L'editore è Johannes Meyssens (1612-1670)
L'incisore è Petrus de Iode II (il giovane 1604 - morto dopo il 1674)) di Antwerpen
Pieter de Jode (the Younger) studied engraving techniques under his father, Pieter de Jode [il vecchio] ('the Elder', 1570-1634). In 1628 he was admitted into the Guild of St. Luke, Antwerp. In 1631 and 1632 both he and his father practiced engraving in Paris. When Pieter de Jode returned to Antwerp he worked almost exclusively for Van Dyck and accompanied him on several occasions to live and work in England.
Although Pieter de Jode engraved some fine religious and mythological scenes his greatest works are his portraits after Van Dyck, many of which appeared in The Iconography. His important Van Dyck portraits include King Charles I of England, Thomas Wentworth, Prince Rupert, Jacob Jordaens, Jeanne de Blois and Genevieve d'Urfe, Duchess of Croy.
[...] Van Dyck was first introduced to both engraving and etching by Peter Paul Rubens. Around 1630 he began his most ambitious printmaking project to create a uniform series of engravings of famous contemporaries derived from his portraits. Van Dyck provided his engravers with extensive preparatory work, including drawings and oil sketches. He then corrected his engraver's proofs and even etched the outline features on some of the portraits.
[...] Icones Principum Vivorum Doctorum Pictorum Chalographorum Statuariorum Nec Non Amatorum Pictoriae Artis Numero Centum AB Antonio Van Dyck Pictore AD Vivum Expressae Eivsque Suptibus Aeri Incisae (The Iconography)
Image Size: 9 1/4 x 7 1/4 (235 x 184 mm)
http://www.artoftheprint.com/artistpages/de_jode_pieter_genevievedurfeduchessofcroy.htm
Si confronti l'incisione di De Jode con quella di Jean Morin, sicuramente inclusa nell'Iconografia di van Dyck, le cui dimensioni sono bem maggiori: 11.6 x 9.4 in. / 29.5 x 24 cm,
Cat. Rais. Le Blanc, 41
che è in controparte ed ha la scritta nella cornice ottagonale.
Il quadro di van Dyck dal quale i ritratti sono ottenuti è conservato agli Uffizi a Firenze:
