This portrait has been attributed to Corneille de Lyon on the basis of its stylistic similarity to the recently re-discovered portrait of Pierre Aymeric, now in the Louvre, Paris, and Corneille's only documented work. The Louvre portrait bears the following inscription on its reverse: "Pierre Aymeric natif de Sainct Fleur demeurant à Lyon de l'aige de vingt et six ans ou envyron a esté pourtraict audict Lyon par Corneilhe de La Haye em Flandres, painctre de la Royne Helienor, Royne de France, et a esté parachevé le XIe jour d'avril mil Vc XXXIIII apres Pasques. Escript et signé de la main dudict Aymeric l'an et jour susdicts. P. Aymeric."
When the portrait of Pierre Aymeric was first published in 1961 (see P. Roudié, "Sur un portrait de Corneille de Lyon," Gaz. des B.-A. 60, pér. 6, 1962, pp. 48ff., ill.), it became clear that the Master of the Benson Portraits, the artistic personality created by Louis Dimier (Histoire de la peinture de portrait en France au XVI siècle, vol. 1, 1924, pp. 41–42, pl. 14; vol. 2, 1925, pp. 81–82) to explain one sub-group of portraits in the style of Corneille de Lyon, was none other than Corneille himself. A. de Groër (1978) assembles a group of portraits that are stylistically comparable to the Louvre portrait, including the MMA panel, two in the Brooklyn Museum, one formerly in the Victoria and Albert Museum, London, and others in the Accademia, Venice, the Kunsthistorisches Museum, Vienna, and the Koninklijk Museum, Antwerp. She comments on their affinity with works ascribed by Dimier to the Master of the Benson Portraits (three of which are now lost, and the remaining two probably replicas) and attributes them to Corneille de Lyon.