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About This Artwork
Portrait of Louise de Halluin, dame de Cipierre, c. 1555
Oil on panel
8 7/16 x 7 in. (21.4 x 17.8 cm); painted surface: 8 1/16 x 6 1/2 in. (20.5 x 16.5 cm)
Mr. and Mrs. Martin A. Ryerson Collection, 1933.1061
In this portrait of a maid of honor to Catherine de’ Medici, wife of Henry II of France, the sitter wears a fashionable dress of the mid-1550s. Her jewelry—a gold chain around her narrow waist, a pearl necklace, and a band of pearls on her hood—harmonizes with the rich, yet restrained ornamentation of her dress and embroidered white chemise. Louise de Halluin was still an unmarried attendant of the queen when she sat for this portrait. Corneille de Lyon’s small, keenly observed portraits of courtiers have their own precious, jewel like quality and were well adapted to the itinerant lives of their owners, who accompanied the court as it moved from one palace to another.
New York, Kleinberger, Loan Exhibition of French Primitives and
Objects of Art, 1927, no. 66.
Art Institute of Chicago, A Century of Progress, 1933, no. 11.
Art Institute of Chicago, A Century of Progress, 1934, no. 10.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, vol. 2, August 1920, p. 61.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, no. 2015.
Rose Mary Fischkin, “Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVII Century, Loaned to The Art Institute of Chicago,” unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 146–27.
Daniel Catton Rich, “The Paintings of Martin A. Ryerson,” Bulletin of the Art Institute of Chicago 27 (1933), p. 12.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, p. 84.
Anne Dubois de Groër, Corneille de La Haye, dit Corneille de Lyon, Paris, 1996, pp. 216–18, no. 132 (ill.).
Susan Frances Jones in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago (Chicago, 2008), pp. 10-13, ill.
Dr. Paul Mersch, Paris, July 1912 [according to Max Friedländer’s authentication dated Berlin, July 3, 1912, on a photograph in the Rijksbureau voor Kunsthistorische Documentie., The Hague]. Senateur Colin, Paris, by June 1913 [Kleinberger stock card, Department of European paintings, Metropolitan Museum of Art, New York]; sold to Kleinberger, Paris, June 1913 [Kleinberger stock card cited above]; sold to Martin A. Ryerson (d. 1932), Chicago, for 30,000 fr., June 20, 1913 [Kleinberger stock card cited above]; on loan to the Art Institute from 1913;6 bequeathed to the Art Institute, 1933.