Attributed to Corneille de Lyon (Netherlandish, The Hague, active by 1533–died 1575 Lyons)
Oil on wood
7 x 5 1/2 in. (17.8 x 14 cm); with added strips, 8 1/2 x 6 in. (21.6 x 15.2 cm)
The Jules Bache Collection, 1949
On view at The Met Fifth Avenue in Gallery 644
A replica of this panel is in the Museum of Fine Arts, Houston.
Roger de Gaignières, Paris (until 1711); Louis XIV, King of France (1711–17; sale of the Gaignières collection arranged by Colbert de Torcy, Paris, July 21ff., 1717); Staats-Minister von Hacke (until 1822; sold to Hausmann); Bernhard David Hausmann, Hanover (1822–57; cat., 1831, no. 76 or 77); George V, King of Hanover (1857–d. 1878; cat., 1857, no. 76); his son, Ernest Augustus, Duke of Brunswick-Lüneburg, also Duke of Cumberland (1878–1923; cat., 1902, no. 143; cat., 1905, no. 527); [Paul Bottenwieser, Berlin, 1925]; Maurice Brozek, Paris (1925; sold for $6,068.75 to Bache); Jules S. Bache, New York (1925–d. 1944; his estate, 1944–49; cats., 1937, no. 46; 1943, no. 45)
New York. F. Kleinberger Galleries. "Loan Exhibition of French Primitives and Objects of Art," October 17–November 12, 1927, no. 63 (lent by Jules S. Bache).
New York. The Metropolitan Museum of Art. "The Bache Collection," June 16–September 30, 1943, no. 45.
B[ernhard]. Hausmann. Verzeichniss der Hausmann'schen Gemählde-Sammlung in Hannover. Braunschweig, 1831, p. VI n. 6, pp. 42–43, nos. 76 and 77 [with MMA 49.7.44], lists both works as Early Netherlandish portraits, noting that the sitters seem to be Spanish; includes them as part of the collection of Staats-Minister von Hacke that he bought in 1822.
Verzeichniss der von Seiner Majestät dem Könige angekauften Hausmann'schen Gemälde-Sammlung in Hannover. Hanover, 1857, p. 11, no. 76, as a portrait of a nobleman by François Clouet.
G. Parthey. Deutscher Bildersaal. Vol. 1, A–K. Berlin, 1863, p. 287, no. 5, as Portrait of a Nobleman by François Clouet.
O[skar]. Eisenmann inKatalog der zum Ressort der Königlichen Verwaltungs-Kommission gehörigen Sammlung . . . im Provinzial-Museumsgebäude . . . zu Hannover. Hanover, 1891, p. 106, no. 143, as by an unknown sixteenth-century French painter and the pendant to no. 144 [MMA 49.7.44].
Oskar Eisenmann inKatalog der zur Fideicommiss-Galerie des Gesamthauses Braunschweig und Lüneburg gehörigen Sammlung von Gemälden und Skulpturen im Provinzial-Museum . . . zu Hannover. Hanover, 1902, p. 106, no. 143.
Oskar Eisenmann and W. Köhler. Katalog der zur Fideikommiss-Galerie des Gesamthauses Braunschweig und Lüneburg . . . im Provinzial-Museum. Ed. Dr. Reimers. Hanover, 1905, p. 154, no. 527.
E. M. Sperling. Catalogue of a Loan Exhibition of Flemish Primitives. Exh. cat., F. Kleinberger Galleries, Inc., New York. New York, 1929, p. 150, no. 63, ill., calls it "Portrait of a Nobleman" by Corneille de Lyon; notes that the attribution is supported by M. J. Friedländer; provides provenance.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 46, ill.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 45, ill.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 33–34, ill., ascribes it to Corneille de Lyon and notes that a workshop replica in the Museum of Fine Art, Houston, is believed to represent René de Batarnay, comte de Bouchage; notes that a drawing of this individual in the Hermitage, Leningrad, was not available for comparison; on the basis of the costume dates it to babout 1535–40, and notes that like MMA 49.7.45 this portrait bears the seal of Colbert de Torcy, and must also have belonged to Roger de Gagnières.
Anne Dubois de Groër. Corneille de La Haye dit Corneille de Lyon. Paris, 1996, pp. 52, 181, 183, no. 80, ill., calls it "Portrait dit de René de Batarnay" and notes that the replica in the Museum of Fine Arts, Houston, was identified by curators there as René de Batarnay, comte de Bouchage, based on the subject's resemblance to Batarnay as depicted in a drawing in the Hermitage Museum, St. Petersburg; calls the New York and Houston replicas apparently of equal quaity; observes that three other replicas are recorded in photographs in the Friedländer archives, Rijksbureau voor Kunsthistorische Documentatie, The Hague.
According to the costume, the period seems to be about 1535–40.
The picture bears the seal of Colbert de Torcy, indicating that it belonged in the 17th century to the collection of Roger de Gaignières.
This painting, together with the remaining 205 pictures belonging to the Fideikommiss Brunswick-Lüneberg-Cumberland, was deposited by 1902 in the Provinzial-museum, Hanover (under construction from 1897 to 1902). The painting presumably remained there until its sale in 1923.