Portrait of a Bearded Man in White

Attributed to Corneille de Lyon (Netherlandish, The Hague, active by 1533–died 1575 Lyons)
Oil on wood
Overall 8 1/2 x 6 in. (21.6 x 15.2 cm), including added strip of 1/2 in. (1.3 cm) at bottom
Credit Line:
Bequest of George D. Pratt, 1935
Accession Number:
Not on view
Inscription: Inscribed (bottom, on added strip): ANTOINE·DE BOVRBON ROY·DE·NAVARRE·
[Lucerne Fine Art (Böhler), Lucerne, until 1926, as "Portrait of a Man, representing Antoine de Bourbon, Roi de Navarre" by Corneille de Lyon; sold for $5,200 to Kleinberger]; [Kleinberger, New York, 1926–27; sold for $10,000 to Pratt]; George D. Pratt, Glen Cove, N.Y. (1927–d. 1935; life interest to his widow, Vera Amherst Hale Pratt, 1935–d. 1978)
New York. F. Kleinberger Galleries. "Loan Exhibition of French Primitives and Objects of Art," October 17–November 12, 1927, no. 79 (as "Antoine de Bourbon, King of Navarre," lent by F. Kleinberger Galleries).

Toledo Museum of Art. "French and Flemish Primitive Exhibition," November 3–December 15, 1935, no. 9 (as "Portrait of Antoine de Bourbon, King of Navarre," by Corneille de Lyon, lent by Mrs. George D. Pratt, New York).

E. M. Sperling. Catalogue of a Loan Exhibition of Flemish Primitives. Exh. cat., F. Kleinberger Galleries, Inc., New York. New York, 1929, p. 168, no. 79, ill., erroneously identifies this portrait with one lent to the Royal Academy, London, 1873, no. 174; the latter measures 6 5/8 x 5 in.

Anne Dubois de Groër. Corneille de La Haye dit Corneille de Lyon. Paris, 1996, pp. 210–11, no. 122, ill., notes that the costume is contemporary with confirmed portraits of Antoine de Bourbon, but feels the differences in the coiffure and features as compared with these portraits (see e.g. Dubois de Groër no. 54) cast doubt on our sitter's traditional identification.

Most portraits of Antoine de Bourbon, King of Navarre, closely resemble the one reproduced by L. Dimier in Histoire de la peinture de portrait en France au XVI siècle, 1924, pl. 10. There is very little resemblance between the sitter in the MMA picture and that in the painting Dimier illustrates.