‘Fröken Amelie Coyet’ from 1919 is an example of what is often referred to as Anders Zorn's ultima maniera - his last period. Zorn finds a new expression in his paintings from the early 20th century onwards, where one finds the broad brushstrokes and the reduced contour sharpness of his earlier periods, but also sees a new simplicity of expression with a more concentrated colouring and greater restraint in form.

Gerda Boëthius wrote of the portrait: ‘Young Miss Amelie Coyet, heiress to Torup, stands girlishly young against the light grey wall of the studio, and he has made a symphony of colour in grey-blue of her clothing and the background, while the family pearls lie white against her blonde neck. It is a masterly psychological portrayal of a young woman who has not yet been liberated, and who carries within her passion, power and will.’