Monogrammist IW Dutch, active circa 1642

W. Hack, Cologne, by 1937, thence by descent.

Engraved:
P. Nolpe, 1642, in reverse

This historically important oil sketch is a design for an engraving in reverse from a series of six recording Tableaux Vivants or Masques, planned for the entry of Henrietta Maria Stuart in Amsterdam on 20 May 1642 (see F.W.H. Hollstein, Dutch and Flemish Etchings, Engravings and woodcuts, vol. XIV, Amsterdam 1956, p. 174, no. 162-173). Of this series, engraved by Pieter Nolpe for Samuel Coster’s Beschrivinge van de Blyde Inkoomste… van Haare Majesteyt van Groot-Britanien, Vrankryk en Ierland tot Amsterdam, Den 20 May, 1642 from 1642, only one other oil sketch is preserved. This is Perseus and Andromeda, or an Allegory of the liberation of the Netherlands by Prince Frederik Hendrik, which is now in the Rijksmuseum, Amsterdam (inv. no. A3473) and is there attributed to Pieter Symonsz. Potter (1587/1600-1652; see fig.1). This attribution however seems to be less plausible, given that Nolpe refers to the inventor of these prints by his initials: IW. The Monogrammist IW has had various identifications.  Hollstein implausibly suggested Jan Wildens (ca. 1584-1653), and  Jacob de Wet the Elder (ca. 1610-1675) has also been suggested as the inventor of the designs.

In pursuit of his political ambitions Frederik Hendrik van Oranje and Amalia van Solms arranged a marriage between their son William II and Mary Stuart, the eldest daughter of the English King Charles and his consort Henrietta Maria, in 1641. As his political position in England became more hazardous over the following year, Charles I insisted that his wife, daughter and son-in-law travelled to the Dutch Republic in 1642. Although a fierce opponent of the politics of the Stadtholder, the City of Amsterdam agreed to receive the royal guests.  Arion and the dolphin and Perseus and Andromeda were planned in the Damrak (than still a canal), but were not performed; the other four scenes represented: The Marriage of Peleus and Thetis (a prefiguration of the Marriage of William II and Mary Stuart); The Treaty of Adolf van Nassau; The Marriage of Reinout II of Egmond and Eleonora Plantagenet and The Marriage of James II of Scotland and Maria van Egmond.  All these subjects were chosen to allude to the importance of the Oranje-family to the well-being of the Dutch Republic, and to stress the connection between the Stuarts and the House of Orange.

For an extensive review of the entry of Henrietta Maria Stuart, and reproductions of all six engravings see: D.P. Snoep, Praal en propaganda, Triumfalia in de Noordelijke Nederlanden in de 16de en 17de eeuw, Alphen aan de Rijn, 1975, pp. 64-76, reproduced p. 66, fig. 31, p.68, fig. 33, p. 69, fig. 35, p. 71, fig. 37, p. 73, fig. 39 and p. 75, fig. 41.

We are grateful to Jan Kosten and Marijke de Kinkelder of the R.K.D., The Hague for pointing out the connection between the present painting and its pendant in the Rijksmuseum.