Attributed to Corneille de Lyon (Netherlandish, The Hague, active by 1533–died 1575 Lyons)
Oil on wood
5 5/8 x 4 3/4 in. (14.3 x 12.1 cm)
The Friedsam Collection, Bequest of Michael Friedsam, 1931
Not on view
[C. and E. (Ercole) Canessa, New York, until 1916; sold to Kleinberger]; [Kleinberger, New York, 1916–19, as by François Clouet; sold to Friedsam]; Michael Friedsam, New York (1919–d. 1931)
New York. F. Kleinberger Galleries. "Loan Exhibition of French Primitives and Objects of Art," October 17–November 12, 1927, no. 56 (as "Portrait of a Man," by François Clouet, lent by Colonel M. Friedsam).
New York. The Metropolitan Museum of Art. "The Michael Friedsam Collection," November 15, 1932–April 9, 1933, no catalogue.
Louis Réau in The Michael Friedsam Collection. [completed 1928], p. 158, as by François Clouet; suggests the sitter bears a resemblance to the drawing of Jean, Seigneur de Taix at the Musée Condé, Chantilly.
E. M. Sperling. Catalogue of a Loan Exhibition of Flemish Primitives. Exh. cat., F. Kleinberger Galleries, Inc., New York. New York, 1929, pp. 136–37, ill., as by François Clouet; comments on the sitter's resemblance to the "crayon in the Condé Museum at Chantilly, which represents Jean, Seigneur de Taix".
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 14, as by Corneille.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 38–39, ill., ascribes it to the workshop, but says it is "almost worthy of Corneille himself"; believes the subject resembles Jean, Seigneur de Taix, as represented in the Chantilly drawing; notes that his costume indicates the period between 1550 and 1560, and that the pointed collar is more common in North Italian than in French portraits.
Anne Dubois de Groër. Corneille de La Haye dit Corneille de Lyon. Paris, 1996, pp. 52, 228, 230, no. 150, ill., rejects Sterling's suggestion that this portrait may represent Jean de Taix, noting that it bears no resemblance to Corneille's own portrait of the subject (Dubois de Groër no. 77, ill. p. 51) or to two drawings at Chantilly; describes our panel as painted with refinement and delicacy, perhaps by Corneille himself; comments on the unusual chestnut-colored background.