The earliest type, after the Largillière of 1695 with her brother (see James, 'The Old Pretender', NPG 976
), is probably the portrait in a private collection in which she arranges flowers; she appears younger than in NPG 1658. Exhibited Aberdeen, 1859 (100), with a companion of her brother (82); both unattributed, they may be by the same hand, possibly F. de Troy. In a similar portrait from the Brocket collection, Sotheby's, 16 July 1952, lot 62, she holds a posy in her right hand against her left shoulder; the pose is repeated in an anonymous engraving of her at the age of nine. Another portrait, inscribed with the sitter's name, was lent to the Second Exhibition of National Portraits 1867 (195) by P. H. Howard. A three-quarter length in which she plucks a sprig of orange blossom, at Sizergh Castle, Strickland collection, is attributed to H. Rigaud. The face is, however, similar to the engraving by Chéreau after A. S. Belle published in Paris. A miniature with the hair similarly dressed, framed as a pair with her brother, was sold at Sotheby's, 1 May 1958, lot 56, there described as Maria Clementina Sobieska.
Portraits of the 'Old Pretender' and his sister, exhibited by Belle in the Salon of 1704, were said to be the pair from which Chéreau, made his engravings 
This would seem incorrect since the sitters look too old for 1704. A version of the portrait of James is inscribed 1714. A portrait corresponding with the engraving was in the collection, 1963, of Captain Robert Wolridge-Gordon of Esslemount, Aberdeenshire.
1) M. Roux, Inventaire du Fonds Français: Graveurs du XVIIIe siècle
, Paris, 1940, IV (39, 44).This extended catalogue entry is from the out-of-print National Portrait Gallery collection catalogue: John Kerslake,
Early Georgian Portraits, Her Majesty's Stationery Office, 1977, and is as published then. For the most up-to-date details on individual Collection works, we recommend reading the information provided in the Search the Collection results on this website in parallel with this text.