筑波学院大学紀要第13集

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2018年

Reproductive Portraits of Anthony Van Dyck after
the Portrait in the Palace of Versailles: from the 19th
Century to the Beginning of the 20th Century (2)Mika OGASAWARA-YAMAGUCHI ＊The arrangement of “Reproductive Portraits of Van Dyck after the Portrait in the Palace of Verththsailles: from the 19 Century to the Beginning of 20 Century”
1. Introduction
2. The portrait of Van Dyck in the Palace of Versailles
3. Reproductive portraits of Van Dyck after the portrait in the Palace of Versailles
3.1. Publications in France
3.2. Publications in Brussels
3.3. International print firms: Goupil et Cie, L Sachse & Co. and Tessari.
4. Conclusionth“The Reproductive Portraits of Van Dyck after the Portrait in the Palace of Versailles: from the 19thCentury to the Beginning of 20 Century” is divided into two parts. In this journal, the sections ofthat paper from 3.2 (Publications in Brussels) to 4 (Conclusion) have been inserted.
Abstract

In the bedchamber of the King Louis IV at the Palace of Versailles in Paris, the portrait of Anthony Van Dyck is now displayed. The portraitʼs reproductive works were extensively produced inththa certain time–from the 19 century to the beginning of the 20 century–. The aim of this paper
is why this phenomenon was happened. In the first part of paper, it was searched that how many
prints there are, and by whom and where they were made. As a result of this research, 25 reproductive works after portrait of Van Dyck at Versailles were found. Most of reproductive works based on
the Versailles portrait were done in Paris by 1840. In the second part of this paper, how the imageof Van Dyck at Versailles was circulated in Europe, and how it became the most recognised status
as the face of Van Dyck. After Van Dyckʼs reproductive images were produced in Paris, they weredone in Brussels then the image was made in other some European cities as well. One of the motivating factors for creating them was homage to this great Belgian painter; the creation dates overlapped with the founding of country. Finally, it should be noted that international publishing firms
would play an important part in circulation of this Van Dyckʼs image.
Key words: reproductive portraits, portrait, Van Dyck, Peter Paul Rubens, Palace of Versailles,
King Louis XIV, Goupil et Cie, Musée Napoléon, Louvre Museum, 19th century, Brussels＊

非常勤講師、Tsukuba Gakuin University

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筑波学院大学紀要132018

3. 2. Publications in Brussels
The trend in Paris for reproductive prints based on Anthony Van Dyckʼs portrait in the Palace ofVersailles spread to Brussels around 1840. Sometime between approximately 1828 and 1869, E. O.
Wauquière (1808 Cambrai–1869 Mons) produced a portrait of Van Dyck based on the portrait in the
Palace of Versailles. (fig. 19) This portrait may have been paired with the portrait of Rubens which
was also printed by him, (fig. 20) as the same type of lettering and the same size of rice paper are1)

used in both portraits.

The fact that both faces turn to the left however, might argue against thistheory.
Charles Baugniet (1814 Brussels–1886 Sèvres) also made a pair of portraits of Van Dyck and
Rubens as pendants. The two reproductive portraits are the same size, have the same letteringand are published by the same firm. (fig. 21), (fig. 22) In this instance, Van Dyck was on the left
hand side usually reserved for the main person. It is not known whether Baugniet was inspired by
Wauquièreʼs portrait of Van Dyck but Baugnietʼs Van Dyck portrait is more similar to Wauquièreʼsthan to the oil painting at Versailles. Baugniet, a representative portrait lithographer in Belgium inthe 19th

2)

century,

3)

completed three other portraits of Rubens
4)

for the 200-year anniversary of the death of Rubens.

as well as the scene of the festival

Baugnietʼs portrait of Van Dyck might havealso been made in connection with this festival.
L. van den Wildenberg produced two portraits of Van Dyck but they are inspired by different
oil paintings of Van Dyck. He had previously drawn Van Dyckʼs portrait, which he based on the
portrait of Van Dyck in the Uffizi Galler y, to accompany the artistʼs biography in Portraits des5)

peintres les plus célèbres dessinés sur pierre in 1833.

(fig. 23) However in 1840, Wildenberg created(fig. 19) Anthony Van Dyck , print made by
Étienne Omer Wauquière (or Vauquière,
1808 Cambrai–1869 Mons), lithograph, 27.5
x 17 cm, c. 1828–1869, inscription: below
image, left: Wauquière ; middle: VAN-DYCK .,The Hague, RkD, no. IB02001559.

(fig. 20) Peter Paul Rubens , print madeby Étienne Omer Wauquière (1808
Cambrai–1869 Mons), lithograph, 23 x 15.5cm, inscription: below the cloak: Wauquière ;below the image: RUBENS ., c.1828–1869,
Brussels, KBR Prentenkabinet, inv.no. S. II
47117.

─ 104 ─thth

Mika OGASAWARA-YAMAGUCHI：Reproductive Portraits of Anthony Van Dyck after the Portrait in the Palace of Versailles: from the 19 Century to the Beginning of the 20 Century (2)a portrait of Van Dyck based on the portrait in the Palace of Versailles, (fig. 24) which suggeststhat the portrait of Van Dyck at Versailles was more popular than the former portrait in the 1840ʼs in
Belgium.
In 1844, W. Carpenter wrote Pictorial notices, consisting of a memoir of Sir Anthony Van
6)

Dyck....

In 1845, it was translated by Louis Hymans as Mémoires et documents inédits sur Antoine

Van Dyck, P. P. Rubens….

7)

The book includes letters and official documents related to Van Dyck

and his contemporaries, including Rubens, and a descriptive catalogue of Van Dyckʼs etchings.

8)

The frontispiece is illustrated with a double portrait of Rubens and Van Dyck by the Belgian artist
9)

Joseph Lies (1821 Antwerp–1865 Antwerp).

(fig. 25) Van Dyck, whose image was copied from theportrait at Versailles, was depicted alongside Rubens, whose image was based on a portrait in theRoyal Collection in England. The image shows Van Dyck walking alongside Rubens, looking at thethlatter as one would expect from the good disciple one believed him to be in the 19

century.

In 1850, the artistʼs catalogue, Musée historique belge ou Collection de portraits graves d'apres
les tableaux des grands maitres, par une reunion d'artistes was published in Brussels. This book10)

was a portrait series which consists of ten volumes
11)

connected to Belgium.

and includes rulers, aristocrats and artists

Italian artist Luige Calamatta (1801/1802 Civitavecchia–1869 Milan), who

was a well known Italian artist directed this portrait series; he worked in Paris from 1823 to 1828.
After that, he went to Germany and the Netherlands before returning to Paris in 1833. In 1836,(fig. 21) Anthony Van Dyck , print madeby Charles Baugniet (1814 Brussels–1886
Sèvres), lithograph, 34.3 x 23.4cm,
inscriptions: below the arm: Baugniet 1840 .;middle: A. VAN DYCK .; left: à Anvers
chez Tessaro Editeur ; middle: Déposé,
Imp. Degobert & Spelle, Bruxselles ., 1840,
Brussels, KBR, Prentenkabinet, inv.no. S.
ON .

(fig. 22) Peter Paul Rubens , print madeby Charles Baugniet; edited by Tessaro;
published by Degobert, lithograph, 33.5 x
24.2cm, 1840, inscription: right: Baugniet
1840 ., middle: P. P. RUBENS .; left: à Anvers
chez Tessaro Editeur , Middle: Déposé ;left: Imp. Degobert & Spelle, Bruxselles .,O
Brussels, KBR Prentenkabinet, inv.no. S. N
p.76.

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筑波学院大学紀要13

2018(fig. 23) Anthony Van Dyck , print made byFelix de Vigne (1806 Gent–1862 Gent);
drawn by L. van den Wildenberg (active
1822–1850 [Den Bosch c.1822–1825/Brussel
c.1829–1833]); lithographed by Gustave
Adolphe Simonau (1810 Bruges–1870
Brussels), etching, 11.7 x 7.2 cm (paper),c.1833, inscription: left in the image: L.v.d.
W. 1833 ; below the image: Louvain, chez
P. Barella, Md d’Estamps / Déposé / Lith.
dc. P. Simonau / Ant Vandyck / Naquit
à Anvers en 1599 et mourut à Londres en1641 , Barella 1833, between page 12 and
13.

(fig. 24) Anthony Van Dyck , lithograph,
production person: print made by L. van den
Wildenberg (active 1822–1850 [Den Bosch
c.1822–1825/Brussel c.1829–1833]), 34 x
27.7cm, 1840, inscriptions: below the image:L. van den Wildenberg fecit / Déposé / A.
VAN DYCK ., Brussels, KBR, Prentenkabinet,
inv.no. S.II.129415.

he became a professor of the Academy in Belgium and a director of “l'Ecole royale de gravure deBruxelles.” Under his direction, a portrait of Van Dyck based on the portrait at Versailles (fig. 26)
12)

was included in the publication.

The portrait, which was engraved by Joseph-Arnold Desmannez(or Demannez; 1826 Antwerp–1902 Brussels), is oval and framed with laurel branches as are theother portraits in the catalogue. Because Musée historique belge ou Collection de portraits graves
13)

d'apres les tableaux des grands maitres...

was such an expensive book, it would have been difficult

for most individuals to purchase it. However, artists who belonged to the Ecole Royal de Gravure deBruxelles might have had access to it.
Belgian artists who were at the Ecole royale de gravure de Bruxelles also produced a portrait
based on the painting at Versailles. Charles Billoin (1813 Brussels–1869 Elsene [Brussels]), a
member of this school, drew the portrait and Jean-Baptist Meunier

14)(1821 Molenbeek-Saint-

Jean–1900 Brussels) also a member of the school engraved it. (fig. 27) This Van Dyck portrait
engraving which was preser ved in the Koninklijke Bibliotheek van België Prentenkabinet was─ 106 ─thth

Mika OGASAWARA-YAMAGUCHI：Reproductive Portraits of Anthony Van Dyck after the Portrait in the Palace of Versailles: from the 19 Century to the Beginning of the 20 Century (2)(fig. 25) Anthony Van Dyck , print madeby Joseph Lies (1821 Antwerp–1865
Antwerp), lithograph, 32.8 x 25.1cm, c.1845,
inscription: on the shoulder of Rubens: J.
Lies , Carpenter 1845, frontispiece.

(fig. 27) Anthony Van Dyck , print made byJean-Baptist Meunier (1821 MolenbeekSaint-Jean–1900 Brussels); drawn byCharles Billoin (1813 Brussels–1869
Elsene [Brussels]), engraving, 20.4 x
14.4 cm, inscription: middle: Ch. Billoindel., c . 1841–1869, Brussels, KBR,
Prentenkabinet, inv.no. S. II 12935.

(fig. 26) Anthony Van Dyck , print made byJoseph-Arnold Desmannez (or Demannez;
Belgian; 1826 Antwerp–1902 Brussels);published by Luige Calamatta (1801/1802
Civitavecchia–1869 Milan), engraving,
36.5 x 28.2cm (oval size; 24.8 x 20.6 cm),
1850, inscription: below the image: VANt
DYCK PINX /BRUXELLES 1850 /Demannezt
SCULP ; middle: VAN DYCK . It was
published in Brussels 1851–1859, Brussels,
KBR Prentenkabinet.

(fig. 28) Anthony Van Dyck , wood engraving,
print by anonymous artist, illustration in Dorpe
1910 (the portrait of Van Dyck is in the left
hand side of the lower column).

─ 107 ─

筑波学院大学紀要132018acquired from the Belgian painter, etcher and lithographer Charles de Groux (1825 Comines–1870
Saint-Josse-ten-Noode [Bruxelles]), who also belonged to the Academy in Brussels. Meunierpresented this print to him. It was in this way that the Van Dyck image from Versailles penetrated
the Belgian art world.
The Vaderlandsche Geschidenis was written for young Belgian people by Alfons Van Dorpe atthe beginning of the 20

th

15)

century.

In this book, a print based on the portrait of Van Dyck in the

Palace of Versailles appears alongside portraits of nine Bergian artists. (fig. 28)
In Belgium, reproductive portraits of Van Dyck at Versailles appeared until 1840. In this year,
the anniversar y of Rubensʼ death was commemorated, and many Rubens portrait prints were
published. Alongside these, Van Dyck portraits were also published. Several portraits of Van Dyck
were printed as a pair alongside the portrait of Rubens. As seen above, this was popular in Paris
before spreading to Belgium. As can be seen from the portrait of Van Dyck inserted into the bookthfor young people in the beginning of the 20

century, it became the representative image of his self-

portrait in Belgium.
3. 3. International print firms: Goupil et Cie, L Sachse & Co. and Tessari.
Of the reproductive prints based on the portrait of Van Dyck at Versailles, three portraits canbe categorised into one group. They include the portrait by Constant Sittel (French; fl. c.1849/53
Paris). (fig. 29) the portrait by Carl August Deis (1810 Stuttgart–1884 Stuttgart). (fig. 30) andthe portrait by the monogrammist CA. (fig. 31) These depict a rounder face and more drooping
eyes than the portrait of Van Dyck at Versailles. It is clear that one of these became a model for(fig. 29) Anthony Van Dyck ,print made by Constant Sittelth(active in Paris in the 19c); printed and publishedieby Goupil et C , mezzotint,
27.7 x 24.3 cm, c.1846–1853,
Brussels, KBR Prentenkabinet,
inv.no. S.II 22607.

(fig. 30) Anthony Van
Dyck , print made byCarl August Deis (1810
Stuttgart–1884 Stuttgart),mezzotint, 25.7 x 17.5cm,
c. 1846–1884, Brussels,
KBR Prentenkabinet, inv.
no. S.II 11095.

─ 108 ─(fig. 31) Anthony Van Dyck ,print made by monogrammist
CA, woodcut, 21.5 x 16.20 cm,
1846–1899, The Hague, RkD,
no. IB02001578.

th

th

Mika OGASAWARA-YAMAGUCHI：Reproductive Portraits of Anthony Van Dyck after the Portrait in the Palace of Versailles: from the 19 Century to the Beginning of the 20 Century (2)the two other portraits, and it is likely that this is the print by Sittel. It seems that Sittel worked forthe art dealership Goupil & Cie in Paris, as the dealership published two other prints by Sittel.
Koninklijke Bibliotheek van België estimates the date of this print to be around 1850-1884.

17)

16)

As

these two prints were done in 1853, it is likely that the portrait of Van Dyck by Sittel might havebeen also come at around 1853. There is an inscription on the right hand side “Paris et New York.
Goupil et Cie”, and which indicates that the print was published after 1848 when the New York18)

branch was established.

So the print was made between 1848 and 1853.

Goupil & Cie was founded by Henri Rittner in 1827, and went on to become the most successful
French art dealership in the 19th century. The firm opened branches in London (1875), Berlin,
Brussels (1865), New York (1848), The Hague (1861) and Vienna (1865). Because the firm wasquite international, the image of Van Dyck based on the portrait at Versailles seems to have become
known throughout Europe. Two other Van Dyck portraits after Sittel exist. One of them, theportrait of Van Dyck by Carl August Deis (1810 Stuttgart–1884 Stuttgart), was done using the same
technique of mezzotint as Sittelʼs portrait. We do not have any information about the monogrammist
CA. This print is a woodcut engraving, a popular technique for producing many prints in the 19
19)

century.

th

The signiture of Van Dyck was copied and placed below the image. This artist also most

likely copied the portrait of Van Dyck from Sittelʼs portrait due to the influence of Goupil & Cie inthEurope and the popularity of this Van Dyckʼs image in the second half of the 19

century.

Another international publishing office published Van Dyckʼs portrait at Versailles: L Sachse& Co and Tessari. This firm had several offices in Europe. Its head offices were in Germany(Berlin and Augsburg) and there was a branch office in Paris. In 1840, L Sachse & Co published a
reproductive print based on the portrait of Van Dyck at Versailles (fig. 32) in Paris. It was engraved
by a German artist, Eduard Mandel (1810 Berlin–1882 Berlin). Mandel, who worked in Berlin from1826 to 1830, went to Paris to study under Louis-Pierre Henriquel Dupont (1797 Paris–1892 Paris)
from 1839 to 1840. While in Paris, Mandel made the reproductive print of the portrait of Van Dyck at
Versailles and sold it in that city.

20)

One of the prints of Van Dyck by Mandel belonged to a British

collector, Alfred Morrison (1821–1897).

21)

The image of Van Dyck at Versailles, which was popular

in Paris and Belgium, went overseas.
In 1840, Tessari (German/French, 1788–after 1809) published a reproductive print of the Van
Dyck at Versailles portrait by Ducarme in Paris. (fig. 33) As Tessari had firms in Paris, Augsburg
and London,22)

it is possible that the Ducarme portrait of Van Dyck was sold in all three of theselocations.
Since the portrait of Van Dyck by Sittel was an excellent piece and Goupil & Cie was a large
firm, several reproductive portraits were made based on Sittelʼs portrait of Van Dyck. L Sachse & Co
and Tessari, both of which had a large European presence, published reproductions of Van Dyckʼs
portrait in 1840. That same year, the festival for the 200-year anniversary of the death of Rubens was
held, and the following year was the 200-year anniversary of the death of Van Dyck.

23)

For thesereasons, it can be expected that interest in Van Dyck was well established, and this interest wasreflected in the publishing of the print of the Van Dyck portrait at Versailles.

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筑波学院大学紀要13

2018(fig. 33) Anthony Van Dyck , print madeby Ducarme (French; fl.1820s); drawn
by Auguste Toussaint Lecler (French; fl.
c.1823–1853); published by Tessari etComp.ie (German/French; 1788–after 1809),
lithograph, 35 x 21.6 cm, 1842, Paris, BnF,
N2 Fol.483, D133262.

(fig. 32) Anthony Van Dyck , print made by
Eduard Mandel (1810 Berlin–1882 Berlin);
printed by Bougeard (French; fl. 1840s);
published by L Sachse & Co., engraving,
38.2 x 28.9 cm, 1840, BM, no.1928,0313.504.

4．Conclusion
Reproductive prints based on the portrait of Van Dyck, which hangs in the Palace of Versailles,
were produced between the beginning of the 19thth

century and the beginning of the 20

century.

During that time, the Versailles portrait was generally considered to be an authentic self-portraitof Van Dyck. It is known to have been brought to the Palace of Versailles during the reign of Louis
XIV, and from 1741, it was hung in the kingʼs bed chamber. It seems this portrait of Van Dyck wasthpainted in the 18

century, but it prevailed as the accepted image of Van Dyck in the 19th

century

in France and Belgium.
To examine why reproductive prints based on portraits of Van Dyck in the Palace of Versaillesthwere published intensively from the 19

century to the beginning of the 20thcentury, we studied

publications in France and Belgium, and the international dealerships which published reproductive
portraits of Van Dyck.
The reproductive print based on the portrait of Van Dyck at Versailles was first publishedin 1804 in the Galerie du Musée Napoléon. After this publication, 19 reproductive portraits were24)

published in Paris.

The Galerie du Musée Napoléon is the first catalogue to be published after the

Louvre Palace became a public museum. At that time, the portrait at Versailles was thought to be
the only self-portrait by Van Dyck in France.
the great century of Louis XIV.

26)

25)

In addition, as Pascal Torres wrote, it helps us recall

This trend for the publication of Van Dyck portraits based on the portrait at Versailles spreadto Belgium. The opportunity to publish Van Dyckʼs portrait came with the 200-year anniversary of─ 110 ─thth

Mika OGASAWARA-YAMAGUCHI：Reproductive Portraits of Anthony Van Dyck after the Portrait in the Palace of Versailles: from the 19 Century to the Beginning of the 20 Century (2)the death of Peter Paul Rubens in 1840, because some Van Dyck portraits were produced as part ofa pair accompanying the portrait of Rubens. In addition, international artist Luige Calamatta, who
27)

spent a long time in Paris,came to Belgium as a professor of the Ecole Royale de Gravure deBruxelles, and directed the Belgian celebrities portraits series, Musée historique belge ou collection
de portraits graves…

28)

in which the portrait of Van Dyck at Versailles was inserted. The artists

who belonged to the Ecole Royale de Gravure de Bruxelles also made a portrait of Van Dyck at
Versailles. As a result of these factors, it seems that the image of Van Dyck based on the portrait at
Versailles was familiar to the Belgian people until the beginning of the 20thcentury.

Some international art dealers, Goupil & Cie and Tessari, played a role in fostering the trend forthe reproductions of the portrait of Van Dyck at Versailles. They featured a portrait of Van Dyck at
Versailles in Paris and these prints spread throughout Europe.
Certain cultural circumstances in France, such as when the Louvre Palace was turned into the
Louvre Museum, incited a wave of catalogue production. The portrait of Van Dyck at Versailles inthese catalogues became an ignition point for producing the reproductive portrait of Van Dyck at
Versailles between the beginning of the 19thth

century and the beginning of the 20

century. Now

we understand why Emil Schaeffer used the portrait at Versailles as a frontispiece for the catalogueraisonné of Van Dyck in 1908. This Van Dyck portrait was popular image still at the beginning ofththe 20century. This study draws attention to the power of reproductive works. Thanks to thecirculation of the image of Van Dyck at Versailles through reproductive works, the oil painting at
Versailles was believed to be Van Dyckʼs self-portrait. The excellent works by Constant Sittel andJoseph-Arnold Demannez promoted this image of Van Dyck.

Abbreviations
BM

British Museum

BnF

Bibliothèque nationale de France

KBR

Koninklijke Bibliotheek van België

KdK

Klassiker der Kunst in Gesamtausgaben. 25 vols., Stuttgart, 1904–1914

Bibliography
Barella 1833 Pierre Barella. Portraits des peintres les plus célèbres dessinés sur pierre, Louvain.
Brussels 1851-1859 Felix Stappaerts. Musée historique belge ou collection de portraits graves d'apres les tableauxdes grands maitres, par une réunion d'artistes, ed. Luige Calamatta, Brussels.
Carpenter 1844 William Hookham Carpenter. Pictorial notices, consisting of a memoir of Sir Anthony Van Dyck,
with a descriptive catalogue of the etchings executed by him, and a variety of interesting particulars relating toother artists patronized by Charles I, London.
Carpenter 1845 William Hookham Carpenter. Mémoires et documents inédits sur Antoine Van Dyck, P. P. Rubens,
et autres artistes contemporains, publiés d'après les pièces originales des archives royales d'Angleterre, descollections publiques et autres sources, trans. Louis Hymans, Anvers.
Dorpe 1910 Alfons Van Dorpe. Vaderlandsche geschiedenis, Gand.

─ 111 ─

筑波学院大学紀要13

2018

Eugène 1980 Rouir Eugène. 150 ans de gravure en Belgique, Bruxelles.
Hind 1963 Arthur M. Hind. A History of Engraving and Etching from the 15th century to the year 1914, New York.
Holloway 1868 M. Holloway. The Collection of Engravings formed between the Years 1860–1868 by Alfred Morrison,
London.
Van Der Marck 1956 Jan Van Der Marck. Romantische boekillustratie in België; van de Voyage pittoresque au
royaume des Pays-Bas (1822) tot La légende et les aventures héroïques, joyeuses et glorieuses d'Ulenspiegel et deLamme Goedzak au pays de Flandres et ailleurs (1869), Univ., Acad. Proefschr. Nijmegen, PhD. Diss.
Rovigo and Bordeaux 2013 La Maison Goupil et l'Italie : le succès des peintres italiens à paris au temps del'impressionnisme, ed. Paolo Serafini, Rovigo; Palazzo Roverella, Bordeaux; Galerie des Beaux-Arts, Milano.
Schaeffer 1909 Emil Schaeffer. Van Dyck: des Meisters Gemälde in 537 Abbildungen. KdK, Stuttgart.

Museum Catalogues
Brussels 1851-1859 Musée historique belge ou collection de portraits graves d’apres les tableamx des qrands
maitres, pan une reunion d’artistes, by Felix Stappaerts, Direct. by Luige Calamatta, Brussels.
Paris 1980 Catalogue des peintures; Musée national du Château de Versailles et de Trianon, by Claire Constans,
Paris.
Paris 2008 Van Dyck, graveur: l'art du portrait. by Pascal Torres, Musée du Louvre Paris.
Strasbourg 2009 Peinture flamande et hollandaise: XVe-XVIIIe siècle: collection musée des Beaux-Arts, by JoëlHubrecht, Musée des Beaux-Arts, Strasbourg.

References1)

https://rkd.nl/explore/images/180145 (accessed 14 October, 2015) and https://rkd.nl/explore/
images/239835 (accessed 14 October, 2015).

2)

Eugène 1980, 8.

3)Brussels, KBR Prentenkabinet, no. S. N (p.76, p.98, p.110)

4)

They were also edited by Tessari and published Dagobert & Spelle.

5)

Barella 1833, before page 13.

6)

The full title is Pictorial notices, consisting of a memoir of Sir Anthony Van Dyck, with a descriptive catalogueOof the etchings executed by him, and a variety of interesting particulars relating to other artists patronized by
Charles I (Carpenter 1844).
7)

The full title is Mémoires et documents inédits sur Antoine Van Dyck, P.P. Rubens, et autres ar tistes
contemporains, publiés d'après les pièces originales des archives royales d'Angleterre, des collections publiques etautres sources (Carpenter 1845).

8)

Carpenter 1845.

9)

Carpenter 1844, frontispiece and Carpenter 1845, frontispiece.

10) I could not find all 10 volumes, but Jan Van der Marck explains further about the series (Van Der Marck
1956, 207).
11) The volume included a portrait of Van Dyck by Demannez, and includes eight other portraits: François
Duquesnoy (by Desvachez), Charles V (by Morelli), Hans Memling (by Desvachez), Philippe-le-Bon (byDelboete), G. Edelinck (by De Meersman), Godefroy de Bouillon (by Demannez), Crétry (by L. Falmagne),─ 112 ─thth

Mika OGASAWARA-YAMAGUCHI：Reproductive Portraits of Anthony Van Dyck after the Portrait in the Palace of Versailles: from the 19 Century to the Beginning of the 20 Century (2)and Le Prince de Ligne (by L. Falmagne) (Bruxelles 1851–1859).
12) The same type of portrait of Rubens by Luige Calamatta (in an oval frame, surrounded by a laurel wreath)
was published in Paris (BM, no. 1888,0716.145).
13) The full title is Musée historique belge ou collection de portraits graves d'apres les tableaux des grands maitres,
par une reunion d'artistes (Brussels 1851-1859).
14) It seems Meunier was close to Calamatta, because when Calamatta visited Brussels, he stayed at the houseof Meunierʼs parents.
15) Dorpe 1910.
16) Cecily, after Hermann Winterhalter, print made in 1853, BM, no. 1854,0311.114; Frisette, print made also in
1853, BM, no. 1854,0311.115.
17) Brussels, KBR Prentenkabinet, inv. no. S.II 22607.
18) Rovigo and Bordeaux 2013, preface by José de Los Llanos.
19) Hind 1963, 210.
20) E. Mandel made the portrait of Titian with the same frame based on his self-portrait preserved in Berlin,and L Sachse & Co published it (BM, no. 1861,0209.3). L Sachse & Co also published a portrait of Rubens
by William Thomas Roden (1817 Birmingham–1892 Birmingham) in the same style (KBR Prentenkabinet,
inv. no. S.II 2604).
21) A collection catalogue, Collection of engravings formed between the years... by Alfred Morrison was published(Holloway 1868, 183, cat.no. 1545). Now British Museum preserves it (BM, no. 1928,0313.504).
22) http://www.britishmuseum.org/research/search_the_collection_database/term_details.aspx?bioId=32648(accessed 14 October 2015).
23) Traditionally, the festival of Van Dyck would be done in the anniversary year of Van Dyckʼs birth.
24) Table 1, no. 23 and no. 25 were also thought to be published in Paris.
25) Until Emil Schaeffer gave his opinion in 1909 that the portrait of the Young Man by Van Dyck at Strasbourg
museum might have been his self-portrait, there were no self-portraits of Van Dyck recorded in France (KdK
vol.13, 502, no.170). This portrait is now thought to be a copy of Van Dyckʼs self-portrait [Strasbourg 2009,
102, no.59]
26) Paris 2008, 116.
27) He stayed in Paris from 1823–1828, from 1833–1841 and in 1848.
28) The full title is musée historique belge ou collection de portraits grares dʼapres les tableaux des grands
maitres, par une réunion dʼartistes (Brussels 1851-1859).

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