates in a broader cultural movement redefining royal identity through quiet dignity rather than ostentation.

Though the final painting was never realized, this watercolor remains a significant example of Als’s skill in capturing royal subjects with sensitivity. It contributes to the understanding of Danish 18th-century portraiture and the role of preparatory studies in artistic practice. As one of the few surviving sketches from this series, it provides a direct link to the evolving visual language of the Danish court during a period of cultural transition.