Portrait of a Widow

comte de Montbrison, château de St. Roch, Auvillar; Pelletier, Paris; [Kleinberger, Paris and New York, 1928]; Michael Friedsam, New York (1928–d. 1931)

New York. F. Kleinberger Galleries. "Loan Exhibition of French Primitives and Objects of Art," October 17–November 12, 1927, no. 64 (as "Portrait of Jacqueline de Rohan, Marquise of Rothelin," lent by Colonel M. Friedsam).

New York. The Metropolitan Museum of Art. "The Michael Friedsam Collection," November 15, 1932–April 9, 1933, no catalogue.

Robert Allerton Parker. "The Little Portraits of Corneille de Lyon." International Studio 88 (December 1927), p. 22, ill.

Louis Réau in The Michael Friedsam Collection. [completed 1928], p. 188, as "Portrait of a Woman" by Corneille de Lyon, but in the text notes that the sitter may be identified with Jacqueline de Rohan, Marquise of Rothelin; states that it comes from the Pelletier collection, Paris.

E. M. Sperling. Catalogue of a Loan Exhibition of Flemish Primitives. Exh. cat., F. Kleinberger Galleries, Inc., New York. New York, 1929, p. 152, no. 64, ill., as a portrait of Jacqueline de Rohan, Marquise of Rothelin, formerly in the Pelletier Collection, Paris.

Millia Davenport. The Book of Costume. New York, 1948, vol. 2, p. 476, no. 1265, ill. p. 477.

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. 37–38, ill., as Workshop of Corneille de Lyon, "Portrait of a Widow," unconvincingly identified as Jacqueline de Rohan, Marquise of Rothelin; places the costume between 1540 and 1550; notes that the sitter is represented at an earlier age in a portrait from the workshop of Corneille in the Brooklyn Museum (32.788); calls the painting an exact replica of one in the Edwards collection, Cincinnati, which he considers the original.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 355, ill.

Anne Dubois de Groër. Corneille de La Haye dit Corneille de Lyon. Paris, 1996, pp. 81, 224–25, no. 143B, ill., is convinced that a portrait from the Tellander collection (known from a photograph in the Lugt archives, Rijksbureau voor Kunsthistorische Documentatie, The Hague), rather than the example formerly in the E. W. Edwards collection, Cincinnati (now private collection), is the original on which our picture and the ex-Cincinnati panel are based; dates the Tellander original about 1565, noting that its quality is quite remarkable in comparison with the other two pictures, although they are not themselves without merit; rejects Charles Sterling's view that this woman, at a somewhat earlier age, is represented in a portrait in the Brooklyn Museum .

Cécile Scailliérez in Lyon Renaissance arts et humanisme. Exh. cat., Musée des Beaux-Arts de Lyon. Lyons, 2015, pp. 150–51 n. 50.

According to Dubois de Groër (1996) this portrait and one formerly in the E. W. Edwards collection, Cincinnati, and now in a private collection (DdG no. 143 A) are copies of a smaller original that was in the Tellander collection (DdG no. 143). The present location of the Tellander panel is unknown, but a photograph of it is in the Lugt archives in the Rijksbureau voor Kunsthistorische Documentatie, The Hague; Dubois de Groër dates this original about 1565.