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The Warming Pan Baby, c. 1688 (engraving)
XJF262734 The Warming Pan Baby, c.1688 (engraving) by Dutch School, (17th century); Private Collection; (add.info.: many Tories persuaded themselves that James IIs son, known as the Old Pretender, was an imposter smuggled into the birthing chamber by a midwife in a warming-pan; here the baby, Prince James Francis Edward Stewart (1688-1766), son of James II (1633-1701) holds a windmill because many believed his real father was a miller; James looks on through the curtains; mother Mary of Modena (1658-1718) in gesture of blessing; ); Dutch, out of copyright
Media ID 12779262
© www.bridgemanart.com
Commentary Jacobite Jacobites Roman Catholic Supporters
18"x18" (46x46cm) Pillow
18"x18" (46x46cm) Faux Suede Pillow with a plush soft feel. Your choice of image fills the front, with a stone colored faux suede back. Flat sewn concealed white zip.
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Estimated Product Size is 45.7cm x 45.7cm (18" x 18")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with landscape (horizontal) or portrait (vertical) orientation to match the source image.
The Warming Pan Baby - A Satirical Commentary on Royal Succession
EDITORS COMMENTS
. This engraving, known as "The Warming Pan Baby" offers a fascinating glimpse into the political climate of late 17th century England. Created by an anonymous Dutch artist from the 17th century, this print captures a moment that fueled controversy and conspiracy theories surrounding the birth of Prince James Francis Edward Stewart in 1688. At the heart of this image lies a powerful satire aimed at many Tories who believed that the baby prince was an imposter smuggled into the birthing chamber. The midwife's warming pan became a symbol of deception, while others went so far as to suggest that his real father was a miller, hence his playful grasp on a windmill. Peering through curtains with curiosity is none other than James II himself, adding intrigue to this already contentious narrative. Meanwhile, mother Mary of Modena stands beside her son in a gesture of blessing, perhaps seeking to dispel doubts about their legitimacy. This engraving serves not only as political commentary but also reflects deep divisions within English society during this time. It sheds light on hypochondriacs and Jacobites who supported Roman Catholicism and questioned the rightful heir to the English throne. As we delve into this historical artifact captured by Bridgeman Art Gallery's collection, it reminds us how art can be used to convey complex narratives and challenge prevailing beliefs – even centuries after its creation.
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