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THE J. PAUL GETTY MUSEUM LIBRARY
a
Dystic ye
CATALOGUE
of a
Loan Exhibition
of
FRENCH PRIMITIVES
and
OBJECTS OF ART
in aid of the
FRENCH HOSPITAL
in New York
By E. M. SPERLING
Preface by Louts Reau, Editor of
the Gazette des Beaux-Arts
in Paris
TOS)
F. KLEINBERGER GALLERIES, Inc.
P2-EAST 54th STREET, NEW YORK
OCTOBER 1927
sa |HE EXHIBITION IS HELD UNDER THE PATRON-
#47 AGE OF THE GOVERNMENT OF THE FRENCH
D
é 8 REPUBLIC, AND ITS CONSUL GENERAL IN
C
=
NEW YORK, MR. MAXIME MONGENDRE, HAS BEEN
DELEGATED TO OFFICIALLY INAUGURATE THE EX-
HIBITION ON OCTOBER 15TH, 1927, AT 2 O'CLOCK P. M.
Penge ene Gilt
The Exhibition of French Primitives, organized for
the benefit of the French Hospital of New York, to
celebrate the inauguration of the Gothic building
where the F. Kleinberger Galleries are now established,
is a proof of French-American solidarity and at the
same time an artistic manifestation of exceptional 1m-
portance. It is the first time that the occasion has
been presented in America to see a collection of such
a considerable number of paintings of a School which
was almost unknown some twenty years ago, in spite of
the fact that its masterpieces are to the highest degree
apt to sustain the comparison with the Flemish and
Italian Primitives.
The popularity of the Italian ‘“Trecentistes” and
“Quattrocentistes”’ from Giotto to Botticelli is rela-
{ively ancient, for it can be traced up to the “Pre-
Raphaelites” of the beginning of the x1xth century.
Influenced by the writings of Ruskin, who was the
most prominent professor of esthetics of his time, not
only in England, but in all Europe, the admiration for
these Primitives reached such a degree that it became
some sort of an intolerant and blind idolatry of which
even Raphael was sometime the victim. Without be-
ing as exclusive, the admiration of the Flemish Primi-
tives, with which the German Primitives were gener-
ally associated—forerunners of Rubens and Rembrandt
—has manifested itself with ardor since the epoch of
the Romanticisme and has never ceased to progress.
Why did the French Primitives not profit at the
same time by the movement which led all art lovers to
the origins of painting? Reflecting upon it, we are in
the presence of a very strange phenomenon. Our roman-
tic writers are full of enthusiasm for the Medieval archi-
tecture; they bring in vogue the Gothic style without
laying stress upon the fact that it was French; Victor
Hugo writes his famous novel Notre Dame of Paris;
but none of the writers is interested in the old paintings.
The French Primitives are silently overlooked as if
they had never existed. Our historians of art strangely
agree to fix the beginning of the history of French
painting in 1532 with the appearance of the Italian
Primaticcio at Fontainebleau. Some of them carry its
birth only to the first half of the XVIIth century, to
Nicolas Poussin.
eel
However, it was very difficult to believe that a
country like France, which had been, throughout the
Middle Ages, the most brilliant hearth of art in Europe,
spreading all over the world that admirable Gothic
art, the real name of which ought to be FRENCH
Art, should have waited until the XVIIth century to
bring forth a school of painters worth while mention-
ing. In truth, our artists were capable of carving on
the portals of the cathedrals of Chartres, Amiens, or
Reims masterpieces worthy of comparison with the
purest marvels of Greek art. Our manuscript colorers,
our glass painters had a universal reputation and were
desired even as far as Italy. Is it possible that in that
glorious epoch we should not have had artists capable
of decorating a wall or painting a portrait? The im-
probability of such a hypothesis is evident and should
have made all serious minds think.
The development of stained glass had doubtlessly
replaced little by little the mural painting 1n the Gothic
churches, and transformed them into real frames of
colored glass. Still, many of our chapels of the XIVth
and XVth centuries were adorned with frescoes, and
new ones are constantly discovered under the plaster
that hides them. At Avignon and at Dijon, which
were, after Paris, our two largest art centers at the end
of the Middle Ages, magnificent altar-pieces remained,
executed for the Popes and the Dukes of Burgundy.
Thanks to these monuments that attracted more and
more the attention of the historians, the question was
raised whether the generally admitted theory, accord-
ing to which the French painting dated only since the
Renaissance, was not a great error. It was then
that the memorable Exuisrrion or Frencu PRrimt-
TIVES was organized in Paris in 1904, triumphantly
showing, in a manner to convince even the most
skeptical, that there existed a brilliant School very
much anterior to the School of Fontainebleau, the
works of which were not inferior to the ones of the
Italian or Flemish Primitives and which possessed at
all events a very marked originality. Suddenly, the
true origins of the French painting were carried back
two centuries, from the XVIth to the XI Vth century.
This revelation could not leave the Museums indif-
ferent. In consequence of the Exhibition of 1904 the
Louvre, aware of its gaps and in order to complete
its collections, hastened to acquire some of the master-
pieces of French Primitive painting; among others the
[10 ]
famous Pied of Villeneuve-les-Avignon, of so pathetic
an accent, the portrait of the apothecary Pierre Quthe,
the only portrait signed by Francois Clouet, and very
recently a Resurrection of Lazarus by Nicolas Froment.
Would America, that possesses already many capi-
tal works of Primitives of all Schools, follow this
example and take interest also in these French Primi-
tives, yet little known and not brought into vogue by a
Ruskin? A doubt was permissible, for even France,
had taken a long time to discover these treasures of
her own past. However, after a few years of hesitation
a movement was started. Little by little one saw the
Museums of New York, Chicago, Saint Louis, Detroit
disputing to the great collectors, such as Mr. John G.
Johnson, Mr. Martin A. Ryerson, Colonel M. Friedsam,
whose collection alone has 46 French Primitives to its
credit, Mr. Mortimer L. Schiff, Mr. Arthur Sachs, and
many others, important works of this School at. Sales.
In view of such facts one may say that the battle in
favor of the French Primitives won in Paris in 1904 is
today gained also in the United States of America.
It is to celebrate these magnificent results, to which
they have contributed more than anybody else, that
the F. Kleinberger Galleries organize today in their
new French Gothic building which is so proper for a
manifestation of this kind, an Exhibition that will
mark a second triumphant étape in the long process
of rehabilitating the French Primitives.
The paintings exhibited here for the delight of the
amateurs and the instruction of the scholars are of the
X1IVth, XVth, and XVIth centuries. It is thus pos-
sible to follow the whole evolution of French painting,
beginning from the Middle Ages until the end of the
Renaissance.
It is understood that the works of our “Trecento”
are very rare. The Louvre possesses the two most im-
portant ones: the portrait of King Fean le Bon, painted
about 1360, probably by Gerard d’Orleans, and the
Parement de Narbonne, attributed to André Beauneveu,
showing the efhigies of King Charles V and his wife, a
fact which permits to date the painting at about 1374.
The most remarkable work of the end of the century is
the marvelous Triptyque de la Chartreuse de Champmol,
[11]
the necropolis of the Dukes of Burgundy, which is the
pride of the Museum of Dijon, but though it had been
painted in France, it may be claimed by the Flemish
School, for the author, Melchior Broederlam, was a
Fleming from Ypres. :
The Exhibition organized at New York will show to
its visitors some curious panels attributed to Jean
d’Orleans, son of the painter of Jean le Bon, repre-
senting two scenes of the Legend of Salome, asking
for and receiving the head of Saint John Baptist (Nos.
1 and 2 of this catalogue).
There are two other very characteristic examples
of this archaic epoch: a group of Magian Kings belong-
ing to the School of Avignon (No. 3) and a Predi-
cation of the Infant fesus in the Midst of the Doctors, in
which the picturesque style of Jean Malouel, favorite
painter of the Dukes of Burgundy, may be recognized
(No. 10).
From the XVth century on, the conserved works
become much more numerous, and in spite of the dis-
asters caused by the Hundred Years’ War, the School
of French painting proves to be of surprising va-
riety and fertility. To tell the truth, the role of Paris,
which had been so preponderant during the XIIth cen-
tury, had very much diminished at this epoch. Other
art centers were formed in the region of the Loire, par-
ticularly at Tours, which became the favorite residence
of Louis XI, in the Provence where Avignon, the city
of the Popes, and Aix, the capital of King René, held
the first rank, and finally in Burgundy and in French
Flanders, joined under the same domination, where a
French-Flemish School developed at Dijon, at Douai
and at Valenciennes.
The Exhibition presents capital or characteristic
works of these three principal groups.
The beautiful portrait of King Louis.XI by the most
famous master of the School of the Loire, Jean Fouquet,
the most illustrious of the French Quattrocentistes, por-
trait that has been loaned by Colonel M. Friedsam
(No. 12 of this catalogue), will be especially admired.
It is a precious iconographic document from the famous
Cabinet formed at the end of the XVIIth century by
Roger de Gaigniéres, to whom the Louvre is indebted for
the portraits of Jean le Bon and most of the French
Kings of the Valois dynasty. Beside Jean Fouquet, the
best representatives of this so purely French School of
the shores of the Loire are Jean Bourdichon, who was
also an exquisite colorist, and Jean Perreal, who is iden-
[12]
tified today with the mysterious Maitre de Moulins
and whose masterpiece is the large triptych at the
Cathedral of Moulins in the Bourbonnais. On the
panels belonging to Colonel M. Friedsam (No. 34) and
Mr. Ryerson (No. 35) one again finds the limpid col-
oring of this artist of calm and somewhat mellow tem-
perament reflecting the climate of the Valley of the
Loire.
The School of Provence, the meridional character of
which is betrayed through sharper lines and a more
dramatic accent, is less strictly French, for it under-
went the influence of the nearby Italy and of the
Flemings who came down the valley of the Rhone. The
principal names illustrating this School are Enguerrand
Quarton, the author of the charming Virgin of Miseri-
cord of the Condé Museum at Chantilly; Nicolas Fro-
ment, who painted in 1475 the triptych of the
Burning Bush for the Cathedral of Aix; Louis Brea
of Nice, and above all the anonymous author of the
grand Puieta of Villeneuve-lez-Avignon, today at the
Louvre. A curious picture which presumably rep-
resents The Sanctification of a Woman by One of
the Avignon Popes, with the buildings of Avignon
(No. 5), permits to distinguish the great difference
between this Provencal art and the lovely, smiling
grace of the painters of Touraine and the Bourbonnais.
The influence of Flanders which is already very ob-
vious 1n Provence, is even more pronounced in the
Schools of Burgundy and the North of France. It is a
known fact that the Dukes of Burgundy had invited
to Dijon a whole colony of Flemish painters, the best
known of whom are Melchior Broederlam and Jean
Malouel. On the other hand, Simon Marmion and
Jean Bellegambe at Valenciennes or at Douai were in
close contact with their neighbors of Flanders and could
not escape the influence of the Masters of Bruges and
Antwerp. That is the reason why this School has a
somewhat hybrid character and why it is sometimes
dificult to decide with certainty whether a work is
French or Flemish. In this respect the artistic frontier
seems to be as indeterminate and floating as is the
political one. 7
However, it is principally the provenience of the
paintings that permits us to assert their French origin.
So we know that the very interesting panels of the altar-
piece acquired by Mr. Ryerson (Nos. 25-31) were
painted for the Chartreuse of Saint-Honoré at Thuison
near Abbeville: moreover, this origin is confirmed by .
Lele
the presence of two Saints who appear on the back of
the wings and who were particularly venerated by the
Chartreux: Saint Honoré, bishop of Amiens and Saint
Hugh, bishop of Lincoln, with the large white swan
and the chalice—out of which emerges the Infant Jesus
—attributes of the Saint. These panels which have
been sawed apart and the principal subjects of which are
the Virgin and Child, the Lord’s Supper, the Ascension,
and the Pentecost, may be attributed, without risk of
error, to the School of Amiens. The architectural back-
grounds of a flamy style indicate the end of the X Vth
century.
It is equally to the School of Northern France that
one must attribute a very remarkable Diptych, dated
1451 and coming from the former Levesque collection
(Nos. 15, 16 and 17). In the lively figures of the dona-
tors kneeling before their patrons, Saint Peter, cruci-
fied with his head down and Saint Anthony kneeling, a
certain stiffness, recalling the tapestries of Arras, has
been justly remarked. On the other hand, the very
minute technic is the same as in the colored Illumi-
nated Manuscripts, and we know that the art of minia-
ture flourished in that region at the time.
The most famous Master of this group, the one
called by his contemporaries the “‘ Prince of Coloring,”
is Simon Marmion, born at Amiens, who worked at
Valenciennes in the second part of the X Vth century.
It is to him that Mr. Max J. Friedlander gives with
utmost assurance the charming Madonna (No. 18),
that so much delighted all the connoisseurs at the
recent Exhibition of London.
Jean Bellegambe of Douai is, like Simon Marmion, a
French-Flemish painter, but he belongs to another gen-
eration. He died only in 1535 and is connected, there-
fore, at least partly, with the Renaissance. The archi-
tectural backgrounds of extreme richness are treated
in his paintings, moreover, in the new ornamental style.
His harmonious coloring resembles that of Gerard
David and especially that of Quentin .Metsys.
The Exhibition of New York will certainly draw
attention to this too little known Master, for he will
be represented with two of his most important works:
The Conversion of Saint Paul (No. 41), exhibited at
Brussels in 1902, and the beautiful triptych of the
Adoration of the Virgin, painted in 1533 for the Abbey
of the Cistercians or Bernardines of Flines near Douai.
One of the wings of the triptych, (No. 40), represents
the popular scene of the vision of Saint Bernard re-
[14]
ceiving on his face a few drops of milk of the Virgin
who is giving Her breast to the Infant Jesus.
Excepting the decorative paintings of the School of
Fontainebleau, which cannot be transported and which
it is almost impossible to study today, because most
of them have been destroyed or repainted, the French
School of the XVIth century shows only painted or
designed portraits. In no other epoch had the contin-
uous intercourse of the French School between Italy
and Flanders been more marked. While the models
for the decorative painting, under the impulse of Prim-
aticcio and Rosso, were taken from Italy, the portrait
painting was inspired by Flanders. Its chief represen-
tatives came from Flanders. Jean Clouet, probably
originated from Brussels, and Corneille de Lyon was
first known as Corneille de la Haye.
Jean Clouet, called Janet, was the favorite painter
of King Francis I. He revived the prematurely tired
features of the King in the portrait (No. 45) and also
painted the excellent portrait of Guillaume Gouffier,
Sire de Bonnivet, which passed from the Richtenberger
collection to the Museum of Saint Louis (No. 47),
and a lively efigy of a Prince of the House of Savoy,
decorated with a necklace of the Order of the Annun-
ciation, (No. 44).
The son of Jean Clouet, Francois Clouet, also sur-
named Janet, inherited the commission and became the
regular painter of King Henry II and of his successors.
He was considered by his contemporaries the first of the
French painters, and the poet Ronsard called him “The
Honor of Our France’’. He is represented in this Exhi-
bition with several works of first rank which justify
his reputation. There is for instance: the portrait of
Madame de Piennes, daughter of Admiral Chabot (No.
53), the pencil study of which belongs to the British
Museum; and the portrait of the young King Charles
Px (No, 50).
The name of Corneille de Lyon should not lead us
to error: He was, as we have told, of Dutch origin, but
he settled early in his life at Lyons, where he executed
a great number of portraits, representing personages of
the Court of the Valois. How could he paint these
portraits living in the province, far away from the
Court? Probably after the designs that he had made
himself when staying in Paris or after the ones he bor-
rowed from Francois Clouet. Be it as it may, these
small portraits, painted with a light, transparent touch,
re? 4)
generally on a light blue or a watergreen background,
are delicately exquisite, and it will be a pleasure to see
on the walls of the Kleinberger Galleries this cortege of
high personages and noble ladies of the Court of the
Valois in their costumes of refined elegance and a some-
time extravagant richness. All these portraits have
been loaned by American collectors: Mr. Mortimer
L. Schiff, Mr. Jules S. Bache, Mr. Ryerson, Messrs.
Leo and Alexander Bing, and above all Colonel M.
Friedsam, whose collection of Corneille de Lyon, is
unequalled, even in France.
Thus, summed up broadly, in a forcibly brief and
incomplete manner, is the incomparable ensemble of
ancient French art which will be presented in New
York. Can anyone pretend, after such a brilliant dem-
onstration, which would be all the more brilliant had
it been possible to join to these paintings and Limoges
Enamels the frescoes, the miniatures on parchment,
and the glass paintings, that there are no French
Primitives?
Perhaps one might object that among these artists,
some are of Italian or Flemish origin. But the paint-
ings, framed in stucco and executed by Primaticcio at
Fontainebleau, have no equivalent in Italy, and even if
Jean Clouet and Corneille de Lyon came from Flanders
or from Holland, they could paint only in France, at
the Court of the Valois, those delicate portraits for the
equals of which one would vainly search Bruges or The
Hague. The French milieu transformed these for-
eigners who acquired some of the qualities of Jean Fou-
quet and of the Maitre de Moulins.
The French Primitive School, which is so original
and so varied, deserves, therefore, to be studied with as
much love as the Italian and Flemish Primitives, and
there is good reason to hope that the Exhibition of the
F. Kleinberger Galleries will draw the attention of the
art historians and of the American collectors to a
School of the highest interest that has been ignored
and unjustly neglected only too long.
LOUIS REAU
[16 ]
JEAN D’ORLEANS
(XIVth Century)
JEAN D’ORLEANS was the son of Girard d’Orleans,
painter of King John the Good, whom he followed to
London in his captivity. There is attributed to Girard
d’Orleans, the celebrated portrait of JEAN LE Bon that
recently found its way from the National Library to the
Louvre. From 1361 on, his son, Jean, succeeded him
in his position at the court of Jean the Good, then at
that of Charles V. It was for’ this’ princemtiacene
painted his Madonnas, a diptych of the Virgin and
Saint Catherine, an Annunciation. He also worked
for the Duke of Burgundy. His son, Francis of Orleans,
the third of this dynasty of painters, enters upon the
scene in 1407. But Jean still continued to paint at the
beginning of the fifteenth century, and lived to a good
old age till 1420. It is possible that he was the author
of the famous Parement de Narbonne preserved at
the Louvre Museum, the masterpiece of French
painting of the fourteenth century.
BIBLIOGRAPHY
Henri Boucuot: Primitive French Paintings, Paris,
1904.
Louis Diuter: History of French Painting, Paris,
1926:
JEAN v’ORLEANS
No. 1. Satome AsxkinG For THE Heap or St. JouNn
THE BaApTIsT
ON PANEL
Height, 3314 Inches; Width, 33% Inches
King Herod is seated between the queen and his
followers at his right and the chief courtiers at his left,
before a table supported on trestles and covered with a
white tablecloth on which the utensils and plates are
reposing. In the foreground his daughter Salome,
escofhon-coiffured and dressed in a gown with a long
train, slit on the side, seems to be dancing while play-
ing the violin. Before her a small page in tight breeches
and coat seems to be devoting his entire attention to
[18 ]
her service and is holding a cup in his hand. A small
black dog is sitting on the pavement of enamelled tiles
and is looking at him.
There are defects of proportion and perspective of a
very pronounced nature in this scene and the following.
One cannot help remarking the anachronism of the
violin which Salome is playing as accompaniment in
her dance. But this archaic awkwardness is not with-
out charm. The physiognomies are very well observed
and very individual, notably those of King Herod and
his courtiers which are equivalent to portraits.
Lent by Col. M. Friedsam.
No. 1. JEAN v’ORLEANS
JEAN v’ORLEANS
No. 2. Satome ReEcEIvING THE HEAD oF St. JOHN
THE BAPTIST
ON PANEL
Height, 33% Inches; Width, 33% Inches
This is the second act of the tragedy. Salome has
received what she wanted. Dressed inthesameslit gown
as in the previous scene, she receives on a silver plat-
ter the aureoled head of St. John the Baptist that the
executioner has just cut off with a broad curved sword.
Through the prison windows may be seen the clasped
hands and decapitated trunk of the martyr whose
blood is flowing on the steps. One of the followers of
Salome makes a gesture of terror. An old man witha
pointed cap and two soldiers clad in irons, with their
lances in their hands, are present at the scene. They
lean against the shutters of a fortress which, as well as
the tower of the prison, is bristling with battlements.
On the top of the wall, behind the battlements, three
curiosity seekers may be seen.
In this picture there is, like in the preceding one, a
singular and tasteful mixture of very realistic observa-
tion and a total ignorance of perspective and propor-
tion.
The prison where St. John the Baptist is beheaded
reminds us somewhat of the one where St. Denis re-
ceives the last communion in the picture of the Louvre
Museum attributed to Jean Malouel and Henri
Bellechose.
Lent by Colonel M. Friedsam.
[ 20 ]
"ORLEANS
JEAN pb
2.
Oo
N
SCHOOL OF AVIGNON
(End of the XI Vth Century)
INOW? THe THREE Maaci1 KInGs
ON PANEL
Height, 31 Inches; Width, 21% Inches
In the right foreground the oldest of the Magi kings,
bald, with a long pointed beard, half kneeling on the
ground. He has his crown in his left hand, having
taken it from his head to salute the Divine Child, and
holds in his right hand a godroon vase in gilded work
which he offers in homage. Behind him are standing
the other two kings awaiting their turn. Both have
their crowns on their heads and appear in identical
gesture. With their right hands they are holding a
gold vase while with their left hands uplifted, they
express a sign of admiration and astonishment. The
first, in the bloom of his age, is bearded, while the
second, who is younger, is entirely beardless. It seems
that in this group the artist wanted to symbolize, not
as usually done in the fifteenth century, the homage of
the different parts of the world where Africa is repre-
sented by a negro, but the three ages of man’s life.
The old Magi on his knees is clad in a red cloak with
wide sleeves, tied by a belt at the waist; the second is
dressed in blue and purple, the third in light orange and
red. The three figures are set off in silhouette on a
stone wall ornamented with geometric designs of a
greenish-brown color.
This painting is evidently a fragment and was com-
pleted by the figure of the Virgin and the Child Jesus,
doubtless accompanied by Saint Joseph. The same
composition inverted withs light variations is found in a
picture of the old collection of R. von Lippmann,
Berlin, which was lent in 1904 to the Exhibition of
Primitive French Paintings, organized at Paris. (No.
=p]
The panel in the collection of Colonel Friedsam
comes from the Alphonse Kann Collection, Paris.
BIBLIOGRAPHY
Henri Boucuor: Primitive French Paintings,
Paris, 1904
G. Hu.tin pe Loo: Exhibition of Primitive
French Paintings, 1904
G. LAFENESTRE: Exhibition of Primitive French
Paintings, Gazette des Beaux Arts, 1904.
Lent by Colonel M. Friedsam.
[ 22]
SCHOOL OF AVIGNON
No. 3.
SCHOOL OF AVIGNON
(X1IVth Century)
No. 4. THE ANNUNCIATION
ON WOOD
Height, 10 Inches; Width, 13% Inche
A remarkably well preserved, beautiful picture on
gold background showing the Virgin on a carved and
painted throne, clad in a blue cloak. On the left, an
angel with large wings painted with vivid colors in the
manner of a peacock’s tail, rests on one knee. He is
dressed in a black robe with a richly gilded and be-
jewelled cloak. On the upper left corner, God in a
nimbus watching the scene and blessing the Virgin.
In an interesting article in the Belvedere, Vienna,
1927, No. 55, p. 6, Friedrich Winkler compares this
panel with a Diptych in the Carrand Collection at the
Bargello in Florence, dating both about 1390.
Lent by Mr. and Mrs. Arthur Sachs.
[ 24 ]
SCHOOL OF AVIGNON
mes
No
SCHOOL OF AVIGNON
(XIVth Century)
No. S, SANCTIFICATION OF A WOMAN
ON WOOD
Height, 31 Inches; Width, 24 Inches
The Pope on his throne surrounded by Cardinals
and an attendant sanctifies a woman. Three nuns
are standing behind her. A divine hand extends
blessings from the sky. The background is formed by
crenellated buildings and palaces of the City of Avignon.
A picture brilliant in colors and highly interesting in its
execution.
Lent by F. Kleinberger Galleries.
[ 26 ]
4
H
f
Hi
%
.
PES ee benaans 7s
IGNO
SCHOOL OF AV
5
°
SCHOOL OF AVIGNON
(End of the XI Vth Century)
No. 6. St. Martin or Tours
ON WOOD
Height, 44 Inches; Width, 18 Inches
The Saint stands in front of the Altar, represented
in full length. With his both hands he raises high
above his head a medal showing the Crucifixion. An
angel on the left. On the altar a Chalice:
Below is the Inscription: “S. Martinus.”
Lent by Mr. B.
[ 28 ]
No. 6. SCHOOL OF AVIGNON
SCHOOL OF PROVENCE
(About 1400)
No. 7. THe Vircin ENTHRONED, WITH DoNnaToR
AND SAINTS
ON WOOD
Height, 12 Inches; Width, 814 Inches
Axsove: The Virgin enthroned between a Benedic-
tine on the left and a Saint. With the left hand the
Virgin holds the Infant Child and the right is extended
toward the Donator. She is entirely draped in a blue
mantle with golden points.
Betow: Three Saints standing. The one on the
left may be identified with St. Louis of Toulouse, on
the right is Mary Magdalene and in the center St.
Ambrose. At their feet a lion is devouring a deer.
Background gold with ornaments.
Exhibited in Paris in 1904, No. 23.
Formerly this charming painting was owned by
Edouard Aynard in Lyons.
Lent by Mr. Mortimer L. Schiff.
SOUTHERN FRENCH SCHOOL OF ABOUT 1450
No. 8. THE BiutE Maponna
ON CANVAS, PASTED ON WOOD
Height, 41 Inches; Width, 25% Inches
This picture was probably painted near Toulouse,
in the Department of Haute-Garonne, belonging to the
School called L’ Ecole du Midi.
The Madonna is dressed in a blue garment with gold
trimmings. The Child wears a reddish-yellow dress
and sits on the left of the Madonna. In the back-
ground is a screen of gold, brown, and: red which is of
tapestry pattern.
The painting was previously in the collection of
Prince Demidoff in Rome.
Lent by Mr. and Mrs. Henry Barton ‘facobs.
[ 30 ]
‘IOOHOS HONYYA NYHHLNOS 8 ‘ON
SCHOOL OF AVIGNON
(Early X Vth Century)
No. 9. THe Mourninc FoR CHRIST
OAK PANEL: (Rounded at the two upper corners)
Height, 19 Inches; Length, 27% Inches
An intensive and interesting composition in which
the figure of the Savior lies emaciated and inert upon a
marble sarcophagus. Behind are grouped, with great
forethought and reverence, the holy Mother, the two
Martyrs, St. John to the left, and the aged Joseph of
Arimathea to the right, in the background 1s the head
of Nicodemus, or maybe that of the donor, on the ex-
treme left a distant vista of the hill of Golgotha. The
Madonna, as the central and predominant figure of the
composition, is robed in a blue-black mantle, and wears
an opaque-white hood that detracts from the flesh of
our Lord, which in comparison appears limpid and
ashy; Saint John in a cloak of vivid and beautiful red;
Joseph of Arimathea wears an ample garb of brocade
and fur.
A very important and rare work.
From the Rudolph Kann Collection in Paris.
Described and reproduced by Salomon Reinach in
“Repertoire de la Peinture’’.
Lent by the Art Institute of Chicago.
[32]
NONDIAV HO'IOOHOS ‘6 ON
0a : eS " mero
JEAN MALOUEL
Jean Ma.ovet (Maelwel), died in 1415, was, with
Melchior Broederlam of Ypres, one of the most re-
markable painters of the court of the Dukes of Bur-
gundy. He was in the service of Philip the Bold and
Jean the Fearless, who took him to Paris to the mar-
riage of his niece, Jacqueline de Baviere, with the
Dauphin. There is attributed to him at the Louvre
Museum a pathetic little picture of round shape, which
represents “The Dead Christ Supported by the Eternal
Pathers
Toward the end of his life he seems to have had
recourse to the co-operation of Henri Bellechose, who
succeeded him as painter to the Duke of Burgundy in
1415.
The History of Saint Denis (Louvre Museum) 1s
said to be partly from his hand, while The History of
Saint George, coming also from the celebrated Char-
treuse de Champmol near Dijon, is said to be the ex-
clusive work of Henri Bellechose.
BIBLIOGRAPHY
Henri Boucnuor: Exhibition of Primitive French
Pictures, Paris, 1904
Louis Dimier: History of French Painting,
Parisi oes
Paut-AnprE LEmoIsneE: Painting at the Louvre.
French School, fourteenth, fifteenth and
sixteenth centuries, Paris, L’///ustration,
1 ODE
JEAN MALOUVEL
No. 10. JEsus PREAacHING AMONG THE Docrors
ON PANEL
Height, 44 Inches; Width, 30 Inches
The Child Jesus, whose blond head is aureoled with
a halo, is standing on a wooden platform which is
reached by a stairway of sixteen steps. He talks from
the top of this pulpit to the great astonishment of His
parents, the Virgin and Saint Joseph, standing on the
right and the Doctors of the Law, sitting on His left in
stalls superposed in two rows. Five of the rabbis are
looking attentively into their books, doubtless to make
sure that the words of the young preacher are in con-
formity to the Law and the Prophets.
The crowding of the doctors one against the other,
their facial expressions as little idealized as possible
and almost caricaturistic clearly recall the great panel
of the Legend of Saint George of the Louvre, attributed
to Henri Bellechose, successor of Jean Malouel, so that
[ 34 ]
it may be asked whether the painting in the Friedsam
Collection, treated somewhat as a genre scene, is not
from the hand of the same artist.
At all events, this interesting painting, coming from
a Parisian collection, is one of the works of the most
picturesque kind of the Burgundian school of the first
half of the fifteenth century.
Lent by Colonel M. Friedsam.
No. 10. JEAN: MALOUEL
JEAN MALOUEL
No. 11. THE Maponna AND CHILD ENTHRONED WITH
SAINT JEROME AND A WOMAN SAINT
ON PANEL
Height, 2038 Inches; Width, 1334 Inches
All the critics will agree in considering this charm-
ing Madonna, sitting on a throne, between Saint
Jerome holding a book, and a Woman Saint who de-
votedly lifts the extremities of the linen upon which is
lying the Child Christ—as one of the most delicate
creations of the French School of the fifteenth century.
The fineness of the execution from under which jn
some places the gold background is simmering through
and particularly the dolorous expression in the faces of
the Virgin and of the Saints who seem to have a pre-
sentiment of the sufferings of the Passion, make one
think of the celebrated Pietd by Jean Malouel, favorite
painter of the Ducs of Bourgogne.
This is a small chef d’oeuvre graceful, as well as
emotional, that can brave comparison with the best
Primitives of the Flemish or Italian Quattrocento.
Lent by Colonel M. Frtedsam
[36]
JEAN MALOUEL
do Wl
oO
N
JEAN SOUQUED
PORN AT TOURS ABOUT 1415
DIED AT TOURS ABOUT 1480
Jean Fouauet’s date of birth is not known. He ts
the most celebrated of the Quattrocentists of France.
He was in Italy in 1445 and his reputation was so great
that he painted the portrait of Pope Eugene IV, of
which Vasari speaks with praise. On his return to
France he established himself at Tours, his native city,
and* was appointed in 1475 official painter to King
Louis XI. He is with Jean Bourdichon the last of the
great French miniaturists. He illuminated notably
“The Judiac Antiquities” of Joseph, preserved at the
National Library of Paris, and the “Book of Hours”’
of Maitre Etienne Chevalier, mutilated by a vandal
in the eighteenth century, forty leaflets of which,
bought back at Frankfort by the Duke d’Aumale, are
today the pride of the Condé Museum at Chantilly.
Taking these miniatures as points of comparison, it
was possible to attribute to Jean Fouquet a certain
number of paintings, at the head of which series would
have been the portrait which so unfortunately disap-
peared of Pope Eugene IV. There are the portraits of
Charles VII and of Chancellor Guillaume Jouvenel
des Ursins, at the Louvre, the portrait of Etienne Chev-
alier, formerly of the Berlin Museum that was hanging
in the Church of Notre Dame at Melun and now is pre-
served at the Antwerp Museum. It is quite logical to
suppose that Jean Fouquet had also made several por-
traits of King Louis XI, whose official painter he was.
In spite of Fouquet’s stay in Italy, where he could
have made the personal acquaintance of Fra Angelico,
or at least admire his works, his style remains in the
pure French tradition. He seems to us the continuer
of the great miniaturists who worked for the Duke
Jean de Berry.
BIBLIOGRAPHY
Henri Martin: Les Miniatures Francais,
Paris, 1906.
Count Paut Durrieu: Les Antiquités Fudaiques
et le peintre ‘fean Fouquet, Paris, 1908.
Les Boccace bE Municn, Munich, 1909.
Le Livre d’ Heures, peint par Jean Fouquet
pour Mairre ErreENNE CuevaLiger. The
forty-fifth leaf of this manuscript was
found in England. Paris, 1923.
Max J. Frreptanper. Fine Bildnisstudie
fean Fouquet, Jahrbuch der Preussischen
Kunstsammlungen. T. XXXI, 1910.
[38 ]
JEAN FOUQUET
INo~1o= “PORTRAIT OF LOUIS XL
ON PANEL
Height, 14¥2 Inches; Width, 10% Inches.
The king is represented in bust, with right profile,
detached on a black background. He is covered with a
fur headgear of brown color above a red hood that en-
closes the cranium and descends, so as to cover the
ears, to the nape of the neck. Under the brim of the
hood there is a tuft of hair. On his red garment with
yellow collar he wears a collarette of the Order of Saint
Michael, formed of grains and shells in alternation,
which falls on his back. There hangs on his chest,
attached to a golden chain, the medallion of the order
with the image of his patron saint.
The great interest attaching to this portrait centers
in the rigorous conformity of it to the water color of the
celebrated Gaigniéres Collection, kept at the Stamp
Cabinet of the National Library in Paris. There is in-
scribed at the bottom of this precious document:
“Copied from an original portrait painted at the time
in the cabinet of Mr. Gaigniéres.”’ It is therefore law-
ful to admit that the portrait in the collection of
Colonel Friedsam is the same which was in the cabinet
of Mr. de Gaigniéres and which he caused to be repro-
duced in his collection.
There was also another water color of King Louts
XT, on foot, in the Gaigniéres Collection; but it did not
belong to the celebrated amateur, for on the design
this manuscript note is found: “Copied after an original
portrait in oil in the apartment of Madame la Duchesse
de Nemours at the Hotel de Soissons, Paris.”’
The fact that it comes from one of the most famous
collections of portraits of the Ancien Regime already
gives the painting in the collection of Colonel Friedsam
a title of nobility and a guaranty of authenticity. It
may be affirmed, without fear of error, that Fouquet
was not attached during more than five years to the
person of the king without making his portrait.
“Nothing informs us formally,” writes Henri Bouchot,
“that Fouquet painted King Louis XI, but as he was
at the court in an official capacity, it is very likely
that he painted the son as well as the father.”’
It is objected that the portrait of Louis XI which
was in the seventeenth century in the Royal Collec-
tions at the Chateau of Fontainebleau, and which was
[39 ]
engraved in 1560 by Jean Morin is not identical with
the portrait known in the Gaigniéres Collection; the
fur bonnet is adorned with the leaden image, of which
the chronicler Philippe de Commines speaks, and the
Order of Saint Michael is worn on the collar instead of
falling down the back. But nothing proves that Jean
Fouquet has not painted several portraits of the king;
it is even exceedingly probable.
The exceptional quality of this painting is also an
argument in favor of attributing it to the greatest
master of the fifteenth century. It is very superior to
the replica in the Museum of Arianna near Geneva,
and can go hand in hand with the portraits of Charles
VII and of Jouvenel des Ursins at the Louvre.
This painting figured at the Exhibition of Primitive
French paintings in 1904, (No. 102.) It comes from the
Baron Vitta Collection, Paris.
BIBLIOGRAPHY
G. Dupteissis: Roger de Gaigniéres and his
Iconographic Collections. Gazette des Beaux
ALIS NSO:
CH. DE GRANDMAISON: Gaigniéres, his corre-
spondents and his collection of portraits.
Niort. 1892.
Henri Boucuor: Two portraits of Louis XJ.
Gazette des Beaux Arts, 1903.
Lent by Colonel M. Friedsam.
[40]
JEAN FOUQUET
No. 12.
JEAN FOUQUET
No. 13. Portrait or A MAN
ON WOOD
Diameter, 9% Inches
An extremely interesting head with a strong ex-
pression. The eyes, nose and mouth are beautifully
modeled and the vigorous execution of the whole por-
trait is worthy of the great Master. A blue-gray head-
dress, as worn in the middle of the XVth Century,
stands out against a very fine red background.
Exhibited at the Fogg Art Museum, Cambridge,
Mass., 1927.
Lent by Mr. and Mrs. Arthur Sachs.
[42]
ate)
=
1440
CHOOL OF ABOUT
FRENCH S
No. 14
NORTHERN FRENCH SCHOOL OF 1451
Nor sl 5. THE CRUCIFIXION OF ST. PETER
ON WOOD
Height, 45 Inches; Width, 31 Inches
This most remarkable panel belongs to a diptych
the other parts of which are shown in this catalogue
under Nos. 15 and 16.
The Donator is kneeling with his hands joined. A
manuscript prayer book is before him. The Martyrdom
of St. Peter is taking place, before several persons
richly attired, in a beautiful landscape with castles and
spires.
Mr. Albert van de Put, of the South Kensington
Museum, recognized the Coat of Arms as that of the
Chevalier Au Cygne.
Described and reproduced by Jean Guiffrey, Pierre
Marcel and Charles Terrasse in La Peinture Francaise.
Les Primitifs. Second Series, Plates xxxtI—xxxvll.
Formerly in the Levesque Collection.
Lent by F. Kleinberger Galleries.
[46]
FRENCH SCHOOL OF 1451
N
NORTHER
NORTHERN FRENCH SCHOOL OF 1451
No. 16. St. ANTHONY IN PRAYER
ON WooD
Height, 45 Inches; Width, 31 Inches
The right part of the diptych. St. Anthony is
kneeling on the left, with uplifted head, in prayer.
Before him is kneeling the Donatrix with her hands
on a manuscript prayer book. A hilly landscape with
a path between the rocks, on which an angel, leading
two camels, 1s approaching,
The same Coat of Arms as the one on the left part
of the Diptych 1s beside the Donatrix, indicating that
she is the wife of the Chevalier Au Cygne.
Described and reproduced by Jean Guiffrey, Pierre
Marcel and Charles Terrasse in La Peinture Frangaise.
Les Primitifs. Second Series. Plates xxxl—xxxvil.
Formerly in the Levesque Collection.
Lent by F. Kleinberger Galleries.
[ 48 ]
4
i
|
No. 16. NORTHERN FRENCH SCHOOL OF 1451
NORTHERN FRENCH SCHOOL OF 1451
Nos ly: THE ANNUNCIATION
ON WOOD
Each Panel: Height, 48 Inches; Width, 31 Inches
The two wings of the diptych described under Nos.
14 and 15. On the panel showing the Angel is the date,
1451.
The execution of the whole diptych is of a realistic
character, broadly painted and of a very delicate
technique. The donator recalls in many respects The
Man With the Wineglass in the Louvre Museum in
Paris. The Angel and the Virgin are attired in long
robes with many folds, as is seen in Flemish paintings
of the period.
Certain parts of this diptych, notably the persons
and the architecture, recall the Arras Tapestries and
especially The Liberation of St. Peter (1454) conserved
at the Cluny Museum in Paris.
Described and reproduced by Jean Guiffrey, Pierre
Marcel and Charles Terrasse in La Peinture Francatse.
Les Primitifs. Second Series. Plates xxxl—xxxvil.
Formerly in the Levesque Collection.
Lent by F. Kleinberger Galleries.
[50 ]
Ist] HO TOOHDS NUYAHLYON “ZI ‘ON
SIMON MARMION
(Born in Amiens about 1425; died in Valenciennes in
1480)
Simon Marmion belongs, like Jean Bellegambe, to
the French-Flemish School. Born at Amiens, he
worked at Valenciennes in the second half of the fif-
teenth century and enjoyed great reputation as a
miniaturist. The poet Lemaire called him the “prince
of coloring.” He is probably the author of the manu-
script in the Petrograd Library: “The Great Chronicles
of Saint Denis,” that Guillaume Filastre had copied
for the Duke of Burgundy, Philip the Good.
It is this same Guillaume Filastre who gave to the
abbey of Saint Bertin at Saint Omer a set of pictures
decorating an altar-piece of gilded work in which is
seen the entire Legend of Saint Bertin. These small
panels, dispersed at the time of the Revolution, passed
to the collection of the King of Holland, then into that
of the princes of Wied who sold them in 1906 to the
Berlin Museum. They are treated with the finish of
the miniature and, as they were executed, according to
tradition, at Valenciennes, about the year 1460, it was
thought that they might be attributed to Simon
Marmion. It is true that this attribution was con-
tested by Count Durrieu who put forward the name of
Jean Hennecart, valet de chambre and painter of the
Duke of Burgundy.
A precious picture in the Louvre, The Discovery of
the Holy Cross, could also, with some probability, be
attributed to Simon Marmion.
BIBLIOGRAPHY
Mer. Denatsnes: Investigations on the altar-
piece of Saint Bertin and on Simon Mar-
mion, Lille.
L. pE Fourcau.p: Simon Marmion. Revue de
l Art Ancien et Moderne, 1907.
Henautt: Les Marmion. Revue Archeologique,
1907.
SIMON MARMION
Nomis: THe Maponna wiTH CHILD
ON WOOD
Height, 1414 Inches; Width, 10% Inches
_ The Madonna enthroned is shown in front of a
piece of rich red and gold brocade between two columns.
[52]
An interesting landscape is visible on both sides,
with buildings on the shores of lake. The Madonna
wears a blue mantle. Her blond hair is falling on her
shoulders. The Child is resting in her arms. Her
hands are folded in prayer.
Dr. Friedlander considers this painting to be a very
fine and characteristic work of the Master.
Exhibited at the Royal Academy in London, Feb-
Peary 27. No. 69,
Lent by F. Kleinberger Galleries.
No. 18. SIMON MARMION
SIMON MARMION
No. 19. Curist BEARING THE CROSS
ON PANEL
Height, 14% Inches; Weight, 10% Inches
Christ dressed in a long robe and crowned with
thorns is mounting Golgotha barefooted, bearing on
his left shoulder a gigantic cross, instrument of his
punishment. He 1s led by five executioners. The one
at the head, covered with a helmet with chin-piece and
dressed in blue and red, is dragging him by a rope fixed
around his waist; another, in a yellow and blue dress,
covered with a tapering hat of red color, 1s pushing
him brutally from behind, seizing him by the hair.
The other three soldiers, one of whom is dressed in a
cut doublet, are advancing behind the cross. There is
seen on the left the gate of a city where the cortege
has just passed. In the background of landscape be-
hind a verdure-covered hillock there are towers and
spires.
The very elongated figures, of an almost caricatural
leanness, certain details of dress, as, for instance, the
tapering caps and bonnets, the tight- fitting breeches,
the pointed shoes, make one think of the paintings of
Thierry Bouts. The executioner on the right, who is
dragging Jesus by a cord, is almost identical with the
person who is raising an arm of the miraculous cross
in the Discovery of the Holy Cross in the Louvre.
The scene of the bearing of the cross that the
painter has represented in this panel, which was doubt-
less a part of a cycle of the Passion, is transposed in the
costume of the time, without any concern about local
color and with the most complete disdain of anachron-
isms. The executioners are soldiers of the fifteenth
century; the gate of Jerusalem could also very well be
the gate of Valenciennes.
This painting, which is very well preserved, comes
from the collection of Baron Tolin, Paris, and is cer-
tified by Dr. M. Friedlander.
Lent by Colonel M. Friedsam.
[e343]
SIMON MARMION
No. 19.
SIMON MARMION
No. 20. St. GEORGE AND THE DRAGON
ON WOOD
Height, 20% Inches; Width, 151% Inches
St. George on a White Charger attacks the Dragon
with the lance.
At a short distance on a rock the Princess Cleodo=
linde is kneeling in prayer.
A fortress is seen in the background with a multi-
tude of observers. The subject of this painting is in
accordance with the Legend as related by Jaques de
Voragine.
Lent by Mr. and Mrs. Otto H. Kahn.
[56 ]
No. 20. SIMON MARMION
SIMON MARMION
No. 21. Porrrair or PuitippE Le Harpy, DuKE oF
Burcunpby (1342-1404)
ON WOOD
Height, 16% Inches; Width, 11% Inches
Turned to the left he is seen in profile. On the head
is a high black hat without brim, on which is a jewel
adorned with a ruby. The face is clean-shaven,
Round the neck he wears a fur-collar. The coat is
pink, with a white design above, ornamented with
jewels. From the neck hangs a medal with a precious
stone in the centre (probably the Order of the Star,
founded by his father, Jean Le Bon, King of France).
Light green background.
Inscription above:
‘PHILIPPE LE HARDY FIX DU ROY JEAN DUX DE
BOGNE.
Former Collections:
Mr. Serullaz, Paris; Count Montebello, Paris.
Lent by Mrs. Thomas Ff. Emery.
SIMON MARMION
No. 22. Porrrair oF JEAN Sans PEuR, DUKE OF
Burcunpy (1371-1419).
ON WOOD
Height, 15 Inches; Width, 11% Inches
Seen in profile, turned to the left, his Wandsware
joined in prayer. Jean Sans Peur was murdered on
September 10, 1419, by a follower of the Dauphin
Charles (later Charles VII), Tanneguy-Duchatel, on
the bridge of the Yonne, near Montereau. He was the
son of Philippe Le Hardy, whom he followed on the
throne. In 1396 he was made prisoner of the Turks at
the battle of Nikopolis, but was freed upon payment
of 200,000 Ducats.
Energetic, bold, and at the same time just, he was
loved by his subjects.
Inscription above:
‘““JEAN DUC DE BOGNE FUC OCCIS A MOTEREAU.’
Former Collections:
Mr. Serullaz, Paris; Count Montebello, Paris.
Lent by Mrs. Thomas F. Emery.
[58 ]
’
NOINUYVW NOWIS ‘Tt ‘ON NOTNYVW NOWIS ‘cz ‘ON
a ad
Sddi THd
SIMON MARMION
No. 23. Porrrair oF PuirippeE Le Bon, DUKE OF
Burcunpy (1396-1467).
ON WOOD
Height, 15 Inches; Width, 11% Inches
Turned slightly to the right, he wears a crown and
on his shoulders the order of the Golden Fleece.
Allied with Henry V of England, he fought against
Charles VII of France, against whom he was highly
incensed on account of the murdering of his father.
In 1435 he finally made peace with Charles VII at
Arras.
Philippe Le Bon encouraged arts, sciences, and
industries; of the last particularly the weaving of
tapestries. In 1424 he founded the Order of the
Golden Fleece.
Inscription above:
“‘ PHILIPPE LE BON DUC DE BOURGOGNE.
Former Collections:
Mr. Serullaz, Paris; Count Montebello, Paris.
Lent by Mrs. Thomas Ff. Emery.
SIMON MARMION
No. 24. Portrait oF CHARLES THE BoLpD, DUKE OF
Burcunpy (1433-1477).
ON WOOD
Height, 15 Inches; Width, 11 Inches
He is seen in three-quarter profile, turned to the
right. Brown hair, clean-shaven face, the hands
raised in prayer. He is attired in a pink-colored coat,
adorned with fur. The upper part of his coat is dark
green. He wears the Order of the Golden Fleece, with
broad chain, adorned with turquoises. Black back-
ground. Charles the Bold succumbed with his army
in the battle against the Duke of Lorraine at Nancy
on the 5th of January, 1477, where he was himself
killed.
Inscription above:
““CHARLES DUC DE BOURGOGNE FUT TUE DEUAT
NACY.”
Former Collections:
Mr. Serullaz, Paris; Count Montebello, Paris.
Lent by Mrs. Thomas F. Emery.
[ 60 ]
NOINYVW NOWIS *
al
fe)
Z
NOIWUVW NOWIS ‘?¢o ‘ON
SCHOOL OF AMIENS OF ABOUT 1480
‘These seven panels, belonging to Mr. Martin A.
Ryerson, (Nos. 20 to 26) are all that remain of a
large polyptych altarpiece painted for the high altar
of the ancient Carthusian monastery of St. Honoré
at Thuison, a suburb of Abbeville, which, having
flourished and grown very wealthy during the four-
teenth century, was destroyed during the French Revo-
lution. Originally the panels were four, painted on
both sides, but they were sawed through, making eight.
Of these, one, The Resurrection of Christ, has disap-
peared. The other seven represent: The Last Supper,
The Ascension, The Coming of the Holy Ghost, The
Virgin and Child, St. John the Baptist, St. Hugo,
Bishop of Lincoln, and St. Honorius, Bishop of Amiens.
A description of the altarpiece is to be found in the
Siffait manuscripts, so-called from the name of the
family owning the originals. These were notes written
by various inhabitants of Abbeville from time to time
from 1657 to about the end of the eighteenth century.”
In Volume V, which covers the years 1774-1780, the
author describes the high altar of the monastery as
follows: “Access is had by three steps; above the taber-
nacle and the steps is a box, wherein is represented in
gildened sculpture the Saviour’s Passion. When closed,
they reveal, painted on the outside of the corners, the
Holy Virgin, St. John the Baptist, St. Honorius and
St. Hugo, which are shown on the preceding page.”’
The illustration to which the author refers shows the
altarpiece in detail, with both open and closed wings.
When open, the inner panels—the Last Supper, lost
Resurrection, Ascension and Coming of the Holy
Ghost—were visible, two on either side of the carved
oak retable of the Crucifixion which occupied the
center. According to Abbe Lefebre, during the Revo-
lution in January, 1795, the furniture, altars, retables
and paintings of the monastery were auctioned and
the monks forced to leave.** The Ryerson panels were
purchased by the Abbé Cauchy, the curate of the
Church of the Holy Sepulchre at Abbeville and so
preserved there.
M. Emile Delignieres believes the Thuison panels
were painted before 1440 because of an account by the
Abbe Lefebre of a visit to the monastery by Philip
the Good and his gift to the Prior, Dom Firmin le Ver,
incumbent until the year 1440, of “sixty pounds parisis
in doles, a violet velvet chasuble sewn with golden
fleurs de lys barred with gold, also four gilded wooden
painted panels which are placed upon the high altar.”
[ 62 ]
The original manuscript from which Abbé Lefebre
made this excerpt has disappeared, and the Abbé him-
self is dead.
M. Delignieres suggests that the panels may be early
works by Rogier van der Weyden, but the analogy
between the panels and Rogier’s Ascension and Last
Judgment in Antwerp is slight indeed. He also sug-
gests that the outer wings and the inner panels are not
painted by the same hand, but no basis for his conten-
tion can be found in the works themselves.
Dr. Friedlander believes these panels to have been
executed about the year 1480. He sees in them “very
interesting works, productions of the school of Amiens,
which otherwise is unknown to us.” They are, he
says, considerably more primitive and earlier than the
Antwerp Mannerists.
(Robert B. Harshe, Director of the Art Institute
of Chicago, in his Catalogue of the Martin A. Ryerson
Collection.)
*Prarond: ‘Topography of Abbeville, 1, 356. The most re-
markable happenings in Abbeville, from the year 1657 to the present.
Notes to serve as sequel to the ecclesiastic history as well as the his-
tory of the Mayors of Abbeville.
** Abbé Lefebre History of the Carthusian Monastery of St.
Honoré.
BIBLIOGRAPHY
DeELIGNIERES, E. Réunion des Sociétés des
Beaux-Arts des Departments, published by
the Ministere de [Instruction Publique et
des Beaux-Arts, 1898. 305-343.
Praronpd. Topography of Abbeville: The
Most Remarkable Happenings in Abbeville
from the Year 1657 to the Present. Notes to
serve as sequel to the ecclesiastical history as
well as the history of the mayors of Abbeville.
ABBE LEFEBRE. Ffistory of the Carthusian
Monastery of St. Honoré. I, 356.
Catalogue of Exposition des Primitifs Frangais
(supplement), Paris, 1904. No. 353.
ABBE Crozet: Hagiography of the Diocese of
Mmicns, ALL, 338-77.
ForMER Owners: Monastery of St. Honoré at
Thuison-les-Abbeville.
Acquired from the F. Kleinberger Galleries.
[ 63 J
SCHOOL OF AMIENS OF ABOUT 1480
Nor 2s: THE VIRGIN AND CHILD
ON WOOD
Height, 453% Inches; Width, 197% Inches
This was originally one of four panels forming the
outer side of the altarpiece wings. The Virgin stands
in a semi-circular niche, surmounted by a projecting
dais painted in grisailleé. She bears the Child in her
right arm and in her left hand holds a fig before his
intent gaze. She is amiable, more full-faced than in the
Ascension and the Descent of the Holy Ghost, remind-
ing us somewhat of Virgins by Bouts. She wears a
green dress and over it a sleeved mantle of gold bro-
cade, Italian in type, with medallions of flowering
thistles on a red ground. The gold hem is set with
emeralds and pearls. A dark blue mantle covers the
top of her head and falls in graceful folds to the square-
tiled floor.
The Child wears a short white robe, and on his
right hand a friendly small bird is perched. The
Child’s face bears a family resemblance to that of St.
Peter in the Last Supper panel. Between the pointed
arches are placed, each in a painted niche, statuettes
of four prophets in high relief.
Lent by Mr. Martin A. Ryerson.
[ 64 }
SCHOOL OF AMIENS OF ABOUT 1480
No. 25.
SCHOOL OF AMIENS OF ABOUT 1480
No. 26. Tue Last SuPPER
ON WOOD
Height, 4538 Inches; Width, 197% Inches
The scene takes place here in an upper room, the
back portion of which is covered with a gaufered leather
curtain decorated with gilt arabesques surmounted by
a dais painted in grisaille, containing three compart-
ments divided into triangles. Each compartment 1s
separated from the others by a sort of buttress.
The Christ stands at the far end of an oblong table,
around which are grouped the Twelve. At the Christ’s
left stands Peter, white-bearded, his crown of white
hair under the bald head surrounded by a plain gold
nimbus. To the right of the Christ sits St. John, red-
haired, wearing a dark red robe and a pale blue mantle;
his arms are resting on the table, his eyes are lowered
as if asleep, while he leans his boyish beardless face
against the Saviour. At John’s side is another apostle
with long white beard and hair, a golden halo around
the head, clothed in a mantle with a wide lowered hood
which falls over a golden robe adjusted to the belt.
The other disciples sit around the table, some with
hands folded, all generally in an attitude of reverence
and adoration.
To the right, seen through a door standing ajar, is
an accessory composition, the Washing of Feet. Here
the Saviour kneels with sleeves rolled back and an
apron at His waist, in the act of washing Peter’s feet in
a golden basin. The Apostle is easily recognizable.
Other disciples, ten in number, group themselves in
the background.
Lent by Mr. Martin A. Ryerson.
[ 66 ]
i
fo a SSS
“
No. 26. SCHOOL OF AMIENS OF ABOUT 1480
SCHOOL OF AMIENS OF ABOUT 1480
No.2 7 Tue ASCENSION
ON WOOD
Height, 4538 Inches; Width, 197% Inches
The Ascension is handled in the same manner as
the Last Supper and most of the figures are the same,
agreeing in resemblance as well as costumes. Above
the round orbit of the earth filling half the field of the
composition, the Christ is ascending; His naked feet
have just left the ground upon which their imprints
remain. The right hand is raised in a gesture of bless-
ing, the rigid body is clad in a dark violet robe. The
head is surrounded by a gilt cruciform nimbus; hair
and beard are red. The body is bathed in golden rays
coming from the sky, while clouds to right and left are
bending down, ready to receive Him. On the hem of
His garments, interrupted by the folds, are words
from stanzas in honor of the Virgin: Salve sancta dei
genetrix .. Opéra mantim™] | tw. . spon
Before the earth ball, which they hide in part, the
apostles are grouped on their knees, in varying atti-
tudes. Hands are raised in surprise and adoration
and, on the right, two apostles awkwardly shield their
eyes to protect them from the blinding celestial light.
All are draped in ample garments with gilt borders of
differing sizes and styles. The Virgin kneels to the
left, the long-fingered hands joined flat, head raised,
eyes filled with an ineffable expression of mingled adora-
tion, regret, and resignation. Behind the Virgin, some-
what to her left, we recognize the red-haired, young
and beardless St. John, whose short, very pale blue,
almost white, mantle contrasts with the subdued red
of the robe. To the right of the Virgin, in side view
but facing her, St. Peter kneels. He wears pale blue
robe covered with a wide red mantle with gilt border.
Of the remaining characters, grouped on second and
third planes, two stand out particularly. One, seen
entirely from the back, wears gold embroidered, crim-
son garments, a mantle with gilt orfrays, and a sky
blue scarf over the arms. The second wears a green
robe and mantle. The heads of both are thrown back
and foreshortened to watch the Christ’s ascension
immediately above them; nothing shows except the
top of forehead and the nose.
Lent by Mr. Martin A. Ryerson.
[ 68 ]
ABOUT 1480
F AMIENS OF
SCHOOL O
INOs 27)
SCHOOL OF AMIENS OF ABOUT 1480
No. 28. THE DESCENT OF THE Hoty-GuHosT
ON WooD
Height, 4538 Inches; Width, 197% Inches
In a deep, narrow room, floored with black-and-
white square tiles, lighted from sides and back by win-
dows set with little panes forming lozenges, the Holy
Ghost appears in the traditional shape of a dove with
wings extended, flying in a golden nimbus. From that
focus golden rays leaping into flames fall radiantly
upon the apostles grouped around the Virgin. The
upper part of the room is cut off by a gilt dais, con-
sisting of a wide string-course upon which there are
line-drawings made with a pen of the full-length
statues of eight prophets placed each in a little niche;
these again end in points with round knobs and stand
out on the red background like an embroidery accen-
tuating the architectural details. Between the two
groups of prophets and framed by the wide arch
which spands the room, the episode of the Serpent in
the Wilderness is represented.
The composition of the main scene resembles those
treated before; the same characters appear dressed in
almost identical garb. The Virgin sits in the midst of
the apostles, St. John and St. Peter, both kneeling
beside her.
A Virgin with Saint James and a donor in the
Lord Leconfield Collection, Petworth, given to a Bur-
gundian painter of the sixteenth century, and a Death
of the Virgin in the Museum at Lyons (catalogued as
by an unknown painter) show a close family resemb-
lance to the Virgin in this panel.
Lent by Mr. Martin A. Ryerson.
[70 ]
AMIENS OF ABOUT 1480
SCHOOL OF
No. 28.
SCHOOL OF AMIENS OF ABOUT 1480
Nop 29: SAINT JOHN THE Baptist
ON WOOD
Height, 453% Inches; Width, 197% Inches
St. John the Baptist stands in a niche almost identi-
cal with that occupied by St. Honorius. He wears a
brownish-red tunic covered. with a brick-red mantle,
which lifted by his left arm, shows his thin legs and
curious feet, which have become, in the artist’s struggle
to render them in steep perspective, almost deformed.
On his left arm he carries a large closed book on which
rests the divine lamb to which the saint points with
his right hand. Within the grisaille compartments of
the dais above the saint’s head, painted to represent
carved stone, are the episodes of the saint’s life: his
Birth; his Preaching in the Wilderness; the Baptism of
Christ; the Appearance before Herod; the Decapita-
tion. The saint’s hair is chestnut in color and his russet
beard, divided into two points, recalls that of the Christ
in The Last Supper, whose facial type indeed is similar.
Lent by Mr. Martin A. Ryerson.
[72]
ABOUT 1480
SCHOOL OF AMIENS OF
PISS.
No.
SCHOOL OF AMIENS OF ABOUT 1480
No. 30. St. Honorivus
ON WOOD
Height, 4538 Inches; Width, 197% Inches
It was under the patronage of St. Honorius, one of
the early bishops of Amiens, that during the fourteenth
century the Carthusian monastery of Thuison was
founded. St. Honorius was born at the village of Port-
le-Grand, eight kilometers from Abbeville. He died in
the year 600 and was buried in his native village. In
the ninth century his remains were removed to the
cathedral of his episcopal see. The right lateral portal
of Amiens Cathedral shows various miracles performed
by him. Two of these miracles appear on one of the
carved wood retables which also came from the Car-
thusian monastery of Thuison and which, according to
Abbé Crozet,* were still at the Crotoy in Abbeville
in 1870. The same miracles appear among the five
compartments of the dais in this panel, representing
episodes in the life of St. Honorius: kneeling, appointed
bishop; healing a paralytic; apparition of a divine hand
above the altar during his celebration of the mass; at
prayer in his cell; exhumation of the relics of St.
Fuscian, St. Victoric and St. Goutran.
* Abbé Crozet: Hagiography of the Diocese of Amiens, III, 38-77.
Lent by Mr. Martin A. Ryerson.
ead,
SCHOOL OF AMIENS OF ABOUT 1480
No. 30.
SCHOOL OF AMIENS OF ABOUT 1480
No. 31. Saint Huco, BisHop or LiIncoLn
ON WOOD
Height, 4538 Inches; Width, 197% Inches
St. Hugo, the scion of a noble house of Burgundy,
having taken orders at the Grande Chartreuse (the
Mother-house of the Carthusians) near Grenoble, had
been prior of the Carthusian Monastery of Wittham
in England, afterwards becoming archbishop of Lincoln
in 1185. He dies there on November 17, 1200 and the
monks at Wittham gave his remains to the Monastery
at Thuison.
He stands beneath a dais, identical with that in
the panel of the Virgin and Child, holding in his right
hand a crozier and in his left a golden chalice from
which the Christ Child emerges. His white linen
monk’s vestments covered with an ample scapular, fall
to his feet. The dark blue bishop’s cope, repeating
the thistle patterns of the Virgin’s gown, is fastened
at the breast bya large gold plaque-s=@mstnicm.
chased, within a circle of cusps, the Christ whose left
hand holds the symbolic ball and whose right hand is
raised in blessing. The mitre and the wide facings of
the cope are richly ornamented with pearls and precious
stones.
The phenomenon of the large swan with the gold
band about its neck results, according to M. Delig-
nieres, from a tradition that Saint Hugo doubted the
actual presence of the Savior within the Eucharist.
These doubts were dissipated by the miraculous ap-
pearance of the Christ Child from the chalice at the
moment when the devil, in the guise of a swan, was
endeavoring to distract the Saint’s attention. The
left hand of the Saint, as well as the badly drawn
chalice and the child are the work of another and
much later hand.
Lent by Mr. Martin A. Ryerson.
[76]
No. 31. SCHOOL OF AMIENS OF ABOUT 1480
JEAN BOURDICHON
Jean BourpicHon is, after Jean Fouquet, the chief
representative of the School of Tours. From 1479 to
his death, which occurred about 1521, he was em-
ployed as painter and colourer by the Kings of France:
Louis XI, Charles VIII, Louis XP and Pirancicets
His most popular masterpiece is the decoration of
the Great Hours of Queen Anne of Bretagne, finished in
1508, this lady having been the wife of Louis XII.
This celebrated manuscript of fifty-one miniatures,
each full page, without counting the pretty encasings
“of very rich flowers, all different”? adorning the mar-
gins of all the leaves, is kept in the Bibliothéque Na-
tionale at Paris. Several other colored manuscripts
could be attributed to him by comparison, notably
the Book of Hours of the Duke d Angouléme, father of
Francis I. But Bourdichon was not only a miniaturist.
Documents prove that he also painted large religious
pictures, for instance an Adoration of the Magi, in sev-
eral compartments, ordered by King Charles VIII,
and an Allegory of Death. The Triptych of Passion of
the church of Saint Antoine de Loches, dated 1485,
might be by his hand. We know that he also painted
portraits. There are generally attributed to him two
portraits of children of brilliant charm, who are most
probably the children of Charles VIII; the little dau-
phin Charles-Orland (Collection of M. de Beistegui,
and a young child represented with joined hands, in
the Louvre).
BIBLIOGRAPHY
URMER: The Book of Hours of Queen Anne of
Brittany, Paris, 1841.
MILE Mate: Three New Works of fean Bour-
dichon, Gazette des Beaux Arts, 1902.
Jean Bourdichon and his Workshop, 1904.
Count Pau, Durrieu: Painting in France
from 1422 to 1589; History of the Art of
Andre Michel, TY. 1V, 1911.
JEAN GUIFFREY AND Pierre Marcet-: French
Painting. Primitives. Pariseeccs
Louts Dinter: History of French Painting,
Patisslo 2s:
L781
JEAN BOURDICHON
No. 32. Portrait or Man witu FALcon
ON PANEL ROUNDED AT TOP
Height, 9% Inches; Width, 7% Inches
Depicted on a red background, in bust, slightly
turned to the left. Hair, moustache and spare beard
are reddish-brown. He wears a velvet toque and a
black robe with turned up collar. He is holding a
falcon on his wrist.
Lent by Colonel M. Friedsam.
No. 32. JEAN BOURDICHON
JEAN BOURDICHON
No. 33. Diptycu. Portrairs or HUSBAND AND WIFE
Each Panel: Height, 8 Inches; Width, 5 Inches
Their hands are joined in prayer. The young man
wears a black coat with fur collar. The background is
dark green. The young lady wears a dark costume
and a white headdress. Red prayer-beads in her
hands. The background of this panel is red.
Formerly in the Collection of Prince Borosselski in
Warsaw.
Lent by Mr. Mortimer L. Schiff.
[ 80 ]
JEAN BOURDICHON
No. 33.
MAITRE DE MOULINS
The Anonymous Author of the magnificent “Trip-
tych of the Cathedral of Moulins” who was for this
purpose baptised Maitre de Moulins, and whom Henri
Bouchot proposed to call the Painter of the Bourbons,
for he worked specially for this princely family, re-
mains even today one of the most mysterious artistic
personalities of the French School of the fifteenth
century.
It would be tempting to identify him with Jean
Perreal,, surnamed Jean of Paris, who was the favorite
painter of the kings Charles VIII, Louis XII and
Francis I. The dates and circumstances of his life,
and the style of his pictures, seem to confirm this
hypothesis. We know in fact that Jean Perreal worked
at Lyons, as the Maitre de Moulins, for Cardinal
Charles de Bourbon. He was the painter commissioned
by Queen Anne of Bretagne with designing the pattern
of the celebrated tomb of Nantes, sculptured by Michel
Colombe. Now, the type of one of the virtues Tem-
perance which decorates one of the angles of the tomb,
offers the most striking analogies to several figures of
the Maitre de Moulins; notably Saint Madeline of the
Louvre. Unfortunately, these comparisons give us
only probabilities and presumptions, without allowing
us to identify the personality of the two artists.
Around the Triptych of the Cathedral of Moulins,
his masterpiece, which may be dated 1498, there are
grouped several works of great charm which are cer-
tainly from the same hand, The Nativity in the Museum
of Autun, painted about 1480 for Cardinal Jean Rolin,
the portrait of Cardinal Charles de Bourbon, two
copies of which are known, one at the Museum of
Condé at Chantilly, the other at the Musée Germanique
of Nuremberg; the Donatrix Presented by Saint
Madeline (Louvre) which might be placed about 1495,
the Decapitation, of Col. Friedsam, The Virgin and the
Child of the Brussels Museum, the Annunciation of
the Ryerson Collection and the Meeting of Foachim
[ 82 ]
and Anna which recently entered the National Gal-
lery in London.
BIBLIOGRAPHY
Henri Boucuor: Exhibition of French Primi-
tives, Paris, 1904.
Count Durrieu: French Painting trom 1422 to
1589.
AnpDRE MicueEt: History of Art, T. IV, Paris,
Oil,
Er. Moreau-NE taton: The Clouets and Their
Imitators, Paris, 1924.
Louis Dimer: History of French Painting,
Rarissi 925,
[ 83 J
MAITRE DE MOULINS
No. 34. DECAPITATION OF FivE Martyrs
ON PANEL
Height, 35% Inches; Width, 26% Inches
Five martyrs, all young and beardless, their heads
in halo, are grouped in the left foreground. One of
them has already lost his head. The four others are
kneeling, with their hands joined. The executiener,
in red doublet and blue breeches, has seized the first
by his hair and, with arm raised, prepares to strike
him with his sword.
In the background there is a prison at the left with
its narrow loop-holes, the gate of which is partly open.
On the right there is a landscape background with
rocks and a fortress surrounded by water. It is impos-
sible to determine the meaning of this scene, for none
of the saints that are undergoing martyrdom has the
least distinctive attributes. The one who is being
seized by the executioner seems to be of higher rank
than his companions, for he wears a richly embroidered
garment, while the others are more modestly clad.
The limpid coloring and the background of the
landscape distinctly show the manner of the Maitre de
Moulins and recall the style of the two beautiful por-
traits in the Louvre, dated 1488, which represent Pzerre
IT, Duke of Bourbon, and his wife, Anne de Beaujeu.
BIBLIOGRAPHY
CaMILLeE Benoit: French Painting to the End of
the Fifteenth Century. Gazette des Beaux
iis AO s
Lent by Colonel M. Friedsam.
[ 84 ]
MAITRE DE MOULINS
No, 34
MAITRE DE MOULINS
INO 355 ANNUNCIATION
ON WOOD
Height, 29 Inches; Width, 20 Inches
The Virgin kneels before a prie-dieu in the right
foreground on which an open breviary 1s placed. Her
dark blue gown is corded at the waist, and her rose-
red mantle is buttoned across the chest with a strap
and falls in a cascade of folds to the marble floor.
Behind her is a bed with drawn curtains and valance,
and a small portrait of the Christ, His hand raised in
blessing. A beam with a classic console supports the
arched ceiling. A variegated marble column with
Ionic capitol is seen on the left with the suggestion of
a garden at its foot. Gabriel, the angle of the Annun-
ciation, too sharply defined against the background,
wearing a green dalmatic lined with rose, holds a
baton topped by a crown in his left hand and presum-
ably announces the advent of the dove, although his
gaze is fixed on the ceiling.
A recent acquisition by the National Gallery has
brought to light a hitherto unpublished work by the
Maitre de Moulins. In Dr. Friedlander’s opinion this
panel and the panel recently acquired by the National
Gallery in London, representing Joachim and Anna at
the Golden Gate with the figure of Charlemagne beside
them, once belonged to the same Triptych.
Exhibited, National Exhibition of Old Masters,
Grafton Gallery, London, 1909 (No. 76, illus.)
BIBLIOGRAPHY
FRIEDLANDER, M. J.: Burlington Magazine,
Oct., 1925, XLVII, 187-191 (illus.)
Conway, M.: The Van Eycks and Their Follow-
ers, 187.
BrockwELL, M. V.: The Connotsseur, 1922,
LXII, 206.
GuIFFREY, J., AND Marce., P.: La Peinture
frangaise—les Primitifs. 18) pip soe oes
Fry, R.: Burlington Magazine, 1906, IX, 331
(illus.)
Monap, F.: Gazette des Beaux Arts, 1910, n.s.v.
3, 331, (illus.); Revue de lartp 1910p
Rernacu, S. Repertoritum de peintures du moyen
age et de la Renaissance. IV, 54.
Lent by Mr. Martin A. Ryerson.
[ 86 ]
MAITRE DE MOULINS
.
a)
©9
No.
MAITRE DE MOULINS
No. 36. PorRTRAIT OF A LapDy
ON WOOD
Height, 1234 Inches; Width, 9 Inches
On a beautifully ornamented background is shown
the portrait of a distinguished Lady. A white, trans-
parent headdress, as worn at the end of the XVth
century, falls down over her shoulders.
She is evidently praying, because with both of her
hands she is holding her Chapelet, to which are attached
blessed Medallions.
This painting was formerly owned by Count
Bissaccio in Chartres.
Lent by Mr. A. Berg.
[ 88 ]
No. 37. MAITRE DE MOULINS
MAITRE DE MOULINS
No. 38. MapELINE DE WARDHEMBERGHE, COUN-
TESS OF EGMONT
ON PANEL
Height, 16% Inches; Width, 934 Inches
Younger than her husband, Jean, Count of Egmont,
she is also represented in half body, on a green back-
ground, her hands resting on a balustrade covered
with the same fabric of Genoa brocade. But, instead
of a paper, her right hand is holding a carnation, which
was the fashionable flower of the time. Slightly turned
to the left, she wears a headband of monastic severity,
and a black gown, with large sleeves, ermine-bordered.
Her features are sober and inexpressive. Without the
flower she holds in her hand, and which is her only
coquetry, one might almost say she was a nun.
Reproduced in a contemporary drawing in the
Recueil [ Arras and recognized by Dr. M. Friedlander.
Lent by Colonel M. Friedsam.
MAITRE DE MOULINS
No. 38.
MAITRE DE MOULINS
No. 39. PorTRAIT OF A YouNG MAn
ON PANEL
Height, 10%2 Inches; Width, 8 Inches
Covered with a bonnet of velvet, brim of which falls
down as far as his eyebrows, and from which escape
long hairs falling on the back of his neck to the should-
ers, a young beardless man, seen in three-quarter view,
looks at us with his glancing eyes widely opened. He
is clad in a mantle, bordered with fur, which is crossed
on his breast. Only his left hand, which seems to hold
a letter, is partly visible. The physiognomy, that the
painter has not tried to idealize, has nothing noble in
it; but it is very fine and individual.
This delightful little portrait, that Dr. Max Fried-
lander gives to the Maitre de Moulins, and which at
all events 1s worthy of him, might be dated about the
year 1490.
Lent by Colonel M. Friedsam.
al
Quentin Matsys are characterized by the elongation of
the figures, a somewhat effeminate grace, the richness
of the architectural decoration in the taste of the Ren-
aissance, and by a harmonious and limpid coloring.
His contemporaries named Bellegambe “The Master
of Colors.”’
BIBLIOGRAPHY
A. Wauters: Yean Bellegambe de Douat, Paris,
1862.
Mer. Denaisnes: Life and Work of fean Belle-
gambe, Lille, 1890.
Max J. FrreDLANDER: Mezsterwerke der Nieder-
laendischen Malerei des XV. and XVI.
Fahrhunderts auf der Ausstellung zu Bruegge,
Muenchen, 1903.
L972]
JEAN BELLEGAMBE
No. 40. Triprvcu. THE ADORATION OF THE
VIRGIN
Central Panel: Height, 39% Inches; Width, 24 Inches
Shutters: Height, 27% Inches; Width, 9% Inches
Signed and, dated 4: 7.1533:
CENTRAL PaneL: The Virgin, seated on a richly
decorated throne with the Jnfant Fesus in her arms,
receives the homage of four donators kneeling at her
feet. There hovers above the throne the Ezernal
Father in a glory of orange and gold. Tiny angels are
playing on the canopy and on the arms of the throne;
four of them, more daring or more curious, have taken
position in the niche of the pedestal.
Among the four donators kneeling before the Ma-
donna, the two laymen who are in the foreground
seem to be of princely rank to judge from the sump-
tuous robes of ermine in which they are dressed above ~
their orange-colored garments. Behind them there
kneel in great modesty two monks of the Order of
Cisteaux, on the left a monk with his hands joined, to
the right a nun holding the Book of Hours. The
austerity of their monastic robes, black and white,
contrasts with the magnificence of the prince and the
princess.
INTERIOR OF THE SHUTTERS: On each side kneel
two Cistercian monks in prayer, joining their prayers
to those of the donators. Those on the left are under
the protection of Saint Bernard of Clairvaux, the
founder of their order; those on the right are under the
protection of a mitred archbishop, holding the double
cross, who might be Saint Malachie, primate of Ireland,
pupil of Saint Bernard. In the nooks of the panels, an
angel presents the armorials of Clairvaux and the
donators.
REVERSE OF THE SHUTTERS: Represent the most
popular miracles of the Legend of Saint Bernard—the
miracle of the milk of The Virgin, or, to use the ex-
[98]
pression consecrated in Christian iconography, the
Miracle of the Lactation. According to the legend,
Saint Bernard saw in ecstasy The Virgin nursing the
Infant Fesus and a few drops of the miraculous milk
struck his face. A pretty picture in the Wallraf-
Richartz Museum of Cologne, attributed to the Master
of the Life of the Virgin (Meister des Marienlebens),
represents this subject which was particularly honored
in the convents of the Order of Cisteaux. Here Saint
Bernard is kneeling on the left before the Virgin
Nursing Her Child, which occupies the right shutter.
This precious triptych, unknown to Mgr. Dehaisnes,
who does not speak about it in his monograph on Jean
Bellegambe, was evidently executed for an abbey of
the Order of Cisteaux. The scene of the Legend of
Saint Bernard, represented on the shutters, the Cis-
tercian monks kneeling before the feet of The Virgin,
is a clear proof of it. But, before passing to the col-
lection of the Baron de Tavernost and thence to the
collection of Col. M. Friedsam, this painting was in the
chapel of Cellier, Department of the Aube, which was
formerly a dependency of the abbey of Clairvaux.
It was published under the name of The Altar-piece of
the Cellier for the first time by Mr. de Mely in 1908.
Now, among the monasteries in the neighborhood
of Douai for which Jean Bellegambe had been active,
there was situated a famous convent of women of the
Order of Cisteaux, also dependent on Clairvaux: the
abbey of the Cistercians or Bernardines of Flines. We
know that the abbess of this monastery, Jeanne de
Bourbais, who devoted considerable sums to the dec-
oration of her church, had several times given impor-
tant orders to Jean Bellegambe. She commissioned
him in 1511 with the decoration of the 4maire of Saint
Hubert, that is, the Shrine containing the relics of this
Saint whom the pilgrims invoked against pestilence.
It would therefore be fairly tempting to recognize
Jeanne de Bourbais under the features of the nun
kneeling to the right. However, the armorials, which
were studied by N. Prinet, are not hers.
The two people kneeling in the foreground might
[99]
be the founders of the abbey of Flines, that 1s, Mar-
guerite of Flanders and her husband. The attribution
of this remarkable triptych is outside of doubt. One
might rather have expected to see the signature J. B.
than that of B. J.; but these inversions of initials are
not without precedent. The proportion of the figures,
the background of the landscape, the rich decoration
of the throne of The Virgin which reminds one some-
what of the semi-Gothic, semi-Renaissance architec-
ture so dear to Jean Gossart and Lancelot Blondel,
the soft coloring, the rather delicate beauty: all betray
the hybrid art of this Franco-Flemish painter. This is
likely to be the last known work of Jean Bellegambe,
who died a little after 1533. He is likely to have
painted this triptych the same year when Jeanne de
Bourbais resigned her functions of abbess of Flines
that she occupied since 1507. It is not impossible that
she presented this votive offering to her dear abbey
as a farewell gift.
BIBLIOGRAPHY
D’arBolIs DE JOUBAINVILLE: Repertoire Archeo-
logique de [ Aube, 1861.
ABBE Hautcoeur: History of the Abbey of
Flines, Paris, 1874.
De Me ty: The Altar-piece of Cellier and the sig-
nature of Jean Bellegambe Revue de 1 Art
Ancien et Moderne, 1908. Reproduction
in heliogravure.
Lent by Colonel M. Friedsam.
[ 100 ]
JEAN BELLEGAMBE
No. 40.
JEAN BELLEGAMBE
No. 41. THE CONVERSION OF ST. PAUL
Height, 40 Inches; Width, 47 Inches
The scene is set on the road to Damascus, behind
which are seen rocky hills, chateaus, a lake and on a
small scale, the persecutions of the Christians.
St. Paul, under whom his white horse has collapsed,
gazes upwards and beholds the celestial “sign” of sun-
rays. Soldiers in armour, on horseback and on foot,
surround him, and their holy terror over the miracle
is depicted on their faces.
The painting is full of dramatic action and of vivid
transparent coloring. The red, white, and yellow pre-
dominate.
This magnificent picture identified by Dr. Max
Friedlander at the Bruges Exposition, is a highly wel-
come example of the work of this Franco-Flemish mas-
ter who reminds one at the same time of Simon Mar-
mion, “Prince d’Enluminure,” and of the Antwerp
painter, Quentin Metsys. Like his contemporary,
Jean de Maubeuge, better known under the name of
Mabuse, Jean Bellegambe of Douai appears to us like
a vivid link between the French and Flemish Primi-
tives.
Exhibited in the Bruges Exhibition of 1902.
BIBLIOGRAPHY
Max J. FRIEDLANDER: Metsterwerke der Nieder-
landischen Maleret auf der Ausstellung zu
Briigge. Muenchen, 1903.
Lours Reau: Monograph on Yean Bellegambe.
Lent by F.. Kleinberger Galleries.
[ 102 ]
No. 41. JEAN BELLEGAMBE
JEAN BELLEGAMBE
No. 42. Portrair oF THE ABBoT CHARLES CoGUIN
ON WOOD
Height, 2614 Inches; Width, 1114 Inches
This panel is evidently a fragment of a triptych,
judging from the attitude of the person turning to the
right, it should be a part of the left shutter. The bishop
or abbot, the donator of the altar-piece 1s represented
on his knees with bare head, hands joined. A crown of
hair sprinkled around his wide tonsure falls in fringes
on his forehead; his features are rather fine, in spite of
the disproportionately long nose. On his blue robe
there is thrown a dalmatic of gold brocade trimmed
with bands of orfrois and fixed on the chest by a mag-
nificent clasp in chiselled gold. Behind his gloved
hands (according to the liturgical tradition pontifical
gloves, chirotecae) are his abbatial cross and his sudo-
rium. His mitre trimmed with pearls is on the ground,
near his Prie-Dieu on which there is an open Book of
Hours. In a large bay. that divides a mullion orna-
mented with pilasters and thin columns, a charming
landscape is seen; to the left a group of trees, to the
right a river crossed by a bridge and animated with
boats.
According to the embroidered armorials on the rug
covering the Prie-Dieu, above the mitre, the person-
age represented here is the mitred abbot, Charles
Coguin, superior of the powerful abbey of Saint Sauveur
d’Anchin, not far from Douai and the Cistercian abbey
of Flines. The cloisters of this abbey, unfortunately
destroyed, were reputed to be the finest in Europe. It
is in this church that there were found two of the
masterpieces of Jean Bellegambe: the poliptych of the
Holy Trinity and the triptych of the Mystic Bath of
the Souls in the Blood of the Saviour or of the Holy
Blood.
The shutter of this triptych, a characteristic work
of Jean Bellegambe, is likely a work of 1510 or there-
abouts, considerably earlier than Col. Friedsam’s
triptych of the Adoration of the Virgin dated 1533.
A. Forceats Collection, Paris, 1858.
Jean CreAN Collection, Troyes.
BIBLIOGRAPHY
Mer. Denaisnes: Life and Work of fean Belle-
gambe, Lille, 1890, page 125.
Lent by Colonel Michael Friedsam.
[ 104 ]
JEAN BELLEGAMBE
a
No
JEAN PERREAL
No. 43. Portrait oF MonsiIEuR DE BELLEFOURIERE
ON PANEL
Height, 161% Inches; Width, 1114 Inches
He is represented in bust, turned to the left, on a
dark green background. His energetic face, smoothly
shaven, has a severe and stern look. He is covered
with a square bonnet from which long hairs escape,
covering the back of the head. Huis black costume is
animated only by a lingerie collar.
We can draw from this famous picture itself pre-
cious information about the identity and age of the
model. The portrait is unfortunately not signed, but it
is dated. The date of 1521 is seen on the top te
armorials of the personage are reproduced on the right,
and on the lower edge of the frame there is inscribed
his name in large letters: Monsieur de Bellefourtére,
with the number 69, which may mean his age.
This beautiful portrait, which comes from the col-
lection of the art-critic Thiébault-Sisson, Paris, has
figured at the Exhibition of French Primitives in 1904,
Catalogue No. 147.
BIBLIOGRAPHY
E.. Bancet: Jehan Perreal, Paris, 1885.
R. pE Mautpa La CLaviEre: Jehan Perreal
called Fean de Paris, Paris, 1896.
Lent by Colonel M. Friedsam.
[ 106 ]
JEAN PERREAL
No. 43,
JEAN CLOUET
The two Clouets, Jean and his son Frangois, have
been for a Jong time in the eyes of the public and even
the learned, the outstanding French portraitists of
the time of Francis I.
Like Corneille de Lyon, the Clouets were origin-
ally from the low countries. From the beginning of the
reign of Francis I, we see Jean Clouet, called Janet,
established at the Court of France. In 1522 he be-
came gentleman of the chamber in the royal house,
replacing Jean Bourdichon, and in 1528 painter and
valet de chambre of the king. He acquired such a repu-
tation that the poet Clement Marot is not afraid to
compare him to Michael Angelo. Jean Clouet died in
1540 leaving his position to his son Francis.
BIBLIOGRAPHY
Count DE LABORDE: The Renaissance of the
Arts at the French Court, Paris, 1850.
Henri Boucuor: The Clouets and Corneille de
Lyon;.Paris, 1392.
A. GERMAIN: The Clouets
E. Moreavu-Netaton: The Clouets, official
painters of the French kings, Paris, 1908.
Portrait Painting at the Court of the Valois.
French Crayons of the sixteenth century, pre-
served at the Conde Museum at°Chantilly,
Paris, 1909. The Clouets and Their Imitators,
Paris, 1924.
Louis Dru teEr: History of Portrait Painting in
France in the sixteenth century. 3 vol-
umes, Paris, 1924-1926.
JEAN CLOUET
No. 44. Portrait oF A PRINCE OF THE HOUSE OF
SAVOIE
ON WOOD
Height, 16% Inches; Width, 12% Inches
Among the paintings that bring to one’s attention
the name of the Clouets, the celebrated portraitists of
the Court of the Valois, there is none that better de-
serves the qualification of “chef d’oeuvre” than this
magnificent portrait of a grand seigneur of the time of
Francis I.
Wearing a cap ornamanted after the fashion of the
time, with a jewel showing Saint Barbara, the gentle-
man is presented to us turned three-quarters to the
left. Long, light-brown hair, carefully combed, con-
[108 ]
tours his virile physiognomy, hiding almost entirely
the ear of which only the lobe is perceived. With the
exception of a very light moustache, his energetic face
is almost without beard which accentuates his expres-
sion of youth.
The elegant and even sumptuous costume, as well
as the proud and almost imperative regard, indicate a
man of high birth. The rim of his black barrette 1s
ornamented with gold batonnets. He wears a dark
brown fur coat from which emerges a white lingerie
collar neatly pleated. On his breast is a magnificent
gold chain tormed of roses and interlaced letters from
which is pending an enamelled medal representing the
Annunciation of the Virgin: It is the chain of the
Order of the Annonciade.
This beautiful portrait has come down to us in a
marvelous state of preservation. The background 1s
of a transparent blue and serves exceptionally well to
bring out the firm modeling of the face and of the
goldsmith ornaments. The execution is of particular
neatness, notably in the treatment of the hair and of
the details of the costume without, however, degenera-
ting in minute brush work. The colors applied thinly
and smoothly have the transparence and the eclat of
enamel.
The provenancy of this panel is a safe guaranty for
its authenticity. It belonged to the Duke de Mailly,
whose coat-of-arms is pasted on the back, and lately it
was in the famous collection of the Count de Mont-
brizon at the Chateau Saint-Roch near Toulouse,
where the French Primitives were represented so
remarkably.
The chain of the Order of the Annonciade that 1s
worn by our gentleman so ostensibly on the breast
may indicate to us his identity. This order had been
founded in 1362 by Amédée VI, Duke of Savoie,
under the name of the Order of the Collier. It was re-
newed in 1518 by the Duke Charles III and called
Annonciade in honor of the Annunciation of the Virgin.
The insignia of the order is a sort of rosary in gold-
smith work, the roses of which are separated by the
device Fert which was explained differently, either:
Fortitudo ejus Rhodum tenuit or Frappez, Entrez,
Rompez, Tout. This order, which is still today the
highest order of the Italian crown, heir of the House
of Savoie, was given only to the princes of royal blood.
This is the reason why one is tempted to recognize 1n
this portrait a prince of the House of Savote.
[ 109 ]
This supposition is all the more probable as the
princes of Savoie were closely united by marriage with
the Court of France. The King Francois I was the son
of Louise de Savoie and, consequently, nephew of
Philibert le Beau, who married Marguerite d’Autriche,
daughter of Emperor Maximilian. Francis I was also
a nephew of Charles III of Savoie (1504-1553) who
restored the Order of the Annonciade. These princes
frequented the Court of France and it is but natural
that they had their portraits made by the painter of
Francis I.
As to the author of this magnificent portrait, it
cannot be any other than JEAN CLovuETt, called Janet,
for chronological reasons and on account of its execu-
tion. This was the favorite painter of Francis I in
whose service he spent all his life, from 1516 to 1540.
It suffices to compare this chef d’oeuvre with other
authentic portraits of the master, like the beautiful
portrait of Louis de Cléves, brother of the Duke de
Nevers, which is at the Museum of Bergamo, in order
to be convinced of its attribution, already ancient.
We arrive at the conclusion that this magnificent
portrait, which counts among the most perfect works
of the French pictorial art of the sixteenth century, is
by the hand of Jean Clouet and that it represents a
prince of the House of Savoie and even possibly the
Duke Charles III, the restorer of the Order of the
Annonciade.
Former Collections:
DuKE DE Mairi.
Count DE Monrsrizon, Chateau St. Roch.
BIBLIOGRAPHY
Lours Reau, Monograph Fean Clouet.
Lent by Colonel M. Friedsam.
[1104
No. 44. JEAN CLOUET
JEAN -CLOUETL
Nos45. PorTRAIT OF FrRAnNcIs |
ON Woop
Height, 16 Inches; Width, 1234 Inches
The King is represented in half figure, front view,
his head slightly turned to the left. His two hands are
visible, one showing the palm open, the other resting
on the handle of a magnificent engraved sword. He
wears a red laced doublet over which is shown a fur
mantle studded with large pearl. He is elegantly
covered with a black toque ornamented with a medal-
lion of pearls and embroidered with a large white
feather.
Several reproductions of this beautiful portrait,
which comes from the celebrated collection of the
Count de Montbrizon at the Chateau de Saint Roch,
and which passed through the collection of Mrs.
Chauncey J. Blair in Chicago before entering that of
Colonel Friedsam, are known. The two best known
are those of Hampton Court and of the old Lancaster
Collection at Lisbon.
The portrait which passed from the Chateau of
Fontainebleau to the Louvre Museum is certainly of
an earlier date; 1t represents the king in all the brilliance
of his youth before the Battle of Pavia, while the por-
trait in the Friedsam Collection represents the king
already worn by life and pleasures, with swollen and
pasty features. To judge from the apparent age of
the model, this painting must have been executed
about 1535.
BIBLIOGRAPHY
G. Capon: 4 Portrait of Francis I by Fean
Clouet, Paris, 1924.
Lent by Colonel M. Friedsam.
C2
No. 45. JEAN CLOUET
JEAN CLOUET
No. 46. PortTraAIT OF CHARLOTTE OF FRANCE
ON WOOD
Height, 12 Inches; Width, 9 Inches
Bust portrait of the young Princess facing right
and a Rosary in her hands. The bodice of her dress 1s
black and the sleeves are yellow. Her pink headdress
is embroidered with pearls.
Dr. Friedlander in commenting on this portrait
states that it is an excellent work of the Master towards
1540.
Clouet painted another portrait of the Princess
with several variations.’ It is described by L. Dimier
in his History of Portrait Painting in France, Vol. I,
pl. 5. No. 151. It was exhibited in Paris in 1904,
Lent by Mr. Max Epstein.
[114 ]
JEAN CLOUET
No. 46.
JEAN CLOUET
No. 47. Portrait oF ADMIRAL ‘(GUILLAUME GOUF-
FIER, SIRE DE BONNIVET
ON WOOD
Height, 14 Inches; Width, 10% Inches
He has blue eyes, the face is turned three-quarters
to the left. Hair and beard light brown. He is repre-
sented as a bust. On his head he wears a black soft
hat, with a black ribbon on the top. He wears on a
red vest, a green coat bordered with fur. In his left
hand he holds a roll of paper and in the other hand a
bouquet of pansies. Green background. On the top of
the panel, on a banderole, 1s a devise: Fol Desir Novos
Abvee.
Exhibited in the Exposition of French Primitives,
April-July, 1904, No. 145 of the catalogue as a work of
Jean Clouet, painted about 1520.
Reproduced in the Gazette des Beaux-Arts, No. 566,
August, 1904, page 133; Guillaume Gouffier, Sir of
Bonnivet, killed at Pavia in 1525, with the devise: Fo/
desir nous abuze (Excessive desires are abusive),
Collection E. Richtenberger, a picture more fully and
resolutely painted with a more vivid touch and stronger,
if not more delicate than many of fanet’s works. Article
of Mr. George Lafenestre.
Reproduced in the work of Mr. Salomon Reinach,
Paintings Unknown or Little Known, op. cit., plate 1z
and described on page 24. Mr. S. Reinach add:
This painting was in the collection of Prince of Valor
where it was catalogued—a thing almost incredibles—
the portrait of the sculptor Baccio Bandinelli by Holbein.
In 1874 it was in the exposition for the benefit of the
Alsaciens and Lorrains which was held at the Palats-
Bourbon.
When it became a part of the collection of Mr.
Eugene Richtenberger, it was first considered by certain
amateurs as a work of Corneille de Lyon. In 1904 at
the exposition of the French Primitives, where it had
the number 145, it was declared to be by Jean Clouet
by Mr. Bouchot, who proposed to recognize in it the
portrait of Guillaume Gouffier, Sir of Bonnivet, killed
in 1525 at the Battle of Pavia.
Paut Virry in Les Arts, 1904, No. 28, page 44.
Lent by The City Art Museum in St. Louts.
[116]
No47), JEAN CLOUET
JEAN CLOUET
No. 48. PORTRAIT OF A YOUNG MAN
ON WOOD
Height, 97% Inches; Width, 8% Inches
This charming portrait gives an excellent represen-
tation of French Renaissance Art.
The style of the painting is very similar to that of
the well-known portrait of Francis I in the Louvre
and that of his son in the Antwerp Museum. It re-
sembles in execution also 4 Man Holding Petrarch’s
Works in Hampton Court and the portrait of a Prince
of Savoie, owned by Colonel M. Friedsam. Even the
lingerie collar is pleated in the same manner as in the
Friedsam portrait.
BIBLIOGRAPHY
Dr. W. R. VALentiner: in the Bulletin of the
Detroit Institute of Arts, January and April,
1926.
Lent by the Detroit Institute of Arts.
[118]
No. 48. JEAN CLOUET
JEAN CLOUET
(1467-1540)
No. 49. PorTRAIT OF GUILLAUME BuDE
ON WOOD
Height, 155% Inches; Width, 1358 Inches
In the last Volume of the Collection of MSS., dat-
ing from 1534 to 1539, by the Scientist Budé himself,
there is a note: Pictor iconicus qui me pinxit ME
GENET CLOUET vocatur, according to which he was
about 70 years old when Clouet painted him. This
quite agrees with the portrait itself.
A drawing at Chantilly is obviously the original
drawing for this painting. Moreau-Nelaton points
out that the drawing was stained with the same bluish-
green as the background of this portrait. A copy of
this portrait in the Versailles Museum bears the In-
scription: Guglielmus Budaeus, and the various en-
graved portraits go to prove the probability of this
identification.
The Greek inscription on the book has, according
to Professor Leo A. Hanigan, the following meaning:
To get possession of whatever one desires appears
to be important; but really what is of most im-
portance 1s to desire nothing unless it 15
absolutely necessary.
Budé was the greatest Helenist of his time. Under
Louis XII and Francis I he accomplished various dip-
lomatic missions. Upon his recommendations were
founded the College of France and the famous Library
in Fontainebleau. He drew the plans for the St. Ger-
main quarter and introduced pavement in the streets
of Paris. He left numerous scientific works. Erasmus
called him the Marvel of France.
This portrait was formerly in the Collection of Sir
Henry Howorth in London.
BIBLIOGARPHY
ANDRE THEVET: Portraits et Vies des Hommes
tllusires Grecs, Latins, et Payens Pat
1584.
Henry Boucuot: Les Clouets. Paris, 1892,
Dee:
E. Moreau-NELaton: Crayons Francais du
XV Ie Siécle conservés au Musée Condé a
Chantilly. Paris; Vol aly pe lees
E. Moreau-NEtaton: Les Clouets. Paris, 1924.
Vol. I. p. 54.
ArtHUR E. PopHam: 4 Portrait by Fehannet
Clouet. Burlington Magazine, London,
March 19235 ales
Lent by Mr. Leo S. Bing.
[120]
No. 49. JEAN CLOUET
FRANCOIS CLOUET
BORN AT TOURS, ABOUT 1516
DIED ON SEPTEMBER 22, 1572
Francois CLovet, surnamed Janet, as his father
Jean, was considered by his contemporaries as the
greatest of French painters. The poet Ronsard called
him “The Honor of our France.’ He inherited all the
offices of his father, was official painter to the kings of
France, Francis I and Henri II, and controller of de-
signs for moneys.
The Louvre possesses his masterpiece, signed in
large letters and bearing the date of 1562. It is the
portrait in natural size of his friend the druggist and
botanist, Pzerre Quthe. This painting, which is indis-
putably genuine, may now serve as a criterion and
point of comparison to verify the attributions of the
works not signed, at the head of which are placed the
portraits of Charles TX, in the Vienna Museum. For
this reason, we must doubtless eliminate the charm-
ing portrait of Elizabeth of Austria, Queen of France,
which belonged to Roger de Gaigniéres before coming
to the Louvre and which seems rather a work of Etienne
Dumoustier. Beside the painted portraits, Francois
Clouet has left us admirable crayons that are divided
among the National Library of Paris and the Condé
Museum of Chantilly.
tao
BIBLIOGRAPHY
E. Moreau-Netaton: The Clouets, official
painters of the French kings, Paris, 1908.
Henri Stein: The painter Francois Clouet and
the druggist Pierre Quthe. Memoires de
la Société de [ Histoire de Paris et de Tile de
France, 1909.
[123]
FRANCOIS CLOUET
No. 50; PoRTRAIT OF CHARLES IX
ON PANEL
Height, 12% Inches; Width, 9 Inches
The young prince, completely beardless, is repre-
sented in bust, slightly turned to the left. His pale
features are encircled with a pleated collar. He is
elegantly dressed in a black velvet doublet, enriched
with pearls and bands of greyish fur, and is covered by a
toque with a white feather. On his breast hangs the
necklace of the Order of Saint Michael founded by
Louis XI. It is known that the Order of the Holy
Ghost was instituted only four years after his death
by his brother Henri III.
This beautiful portrait most likely dates from 1566;
it reproduces exactly the type of the great Charles IX
of the Vienna Museum, of which the Louvre possesses
a small replica. The crayon which served as model to
these portraits was found in the Design Cabinet of the
Hermitage Museum at Petrograd.
From the Collections: M. von Beckerath, Berlin,
and the Chateau de Nijenrode in Holland.
BIBLIOGRAPHY
Catalogue of the collections of the Chéteau de
Nujenrode (Pretace by Dr. Max J. Friep-
LANDER), Amsterdam, 1923.
E. Moreau-NeEvaton: The Clouets and Their
Imitators, Paris, 1924.
Lent by Colonel M. Friedsam
[ 124]
No. 50. FRANCOIS CLOUET
FRANCOIS CLOUET
No. 51. Portrait PRESUMABLY OF THE DONeOE
MaxImMILian II
ON PANEL
Height, 7% Inches; Width, 5% Inches
On a sombre grey background is seen the pale head
of a sickly youth. He is coquettishly coiffured with a
black toque with red feathers and wears a magnificent
yellow embroidered doublet over which is thrown a
black mantle bordered with fur.
If this young man is the son of the German Em-
peror Maximilian II, he 1s the brother-in-law of the
French King Charles IX. This prince in fact married
on November 27, 1570, the second daughter of Maxi-
milian II, Elizabeth of Austria, a pretty portrait of
whom is in the Louvre, attributed by tradition to
Francois Clouet.* It is possible that the artist exe
cuted this portrait of the brother at the time of the
coronation of the young queen, in 1571.
Lent by Colonel M. Friedsam.
No. 51. FRANCOIS CLOUET
FRANCOIS; CLOUD
No. 52. Portrair or JACQUES DALBON DEW ot
ANDRE, MARECHAL DE FRANCE
ON WOOD
Height, 8% Inches; Width, 6% Inches
Assuming that the portrait shows him at the age of
about 40, it must have been painted in about 1545.
Jacques d’Albon was born in 1505. He was a
favorite of Henry II of France who made him a Mar-
shal, Governor of Lyonnais and Ambassador to Eng-
land. He served with great bravery against the Em-
peror Charles V in 1552. In 1557 he was taken prisoner
at the battle of St. Quentin, but was released the fol-
lowing year, and took part in negotiating the peace of
Cateau-Cambresis.
After the death of Francis II he formed in 1561
with the Constable de Montmorency and Francis,
Duke of Guise, an alliance known as the Triumvirate
against the Protestants and the Queen-Mother. He
was killed at the battle of Dreux in 1562.
A drawing for this portrait is at the Hermitage at
Petrograd.
Jean Guiffrey and L. Dimier agree in giving this
beautiful portrait to Francois Clouet.
Lent by Mr. Albert Keller.
[128]
FRANCOIS -CLOUET
No. 53. Porrrarr oF MADAME DE PIENNE, DAUGH-
TER OF ADMIRAL CHABOT
ON WOOD
Height, 1414 Inches; Width, 10 Inches
Anna de Pienne is represented in bust, slightly
turned to the left, with blond hair and blue eyes. The
elegant headdress is richly adorned with pearls and
she wears a necklace and a row of pearls with a mag-
nificient jewel on her breast, all of beautiful work-
manship.
The execution is of great perfection, with a firm
design and distinction in the local colors. The portrait
shows a supreme refinement, such as flourished in
France at the Courts of the last Valois. _
This style was in vogue during the reign of Charles
IX, about 1560.
The portrait of Elisabeth of Austria, wife of Charles
IX, one of the gems of the Louvre, is painted exactly
as this picture. It is the same fine and smooth execu-
tion and the same brushwork in every detail.
In the British Museum there is a drawing for this
portrait (Salting donation) with the name Madame de
Pienne.
Her father, Philippe de Chabot (died in 1543), was
one of the favorites of Francis I. He was made pris-
oner at the same time as the King at the battle of
Pavia in 1525. Subsequently Francis I made him an
Admiral and Governor of Bourgogne and the Nor-
mandy. Anna married Charles de Hallium, Sire de
Pienne. L. Dimier in Histoire de la Peinture de Portraits
en France au XV Ie Siécle, reproduces the drawing in
Vol. Iypl) 26.
Lent by F. Kleinberger Galleries.
[ 130 ]
No. 53. FRANCOIS CLOUET
FRANCOIS CLOBE?
No. 54. Portrait oF A YOUNG WomMAN
ON PANEL
Height, 13 Inches; Width, 9% Inches
Represented to the waist, without her hands, the
attitude and expression of her pretty face are some-
what rigid and stiff. She is dressed in a corsage of
white emboidery, with turned-back sleeves entirely
studded with rubies. On her breast there flashes a
magnificent pendant and pearl necklace. On her co-
quettishly wavy hair, tied by a pearl headdress, there
rests obliquely a small black toque of supreme elegance
ornamented with a large white feather.
Who is this young lady, the sumptuous toilette of
whom recalls somewhat that of Queen Elizabeth of
Austria, in the small picture in the Louvre Museum.
It is hard to tell exactly. But she is certainly a princess
or a great lady of the Court of Valois.
This portrait, which belonged to the Count de
Montbrizon at the Chateau de Saint-Roch in France,
then passed into the collection of Mrs. Chauncey J.
Blair, Chicago.
Lent by Colonel M. Friedsam.
[ 132]
FRANCOIS CLOUET
ek
No
FRANCOIS CLOUET
INOg So, PorTRAIT OF A WoMAN
ON PANEL
Height, 8 Inches; Width, 6% Inches
In frontal bust, on a greenish-brown background,
she wears around her neck an enormous fluted ruffle.
Her strawberry red corsage is trimmed with a prodig-
ality of pearls and ribbon bows. By way of headdress,
a trimming of ribbons in red and white is wreathed in
her heavy black hair.
This picture comes from the Ferdinand Hermann
Collection at New York.
Lent by Colonel M. Friedsam.
[ 134]
ET
FRANCOIS CLOU
Now 55.
FRANCOIS CLOUET
Noise PorTRAIT OF A Man
ON PANEL
Height, 5% Inches; Width, 434 Inches
In bust, slightly turned to the right, he wears a
moustache and a short beard of square form. A guipure
collar falls down in two points terminated by tassels
on his black doublet.
No emblem, no inscription reveal the identity of the
mysterious personage. However, he offers a certain
resemblance to the crayon in the Condé Museum at
Chantilly, which represents Jean, Seigneur de Taix.
Lent by Colonel M. Friedsam.
[ 136 J
No. 56. FRANCOIS CLOUET
FRANCOIS. CLOUET
INOg 72 PorTRAIT OF A YOUNG LADY
ON WOOD
Height, 127% Inches; Width, 10 Inches
Attired entirely in black, she must have been wid-
owed at the time the portrait was painted. There are
only a double row of pearls around the neck and some
dark beads thrown over the shoulders for adornment.
Also the white pleated collar is lined with black. The
background is light brown. The effect of the delicate,
almost monochrome painting is one of great distinction.
Lent by Mr. Leo S. Bing.
[138]
FRANCOIS CLOUET
No. 57.
CORNEILLE DE LYON
BORN AT THE HAGUE IN 1505
DIED AT LYON IN 1574
Master Corneille belongs to that numerous constel-
lation of painters of the Low Countries who came to
seek their fortunes in France and found there a second
fatherland.
He went to Paris, while very young, where he was
probably the pupil of the old Jean Clouet. But he did
not remain there, and preferred to establish himself
definitely at Lyon in 1544: hence his surname, Corneille
de Lyon, under which the Dutch refugee is known,
who had previously been called Corneille of The
Hague. Having broken all ties with his native country,
he asked and received in 1547 naturalization papers
from King Henri II.
At first sight it is hard to explain that this painter,
established in the province, could have continued to
make so many portraits of the royal family and the
great lords of the French Court. But the court made
frequent trips to Lyon and it is quite possible that
Maitre Corneille worked on the designs of the Clouets or
other artists attached to the person of the king.
The chronicler Brantome relates that in 1564
Catherine de Medici, having come to Lyon with King
Charles IX, visited “a painter by the name of Cor-
neille, who had in a large room all the great lords,
princes, cavaliers, princesses, dames, and daughters of
the Court of France.”’ Basing our statements on this
report, we instinctively attribute to Corneille de Lyon
all the small portraits painted with so light and trans-
parent a touch, generally on light blue or water green
backgrounds, representing the personages of the French
Court under the reigns of Henri II and his three sons.
It is probable that the artist himself painted a large
number of these small portraits; but, he had pupils,
imitators in France and abroad. M. Louis Dimier has
made an effort to distinguish some of these copyists or
their emulators: The Pseudo-Amberger, the Maitre de
[ 140 ]}
Rieux-Chateauneuf. A delicate task, often conjec-
tural, but necessary, for in the present state of our
knowledge, the name Cornielle de Lyon designates
rather a kind of vogue in the sixteenth century than
the work of a definite artist.
The celebrated collector, Robert de Gaigniéres, had
collected a large number of these small portraits, the
iconographic interest of which he well recognized.
After the museums of Versailles and Chantilly, the
collection of Colonel Friedsam offers today the largest
choice and the most refined one.
BIBLIOGRAPHY
Henri Boucuor: The Clouets and Corneille de
isyon, Paris, 1892.
Aupin ET VIAL: Dictionary of Artists and
Writers on Art in France: Lyon, Paris,
1918.
Louis Dimier: History of Portrait Painting in
France in sixteenth century, Paris, 1925.
GavarD, C.: Galeries historiques du palais de
Versailles, v. VII, pl. 1922. Paris, 1838.
Moreau-Ne.aton: Le Portrait a la cour des
Valois (Crayons francais du XV Te siécle),
Paris, 1908.
RicuTer, Louise M.: Chantilly in History and
wart, \ondon, 1913.
Micue-: Histoire de l’art, v. IV, pt. 2, p. 760.
Hovrerique, L.: Art in France, 170-171, New
Mark. 1911.
Ranpor: Les Peintres de Lyon.
Germain, A.: Les Artistes lyonnais, p. 71.
[141 ]
CORNEJLLE DE LYON
No. 58. PorTRAIT OF A Son oF FRANCIS [|
ON PANEL
Height, 634 Inches; Width, 534 Inches
In bust figure, three-quarters, turned to the right, he
is covered with a black toque decorated with a large
white feather. He wears on his black doublet a soft
collar terminating in two points to which tassels are
attached. A thin gold chain supporting a medallion
falls on his breast.
Who is this young unbearded pallid youth with
expressionless eyes? He passed in the Parravicini
Collection of Basel for René de Puy, gentleman of the
Court of Francis I. But if we compare this portrait
with its replicas at the Condé Museum at Chantilly
and the National Gallery of London (Salting Collec-
tion), one is tempted to conclude that it is probably
one of the sons of the king; that is, the Dauphin
Francois, as is mentioned by M. Moreau-Nelaton.
According to M. Dimier, it is Monsieur d’Orleans,
third son of King Francis I.
Former Collection: Parravicini at Basel, Switzerland.
Lent by Colonel M. Friedsam.
[142 ]
CORNEILLE DE LYON
20.
No
CORNEILLE DE LYON
No. 59. Porrrair oF JEAN D’ALBON, SEIGNEUR
DE SAINT ANDRE
ON PANEL
Height, 634 Inches; Width, 534 Inches
On a light green background rises the energetic and
intelligent figure of an old gentleman, entirely shaven.
The full-cheeked face, with double chin, starts to get
pasty with age. He is covered with a small toque of
black velvet and sumptuously robed with a loose cloak
of grey bordered with a large band of fur. His chest
is barred with a thin gold chain on which hangs a
medallion.
Several reproductions of this magnificent portrait
are known: in the old collection of Charles Butler of
London, at the Louvre, at the Museum of Clermont-
Ferrand and in the ancient Pelous Collection. The
Louvre copy, which comes from the Timbal Collec-
tion, bears the inscription: Monsieur de Saint André
placed above the panel. A window of the church of
Saint André d’Apchon in the Department of the Loire
reproduces the features of this personage, who is none
other than Jean d’Albon, Seigneur de Saint André,
governor of Lyon and of the Bourbonnais, chevalier of
honor of Catherine de Medici, father of the famous
Marshal Saint André, who was the favorite of Henry II.
As he died in 1550, this portrait may be dated from
the last years of Francis I.
A controversy arose in connection with this paint-
ing because of the inscription, which is entirely dif-
ferent from the copy in the old collection of Charles
Butler in London, on which there is the legend: “Jean
de Rieux, Comte de Chateauneuf.”’ Mr. Louis Dimier
rallies to this identification and proposes a new attribu-
tion. Although he formerly published this master-
piece under the name of Corneille de Lyon, he attributes
it today to an anonymous painter whom he has bap-
tised the. Painter of Rieux-Chateauneuf. dt is not
that he finds it unworthy of Corneille de Lyon; very
much to the contrary: for he considers this hypothetic
painting as superior to all its rivals and he praises its
[144]
warm coloring and brilliant finish, the vigorous model-
ing and its spiritual touch.
BIBLIOGRAPHY
KE. JEANNEY ET J. DECHELETTE: The Windows
of Saint-André d’Apchon. Bulletin de la
Diana, 1897.
Lours Diuter: An unknown work of Corneille
de Lyon. Revue del Art Ancien et Moderne,
feed. 1902.5" Aistory of Painting in
France in the sixteenth century, Paris, 1925.
Paut-AnpDRE LEmoIsne: Paintings in the Louvre
Museum. French School of the fourteenth,
fifteenth, and sixteenth centuries, Paris,
Te 26..
Lent by Colonel M. Friedsam.
No. 59. CORNEILLE DE LYON
CORNEILEEsDE-DYON
No. 60. Portrait or MonsiEuR DE LA Nove
ON PANEL
Height, 7 Inches; Width, 5% Inches
An inscription painted above the panel gives the
name of the person. He is represented in bust, slightly
turned to the right. Intelligent figure, illuminated by
eyes of greenish blue, moustache and beard of brown
color carefully cut in square which emphasizes the
white edge of a lingerie collar. Toque and doublet
black.
This portrait of a man comes from the collection of
the American painter, Walter Gay of Paris.
Lent by Colonel M. Friedsam.
CORNEILLE DE LYON
No. 61. Portrait oF A Man
ON PANEL
Height, 7% Inches; Width, 6 Inches
One might say that this represents a Calvinist
doctor. Covered with a square bonnet, with severe
looks, elongated features, heightened by a reddish
brown beard ending in two points, he wears a dress of
black color without any ornamentation. Background,
dark grey.
Lent by Colonel M., Friedsam.
[146]
No. 60. CORNEILLE DE LYON
No. 61. CORNEILLE DE LYON
CORNEILLE DEWEY Os
No. 62. PortTRAIT OF THE DUKE DE COSSE-DRIUSEe
ON WOOD
Height, 8% Inches; Width, 6 Inches
Slightly turned to the left, he wears a dark brown
béret with a white ostrich feather. He has blue eyes,
blond hair, mustache, and beard. Attired in a dark
brown doublet showing white sleeves with blue stripes.
Ahe background i is a hight water-green.
Executed in the artist’s best manner with a beau-
tiful transparent, delicate touch.
Dr. Friedlander described this charming portrait in
a very appreciative manner.
The picture passed through the following impor-
tant collections:
M. Colbert, Finance Minister of Louis XIV.
The King of Hanover.
The Duke of Brunswick.
The Duke of Cumberland.
Collection B. Haussman, Hanover.
Exhibited at the Hanover Museum since 1894.
Lent by Mr. Fules S. Bache.
[ 148 ]
CORNEILLE DE LYON
No. 62
CORNEILLE DE LYON >
INOz.63¢ PorTRAIT OF A NOBLEMAN
ON WOOD
Height, 8% Inches; Width, 6 Inches
Seen almost full face, he wears a black Jbéret with a
black feather. Brown beard and mustache surround a
strong, virile face. A black doublet, showing white
sleeves, is closed in front by six brown buttons.
A light water-green background makes this charm-
ing portrait stand out to great advantage. Painted
in the artist’s best manner with a transparence like
that of enamel.—Dr. Friedlander: “a beautiful work of
the Master.”
The picture passed through the following important
collections:
M. Colbert, Finance Minister of Louis XIV.
The King of Hanover.
The Duke of Brunswick.
The Duke of Cumberland.
Collection B. Haussman, Hanover.
Exhibited at the Hanover Museum since 1894.
Lent by Mr. Fules S. Bache.
(S07)
No. 63. CORNEILLE DE LYON
CORNEILLE DE LYON
No. 64. Portrait or JACQUELINE DE Rowan, Mar-
QUISE OF ROTHELIN
ON PANEL
Height, 834 Inches; Width, 7 Inches
Half figure slightly turned to the right, this graceful
young woman is represented on a light green back-
ground. She has a dark headdress on her blond curly
hair and a wide-sleeved black robe on which is set off
the white of the collar slightly opened. A pearl neck-
lace on her neck, a gold chain on her corsage compose
her trimmings of sober richness.
This portrait, full of distinction, comes from the
Pelletier Collection of ‘Pans;
Lent by Colonel M. Friedsam.
CORNEILLE DE LYON
No. 65. Porrrair oF MADEMOISELLE DE COSSE
ON PANEL
Height, 634 Inches; Width, 5% Inches
An inscription above the panel gives the name of
this young woman of sad and gloomy countenance.
Turned toward the left she is represented in bust on a
light green background. She wears a severe black and
grey costume. A dark veil falls from her headdress
placed very much behind on the top of her head, so as
to free the forehead and hair.
Her physiognomy recalls a portrait in the Condé
Museum at Chantilly which is supposed to represent
Gabrielle de Rochechouart, dame de Lansac. This
delicate portrait comes from the Walter Gay Collec-
tion at Paris.
Lent by Colonel M. Friedsam.
[152]
ON
CORNEILLE DE LY
No. 64.
CORNEILLE DE LYON
365.
oO
N
CORNEILLE DE LYON
No. 66. Porrrair or LoutsE DE HALLEwyn, DAME
DE CyPIERRE
ON PANEL
Height, 8 Inches; Width, 634 Inches
The subject of this portrait has been identified as
Louise de Hallewyn (Halluin, Hallewin) who in 1560
was. married to Philibert de Marcilly, seigneur de
Cypierre, governor of King Charles IX. A painting of
the same lady, almost identical with the Ryerson panel,
is in the Museum at Versailles (Soullie catalogue,
#3205). The Versailles painting is engraved in Ga-
vard’s Galeries historiques de Versailles, v. VU, #33 of
Corneille de Lyon’s catalogue. Dimier dates the pic-
ture at about the year 1555. The Versailles panel is
somewhat smaller than Mr. Ryerson’s, measuring 7144”
by 5%”.
Lent by Mr. Martin A. Ryerson.
CORNEILLE DE LYON
No. 67. Portrait or MonsiEuR DE VALE, GENTIL-
HOMME DU Roi
ON PANEL
Height, 634 Inches; Width, 5% Inches
He wears a black hat with white feather. His hair,
beard and moustache are dark brown. White em-
broidered collar, black coat with fur trimming.
_ This portrait was formerly in the Woog Collection
in) Parise
Lent by Mr. Mortimer L. Schiff.
[ 154 ]
No. 66. CORNEILLE DE LYON
No. 67. CORNEILLE DE LYON
CORNEILLE DE LYON
No. 68. PorTRAIT OF A Monk
ON PANEL
Height, 634 Inches; Width, 5 Inches
This young monk with ruddy features was the con-
fessor, probably very indulgent, of King Francis I.
He is represented in bust, turned to the right. Some
tufts of hair in curls fringe his broad tonsure. He is
robed in a grey hooded frock. This clear, transparent
painting of sure design and so precise as to remind
one of Holbein, comes from the Pelletier Collection in
Paris.
Lent by Colonel M. Friedsam.
CORNEILLE DE LYON
No. 69. PorRTRAIT OF AN O_p Man
ON PANEL
Height, 8% Inches; Width, 6 Inches
He is represented in bust, slightly turned to the
left. The name of this austere personage is not known.
The face is wrinkled, the cheeks hollow, his veins pro-
truding on his temples. His square bonnet, his long
grey beard and his black garment give him the ape
pearance of a Huguenot doctor or a preacher.
This portrait comes from the collection of Count
de Montbrizon, Chateau de Saint-Roch, in France.
4
Lent by Colonel M. Friedsam.
[156]
No..68. CORNEILLE DE LYON
No. 69, CORNEILLE DE LYON
CORNEILLE DE EYOn
No? a0) PorTRAIT OF A YOUNG LADY
ON PANEL
Height, 8 Inches; Width, 63% Inches
Against a black background the figure of a young
lady, turned slightly to the right is, shown. She wears
on her dark brown hair a yellow-brown bonnet.
Draped around a high white collar, open in front, is a
light transparent shawl which falls over her shoulders.
The corsage is pink and red, while the sleeves are
white with yellow-brown stripes.
The only ornaments are pearl earrings, a necklace
of pearls and rubies, and a pendant on her corsage.
Lent by Mr. Alexander M. Bing.
[158]
YON
E DE L
CORNEILL
No. 70.
CORNEILIE DEAEYON
INO GHA Ls PorRTRAIT OF AN O_p MAn
ON PANEL
Height, 7 Inches; Width, 534 Inches
On a greyish brown background there is seen the
vigorous figure of a man with hollow features, grey
moustache and beard. His cloak, with tucked up
collar, is of the same dark brown color as his headdress.
The design of this austere portrait 1s of remarkable
precision; the locks of hair and the hairs of the beard
are detailed with an application of the miuniaturist,
without this effort at minute details at all hurting the
ensemble.
Lent by Colonel M. Friedsam.
CORNEILLE DE- LYON
Nosae: PoRTRAIT OF A BEARDED MAn
ON PANEL
Height, 734 Inches; Width, 6% Inches
His fine face, turned to the right, is represented
on a green background. He has a thick moustache of
light brown and an abundant beard which encases his
cheeks and ends in two points. His very simple gar-
ment, without the least jewelry, is made up of a velvet
toque and a black doublet with a white collar largely
hidden by his beard.
Lent by Colonel M. Friedsam.
[160]
No. 71. CORNEILLE DE LYON
No. 72. CORNEILLE DE LYON
CORNEILLE DE EYON
INOSefat PorTRAIT OF A Man
ON PANEL
Height, 634 Inches; Width, 534 Inches
This portrait coming from the Woog Collection of
Paris, represents a man with blond beard of a square
cut, wearing a black hat with gilded trimmings.
Lent by Colonel M. Friedsam.
CORNEILER DE LYON
No. 74. PorTRAIT OF A Man
ON PANEL
Height, 6% Inches; Width, 5% Inches
Represented in bust, in front view. A very brisk
moustache and a square beard stifle his rather coarse
face with a strong expression. With his right hand,
the only one visible, he holds on his chest the flaps of
his black mantle.
Lent by Colonel M. Friedsam.
[ 162]
No. 73. CORNEILLE DE LYON
No. 74. CORNEILLE DE LYON
CORNEILLE DE -EYON
Naso: PorTRAIT OF A Man
ON PANEL
Height, 10 Inches; Width, 7% Inches
On a dark green background there is seen the figure
of a man with dark moustache and beard. His hat is
inclined to the right. Bands of fur decorate his gar-
ment in front, on the sleeves and on the shoulders. He
has taken the glove off his right hand in order to open a
package with a knife. The left glove is turned back
and allows a view of a part of the hand.
This portrait has passed through the collections of
the Count de Montbrizon and of M. Sulzbach, Paris.
Lent by Colonel M. Friedsam.
CORNEICUEE DE EYOs
No. 76. PortTRAIT oF A Man
ON PANEL
Height, 9% Inches; Width, 7% Inches
His lean and bony features are set off by a drooping
moustache and a short spare beard of reddish brown.
He is dressed in a black pleated doublet, strictly fitted
around the neck, which is surrounded by a fluted white
collarette. The most striking feature of his costume
is his exceptionally tall headdress, rather convex,
encircled by a ribbon with a broad rosette in front.
An inscription at the top of the panel gives the date
as 1570 and the age of the personage as thirty-two
years, but unfortunately it does not reveal his name.
Lent by Colonel M. Friedsam.
[ 164 ]
No. 76. CORNEILLE DE LYON
CORNEILLE DE LYON
INO PorRTRAIT OF A BEARDLESS MAn
ON PANEL
Height, 5% Inches; Width, 44% Inches
Bareheaded and completely shaven, he is gazing to
the right. Abundant curly hair encases his brow. The
eyes have an energetic and wilful expression. He wears
a black doublet with a white collar. Around his neck
there is a large gold link chain.
This portrait comes from the collection of the
Count de Montbrizon, Chateau de St. Roch, in France.
Lent by Colonel M. Friedsam.
CORNEILLE DE, LYON
No. 78. PorTRAIT OF A MAn
ON WOOD
Height, 63% Inches; Width, 51% Inches
Turned towards the right, he wears a black toque
with a dark feather. Light brown hair, moustache and
beard. He is attired in a black coat, closely buttoned
to the neck, where a pleated collar is visible.
Yellow-brown background.
Lent by Mr. Leo S. Bing.
[ 166 ]
No. 77. CORNEILLE DE LYON
No. 78. CORNEILLE DEfLYON
CORNEILLE DE LYON
No. 79. PorTrair oF ANTOINE DE BourBon, KING
OF NAVARRE
ON WOOD
Height, 8¥2 Inches; Width, 6 Inches
At the bottom is an inscription: Antoine de Bour-
bon, Roi de Navarre. Painted about 1555.
The King is represented in bust, slightly turned to
the right. The fine features of the delicately painted
head are surrounded by an abundant chevelure. He
wears a white doublet with high collar. The back-
ground 1s green.
Antoine de Bourbon was born in 1518 as the oldest
son of Duke Charles de Vendéme. He married in 1548
Jeanne d’Albret, daughter of Henry II of Navarre.
In 1553 their son, who became King of France, Henry
IV, was born.in Pau. With his brother, Louis de
Condé, Antoine headed the Huguenot-Bourbon move-
ment against the Guise, but was arrested and was lib-
erated only after the death of Francis II, December 5,
1560. He became Regent thereafter and joined the
Catholic Triumvirate of Duke Francois de Guise, the
Connétable de Montmorency and Maréchal de St.
André; fought against the Huguenots; captured Bourges
and attacked Rouen, in 1562, where he was fatally
wounded. |
From the Collections: Sir Fohn Stromberry, London,
1862; Fohn Heugh, London.
Exhibited: Royal Academy, London, 1873, No. 174.
Algernon Graves: Loan Exhibitions, Vol. II, p. 588.
Lent by F. Kleinberger Galleries.
[168 ]
CORNEILLE DE LYON
No. 79.
CORNEILLE DE LYON
No, 80. PorTRAIT OF A WoMAN
ON PANEL
Height, 734 Inches; Width, 534 Inches
Three-quarters to the right, her features are irregu-
lar with a rather broad forehead. Represented on a
light green background. The severity of her garments
and her dark veil is lightened by the brilliance of the
jewels that adorn her neck and shoulders.
From the collection of the Count de Montbrizon at
the Chateau de Saint-Roch in France, this portrait
passed to America into the collection of Mrs. Chauncey
J. Blair, Chicago.
Lent by Colonel M. Friedsam.
CORNEILLE DE LYON
No. 81. PoRTRAIT OF A YOUNG WomMAN
ON PANEL
Height, 634 Inches; Width, 5% Inches
She is turned to the right. On her red undulating
hair there is resting far in the back a white hood held
up by two circles of gold ornamentation, set off with
pearls, from which falls a dark veil. She wears a
corsage of black decolleté with a small ruche around
the neck and puffed yellow and black sleeves. A mag-
nificent pear-shaped pearl is hanging on her breast.
This precious little.panel has successively passed
through the collections of Count Gaigniéres, Count
Georges de Montbrizon, and Madame la Marquise de
Ganay.
Lent by Colonel M. Friedsam.
[170 ]
CORNEILLE DE LYON
FRENCH SCHOOL OF THE XVITE CENT Gi.
Nor8 2: Portrait oF A Man
ON PANEL
Height, 1434 Inches; Width, 11% Inches
Represented in bust, three-quarters, turned to the
right. His expression is rather energetic. His hair is
thick set, unlike the hairs of his moustache and beard
which are sparse. He is dressed in a black doubtlet
with large bands of fur. A shirred collar, tied under
the chin by two threads, gives a white note in this
gamut of dark colors. We share the view of Dr. Max
J. Friedlander, who believes this painting to be of
French origin.
Lent by Colonel M, Friedsam.
FRENCH SCHOOL OF THE XVITH Grae ia
No. 83. PortTrRAtItT oF A MAn
ON PANEL
Height, 10% Inches; Width, 7% Inches
This unknown personage was most likely an opulent
lord, in spite of the roughness of his features and the air
of negligence that the long and rather badly combed
hair, the locks of which fall on his forehead and along
his cheeks, give him. For above his black doublet
which gives a view of his white shirt through a cut in
the collar, he wears a magnificent fur of spotted ermine.
He is covered with a flat-topped red bonnet placed
obliquely on his head.
This strikingly realistic portrait comes from the
celebrated collection of the banker Aynard of Lyon.
It has figured at the Exhibition of French Primi-
tives of 1904, No. 142, in the catalogue of which it is
stated to be of about 1530 and to represent a Sezgneur
francais de la Cour de Francois I.
Lent by Colonel M. Friedsam.
[roa
No. 82. FRENCH SCHOOL OF THE XVItx CENTURY
NO. 83. FRENCH SCHOOL OF THE XVIta CENTURY
FRENCH SCHOOL OF THE® XVITH IGEN GGRas
No. 84. PoRTRAIT OF THE SEIGNEUR DE MONCHEAU
ON PANEL
Height, 9 Inches; Width, 634 Inches
He is represented in half body om vagred= back
ground, slightly turned to the right, his two hands
crossed on his breast. His grave visage, which is
elongated by a large forehead and a pointed beard, is
encased in a plain white collar. There hangs on his
black garment a double gold chain. He is holding a
pair of gloves in his right hand.
On the left there are the armorials and the motto:
En Espérant. On the right an inscription gives us his
age and the date of the portrait. Aeta Suae 80, 6
months, Anno 1605. This double inscription, to tell
the truth, warrants caution. In spite of his sparse
hair and grey beard, the Seigneur de Moncheau does
not look like an octogenarian and it is hard to believe
that this portrait was executed as late as the beginning
of the seventeenth century, under the reign of Henry
IV.
Lent by Colonel M. Friedsam.
[174]
NO. 84. FRENCH SCHOOL OF THE XVItrx CENTURY
ei
OBJECTS OF ART |
ENAMELS
The origin of enamels is unknown and its use dates
back into antiquity. We know that the Egyptians and
Assyrians enamelled the walls of palaces, and as yet
no work of such magnificence as the great enamelled
walls of the palace of Rameses III at Tell el-Yehudia
in the Delta of the Nile has been discovered upon
metal of any kind. Subsequent Greek and Roman
civilizations used enamel largely on articles of personal
adornment. The next time we hear of the use of
enamel is in a passage from the writings of the sophist
Philostratus (A. D. 240), who says: (Icones, 1. 28).
It is said that the barbarians pour these colors into
moulds, that the colors become hard as stone, preserving
the designs. This is a more or less accurate ‘description
of the process of CHAMPLEVE enamelling, while the
barbarians referred to are Celts from the British
Islands.
From then on we find many references to enamels,
even though at times this exquisite art, which seemed to
thrive only under the sunshine of an opulent luxurious
era, declined and almost disappeared completely. The
objects which have been found show that enamelling
was known throughout Europe during the Middle
Ages, although the pieces vary greatly in style and in
design as well as in technique.
Several kinds of enamels are to be found in gold an
silver works. The CLOISONNES or partitioned,
which the design is formed by thin strips of went
soldered on edgeways to the face of the plate which
serves as a base, 1s the oldest type. The Byzantines
and Chinese were experts in the use of this form.
The thin strips of metal, form the setting which holds
the colored enamel, much as a setting holds a jewel.
Another method of enamelling is the CHAMPLEVE
in which the plate is hollowed out with an engraver,
the sides being left projecting in such a way that
the design is cut into the metal and the grooves form
a setting for the enamels. Again there is the
ized
PAINTED ENAMEL in which the pictorial composi-
tions are executed on the smooth plate.
This latter type came into use only towards the end
of the XVth century when the discovery was made that
enamel could be fused on a metal plate without the
retaining wall and that another layer of enamel could
be superimposed and fused to the first. In most
of these enamel paintings the subject was laid in
with white upon a dark background. Towards 1520
the GRISAILLES appeared; they were obtained by a
first layer of dark enamel on which the design was
worked in white and finally retouched, reinforced,
gilt or otherwise.
The origin of the painted enamel is doubtful and
several points in the history of the art remain very
obscure. The information regarding this technique of
enamelling is only precise, dating from Nardon Peni-
caud, who was probably the earliest painter in enamel.
Pie -worked at Limoges from 1493 to 1513. The
most distinguished follower of this artist 1s Leonard
Limosin who excelled in portraiture. It is at this
time that regular dynasties, from father to son, pro-
duce these Limoges Enamels during three centuries.
The family of Jean Penicaud, Jean Court de Vigier,
Pierre Raymond and Pierre Courteys are all great
names of artists who excelled in this art. Pierre
Raymond was head of a group that rivaled the Peni-
cauds. Jean Court de Vigier is supposed to have
been a pupil of Limosin. His drawing was strong
and had a great elegance of treatment. Jehan Cour-
teys, who died about 1586, is probably the artist who
signed enamels “I. Curtivs” and “I. C.”
[179]
LIMOGES XIIIra CENTURY
No. 85. CHAMPLEVE RELIQUARY
Height, 634 Inches; Length, 111% Inches; Width, 4 Inches
On the cover in raised figures are three angels en-
closed in circles. There are two similar ones on the
front of the reliquary. The chasse is of brass with blue
enamel on the front and polychromed in the back. On
the right end is the figure of St. Paul holding book and
sword, while on the left end is St. Peter with the key.
Former Collections: Church of the Jesuits in
Prague; Prince Lichtenstein in Vienna.
Lent by Colonel Michael Friedsam.
LIMOGES XIIItH CENTURY
No. 86. ENAMELLED PasToORAL STAFF
Height, 12% Inches
There is a criss-cross of brass in which blue enamel is
inlaid and scale like projections on the curved end of the
staff to represent a dragon. In the circle formed by the
end of the staff is the scene showing Archangel Michael
slaying a dragon. This staff, which is of enamelled
Champlevé Brass, comes from the collection of Baron
Leopold Goldschmidt, Paris.
Lent by Colonel Michael Friedsam.
[180 ]
LIMOGES XITItH CENTURY
No. 85.
=
No. 86. | LIMOGES |XIIIrw CENTURY
FRENCH XVrH CENTURY CIBORIUM
No. 87. Height, 15 Inches; Width, 9 Inches
The ciborium is of chiselled silver with painted
enamels. On the base are the symbols of the evan-
gelists, St. Mathew, St. Mark, St. Luke, and St. John.
On the square pillar which rises from the base are the
figures of other saints among whom are St. Peter and
St. Paul. On the top of this pillar is the ciborium, the
sides of which have three small enamels of saints. On
both sides of the ciborium are two small figures in the
round, holding candlesticks.
On the top of the ciborium is a miniature figure of
Christ as Salvator Mundt.
Lent by Colonel Michael Friedsam.
NARDON PENICAUD
(Active 1493-1513)
Narpon PeEnicaupD 1s the first, according to our in-
formation, who painted enamels. There is in the
Cluny Museum in Paris a painted enamel by that
artist dated 1503 and signed by him. This is the only
Limoges enamel signed by Penicaud which has come
down to us. Most of the Limoges artists who followed
him were his pupils. The most distinguished of these
followers was Leonard Limosin.
No. 88. Juno CHARGES. THE Fury ALECTO™=7e
TROUBLE THE TROJANS
Height, 9 Inches; Width, 8 Inches
The subject of this composition is taken from the
legend of Troy. In a landscape dominated by a
chateaufort, Juno naked, her hair hanging over her
shoulders with a headgear in a form of small currets,
is seated in a large architectural stall.
Below, in front of her, a head of a dragon coming
out of the ground, spouts out through flaming jaws the
first and most ferocious of the three furies, Alecton,
with spread wings and hair of vipers and dressed in a
gold striped robe.
From the Collection of Baron J. Vitta, Paris.
Lent by Mr. Fules 8S. Bache.
eels
Y
Vru CENTUR
FRENCH X
No. 87
NARDON PENICAUD
No. 88.
LEONARD LIMOSIN
(About 1505—About 1577)
LeonarpD Lrimosin is supposed to have studied
under Nardon Penicaud. At the beginning of his
career we find that he was very much influenced by the
German School and more specifically by Albert Durer.
His first known work, signed with the initials Z.Z., are
eighteen plaques after Durer. In 1530 he entered the
services of Francis I as painter and valet de chambre,
which positions he retained under Henry II. His last
known work bears the date 1574.
No. 89. DIANA WITH A DEER
OVAL PLAQUE
Height, 11% Inches; Width, 8% Inches
Diana stands in the foreground nude. In her left
hand is a bow, while in her right hand, which is held
over her left shoulder, is an arrow. Beside her a deer
is standing. In the background a stag hunt is in
progress. On the left is a castle.
This plaque comes from the Spitzer Collection, in
Paris, No. 481 of the catalogue.
Lent by Mr. Fules S. Bache.
No. 90: Francis I
7 Inches Diameter
The King is represented wearing a black toque
trimmed with a white feather. On his slashed doublet
may be seen fleurs de Lis and the crowned F: Under
the doublet, appearing through the slashes, is a white
embroidered shirt. Over the doublet is a dark brown
fur garment. This is one of the many portraits in
enamel that Leonard Limosin executed for his master.
This plaque comes from the Spitzer Collection in Paris.
Lent by Mr. Fules 8S. Bache.
[ 184]
No. 89 LEONARD LIMOSIN
No. 90. LEONARD LIMOSIN
LEONARD LIMOSIN
No. 91. MARGUERITE DE NAVARRE
Oval. Height, 6% Inches; Width, 5% Inches
The pale white figure of Marguerite de Navarre is
turned to the left. On the blond hair is a headdress.
She wears a high linen gold embroidered collar with
ruffles; her corsage is black with gold embroidery. A
thin gold chain with a pendant falls around the neck.
The background is blue-black with gold dots. The
plaque is of painted enamel.
Former collections:
M. Denon, Paris.
M. Magniac, Paris
J. P. Morgan, New York.
Exhibited at the Metropolitan Museum of Art, New
ty orks:
Lent by Colonel Michael Friedsam.
[ 186 ]
N
LEONARD LIMOSI
.
No. 91
LEONARD LIMOSIN
(About 1505—About 1577)
No. 92. Henry D’ALBRET, KING oF NAVARRE
Height, 8% Inches; Width, 5% Inches
The portrait shows the King dressed in black
wearing the insignia of the Order of Saint Michael.
On his head is a toque trimmed with a single white
feather. It is painted in various colors on a blue back-
ground. It 1s signed L. L. 1561. Henry d’Albret was
the grandfather of Henry IV.
Lent by Mr. Fules S. Bache.
LEONARD LIMOSIN
(About 1505—About 1577)
No.93. PortraiT oF GaLioT DE GENOUILLE,
COMMANDER OF THE ARTILLERY OF
Francis [.
Height, 9 Inches; Width, 67% Inches
The portrait shows a man with blond mustache
and hair, and blue eyes wearing a black four-cornered
hat and a black circular collar which falls on a white
coat. The background is dark blue. The face is very
delicately executed.
Former Collections:
Baron Arthur de Schickler, Paris.
Comte Hyde Pourtales Paris
Exhibited: Palais Sagan, Paris, 1913, No. 244.
Catalogue-de-luxe, Pl. LV. Illustrated in “Les Arts”,
September, 1913, page 32.
Lent by Mr. Fules S. Bache.
[188 ]
No. 92, LEONARD LIMOSIN
No. 93. LEONARD LIMOSIN
LEONARD LIMOSIN
No. 94. aie Pad a Wb)
Height, 5¥% Inches; Width, 5% Inches
In his right hand he holds a book and in the left,
resting on his shoulder, is a sword. At the base of the
sword shaft are the initials “L. L.”—Leonard Limosin.
He is dressed in a blue garment with a green cloak
thrown over it. The plaque comes from the Marquis
Peruzzi dei Medici Collection, Florence.
Exhibited at the Ba/timore Museum of Art, Novem-
ber, 1926.
Lent by F. Kleinberger Galleries.
JEAN PENICAUD
(XVIth Century)
INGeE > ADORATION OF THE CHILD
Height, 7 Inches; Width, 6 Inches
The Child is lying on His back on a wooden box.
On the left is the Virgin, and beside her is the head of
the kneeling donkey. The Virgin is dressed in a dark
reddish gown and has over her head a white shawl
which falls over her shoulders. On the right, St.
Joseph is kneeling holding a staff in his hand. Over
the group three angels are singing and hold a scroll
of parchment. Although the scene 1s obviously sup-
posed to take place in a hut or shed, as the cattle
would indicate, we find a fine architectural composi-
tion as a background. On the left are a number of
columns and pilasters, and in the center a landscape
with golden stars can be seen through a stone arch.
Lent by Mr. Fules 8. Bache.
[190]
No. 94. LEONARD LIMOSIN
No. 95. JEAN PENICAUD
JEAN PENICAUD
(XVIth Century)
No. 96. THe ANNUNCIATION
Height, 6% Inches; Width, 5 Inches
Jean PeENnIcAUD came from the family of Nardon
Penicaud and was one of his followers. —The Annuncia-
tion is treated in the conventional manner. The Virgin
is kneeling in front of three lilies which are in a vase
and turns her head towards the angel who is standing
back of her. The angel wears a red cassock over a white
gown; the wings are green and the hair yellow.. Above
the angel is God the Father surrounded by clouds;
while below, above the Virgin, is the Holy Ghost in the
shape of a dove.: In the background is a couch with
green draperies and a red cushion.
Lent by Mr. Fules S. Bache.
PIERRE RAYMOND
Nom. Mars, VENUS, AND CUPID
Height, 7% Inches; Width, 6 Inches
On the left on a couch is the purple draped figure of
Venus. Beside her stands Cupid holding a bow, and
sitting at the foot of the couch is Mars dressed in
armor.
On the back of the plaque is the inscription “P. R.
Limoges 1559” which is the signature of Pierre Ray-
mond.
Exhibited at the Baltimore Museum of Art, No-
vember, 1926.
Lent by F. Kleinberger Galleries.
[192]
No. 97. PIERRE RAYMOND
MASTER OF THE AENEAIDE
(Early XVIth Century)
Marquet DE VaAsseELorT attributes these four plates
to the Master of the Aeneaide and states that they
date from between 1525 and 1530. The subjects are
copied after the woodcuts executed by Sebastien Brant
illustrating the Aeneid published by the printer Johann
Gruninger of Strasbourg at the beginning of the
XVIth Century.
No. 98. AENEAS FLEES FROM TROY WITH ANCHISES,
CREUSE AND ASCANIUS
Height, 9 Inches; Width, 8 Inches
Aeneas is shown carrying his father, Anchises, on
his shoulder and holding his son Ascanio by the hand.
Behind him, on the left, is his wife Creuse accom-
panied by a servant. In the background Troy is seen
in flames.
From the Collection of Mr. fFules Porges, Paris.
Lent by Mr. Fules S. Bache.
No. 99. AENEAS OFFERS. SACRIFICES TO THE GODS
BEFORE THE [Toms or His FATHER AT
DREPANUM
Height, 9 Inches; Width, 8 Inches
On the ground, lying at the right of the group con-
sisting of Aeneas, Ascanio and Acates who are stand-
ing in front of the altar, is a goat and a bull ready to be
sacrificed. Above and at the right of this scene is the
ocean and a galley at anchor. On the altar are several
bowls of wine ready to be poured on the ground by
way of libation to Bacchus. A snake gliding over the
altar tastes the banquet. Alcestes, King of Sicily, is
with Aeneas near the tomb.
From the Collection of Mr. fFules Porges, Paris.
Lent by Mr. Fules 8. Bache.
[194]
No. 98. MASTER OF THE AENEAIDE
No. 99. MASTER OF THE AENEAIDE
MASTER OF THE AENEAIDE
No. 100. ComBat oF ENTELLIUS AND DARES
Height, 9 Inches; Width, 8 Inches
Entellius and Dares are in the center of the compo-
sition, each holding a club or caestus. At the foot of
the tree, behind the fighters, are two swords which are
the prizes to the winner. On the left, behind Entellius,
stands Alcestes, King of Sicily, with a sceptre in his
hand. On the other side, behind Dares, stand Aeneas
and his son, Ascanio. The whole group is dressed in
costumes of the XVIth Century. In the background
is a castle.
From the Collections of Mr. Magniac and Mr. Fules
Porges, in Paris.
Lent by Mr. Fules S. Bache.
No. 101. Turnus, Kinc oF THE RUTULES
Height, 9 Inches; Width, 8 Inches
Turnus, King of the Rutules, is seen in front of
Troy about to meet his rival, Aeneas. After having lost
two battles to Aeneas he agreed to a hand-to-hand
fight with him, and the prize of the fight was to be the
daughter of King Latinus, Lavinie. Turnus was kill-
ed in that fight.
King Turnus is shown in this composition, on
horseback in the middle of the river, outside the walls
of Troy. On the battlements soldiers are seen. The
costumes are of the X VIth century style.
From the Collection of Mr. Fules Porges, Paris.
Lent by Mr. Fules S. Bache.
[196]
No. 100. MASTER OF THE AENEAIDE
No. 101. MASTER OF THE AENEAIDE
JEAN LIMOSIN
(1528-1610)
Jean Limosin was a brother of Leonard Limosin,
who was the most famous of a family of seven Limoges
enamel painters.
No. 102. Emperor Marcus AURELIUS
10% Inches in Diameter
Marcus Aurelius is here represented riding on
horseback in a statuesque manner. The horse stands
on a pedestal and towers over the surrounding land-
scape. The Emperor is dressed in the classical cos-
tume, the foga.
This circular plaque enhanced with gold is a very
fine example of the grisai//e type of enameling.
Former Collection: John Pierpont Morgan.
Exhibited in the Metropolitan Museum of Art.
Lent by Mr. Fules S. Bache.
PIERRE COURTEYS
No103 ENAMELEED COFFRET
Length, 9 Inches; Height, 8 Inches; Width, 5% Inches
The coffret is of gilded silver and has on all sides in
painted enamel scenes of the life of Joseph. On the lid
is a small gilded handle. In the four sides of the coffret
are thin decorative columns. This Limoges Enamel
dates from the X VIth Century.
Former collections:
M. Frederici@sSpitzemebariss
Baroness Mathilde Rothschild, Paris.
Lent by Colonel Michael Friedsam
[ 198 ]
No, 103. PIERRE COURTEYS
SUZANNE DE COURT
(XVIth Century)
No. 104. Ecce Homo
Height, 10 Inches; Width, 8 Inches
Christ with a green crown of thorns is standing on
the right with His hands tied before Him. He wears a
dark reddish-brown cloak over His shoulders, while
around His waist is a white drapery. A soldier, stand-
ing in back of Christ, holds the cloak open so as to
show the people before him the tied hands.
Pilate stands to the left of Christ and is addressing
the people. The background consists of a Renaissance
palace which represents the Temple. On the left is a
green forest in the middle of which is a castle design-
ed in gold. The initials S. C. are in the upper eis
hand corner.
From the Fanien Collection in Paris.
Lent by Mr. Fules S. Bache.
JEAN COURTEYS
(X VIth Century)
Nos) 1052 THE CRUCIFIXION
Height, 9 Inches; Width, 7 Inches
This scene is represented in the usual manner.
Soldiers on horseback holding spears surround the
three crosses. On the right and left of the crosses are
the sun and the moon. In the background is a town
with battlements above which rise the roofs and spires
of churches.
Lent by Mr. Fules §. Bache.
[ 200 ]
INDEX
AMIENS SCHOOL orf asour 1480
AVIGNON SCHOOLS of tHe XIVru
AND XVTH CENTURIES
BELLEGAMBE, Jean
BOURDICHON, Jean
CLOUET, Francois
CLOUET, JEan
COURT, Suzanne DE
COURTEYS, Jean
COURTEYS, Pierre .
FOUQUET, ean :
FRENCH SCHOOLS or THE reves and
XVItH CENTURIES
LIMOGES, Osjecrs Or Art
LIMOSIN, Jean .
LIMOSIN, Leonarp .
LYON, CorNEILLE DE
MALOUEL, Jean
MARMION, Simon .
MASTER OF THE AENEAIDE
MASTER OF MOULINS .
ORLEANS, Jean D’
PENICAUD, JEan
PENICAUD, Narpon
PERREAL, Jean
RAYMOND, Pierre .
SCULPTURES AND BRONZES
SOUTHERN FRENCH SCHOOL
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