Oil on canvas (relined). Dimensions: 61.5 x 46.5 cm. This exceptional portrait has recently been certified by Jahel Sanzsalazar (see "The Stuart Brothers and the Wautiers. Portraits of a Royal Family in Exile", 2021, Phiostrato. Revista de Historia y Arte n°9, 2021) and by Matías Díaz Padrón (technical advisor to the Prado and expert in Flemish painting), who corroborates what Jahel Sanzsalazar has said. The sitter has been identified as Mary Henrietta Stuart, Princess Royal of England and Princess of Orange (1631-1660), this idea is reinforced by the comparison with the portrait made by Adrien Hanneman (1603-1671) of the aforementioned in 1659, kept in the Scottish National Portrait Gallery. Michaelina Wautier's portraits are characterised by their great perfection and balance, greater than those of her brother Charles (1609-1703), with whom her work has sometimes been confused, as both have a common language. Michaelina Waufer's particular way of painting pearls is characteristic, identical in this portrait to the way she worked them in "The Marriage of Saint Catherine of the Seminary of Namur" (signed and dated 1649). Likewise, the frame and the neutral background of the painting are the same as in the "Portrait of Antonio Pimentel de Prado" (signed and dated 1646; Musées royaux des Beaux-Arts de Bruselas), with similar modelling on the face, the configuration of the chin and the way the light falls. A particular feature that confirms the attribution is the way Michaelina's eyes are depicted, with great sweetness and emotion, similar to the expressiveness of the eyes in the portraits of "VIII Duke of Aburquerque, Don Francisco de la Cueva" (Private collection, England): and the "Portrait of the Jesuit Martino Martini" (Private collection), both autographed by Michelena. Furthermore, thanks to the dress and hairstyle, the work can be dated between 1660-1665, precisely when the Wautiers were notable portrait painters in Brussels, where they shared a home and studio, portraying intellectuals, nobles and princes, including two of the Stuart brothers. We know that the portrait was in Brussels in December 1658 and in 1660 accompanying her brother, the latter being the most probable date of the execution of the work, when the return to the throne of Charles II of England was being forged. If so, it would be the last portrait taken of her alive. Provenance: Private collection, Madrid Bibliography: Sanzsalazar, J., "The Stuart brothers and the Wautiers. Portraits of a royal family in exile*, 2021, Philostrato. Revista de Historia y Arte 1º9, 2021.