MARC Record view
|245||0||3||$a La Gallerie du Palais Du Luxembourg Peinte Par Rubens, Dessinée par les Ss. Nattier, et gravée Par les plus Illustres Graveurs du Temps. Dediée Au Roy|
|260||#||#||$a Se Vend A Paris $b chez le Sr. Duchange Graveur du Roy en son Academie Royale de Peinture et Sculpture ruë St. Jacques au dessus de la ruë des Mathurins. Avec Privilege de sa Majesté. $c 1710|
|300||#||#||$a  pl. (3 dble.); $c 590 mm. (Broadsheet).|
|505||0||#||$a [Engr. t.-pl.] - [ Engr. 'Avertissement'] - [24 pl. after Rubens] - [Port.].|
$a All twenty-four plates after Rubens are signed as painted by Rubens and drawn by Nattier (usually J.M. Nattier, sometimes J.B. Nattier, occasionally I. Nattier, and once Jean Nattier). Each is signed by one of eleven engravers - I.B. Massé, G. Edelinck, L. de Chatillon, G. Duchange, A. Loir, J. Audran, A. Trouvain, B. Audran, B. Picart, C. Simonneau and C. Vermeulen.
Each plate also carries the publisher's imprint - of either Duchange or Nattier.
The portrait of Rubens is signed as painted by Van Dyck, drawn by J.M. Nattier, engraved by J. Audran and published by G. Duchange.
The writing of the title plate and engraved Avertissement is signed as by Berey.
$a RIBA, Early printed books, vol. 5 (2003), no. 4099, p.2781-2.
R.F. Millen and R.E. Wolf, Heroic deeds and mystic figures: a new reading of Rubens's Life of Marie de' Medici (1989); J. Thuillier, 'La Galerie de Marie de Médicis: peinture, poétique et politique', in Actes du Colloque Rubens, Florence, 1983, p. 249-66; J. Thuillier and J. Foucart, Rubens: la Galerie Médicis au palais du Luxembourg (1969); C. G. Voorhelm Schneevogt, Catalogue Des Estampes Gravées D'Après P. P. Rubens (1873).
$a The publication-date of 1710 appears also on Plate  and on the portrait of Rubens. Some plates carry earlier dates: plates  and are dated 1709;  and , 1708; , 1707; , 1704. (The publication had first been announced in the Mercure in 1704.)
Rubens's cycle of paintings of the life of Marie de' Medici was installed in her new Palais du Luxembourg in 1625, and, like the contemporary Italian work which she commissioned, had a lasting impact on painting and art theory in France.
This was Gaspard Duchange's biggest publishing enterprise. Drawings of the paintings were begun by Nattier about 1703. Though Nattier worked chiefly as a portrait painter, he was often commissioned as a preparatory draughtsman for reproductive engravings, e.g. for Crozat's Cabinet and prints of Le Brun's decorations of the Galerie of Versailles.
|561||#||#||$a Presented by Nathaniel Hone RA, almost certainly well before the Academy's rejection in 1775 of his satirical painting 'The Conjuror', which was seen as a direct attack on Reynolds's borrowing of motifs from the Italian old masters.|
|562||#||#||$a Title-plate inscribed in ink in an unidentified hand, 'Given by Nathanl. Hone to the Royal Academy'.|
|563||#||#||$a 20th-century pink quarter morocco, black cloth-covered boards; gilt-decorated spine, lettered, 'Luxembourg Gallerie' and 'R.A.'|
|610||2||4||$a Musée National du Luxembourg (Paris)|
|653||#||#||$a Paintings, European - Paintings, Belgian - Paintings, Flemish - Palaces, French - France - Paris - History - 17th century|
|653||#||#||$a Rulers - Publicizing - Publicity - France - 17th century|
|655||#||4||$a Pictorial works - France - 18th century|
|700||1||#||$a Rubens, Peter Paul $e source artist|
|700||1||#||$a Nattier, Jean-Marc $e draughtsman|
|700||1||#||$a Duchange, Gaspard $e bookseller $e publisher|
|700||1||#||$a Nattier, Jean-Baptiste|
|700||1||#||$a Hone, Nathaniel $e previous owner $e donor|
|852||8||#||$d 1802: 13-0-06; 1821: 18-0-16.|