In his recent biography, *Elizabeth II: In Private. In Public. The Inside Story*, author Robert Hardman uncovers intriguing details surrounding former US President Donald Trump’s admiration for Queen Elizabeth II, notably revealing that Trump has a distinct portrait of the monarch prominently displayed in his Florida residence, Mar-a-Lago.
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The portrait in question is a reproduction of the last official representation of Queen Elizabeth, painted by Polish-British artist Basia Kaczmarowska-Hamilton in May 2022. Just four months prior to her passing, Elizabeth requested to keep the original of the artwork, which was initially intended for London’s Polish Institute. While the original now hangs in Windsor Castle and a reproduction was sent to the Polish Institute, a further copy was gifted to Trump by the artist herself.
Hardman recounts Trump’s sentiments regarding the portrait, noting the former president referred to the Queen as a “grand and beautiful lady.” He expressed his intention to keep the portrait in a prominent location, stating he desired to hang it “in a room where there is no one else on the wall.”
Currently, Trump has positioned the portrait in his dining room, situated above a painting of a medieval ship. The former president’s admiration for the Queen was notably vocalised following her death in September 2022, when he issued a heartfelt tribute highlighting their memorable interactions. His remarks included an appreciation of her “generous friendship, great wisdom, and wonderful sense of humour” and he referred to her as a remarkable figure whose impact would be cherished.
Furthermore, Trump’s feelings about the Queen were reiterated during a visit to her burial site at St. George’s Chapel in September 2025. This visit took place during what was meant to be a second official state undertaking in the UK. Trump described spending time at her graveside as a “great honour,” a sign of the respect he maintains for her legacy.
However, the reciprocal nature of their sentiments appears to be subject to debate. According to insights from Monty Roberts, a friend of the Queen, she held reservations towards Trump, allegedly expressing that she found him “very rude.” This sentiment aligns with comments made in the biography *A Voyage Around the Queen* by Craig Brown, which suggested that during their interactions, the Queen felt disrespected by Trump’s habit of glancing over her shoulder, seemingly searching for others who might be of greater interest.
The dynamics between Trump and the Queen serve as a fascinating commentary on their contrasting personalities and styles. Through Hardman’s biography, it becomes evident that while Trump held the Queen in high regard, she may not have mirrored that admiration.
Trump’s perception of the Queen was notably shaped by his view of her as a symbol of success. Fiona Hill, a former White House advisor, noted in her own book that Trump was “awestruck” during their meeting, interpreting it as a milestone in his life. This level of enthusiasm illuminates the weight Trump placed on royal interactions, often viewing them through the lens of personal achievement.
The biography further elucidates on the nature of their relationship, suggesting the complex interplay between admiration and disparity. While Trump endeavoured to convey respect and affection for the Queen throughout their interactions, her possible discomfort raises questions about perceptions and the underlying dynamics of their meetings.
As the royal sphere continues to evolve, the legacy of Queen Elizabeth and her interactions with prominent figures remain a topic of interest. Trump’s depiction of the Queen offers a glimpse into his perspective on tradition and royalty, while the Queen’s reticence towards him sheds light on the nuances of their exchanges.
Ultimately, Hardman’s narrative presents a captivating exploration of the enduring impact of the late Queen Elizabeth II, framing her not only as a revered monarch but also as a person whose personal relationships were as intricate as the institution she represents.