筑波学院大学紀要第12集

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2017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 (1)Mika OGASAWARA-YAMAGUCHI ＊Abstract
The portrait of Anthony Van Dyck (1599 Antwerp-1641 London) at the Palace of Versailles is
now considered an early copy of one of Van Dyckʼs self-portraits. However, people long believed
this to be an original self-portrait by the Flemish master. Many reproductive images based on thisthportrait of Van Dyck at Versailles were produced throughout the 19 century up until the beginth
ning of the 20 century. To examine this phenomenon, it is necessary to consider the circumstances which surrounded the publication in Paris and Brussels of reproductive Van Dyck portraits after
the Versailles portrait. According to this research, a reproduction of the Van Dyck portrait at Versailles was first published in the Galerie du Musée Napoléon in 1804. It was after this that this imageof Van Dyck became popular in France. From around 1840 onwards, the reproductive portraits of
Van Dyck at Versailles also often appeared outside France. In the first part of this article, we will
examine how this image of Van Dyck became popular in France. The second part will examine how
the image spread in other countries and what played an important role in this process.
Key words: reproductive portraits, portraits, Van Dyck, Peter Paul Rubens, Palace of Versailles,
Musée Napoléon, Louvre Museum, 19th century.

1. Introduction
In this ar ticle, we will discuss the reproductive por traits of Anthony Van Dyck (1599
Antwerp-1641 London) after the portrait in the Palace of Versailles (fig. 1). I first conceived ofthis topic when I saw that the portrait of Van Dyck at Versailles was reproduced as a frontispieceof Van Dyck des Meisters Gemälde in 537 Abbildungen in the series of Klassiker der Kunst by Emil
1)

Schaeffer . They were representative of catalogues of old mastersʼ paintings at the beginning of
the 20th

century. Interestingly, the portrait at Versailles is today thought not to be an original but
2)

an early copy of a self-portrait by Van Dyck . I wondered whether this portrait of Van Dyck wasparticularly appropriate for the “face” of Van Dyckʼs catalogue raisonné because today this portrait
is not as popular as his self-portrait. In any case, the use of Van Dyckʼs portrait as the frontispieceof Schaefferʼs book was hardly exceptional as this Van Dyck portrait at Versailles was often found＊非常勤講師、Tsukuba Gakuin University

─ 51 ─

筑波学院大学紀要12

2017

th

among reproductive prints from the beginning of the 19

century to the beginning of 20th

century.

There are several superb pieces among those works: for example Jacques Étienne Pannier (French;
1802 Paris-1869 Paris), Constant Sittel (19th c., active in Paris), Joseph Arnold Demannez (1826
Antwerp-1902 Brussels), and Eduard Mandel (1810 Berlin-1882 Berlin) all made excellent portrait
prints based on this portrait of Van Dyck at Versailles.
Table 1, Reproductive Portraits of Van Dyck at the Palace of Versailles, shows that a total of 25
Van Dyck images from his portrait at Versailles were made intensively between the 19th

and 20th

centuries. No reproductive portraits were made of this painting at any other time. In Chapter 2, wewill first examine the portrait of Van Dyck which hangs in the Palace of Versailles from the point ofview of its provenance, its approximate date and its representation of clothes.
In the following section, we will then discuss why this portrait became so popular only oversuch a limited period of time. The objects of this study will be 25 reproductive portraits based on
Van Dyckʼs portrait at Versailles.
As reproductive prints based on the portrait of Van Dyck at Versailles were first published at the
beginning of the 19th

century in Paris, the circumstances which influenced publishing in France atthis time will be studied in section 3.1. In section 3.2, reproductive portraits of Van Dyck publishedin Belgium will be examined. Most of these were published after 1840. The factors that contributed
to the development of this phenomenon also will be studied. In section 3.3, the role of internationalfirms will be examined. We will focus in particular on the role of Goupil & Cie, one of the largestthFrench art dealerships in the 19

century, as well as the German dealerships L. Sachse & Co. andTessari, which also had international subsidiaries.
This study will assess the circumstances under which reproductive portraits of the Van Dyck
portrait at Versailles began to be made, as well as the key factors in producing these reproductive
portraits.

2. The portrait of Van Dyck in the Palace of Versailles
3)

A portrait of Van Dyck hangs in the kingʼs bedroom in the Palace of Versailles . Opinions are4)

still divided on whether this is a self-portrait or not . It is now mostly considered to be an early copy
5)of Van Dyckʼs self-portrait . The portrait of Van Dyck in the Indianapolis Museum is considered to
be a version of his self-portrait (fig. 2)

6).

According to the catalogue of paintings in the Louvre published in 1863, the portrait of Van
Dyck in the Palace of Versailles was a part of the collection of Louis XIV, and was placed in the small
7)

8)

room of the King at Versailles between 1709 and 1710 . This was kingʼs bedroom in 1741 , and the9)portrait still occupies the same place today .
In this 1863 catalogue of paintings at the Louvre, the title of this work is given as “Portrait
de van Dyck [sic]”, not “Autoportrait de van Dyck.” This title was still given in the catalogue ofpaintings in the Louvre in 1922. However, this portrait was described as “LʼAutoportrait de Van Dyck[sic]” in the catalogue of the temporary exhibition, Van Dyck graveur, lʼ art du portrait, in 200810).

In this portrait, Van Dyck seems to be around the same age as he was in the double portrait

─ 52 ─

Date

18121841(c.)

Writer─ 53 ─

Musee historique belge ou Collection
de portraits graves d'apres lesF. Stappaerts
tableaux des grands maitres, parune reunion d'artistes.

17 1850

date
unknown

24

date
unknowndate
25
unknown
Cat.: Catalogue; Ru: Rubens; VD: Van Dyck; Win Windsor

23

22 1800-99

21 1800-99

20 191019 1865

A. Van Dorpe

L. Calamatta

Galerie Historique de Versailles

16 1846

Vaderlandsche geschiedenis

C. GavardMémoires et documents inédits sur
W.H.Carpenter
Antoine Van Dyck, P.P. Rubens

15 1845

Oostacker
Drukkerij der
Beroepsschool
Glorieux
Goeteus & Fils

Goupil et Cie

Buschmann

L’Album

18 1850 (c.)(Paris)Belgium(?)
Stuttgart

Paris

Paris

Paris?

Paris

Paris

Place

Gent

Paris /New York
Paris?
Paris?

Paul Leuchte?

Paris?

monogrammist CA

Ocdek Prieur?

?
The Hague
Monogrammist BH or
Germany
RH?

G. N. Bertinot

C. Sittel

Brussels

Paris

J. É. Pannier / A.
SandozJ.-A. Desmannez

AntwerpJ. Lies

L Sachse & Co.
E. Mandel
Paris
Tessaro / Degobert Baugniet
Brussels
Wildenberg(Brussels)
J.-B.Meunier / Ch.
(Brussels)
BilloinL. Benard
E. Lassalle
Paris
Tessari
Ducarme / A. T. Lecler Paris

13 1842
14 1842

12 1841-65

9 1840
10 1840
11 1840 (c.)

C.Gavard

GirouxGalerie Historique de Versailles (?)

8 1838-45

Delpech / Hesse

DucarmeC. A. Deis

M. Chabert

Blaisot

C. P. Landon

Delgorgue / Trézel

Engraver/Etcher/Draughatsman

E. O. Wauquière

M. Chabert

Blaisot

C. P. Landon

A. M. Filhol

Publisher

7 1830-84

Galerie Universalle
Galerie des peintres, ou collection
de portraits des peintres

Galerie Universalle

Galerie du Musée Napoléon

A.-C. Caraffe/ J.
LavalléeGalerie historique des hommes lesplus célèbres de tous les siècles et de C. P. Landon
toutes les nations…

Title

●?

●

★?

★ (artists)(★)★

★ (artists)★

★

portrait
biography
series■■■galler ycat.

○journalType▲

frontis
piece

◇

◇

◇

◇

◇

◇

◇

◇

◇

◆

◆

sheet
one pairsheet of Ru

From the inscription "Van Dyk", thepublished place must be Germany
This portrait must be inserted into theartist portrait series or artist biography
because "Flamand" is inscribed above theportrait

It was published in 1851, direction by L.
Calamatta.

It was published by the royal press during
1839-1848.

L'Album is a journal (1840-44)

It must be a portrait series or gallery
catalogue because there is a page number
and catalogue number.

From the Galerie des Peintres ou Collection
de Portraits by M. Chabert in 1826.
Same size as the Ru portrait (based on the
portrait at Win) by the same artist

Blaisot published a portrait of VD by
Ducarme (also based on the portrait at
Versailles but different portrait) in theGalerie Universalle

VD appears in vol.4 (1805) in 13 vols.

VD appears in vol.2 (1804) in 11 vols.

Note

Mika Ogasawara-Yamaguchi

Reproductive Portraits of Van Dyck based on his Portrait at the Palace of Versailles

6 1828-69

5 1822-34

4 1820-27

3

18052
1811

1 1804

No.

Table 1.

Mika OGASAWARA-YAMAGUCHI：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 (1)筑波学院大学紀要122017of The Artist with Sir Endymion Porter (fig. 3)

11)

and the Portrait of the Artist (located in the

National Portrait Gallery in London, and is considered a self-portrait of Van Dyck)

12). The angleof Van Dyckʼs face in the Versailles portrait is quite similar to that in The Artist with Sir Endymion
Porter13). In addition, the shape of the edge of his forehead is also close to that in the double

portrait in the Prado and the self-portrait in the London National Gallery.
Van Dyckʼs clothes in the Versailles portrait are distinct from his attire in other self-portraits.
In the latter, Van Dyck often wears a doublet with a turn-down collar. In the Versailles portrait, incontrast, Van Dyck wears a white shirt with a golden chain and a dark green collarless coat, a typeof dress that can often be observed in portraits from the 18th

century. For instance, the same typeof white shirt and collarless coat are depicted in the portrait of Edmund Dunch painted in the 1700s
by Godfrey Kneller (1646 Lübeck-1743 London) (fig. 4). Another point which suggests that thispiece is not a self-portrait by Van Dyck is that his coat buttons are on the left hand side, despite thefact that on ordinary menʼs clothes these buttons should always be on the right. In Van Dyckʼs selfportrait with Sir Endymion Porter, two buttons are depicted on Van Dyckʼs stand-up collar. The
buttons on Van Dyckʼs gown in the Versailles portrait remind us of the buttons on his stand-up collar
in the Prado. For these reasons, it is likely that the painter of this portrait did not paint from life. He
might however, have known Van Dyck with Sir Endymion Porter.
Today this Versailles portrait is not such a popular image of Van Dyck. However, in 19th

century

France, this portrait was very popular as an image of Van Dyck, and many reproductive prints were
published. The following section will discuss the circumstances under which these prints were
made, assess their purpose, and provide an analysis of the portraits themselves.

(fig. 1) Anonymous artist,
early copy of the Portrait of
Anthony Van Dyck , oil oncanvas, 68 x 58, Versailles,
the Palace of Versailles.

(fig. 2) Attributed to Anthonyvan Dyck, version of thePortrait of Van Dyck (fig. 1),
oil on canvas, 61 x 50.2cm,
c.1634, Indianapolis, Clowes
Fund Collection, Indianapolis
Museum of Art.

─ 54 ─

(fig. 3) Anthony Van Dyck, A
part of Sir Endymion Porter
and Van Dyck , oil on canvas,
119 x 144cm, Madrid, Museo
Nacional del Prado.

Mika OGASAWARA-YAMAGUCHI：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 (1)3.	The Analysis of Table 1, “Reproductive Portraits of Van Dyck Based on his
Portrait at the Palace of Versailles”
Table 1, “Reproductive Portraits of Van Dyck Based on his Portrait at the Palace of Versailles,”shows the total number of reproductive prints of the portrait of Van Dyck at Versailles from the
beginning of the 19th

century to the beginning of the 20thcentury. Beginning on the left, the date,title of publications, writerʼs name, publisherʼs name, artistʼs name, place of publication, types ofpublication, and notes are recorded. In total, 25 reproductive portraits were found, 22 of which were
published in the first half of the 19th

century.

Overall, throughout the centuries, the most common reproductive portraits of Van Dyck
were based on the portrait engraved by Lucas Vorsterman (1595/1596 Zaltbommel-1674/1675
Antwerpen) in the Iconography (fig.5). In contrast, the reproductive portraits of Van Dyck after thethportrait in the Palace of Versailles were produced intensively during only one century, the 19 . As
can be seen from the column entitled ʻplace,ʼ they appeared first in Paris before being publishedin Belgium and Germany from around 1840. In the following section, we will examine why thisphenomenon occurred.
3.1. Publications in France
Following the French Revolution, which took place in 1789, the National Assembly declaredthat the Louvre would henceforth be a museum for the people. The Musée du Louvre opened on 10
August 1793, but due to republicanism and the French Revolutionary Wars it was closed from 1796
until 1801. This period saw the rise to power of Napoléon Bonaparte. He held power and thanks to(fig. 4) Godfrey Kneller, Edmund Dunch , oilon canvas, 91.4 x 71.8 cm, 1700s, London,
National Portrait Gallery.

(fig. 5) Print made by Lucas Vorsterman I,
drawn by Anthony Van Dyck, published byMartin van den Enden, Anthony Van Dyck,
engraving, 24.5 x 15.7 cm, 1630-1640, below
the image: D. ANTONIUS VAN DYCKEQUES /Ant. van Dyck pinxit /L Vorsterman
sculp /Mart vanden Enden excudit Cum
priuilegio , London, BM.

─ 55 ─

筑波学院大学紀要122017

his great military success, he was able to collect artistic treasures throughout Europe. Especiallyas a result of his campaign in Italy in 1796 and 1797, Roman sculptures such as the masterpieces of
14)

the Hellenistic and Classical era, Laocoon and His Sons and Apollo Belvedere
Paris

15)

16)

. In 1803, the Musée du Louvre was renamed the Musée Napoléon, were gathered in

and in 1804, Napoléon

Bonaparte became the emperor of France.
Under these circumstances, the project of compiling the museum catalogue was begun. Antoine
Michel Filhol (1759 Paris-1812 Paris), an engraver, published Galerie du Musée Napoléon. This
museum catalogue was published from 1804 to 1828 and consisted of eleven volumes

17). After

Armand Charles Caraffe (1762-1822) complied the first 10 volumes, Joseph Lavallée (1747-1816)
succeeded him in the task. Each volume contains details on a number of artists. Accompanying thetext was a reproductive print based on the portrait of Van Dyck at Versailles made by Delgorgue
18)(French; fl. 1782-1817), inserted into the second volume of this series (fig. 6). This is the first

reproductive print based on Van Dyckʼs portraits in the Palace of Versailles. One print of Van Dyckʼs
portrait was clearly copied from Delgorgueʼs reproductive portrait in the Galeries historiques de
Versailles (fig. 7), as can be seen from the formerʼs octagonal frame and the narrow horizontal
hatchings on four corners of the frame. It indicates that the reproduction of Van Dyckʼs portrait
by Delgorgue became a model for other artists. In Delgorgueʼs reproductive portrait, the title isinscribed ʻPORTRAIT DE VAN-DYCK [sic].ʼ In the explanation of Van Dyckʼs portrait at Versailles in
the Galerie du Musée Napoléon, the words ʻLE PORTRAIT DE LʼAUTEUR [sic]ʼ are given

19), that is

to say ʻthe portrait of the Artist.ʼ In this catalogue, when the portrait of Karel du Jardin is mentioned,20)

the title is also given as ʻLE PORTRAIT DE LʼAUTEUR [sic]ʼ

. Since this is the self-portrait of

the artist, it is uncertain whether Van Dyckʼs portrait is a self-portrait or not from the titles in this(fig. 6) Print made by Delgorgue; intermediatedraughtsman Félix Trézel (1782 Paris-1855
Paris), Anthony Van Dyck, etching/engraving,
26.4 x 16.4 cm, 1802-1855, above theledeportrait: No. 113 ./VAN-DYCK /Eco Flam ;below the portrait: Deßine par Trézel ./Gravepar Delgorgue ./PORTRAIT DE VAN-DYCK .,Paris, BnF.

(fig. 7) Print made by Paul Leuchte(?),
Anthony Van Dyck, lithograph, 33.6 x 24.3
cm, below the portrait, on the left: Paul
Leuchte (?); middle: VAN-DYCK. ; letters on
the right hand side are unclear, Paris, BnF.

─ 56 ─

Mika OGASAWARA-YAMAGUCHI：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 (1)catalogue.
After the Galerie du Musée Napoléon was published, reproductions of the portrait of Van Dyck
at Versailles were published in several other Paris publications. From 1805 to 1811, Charles Paul
Landon (1760 Nonant-le-Pin, Normandie-1826 Paris), a painter later known as a writer, published
Galerie historique des hommes les plus célèbres de tous les siècles et de toutes les nations...

21). Thislarge biography of 863 prominent European people covered a broad range of fields, and Landon
also edited their portraits. Each biography was preceded by a portrait of the person in question.
The portrait of Van Dyck (fig.8), found in the fourth volume of this large catalogue

22), was basedon that in the Palace of Versailles. This portrait was composed of a few linesʼ hatchings, and thisstyle of outline engraving was popular at the beginning of the 19th century, particularly for bookillustration

23). Interestingly, below Van Dyckʼs image, “Van-Dyck pinx [sic]” is inscribed, whichtmeans ʻVan Dyck painted thisʼ. In Landonʼs biography, the Van Dyckʼs portrait at Versailles wasthought to be his self-portrait.
The Galerie Universelle (1812-1841) was a portrait series published in Paris by Antoine Bara
Blaisot (French, 1794-1876). In this publication, a reproduction of the portrait of Van Dyck at
Versailles was included as a sheet entitled “Galerie universelle No. 253

24)” (fig. 9 and fig. 10).

Including portraits of famous writers and actors, the Galerie Universelle appears to be a portrait
series, but was not published as a book

25).

From 1822 to 1834, Jean-Claude Chabert (French, active 19th c.) wrote and published theartistsʼ biography series, Galerie des peintres, ou collection de portraits des peintres...

26). This was

a comprehensive catalogue of the artists in Europe. It was divided into three parts: the Italianschool, the Flemish, Dutch and German schools, and the French and English schools. The second
part of this work included a reproduction of the portrait of Van Dyck at Versailles (fig. 11). In
Chabertʼs Galerie des peintres, ou collection de portraits des peintres, some artistsʼ portraits were also
reproduced from the Iconography

27). For this reason, the portrait of Van Dyck made by Vorsterman

for the Iconography (fig. 5) would have been known to Chabert. Despite this, the portrait at(fig. 8) Print directed by Charles Paul Landon, Anthony Van Dyck, engraving, 12.5 x 7.1 cm,
c. 1800-1826, above the portrait: middle: HIST. DES PAYS-BAS .; below the portrait: middle:tt
VAN-DYCK .; left: Van-Dyck pinx . right : Landon diresc ., Paris, BnF.

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筑波学院大学紀要122017

Versailles was chosen to represent Van Dyck.
From 1839 to 1848, French publisher Charles Gavard (1794 Paris-1871 Versailles) published
Galeries historiques de Versailles in Paris. This is a large volume of reproductive prints after thepaintings from the Palace of Versailles. Jacques Étienne Pannier engraved the portrait of Van Dyck
for this series in 1846 (fig. 12). Pannier exhibited the Salon from 1834-1855, and won a medal
for it in 1849
29)

works

28)

. The reproductions of works in the Palace of Versailles by him became his major. This was the first time that a reproduction of Van Dyckʼs portrait was presented with anoval frame. It depicted the original faithfully because Van Dyckʼs portrait at Versailles had been in an
oval frame since it was first hung at Versailles

30). Below the portrait of Van Dyck by Pannier, “D’après

Vandick [sic]” is inscribed. This shows Pannier believed the portrait of Van Dyck at Versailles was aself-portrait.
Gavard also published a portrait of Van Dyck by Émile Giroux (French; active c.1830-c.1860) (fig.
13) (See also Table 1, no.8). In this reproductive portrait, there is the inscription “Fecit par Van
Dyck [sic]” below the image, claiming it was painted by Van Dyck. This portrait does not have an
inscription linking it to the Galeries historiques de Versailles. However, the fact that Gavard publishedit, the style of the lettering and the number above the frame (which can be likewise observed in
the portrait of Rubens (fig. 15) in the same series: see fig. 14 and fig. 16) indicate that this print
might be relevant to this print series.
Interestingly, I found a plate of the double portrait of Rubens and Van Dyck also made by
Giroux in the “Calcographie” in Paris (fig. 17)

31). This double portrait seems to be a copy of theportraits of Van Dyck and Rubens in the Galerie historique de Versailles. However, there remains(fig. 9) Anthony Van Dyck, lithograph, print
made by Ducarme; drawn by Perrot(?);
published by Blaisot, 26 x 20.3 cm, c. 18201827, below the image : Perrot : middle: A.
VANDYCK /Né à Anvers en 1599, mort eno1641. /Galerie Universelle N .253 ./Publieéopar Blaisot /Place Vendome N . 24 /Lith de
t
n
err
o
Ducarme, r. des Fossés S . G . L’Aux . N .
24 a Paris ., Paris, BnF.

─ 58 ─

(fig. 10) A part of the fig. 9.

Mika OGASAWARA-YAMAGUCHI：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 (1)some uncertainty over why it was made, as I found only the copper plate and no print sheet. Not
much is known about why this double portrait was made, but its purpose can be guessed. Since theth17

century, portraits of Van Dyck were sometimes represented as a pair with a portrait of Rubens.

As we see in section 3.2, Publication in Brussels, some portraits of Van Dyck were made as part of apair with a portrait of Rubens around 1840 to mark the anniversary of Rubensʼ death in Belgium. It
is probable that this copper plate was made in the same period.
In 1842, the portrait of Van Dyck after the portrait in the Palace of Versailles was included in Lʼ
Album… (fig. 18)

32). Lʼ Album was a journal published from1840 to 1844 in Paris covering several

topics about the fine arts. In 1840, the journal was sold for 28 francs on white paper, or for 36 francs
on Chinese paper. These prices correspond to about 696 yen and 828 yen respectively today. In
addition, one could buy the journalʼs illustrations separately; they cost 10 francs on white paper (108yen) and 15 francs on Chinese paper (348 yen) respectively. This shows that the print of Van Dyck
could be purchased on its own at a reasonable price.
After the publication of the Galerie du Musée Napoléon in 1804, reproductive prints based on
the portrait of Van Dyck at Versailles was included as an image of Van Dyck in French publications
spanning the first half of 19th

century (see Table 1). In contrast, in other European countries,

another image based on Van Dyckʼs portrait engraved by Vorsterman remained popular throughout
these years.
It must be understood that it was necessary to publish the Galerie du Musée Napoléon and theGaleries historiques de Versailles to accompany Franceʼs growing collections at the beginning of 19th

century. It was likely that the French people were interested in the French royal collections and the(fig. 11) Anthony Van Dyck, lithograph,
print made by François Séraphin Delpech(active c.1818-1825); drawn by Henri Joseph
Hesse (1781 Paris-1849 Paris), 25.2 x 18.3
cm, 1823, below the image, left: T. lith deDelpech ; right: Hesse 1823 , Paris, BnF.

( f i g . 1 2 ) Anthony Van Dyck, e t c h i n g /engraving, print made by Jacques Étienne
Pannier; drawn by Auguste Sandoz;
published by Charles Gavard, 32.8 x 25.1cm,
1846, below the image: Dessiné par Sandoz,
D’apres Vandick-Gravé par Pannier 1846 ;With blind stamp: Galeries historiques de
Versailles, Gavart Ed a toutes les gloires dela France , London, BM.

─ 59 ─

筑波学院大学紀要12

2017(fig. 13) Print made by Émile Giroux;
published by Charles Gavard (1794
Paris-1871 Versailles), Anthony Van Dyck ,etching/engraving, 24.3 x 16.7 cm, c. 183948, above the image: right: 306 ; middle: 2171 ;below the portrait: left: Fecit par Van Dyck;
middle: Van Dyck Antoine/Peintre +1641 ;right: Diagraphe et Pantographe-Gavard,
Paris, BnF.

(fig. 14) A part of fig.13.

(fig. 15) print made by Émile Giroux ; drawn
by Charles Girardet (1813-1871) and Léopold
Massard (1812 Crouy-sur-Ourcq-1889 Paris),Peter Paul Rubens , etching/engraving, 22 x
rie
20 cm, above the portrait: left: GalHist
quede Versailles; middle: 2170 ; right: Sie X
Son 4 ; below the portrait: middle: Rubens(Pierre Paul) /Peintre + 1640 ; left: Dessinéspar Girardet et L. Massard ; right: Gravés par
Giroux , c. 1830-1860, Paris, BnF.

(fig. 16) A part of fig. 15.

─ 60 ─

Mika OGASAWARA-YAMAGUCHI：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 (1)(fig. 17) Print made by Émile Giroux, PeterPaul Rubens and Antony Van Dyck , etching/engraving, 21.8m x 38.4cm, c.1830-1860,
Paris, Atelier de la chalcographie.

(fig. 18) Anthony Van Dyck , lithograph, print
made by Emile Lassalle (French; 1813-1871);
printed by Lemercier Benard (French; fl.18371841); directed by M. L. Salme, 25.6 x 18.8
cm, 1842, Inscription: above the image;e
Journal l’Album /2. année page 85. ; below
the image; Emile Lassalle lith ./Im. Lemerciere
Benard C. /A. VANDYCK ., Paris, BnF.

new collections based on the European artworks looted by Bonaparteʼs army. The portrait of Van
Dyck by Leuchite

33)(fig. 7), directly copied from the portrait of Van Dyck by Delgorgue in theGalerie du Musée Napoléon (fig. 6), indicates that artists also took an interest in these collections.
For this reason, it seems natural that the portrait of Van Dyck at Versailles became the model for
reproductive prints in other publications such as the Galerie historique des hommes les plus célèbresde tous les siècles et de toutes les nations… and the Galerie des peintres, ou collection de portraits despeintres. The fact that the portrait of Van Dyck at Versailles was hung in the bedchamber of Louis
XIV might have enhanced the attention it received

34).

The portrait of Van Dyck at Versailles is not described as a “self-portrait” but as “the portraitof the artist” in the catalogue of Versailles, which is the first publication to document this work.
However, in Landonʼs bibliography, the inscription “Van-Dyck pinx [sic]” is seen below thet

reproduction of Van Dyckʼs portrait. Also, the reproductive portraits at Versailles by Pannier and by
Giroux include inscriptions stating that they were made after Van Dyck. From these inscriptions, it
is known that the portrait of Van Dyck at Versailles was gradually thought to be his self-portrait.

Abbrebiation
Librar y
BM British Museum
BnF Bibliothèque nationale de France
KBR Koninklijke Bibliotheek van België

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筑波学院大学紀要122017

Literature
Bénézit Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs : de tous les temps etde tous les pays, by Emmanuel Bénézit, 14 vols., Paris, 1976 (first ed. 1911-1915).
Klassiker der Kunst in Gesamtausgaben. 25 vols., Stuttgart, 1904-1914.

Bibliography
Barnes et al. 2004 Susan J. Barnes, Nora De Poorter, Oliver Millar and Horst Vey. Van Dyck: A Complete
Catalogue of the Paintings. New Haven and London, 2004.
Charbert 1822-1834 Jean-Claude Chabert. Galerie des peintres, ou collection de portraits des peintres le plus
célèbres de toutes les écoles, accompagnée de leur notice historique, de leurs dessins et d’un discours sur les arts.
Paris, 1822-1834.
Gould 1965 Cecil Gould. Trophy of Conquest; the Musée Napoléon and the Creation of the Louvre. London, 1965.
Haskell and Penny 1981 Francis Haskell and Nicholas Penny. Taste and the Antique: the Lure of ClassicalSculpture 1500-1900. New Haven and London, 1981.
Hind 1963 Arthur M. Hind. A History of Engraving and Etching from the 15th century to the year 1914. New York,1963.
KdK 1909 Emil Schaef fer.Van Dyck: des Meisters Gemälde in 537 Abbildungen. Klassiker der Kunst in
Gesamtausgaben. Stuttgart and Leipzig, 2009.
Landon 1805-1811 Charles Paul Landon. Galerie historique des hommes les plus célèbres, de tous les siècles et detoutes les nations: contenant leurs portraits, gravés au traits d’après les meilleurs originaux ; par une société degens de lettres. Publiée par C.P. Landon. 13 vols., Paris, 1805-1811.
Larsen 1988 Erik Larsen. The Paintings of Anthony van Dyck. 2 vols., Freren, 1988.
Paris 1838-1848 Galeries historiques de Versailles. 4 vols, 1838-1848, Paris.
Paris 1840-1844 L’Album, Journal Destiné a Lenseigne ment du dessin et de la peinture rédigè par une société dʼartistes et dʼ hommes de lettres. direct. L. Salme, Paris, 1840-1844.
Torres 2008 Pascal Torres.Van Dyck Graveur Lʼ Art du Portrait. Paris; Musée du Louvre, 2008.

Museum Catalogue
Indianapolis 1973 Indianapolis Museum of Ar t. A Catalogue of the Clowes Collection. By A. Ian Fraser,
Indianapolis; Indianapolis Museum of Art, 1973.
Paris 1804-1828 Galerie du Musée Napoléon. by Armand Charles Caraffe and Joseph Lavallée, 11 vols., Paris,
1804-1828.
Paris 1863 Notice des tableaux exposés dans les galeries du Musée impérial du Louvre. by Frédéric Villot, 3 vols.,
Paris, 1863.
References1)

KdK 1909, frontispiece.

2)

Baerns et al. 2004, 629, IV. A3.

3)

Paris 2008, 112-113.

4)

From an unpublished study, 27 June 1958, in the Clowes archives, Ludwig Burchard, an art historian who─ 62 ─

Mika OGASAWARA-YAMAGUCHI：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 (1)specialised in Peter Paul Rubens (1577 Siegen-1640 Antwerp), attributed the self-portrait to Van Dyck andclaimed it was painted around 1632-40 (Indianapolis 1973, 134). After that, generally this portrait is thought
to be a self-portrait of Van Dyck in France: Torre thought it was a self-portrait (Torre 2008, No.79); a guidebook of Versailles describes it as a self-portrait. On the other hand, scholarsʼ opinions in other countries
were different: German art historian Gustav Glück thought it was a version of the self-portrait (Glück 1931,33); British art historian Michael Jaffé thought it was the work of a studio from Van Dyckʼs self-portrait (Hewrote this to British art historian Mark Roskill in a letter dated 13 November 1968); Larsen thought it wasa version of the portrait in the Clowes Collection (Larsen 1988, Vol.2, A 298/2). Oliver Millar thought it anearly copy of the self-portrait (Barnes et al. 2004, 629, IV. A.3).
5)

Barnes et al. 2004, 629; Van Dyckʼs studio version (Torres 2008, 112, note 57); a studio version of the

6)

Indianapolis 1973, 134.

7)

Paris 1863, vol. 2, 77, no.152, note.

8)ʻCette peinture … était placée en 1709-1710 à Versailles dans le petit appartement du roiʼ (Paris 1863, vol. 2,

portrait of Van Dyck (Larsen 1988, vol.2, no. A298/ 2).

77, no.152, note).
9)

Torres 2008, no. 79.

10) Torres 2008, no. 79.
11) Barnes et al. 2004, 432, IV. 6.
12) http://www.npg.org.uk/collections/search/portrait/mw245199/Sir-Anthony-van-Dyck?LinkID=mp04604&
search=sas&sText=Van+Dyck&role=sit&rNo=0 (accessed 14 October, 2015).
13) Larsen 1988, vol.2, no. A298/ 2.
14) “Rome nʼest plus dans Rome. Elle est tout à Paris” is a phase in the song which was made to celebrate thetreasures in Italy in 1798.
15) Haskell and Penny 1981, 108.
16) Gould 1965, 13.
17) The title of volumes 9 to 11 is Galerie du Musée de France. The last volume was published by the wife of
Filhol.
18) Filhol 1814, Vol.2, No.113.
19) Filhol 1814, Vol.2, No.113.
20) Filhol 1814, Vol.2, No.77.
21) The full title is Galerie historique des hommes les plus célèbres, de tous les siècles et de toutes les nations :contenant leurs portraits, gravés au traits d’après les meilleurs originaux ; par une société de gens de lettres.
Publiée par C.P. Landon. Hereafter, it is referred to as Galerie historique des hommes les plus célèbres.
22) Landon 1805-1811, Vol. 4 (1805).
23) Hind 1963, 210.
24) BnF; N2 Fol. 483, D133259.
25) A portrait of Schiller, a portrait of actor K. P. Kempel and a portrait of actor David Garrick were found:
http://digitalcollections.nypl.org/collections/print-collection-portrait-file?filters[division][]=The+Miriam+and+Ira+D.+Wallach+Division+of+Art%2C+Prints+and+Photographs%3A+Print+Collection&filters[name][]=Schiller%2C+Friedrich%2C+1759-1805&filters[publisher]=Blaisot+Galerie+Universelle&keywords=#/?ta─ 63 ─

筑波学院大学紀要122017b=navigation (Accessed October 14, 2015)h t t p : / / l u n a . f o l g e r. e d u / l u n a / s e r v l e t / d e t a i l / F O L G E R C M 1 ~ 6 ~ 6 ~ 2 9 5 7 3 5 ~ 1 2 2 6 6 1 : J - P - - K e m b l e , c%C3%A9l%C3%A9bre-trag%C3%A9dien-angl?sor t=Call_Number%2CAuthor%2CCD_
Title%2CImprint&qvq=w4s:/who%2FBlaisot%25252C%2BAntoine%2BBara%25252C%2B1794-1876%25252C%2
Bpublisher.%2Fwhat%2FPrints%2B--%2B19th%2Bcentury.%2Fwhen%2F%25255B18th%2Bor%2B19th%2Bcentu
ry%25253F%25255D;sort:Call_Number%2CAuthor%2CCD_Title%2CImprint;lc:FOLGERCM1~6~6,BINDING
S~1~1&mi=0&trs=1 (Accessed October 14, 2015)
http://luna.folger.edu/luna/ser vlet/detail/FOLGERCM1~6~6~272976~119032:Garrick,-trag%C3%A9dienanglais,-n%C3%A9-en-1?sort=Call_Number%2CAuthor%2CCD_Title%2CImprint&qvq=w4s:/who%2FBlaisot%2
5252C%2BAntoine%2BBara%25252C%2B1794-1876%25252C%2Bpublisher.;q:BIB_Subject%3D%22Shakespear
e%2C%2BWilliam%2C%2B1564-1616.%2BHamlet%2C%2Bdepicted.%22;sort:Call_Number%2CAuthor%2CCD_
Title%2CImprint;lc:FOLGERCM1~6~6,BINDINGS~1~1&mi=0&trs=1 (Accessed October 14, 2015)26) Charbert 1822-1834.
27) For example, the portraits of Hendrik van Balen and Gaspar De Crayer were made after the Iconography(Ecole Flamande in Charbert 1822-1834).
28) Benezit 1976, vol.8, 107.
29) Benezit 1976, vol.8, 107.
30) Paris 1863, vol.2, 77, no.152.
31) 1 impasse du pilier, 93217, Saint-Denis la Plaine, 75058 Paris, France.
32) Paris 1840-1844, première série tome 2 (Mai 1841-Mai 1842), 85; The full title is L’Album Journal destiné à
l’enseignement du dessin et de la peinture. Hereafter referred to as L’Album.
33) The first letter of this name is unreadable (Leuchite or Seuchite).
34) French art historian Pascal Torres wrote: “Cʼest bien parce que lʼartiste flamand (anobli et catholiquecomme le fut Rubens) incarnait alors officiellement quelque perfection digne du respect de la propremonarchie absolue (Torres 2008, 113).”

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