Talleyrand, The Prince of diplomats


Iconography

 

This general representation of the castle of Valençay is one of the most famous ones. It is taken out of the Esquisses pittoresques de l’Indre (Indre’s picturesque sketches) by M.M. de la Tramblais and de la Villegille, work published for the first time in 1854 in Châteauroux by Migné. The drawing is by Isidore Meyer, oil-and watercolours-painter from Chambéry, of the XIXth century French School.
It is the Valençay of 1840 which is accurately represented here. The actual French garden, creation of 1900 doesn’t exist yet. It is a garden the English way which pleases Talleyrand who is getting old.
The porch of the donjon is not yet surmounted by a cartouche with the Talleyrand coat of arms but only by a lantern holder. The high windows and the chimneys are particularly decorated. The windows of the part between the donjon and the corner tower had already lost their mullions. An access to the empty moat is noticed on the right of the castle.   

Close-up of a representation of the Prince of Talleyrand, extraordinary ambassador of France in London during the July Monarchy, taken from Gare les Quilles, caricature of Grandville and Julien, published under number 189 in the paper “La Caricature” on August 16th 1832.
Talleyrand is sitting on the ground, to “pick up and put back to their places” the European kings and princes which the “liberty”, invisible here, is about to knock over.
The diplomat holds in his right hand don Miguel, king of Portugal. Half-hidden, young duke of Orléans, eldest son of king Louis-Philippe.  

This portrait of Dorothée, Duchess of Dino, isn’t certainly as famous as the one of the same Dorothée, Countess of Périgord, immortalized by P.P. Prud’hon at the end of the Congress of Vienna in 1816.
This one is the print of J.B. Isabey, after the original painting by the baron Gérard which was exhibited for the first time at the show of 1824 ; Madame de Dino was 31 years old.
The castle of Valençay has a copy of this painting which was often wrongly attributed to the baron Gros.

“Mysterious“ Charlotte, of unknown parents, is represented here in Marsard’s print, drawn after the portrait painted by baron Gérard in 1833.
Elisa-Alix-Charlotte, born in London in 1799, and who died in Florence in 1783 was then 34 years old. Since January 1815 (date not quite sure) she had been the wife of  Alexandre-Daniel de Talleyrand (1776-1839), first cousin of the Prince.Some notice a certain resemblance between Charlotte and Madame Grand, the future Princess of Bénévent, later on Princess of Talleyrand

This anonymous etched portrait of the Prince of Talleyrand seems inspired by the one represented in the Congress of Vienna by Isabey despite the different position of his arm and the curved line of the back of the chair.

On the badge of the Great-cross of the Legion of Honour Henri IV’s profile is reversed. The buttons of his coat are decorated with a lis flower

This lithography represents the Prince of Talleyrand at an elder age ; it dates back to 1835 and seemes to be inspired, though in a different way, by Belliard’s, after the beautiful drawing of Delpech made in 1824.

Antoine Maurin (1793-1860) devoted himself mostly to the well-known people of this time

This gravure represents M. de Talleyrand in minister dress during the Empire period.
This work by Léon Maudison is quite a success compared to those inspired by the famous painting of François Gérard ; the castle of Valençay owns a replica of it.

It is the Talleyrand of 1808, seen in Paris after the Erfurt Conference; he displays the badge of the Legion of Honour

This portrait of the Prince of Talleyrand is taken from the Galerie du Cabinet de Lecture - Journal littéraire ; it is published in 1838 at  Aubert & Cie.
This lithography by Julien represents the Prince in a position which is oppsite to the one he has in the painting made by Ary Scheffer, kept at the Condé Museum in Chantilly, dating back to 1828 and which surely inspired the author.

Here Talleyrand has his right hand in his waistcoat and displays the badge of the order of the Holy Spirit

A not very flattering portrait of the Prince of Talleyrand, painted at the time of the Congress of Vienna.
It is a miniature on cardboard, signed and dated  “Noel An - 1815”.

Its author, Alexis-Nicolas Noel (1792-1871) was a pupil of his father and of Louis David

This portrait of the Prince of Talleyrand is a fancy work, realized in the sixties with a charcoal enhanced with coloured chalk on thick drawing paper.

It is signed at the back by Robert Lanz (1896-1965), a painter and illuminator of the Swiss School

Here we are facing the Prince of Talleyrand, sitting at the table of the Congress of Vienna.
Actually, this gravure by Louis Delaistre was realized after Jules Delaistre, itself inspired by the famous Congress of Vienna by J.B. Isabey and etched by Godefroy later on in 1819.

Notice here the position of the legs which shows the reinforced heel of the right shoe.   

The Prince of Talleyrand in 1824, seen by Delpech, after a drawing of Zéphirin Belliard.
François-Séraphin Delpech is the author of several series of lithographed portraits, after the works of the artists of his time.
This portrait of Talleyrand is said to be one of the most successful ones; it includes a facsimile of the Prince’s signature.
There is also a coloured version of it.

Certified copy of the appointment of Charles-Maurice de Talleyrand, Prince of Bénévent, as Vice-Grand-Elector of the Empire.

This document is probably the first one to mention the exact date of the nomination of the Prince for this task: August 9th 1807 and not 14th which is the date of the imperial message to inform the senate
1959 Talleyrand by Franz Eggeling
Private collection

2005 Talleyrand by Franz Eggeling
Private collection