Infantin Anna (1601-1666), Königin von Frankreich, Bildnis in ganzer Figur mit einem Löwenäffchen

This full-length portrait of the Infanta Anna, painted in 1604 and now in the Kunsthistorisches Museum, is one of the most charming of Pantoja's royal child portraits: the three-year-old princess is shown holding a marmoset — a small South American primate that had become a fashionable exotic pet in European courts during the sixteenth century, arriving via Spanish colonial networks. The marmoset signals both the global reach of Habsburg power and the child's privileged status within it. Anna (1601–1666) would later become Anne of Austria and Queen of France; this early portrait captures her at a moment of childhood innocence still framed within the rigid grammar of court presentation. Pantoja was well practised in portraying royal children — a technically demanding task, as young sitters could not maintain the stillness required for the lengthy painting process. The combination of the child's animated engagement with her pet and the stiff formality of her court dress creates a productive tension in the image.

The marmoset is rendered with naturalistic precision unusual for Pantoja's otherwise stylised approach — each hair and the creature's bright eye are described with visible care. The contrast between the living animal's texture and the geometric stiffness of the child's brocade dress is handled with skill. The floor and spatial recession behind the figure are simply treated, maintaining focus on the figure and her companion.