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Title:Jean d'Albon de Saint-André (1472–1549)
Artist:Attributed to Corneille de Lyon (Netherlandish, The Hague, active by 1533–died 1575 Lyons)
Medium:Oil on wood
Dimensions:6 7/8 x 5 3/4 in. (17.5 x 14.6 cm)
Classification:Paintings
Credit Line:The Friedsam Collection, Bequest of Michael Friedsam, 1931
Object Number:32.100.103
comte G. de Montbrison, château de Saint-Roch, Auvillar, Tarn-et-Garonne (until about 1908); Leopold Hirsch, London; [Kleinberger, Paris, 1924; sold to Friedsam]; Michael Friedsam, New York (1924–d. 1931)
New York. F. Kleinberger Galleries. "Loan Exhibition of French Primitives and Objects of Art," October 17–November 12, 1927, no. 59 (as "Portrait of Jean d'Albon, Seigneur de Saint André" by Corneille, 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 collection de primitifs français en Amérique." Gazette des beaux-arts, 5th ser., 13 (January 1926), p. 14, ill.
, as a portrait of Jean d'Albon, Seigneur de Saint-André, or Jean de Rieux, Baron de Châteauneuf, attributed to Corneille and in the collection of Michael Friedsam.
Louis Réau in The Michael Friedsam Collection. [completed 1928], pp. 174–75, as Jean d'Albon, Seigneur de Saint-André, by Corneille.
E. M. Sperling. Catalogue of a Loan Exhibition of Flemish Primitives. Exh. cat., F. Kleinberger Galleries, Inc., New York. New York, 1929, pp. 144–43, no. 59, ill.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 14, ill. p. 13, as "Portrait of M. de Saint-André or of Jean de Rieux, Baron de Chateauneuf"; consider this painting among the best of the works attributed to Corneille.
"Friedsam Bequest to be Exhibited Next November." Art News 30 (January 2, 1932), p. 13, prints Bryson Burroughs's survey of the Friedsam paintings.
Katharine Grant Sterne. "The French Primitives in the Friedsam Collection." Parnassus 4 (January 1932), p. 8, ill., as "Portrait of Jean d'Alban, Seigneur de Saint Andre," by Corneille de Lyon.
Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 20.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 40–42, ill., ascribes this portrait to the "Manner of Corneille de Lyon (the so-called Master of Rieux de Châteauneuf)"; rejects the identification of the sitter as Jean d'Albon and considers him more likely to be Jean de Rieux de Châteauneuf, as suggested by the inscription on an 18th-century engraving of one of the replicas.
Charles Sterling and Hélène Adhémar. Peintures: École français XIVe, XVe, et XVIe siècles. Paris, 1965, p. 31, date the Louvre portrait about 1548 and mention ours as among the best of the other versions; state that the sitter cannot be Jean de Rieux, since he did not receive the order of Saint Michael [also worn in our portrait] until 1568; call it instead a portrait of Jean d'Albon, noting that he received this order in 1530.
Guy Bauman inThe Taft Museum: Its History and Collections. Ed. Edward J. Sullivan. Vol. 1, New York, 1995, pp. 136–37, mentions our picture in his entry for the version in the Taft Museum, which he calls "Style of Corneille de Lyon".
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 353, ill.
Anne Dubois de Groër. Corneille de La Haye dit Corneille de Lyon. Paris, 1996, pp. 138, 142, no. 33B, ill., considers the Chatsworth picture perhaps the original but certainly the best of the eleven known replicas of this portrait; based on the sitter's costume, dates the original to about 1530–35.
Master Paintings. Sotheby's, New York. May 22, 2018, p. 62, under no. 29.
Dubois de Groër (1996, p. 138), lists ten, or possibly eleven replicas of this portrait, eight of which she illustrates; she identifies the picture in the collection of the Duke of Devonshire, Chatsworth, as the best of the versions, and possibly the original.
Style of Corneille de Lyon (French, second quarter 16th century)
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