Adriaen Pietersz. van de Venne

Anonymous sale, Sotheby’s, Monaco, 29 November 1986, lot 334;

Private Collection, France.

Since the 15^th century, the annual fair in The Hague had served as a centre of entertainment, performances, and commerce during the month of May. The so-called May Market expanded considerably under Count William IV, who introduced a free-trade policy designed to attract merchants and buyers by ensuring that those in debt could not be arrested. Over time, the fair evolved into a significant social occasion, offering a prime opportunity for young men and women to seek marriage partners.

In this satirical take on the “wedding lottery”, Adriaen van de Venne playfully intertwines two key aspects of the fair: the bustling marriage market and the element of chance found in lottery games. The present work playfully underscores the transactional nature of arranged marriages. It has been suggested that the scene alludes to the politically motivated marriage between Louise Henriette of Nassau and Frederick William I of Brandenburg, a union orchestrated by her parents despite her reluctance. Frederick William I of Brandenburg stands in the centre, painted in stronger definition. Louise Henriette of Nassau is carried towards him. At his feet an inscription reads: ‘Elck moet zyn deel hebben’, translating to ‘Everyone must have their share’. This phrase alludes to themes of fate, justice, and the social order, reinforcing the notion that marriage, like fortune, was often dictated by external forces rather than personal choice.

The setting is identifiable as the Buitenhof in The Hague; its architectural elements correspond closely to known depictions of the site. Comparative analysis of known images of the Buitenhof in The Hague and a view of it from today further support this attribution.

Scholars have identified four known versions of this composition by Van de Venne, with slight differences in the main figures and in size. One is housed at the Oranje-Nassau Museum dated 1646 (inv. A 1919), and two others in the Kurpfälzisches Museum in Heidelberg (inv. 487) and the Gemeentemuseum in The Hague (inv. G. 1023), both dated 1660. This fourth example is dated 1656.