The Cleveland Museum of Art

• Provenance
  1967-

  The Cleveland Museum of Art, Cleveland, Ohio

  1956-1957

  (Wildenstein & Co., New York, NY, sold to the Cleveland Museum of Art)

  1956

  (Hôtel Drouot, sale, Dec. 10, 1956, lot Q, sold to Wildenstein & Co.)1

  1907

  Edouard Kann, Berlin1

  1905-1907

  (Duveen Brothers, Paris, sold to Edouard Kann)1

  By 1900-1907

  Rodolphe Kann, Paris, collection purchased by the Duveen Brothers

  (Possibly P. & D. Colnaghi, London) 1

  1892

  (Sale, Christie, Manson & Woods, London, May 21, 1892, no. 68, possibly sold to P. & D. Colnaghi)1

  -1845

  George Francis Wyndham, 4th Earl of Egremont [1786 – 1845]

  by 1764

  Mlle. Violat (heiress of Cardinal Dubois), Chateau de Villemenon, near Brie-Comte-Robert 1

  Provenance Footnotes

  1 1In addition to the Rigaud painting, Wildenstein also purchased Aved's Portrait of Jean-Gabriel du Theil at the Signing of the Treaty of Vienna (CMA 1964.89) at this sale.  Prior to this auction, the Rigaud, like the Aved, may have been in the Delaney collection.  The Aved painting, as well as Tiepolo painting currently in the Samuel Kress Collection at the National Gallery (1952.5.78), were both owned by Edouard Kann and then by “Mme. Delaney,” who may or may not have been the consignor to the 1956 Drouot sale.  Because both the Rigaud and Aved were owned by Edouard Kann and were later sold in the 1956 sale, it is likely that the intervening owner(s) were also the same.  The exact path that the Rigaud and Aved took after Kann is unknown; the Tiepolo was sold at the Galerie Charpentier in 1933, but neither the Rigaud nor the Aved appears in that sale.

  2 1 The Duveen Brothers stock book indicates, through a "K" in the "remarks" column, that on August 4, 1907, Edouard Kann, Rodolphe's son, purchased the Rigaud and other works from his father's collection

  3 1 In 1905, shortly after Rodolphe Kann's death, Duveen announced its purchase of Kann's entire collection, which would be sold from the firm's new office in Paris (Catherine Scallen, Rembrandt, Reputation, and the Practice of Connoisseurship).  Because Kann had left no will, problems ensued and it took over two years for the transaction to be officially completed; on August 7, 1907 the completion of the sale was published (James Henry Duveen, The Rise of the House of Duveen).  The Rigaud appears under stock no. 156 in the Duveen stock book that inventories the Rodolphe Kann collection. 

  4 1According to the Frick Art Reference Library's annotated copy of the 1892 Christie's sale catalogue, the painting was purchased by Colnaghi.  Unfortunately, Colnaghi's stock books do not go back as far as 1892 and thus this purchase cannot be confirmed.  Furthermore, there are no published versions of the painting's provenance that include Colnaghi.

  5 1 The sale does include the collection of the 4th Earl of Egremont, but the whereabouts of the painting from his death in 1845 until the sale in 1892 are unknown.

  6 1The Archives de l'art français; recueil de documents inédits publié par la Société de l'histoire de l'art français, vol. 19, pp. 312-315 contains the correspondence between Charles-Nicolas Cochin and the Marquis de Marigny that refer to Violat's possession of the painting.
• Citations
  Perreau, Stéphan. Hyacinthe Rigaud (1659-1743): catalogue concis de l'oeuvre. Sète, France: Nouvelles Presses de Languedoc, 2013.

  Hôtel Drouot. Tableaux anciens…Par ou attribués à: J. Aved – Moreau L’Ainé – A. van der Neer – H. Rigaud et des écoles anglaise, française et hollandaise appartenant à divers amateurs. Dec. 10, 1956.

  Alison Cathie, letter to Ann Tzeutschler Lurie, Feb. 22, 1972, in CMA curatorial file.

  Mrs. C.A. [Hannelore] Osborne, letter to Martine Delbecq, Nov. 7, 1973, in CMA curatorial file.

  Duveen Brothers records, 1876-1981 (bulk 1909-1964), Series 1. Business records, 1876-1964, box 115, reel 38, Stock book 1: Rodolfe Kann Collection, 1907, page 12. Digitized. Getty Research Institute.

  Perreau, Stéphan. Hyacinthe Rigaud (1659-1743): catalogue concis de l'oeuvre. Sète, France: Nouvelles Presses de Languedoc, 2013.

  Duveen Brothers records, 1876-1981 (bulk 1909-1964), Series 1. Business records, 1876-1964, box 115, reel 38, Stock book 1: Rodolfe Kann Collection, 1907, page 12. Digitized. Getty Research Institute.

  Catalogue of the Rodolphe Kann Collection: Pictures. Paris: C. Sedelmeyer, 1907.

  Alison Cathie, letter to Ann Tzeutschler Lurie, Feb. 22, 1972, in CMA curatorial file.

  Mrs. C.A. [Hannelore] Osborne, letter to Martine Delbecq, Nov. 7, 1973, in CMA curatorial file.

  Christie, Manson & Woods. Fifty Capital Pictures by Ancient and Modern Masters. 1892.

  Perreau, Stéphan. Hyacinthe Rigaud (1659-1743): catalogue concis de l'oeuvre. Sète, France: Nouvelles Presses de Languedoc, 2013.

  Mrs. C.A. [Hannelore] Osborne, letter to Martine Delbecq, Nov. 7, 1973, in CMA curatorial file.

  Alison Cathie, letter to Ann Tzeutschler Lurie, Feb. 22, 1972, in CMA curatorial file.

  Mrs. C.A. [Hannelore] Osborne, letter to Martine Delbecq, Nov. 7, 1973, in CMA curatorial file.

  Catalogue of the Rodolphe Kann Collection: Pictures. Paris: C. Sedelmeyer, 1907.

  De la Chavignerie, Emile Bellier. "Notes pour Servir a L'Histoire de L'Exposition de la Jeunesse." Revue Universelle des Arts XIX (1864): 58-67. Mentioned: p. 61

  Carriera, Rosalba, Giovanni Vianelli, and Alfred Sensier. Journal de Rosalba Carriera pendant son séjour à Paris en 1720 et 1721. Paris: J. Techener, 1865. Mentioned: p. 268

  Bode, Wilhelm von. Gemäldesammlung des Herrn Rudolf Kann in Paris: 100 photogravuren mit text. Wien: Gesellschaft für vervielfältigende Kunst, 1900. Mentioned and reproduced: no. 88, pl.88

  Michel, Emile. "La galerie de M. Rodolphe Kann." Gazette des Beaux-Arts XXV (March 1901): 493-507. Mentioned: p. 503

  Marguillier, Auguste. "La Collection de M. Rodolphe Kann." Les Arts II, no. 15 (March 1903): 2. Reproduced: p. 2

  Furcy-Raynaud, Marc. "Correspondance de M. de Marigny." Nouvelles Archives de l'Art Français, third series XIX (Paris, 1904): 312-15. Mentioned: p. 312-315

  Dorbec, Prosper. "L'Exposition de la Jeunesse au XVIIIe Siècle." Gazette des Beaux-Arts XXXIII (1905): 456-470. Mentioned: p. 460

  Kann, Rodolphe, Jules Mannheim, and Edouard Rahir. Catalogue of the Rodolphe Kann Collection: Objets D'art. Paris, France: [publisher not identified], 1907. Reproduced: p. 66, pl. 156; vol. 2

  "Esposizione di opere d'arte francese del settecento a Berlino," Rassegna d'Arte X, no. 4 (April 1910): 59-65. Mentioned. p. 59

  Roman, J. Le livre de raison du peintre Hyacinthe Rigaud. Paris, France: Laurens, 1919. Reproduced: p. 195

  Lurie, Anne Tzeutchier. "Hyacinthe Rigaud Portrait of Cardinal Dubois." The Bulletin of The Cleveland Museum of Art LIIII, no 10 (October, 1967): 230-239. Reproduced: fig. 1,2,8 and cover

  "Accessions to American and Canadian Museums." The Art Quarterly XXX, no. 2 (Summer 1967): 153-176. Reproduced: p. 159; mentioned: p. 161

  "Year in Review." The Bulletin of the Cleveland Museum of Art 54, no. 10 (1967): 302-46. Referenced: no. 64, p. 343 www.jstor.org

  "Chronique des Arts." Gazette des Beaux-Arts Supplement (February 1968): 1-140. Reproduced: p. 64, fig. 246

  The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. Reproduced: p. 132 archive.org

  Lurie, Ann Tzeutschler. "Rigaud's Portrait of Cardinal Dubois." The Burlington Magazine 116, no. 860 (November 1974): 667-69. Mentioned: p. 667-668; reproduced: p. 669

  Rosenberg, Pierre. The Age of Louis XV: French Painting 1710-1774 : [Exhibition] 1975-1976, the Toledo Museum of Art, October 26-December 7, the Art Institute of Chicago, January 10-February 22, the National Gallery of Canada, March 21-May 2. [Toledo, Ohio]: Toledo Museum of Art, 1975. Referenced: cat. no. 86, p. 71-72, Reproduced: pl. 26

  Lurie, Anne Tzeutchier. "A Note on Rigaud's Portrait of Cardinal Dubois." The Bulletin of The Cleveland Museum of Art LXII, no 11 (November,1975): 276-279. Reproduced: p. 276

  "Ottawa, Le Siecle de Louis XV." Vie des Arts XX (Spring, 1976): 70. Reproduced: p. 70, fig. 11

  Johnson, Mark M. "Portrait Painting-An Image of Man." Arts and Activities (September 1977): 33-38. Reproduced: p. 35

  The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. Reproduced: p. 175 archive.org

  The Cleveland Museum of Art. The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries. Cleveland, OH: The Cleveland Museum of Art, 1982. Mentioned: p. 125-128; Reproduced: p. 126

  Berger, Robert W. Public Access to Art in Paris: A Documentary History from the Middle Ages to 1800. University Park, PA: Pennsylvania State University Press, 1999. Reproduced: p. 153, fig. 42

  Jamin, Pierre-André. Guillaume Dubois, cardinal libertin de Que la fête commence. Paris, France: Artena, 2009. Reproduced: cover page

  Walczak, Gerrit. "Unter Freiem Himmel: Die Pariser Kunstausstellungen Auf Der Place Dauphine." Zeitschrift Für Kunstgeschichte 74, no. 1 (2011): 77-98. Reproduced: p. 86

  Perreau, Stéphan. Hyacinthe Rigaud (1659-1743): catalogue concis de l'oeuvre. Languedoc,France: Nouvelles presses du Languedoc, 2013. Reproduced: p. 267, pl. 1309

  James-Sarazin, Ariane and Jean-Yves Sarazin. Hyacinthe Rigaud: 1659-1743. Dijon: Éditions Faton, 2016. Reproduced: v. 1: p. 195, pl. 139; Mentioned: p. 188, 208, 310, 331, 347, 358, 410, 424, 498, 545, 551, 554, 556, 585, 586; Reproduced: v. 2: p. 474-475, pl. 1390

  Rigaud, Hyacinthe, Ariane James-Sarazin, and Hyacinthe Rigaud. Hyacinthe Rigau, ou, le portrait soleil. 2020. Reproduced and mentioned; pp. 310-310, no. 106

  Provenance Footnotes

  1 1In addition to the Rigaud painting, Wildenstein also purchased Aved's Portrait of Jean-Gabriel du Theil at the Signing of the Treaty of Vienna (CMA 1964.89) at this sale.  Prior to this auction, the Rigaud, like the Aved, may have been in the Delaney collection.  The Aved painting, as well as Tiepolo painting currently in the Samuel Kress Collection at the National Gallery (1952.5.78), were both owned by Edouard Kann and then by “Mme. Delaney,” who may or may not have been the consignor to the 1956 Drouot sale.  Because both the Rigaud and Aved were owned by Edouard Kann and were later sold in the 1956 sale, it is likely that the intervening owner(s) were also the same.  The exact path that the Rigaud and Aved took after Kann is unknown; the Tiepolo was sold at the Galerie Charpentier in 1933, but neither the Rigaud nor the Aved appears in that sale.

  2 1 The Duveen Brothers stock book indicates, through a "K" in the "remarks" column, that on August 4, 1907, Edouard Kann, Rodolphe's son, purchased the Rigaud and other works from his father's collection

  3 1 In 1905, shortly after Rodolphe Kann's death, Duveen announced its purchase of Kann's entire collection, which would be sold from the firm's new office in Paris (Catherine Scallen, Rembrandt, Reputation, and the Practice of Connoisseurship).  Because Kann had left no will, problems ensued and it took over two years for the transaction to be officially completed; on August 7, 1907 the completion of the sale was published (James Henry Duveen, The Rise of the House of Duveen).  The Rigaud appears under stock no. 156 in the Duveen stock book that inventories the Rodolphe Kann collection. 

  4 1According to the Frick Art Reference Library's annotated copy of the 1892 Christie's sale catalogue, the painting was purchased by Colnaghi.  Unfortunately, Colnaghi's stock books do not go back as far as 1892 and thus this purchase cannot be confirmed.  Furthermore, there are no published versions of the painting's provenance that include Colnaghi.

  5 1 The sale does include the collection of the 4th Earl of Egremont, but the whereabouts of the painting from his death in 1845 until the sale in 1892 are unknown.

  6 1The Archives de l'art français; recueil de documents inédits publié par la Société de l'histoire de l'art français, vol. 19, pp. 312-315 contains the correspondence between Charles-Nicolas Cochin and the Marquis de Marigny that refer to Violat's possession of the painting.
• Exhibition History
  Hyacinthe Rigaud (1659-1743) or the Sun Portrait. Musée National de Château de Versailles, 78 008 Versailles cedex, France (organizer) (May 19-June 13, 2021) http://en.chateauversailles.fr/news/exhibitions/hyacinthe-rigaud-sun-portrait.

  Opulent Fashion in the Church. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2016-October 2, 2017).

  Portraiture: The Image of the Individual. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 1983-January 22, 1984).

  The Age of Louis XV: French Painting, 1710 - 1774. The Toledo Museum of Art (organizer) (October 26-December 7, 1975); The Art Institute of Chicago (January 10-February 22, 1976); National Gallery of Canada (March 21-May 2, 1976).

  L'Exposition de la Jeunesse. Place Dauphne, Paris, France (1723)

  Year in Review: 1967. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).

  The Painter as Historian. Wildenstein & Co., New York, NY (1962)

  Exposition d'oeuvres de l'art français au XVIIIe siècle. Berlin, Germany (1910)

  Provenance Footnotes

  1 1In addition to the Rigaud painting, Wildenstein also purchased Aved's Portrait of Jean-Gabriel du Theil at the Signing of the Treaty of Vienna (CMA 1964.89) at this sale.  Prior to this auction, the Rigaud, like the Aved, may have been in the Delaney collection.  The Aved painting, as well as Tiepolo painting currently in the Samuel Kress Collection at the National Gallery (1952.5.78), were both owned by Edouard Kann and then by “Mme. Delaney,” who may or may not have been the consignor to the 1956 Drouot sale.  Because both the Rigaud and Aved were owned by Edouard Kann and were later sold in the 1956 sale, it is likely that the intervening owner(s) were also the same.  The exact path that the Rigaud and Aved took after Kann is unknown; the Tiepolo was sold at the Galerie Charpentier in 1933, but neither the Rigaud nor the Aved appears in that sale.

  2 1 The Duveen Brothers stock book indicates, through a "K" in the "remarks" column, that on August 4, 1907, Edouard Kann, Rodolphe's son, purchased the Rigaud and other works from his father's collection

  3 1 In 1905, shortly after Rodolphe Kann's death, Duveen announced its purchase of Kann's entire collection, which would be sold from the firm's new office in Paris (Catherine Scallen, Rembrandt, Reputation, and the Practice of Connoisseurship).  Because Kann had left no will, problems ensued and it took over two years for the transaction to be officially completed; on August 7, 1907 the completion of the sale was published (James Henry Duveen, The Rise of the House of Duveen).  The Rigaud appears under stock no. 156 in the Duveen stock book that inventories the Rodolphe Kann collection. 

  4 1According to the Frick Art Reference Library's annotated copy of the 1892 Christie's sale catalogue, the painting was purchased by Colnaghi.  Unfortunately, Colnaghi's stock books do not go back as far as 1892 and thus this purchase cannot be confirmed.  Furthermore, there are no published versions of the painting's provenance that include Colnaghi.

  5 1 The sale does include the collection of the 4th Earl of Egremont, but the whereabouts of the painting from his death in 1845 until the sale in 1892 are unknown.

  6 1The Archives de l'art français; recueil de documents inédits publié par la Société de l'histoire de l'art français, vol. 19, pp. 312-315 contains the correspondence between Charles-Nicolas Cochin and the Marquis de Marigny that refer to Violat's possession of the painting.
• Cite this Page
  {{cite web|title=Portrait of Cardinal Guillaume Dubois|url=false|author=Hyacinthe Rigaud|year=1723|access-date=14 April 2024|publisher=Cleveland Museum of Art}}

  Provenance Footnotes

  1 1In addition to the Rigaud painting, Wildenstein also purchased Aved's Portrait of Jean-Gabriel du Theil at the Signing of the Treaty of Vienna (CMA 1964.89) at this sale.  Prior to this auction, the Rigaud, like the Aved, may have been in the Delaney collection.  The Aved painting, as well as Tiepolo painting currently in the Samuel Kress Collection at the National Gallery (1952.5.78), were both owned by Edouard Kann and then by “Mme. Delaney,” who may or may not have been the consignor to the 1956 Drouot sale.  Because both the Rigaud and Aved were owned by Edouard Kann and were later sold in the 1956 sale, it is likely that the intervening owner(s) were also the same.  The exact path that the Rigaud and Aved took after Kann is unknown; the Tiepolo was sold at the Galerie Charpentier in 1933, but neither the Rigaud nor the Aved appears in that sale.

  2 1 The Duveen Brothers stock book indicates, through a "K" in the "remarks" column, that on August 4, 1907, Edouard Kann, Rodolphe's son, purchased the Rigaud and other works from his father's collection

  3 1 In 1905, shortly after Rodolphe Kann's death, Duveen announced its purchase of Kann's entire collection, which would be sold from the firm's new office in Paris (Catherine Scallen, Rembrandt, Reputation, and the Practice of Connoisseurship).  Because Kann had left no will, problems ensued and it took over two years for the transaction to be officially completed; on August 7, 1907 the completion of the sale was published (James Henry Duveen, The Rise of the House of Duveen).  The Rigaud appears under stock no. 156 in the Duveen stock book that inventories the Rodolphe Kann collection. 

  4 1According to the Frick Art Reference Library's annotated copy of the 1892 Christie's sale catalogue, the painting was purchased by Colnaghi.  Unfortunately, Colnaghi's stock books do not go back as far as 1892 and thus this purchase cannot be confirmed.  Furthermore, there are no published versions of the painting's provenance that include Colnaghi.

  5 1 The sale does include the collection of the 4th Earl of Egremont, but the whereabouts of the painting from his death in 1845 until the sale in 1892 are unknown.

  6 1The Archives de l'art français; recueil de documents inédits publié par la Société de l'histoire de l'art français, vol. 19, pp. 312-315 contains the correspondence between Charles-Nicolas Cochin and the Marquis de Marigny that refer to Violat's possession of the painting.