This dramatic portrait of Queen Mary, dressed in a blue velvet cloak with a fur stole over a white satin dress, was commissioned by the Holyrood Amenity Trust to hang at the Palace of Holyrood House. A companion portrait of King George V was completed by Frederick Elwell in 1932 (RCIN 401242).

Already in 1927 there was discussion as to who should undertake this important commission and it was felt that failing Sir James Guthrie (1859-1930) there was no other Scottish painter up to the task: the name of Sir John Lavery (1856-1941) was also proposed. However, in June 1929, the Queen wrote to the Duke of Atholl, that on visiting the Royal Academy she and had seen 'a picture of a lady which I really like' and that she would like to 'get the artist to do one of me for Holyrood'. The painting was of Lady Freda Forres, a sculptor and patron of the arts, the sister to the 2^nd Baron Hershell. Queen Mary, excited by the prospect of the commission, continued…'you said you wanted a picture of me with a dark background and I think the artists' treatment is perfect'. In August 1929 she wrote again to the Duke of Atholl, to report that Jagger had visited and that 'we have chosen a gold dress with a dark blue velvet cloak & sable collar & that photographs have been taken. He will come to me next week…may even begin the picture, he tells me he paints by electric light.' The colour of the dress was changed from gold to silver in the finished portrait.

The price initially quoted for the portrait was between £200 and £250, however due to Jagger's sudden rise in popularity at this time, the sum agreed in November 1929 was £450.

A similar, three-quarter length, portrait of Queen Mary, in a fur-trimmed red velvet cloak, 1930, 154 x 113 cm is in the Bethlem Museum of the Mind, a gift from Lord Wakefield of Hythe. It was exhibited at the Royal Academy in 1932 (255). In this re-working of the earlier portrait the Queen is wearing a gold dress. The portrait of Lady Forres, and the two portraits of Queen Mary share the same dramatic lighting and chiaroscuro, which is particularly effective against the silk gown, vibrant cloak and fur collar. The striking lighting, that so attracted Queen Mary, may be as a result of Jagger's use of electric lighting in his studio.

Archival references suggest that in February 1937 Jagger submitted a portrait of King George VI, however the King did not pursue the idea of a commission for Holyrood. A study of Prince Philip, Duke of Edinburgh, commissioned by Welsh Guards, remained unfinished at the artist's death: it was exhibited at the Royal Academy in 1958 (496).

Exhibited at the Royal Academy in 1930 (325). A preparatory oil sketch is in the Royal Collection (RCIN 405979).