Maria Beatrix Ducisa Eboracensis &.ct., Serenissima Princeps. Mary of Modena, duchess of York, in full figure in great dress, standing, supporting herself with her right on the pedestal of a richly decorated column. Engraving by Peter van der Banck (or Banc, Paris 1649 – Bradford 1697) after Sir Peter Lely (actually Pieter van der Faes, Soest near Utrecht 1618 – London 1680). Inscribed: P. Vandrebanc. Sculp: / Sold by Moses Pitt at ye. Angel in St. Pauls Churchyard., otherwise as above. 18⅞ × 11⅛ in (48 × 28.2 cm).
Nagler I, 249; Thieme-Becker II, 435. – The broad upper and lower paper margins of 3-4 cm slightly timemarked. Up to 4.5 cm within the image a largely smoothed box pleat running diagonally from the middle of the right margin to the top, but barely visible as going through the backside wall only.
Maria Beatrice Eleanor Anne Margaret Isabella d’Este (1658-1718), daughter of Alfonso d’Este III, duke of Modena, was married in 1673 with the duke of York, heir to the throne of England and later James II, a converted Catholic. The birth of James Francis Edward Stuart in 1788 as the first surviving child and presumptive Catholic heir to the throne resulted in the Glorious Revolution and the landing of William of Orange, married with Mary, daughter from James’ first marriage. Mary Beatrice fled with her son to the court of Louis XIV who already had worked substantially for her marriage and at her instigation also recognized her son as James III after his father’s death in 1701. What in turn triggered England’s participation in the War of the Spanish Succession.
Peter van der Banck “was one of Piollys good pupils … He worked a lot of fine portraits, but passed away poor because his talents were estimated after his death only and his plates were sold by the widow to the print dealer Browne who got rich by the work of this industrious man” (Nagler). And Thieme-Becker adds: “His engravings … are marked by a great tidiness and detailness of treatment and are partly of special historic interest … ”.
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