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)
The Friedsam Collection, Bequest of Michael Friedsam, 1931
On view at The Met Fifth Avenue in Gallery 544
Inscription: Inscribed (top): M de la Nove
Walter Gay, Paris; Michael Friedsam, New York (by 1927–d. 1931)
New York. F. Kleinberger Galleries. "Loan Exhibition of French Primitives and Objects of Art," October 17–November 12, 1927, no. 60 (as "Portrait of Monsieur de la Nove," by Corneille de Lyon, 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. "Une exposition de primitifs français à New-York." La Renaissance 10 (October 1927), ill. p. 448, erroneously refers to it as "Portrait of Antoine de Bourbon, roi de Navarre".
Louis Réau in The Michael Friedsam Collection. [completed 1928], p. 176, ascribes it to Corneille and based on the inscription identifies the sitter as "Monsieur de la Nove"; notes that it came from "the collection of the American painter, Walter Gay of Paris".
E. M. Sperling. Catalogue of a Loan Exhibition of Flemish Primitives. Exh. cat., F. Kleinberger Galleries, Inc., New York. New York, 1929, p. 146, no. 60, ill., as "Portrait of Monsieur de la Nove" by Corneille de Lyon.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, p. 39, ill., notes that the portrait cannot represent François de la Noue (1531–91), known as Bras de Fer, as the features do not correspond to existing chalk portraits of this individual; ascribes it to the workshop of Corneille, about 1555–60, based on the costume and style.
Anne Dubois de Groër. Corneille de La Haye dit Corneille de Lyon. Paris, 1996, p. 212, no. 125, ill., observes that the sitter bears little resemblance to François de la Noue as represented in confirmed portraits; dates it about 1560 and considers the hesitant hand responsible for the eyebrows, eyes and nose certainly not that of Corneille; finds it characteristic of the late productions of his workshop: few shadows, with a more consistent use of "lights".