B[ernhard]. Hausmann. Verzeichniss der Hausmann'schen Gemählde-Sammlung in Hannover. Braunschweig, 1831, p. VI n. 6, pp. 42–43, nos. 76 and 77 [with MMA 49.7.45], lists both works as Early Netherlandish portraits, noting that the sitters seem to be Spanish; includes them as part of the collection of Staats-Minister von Hacke that he bought in 1822.
Verzeichniss der von Seiner Majestät dem Könige angekauften Hausmann'schen Gemälde-Sammlung in Hannover. Hanover, 1857, p. 11, no. 77, as "Bildniss des Herzogs de Cossé Brissac, Marechal de France," by François Clouet.
G. Parthey. Deutscher Bildersaal. Vol. 1, A–K. Berlin, 1863, p. 287, no. 4 (under François Clouet), lists it with the works of François Clouet, called Janet, and calls it a portrait of the Count of Cossé Brissac.
O[skar]. Eisenmann in Katalog der zum Ressort der Königlichen Verwaltungs-Kommission gehörigen Sammlung . . . im Provinzial-Museumsgebäude . . . zu Hannover. Hanover, 1891, p. 106, no. 144, as by an unknown sixteenth-century French painter and the pendant to no. 143 [MMA 49.7.45].
Oskar Eisenmann in Katalog der zur Fideicommiss-Galerie des Gesamthauses Braunschweig und Lüneburg gehörigen Sammlung von Gemälden und Skulpturen im Provinzial-Museum . . . zu Hannover. Hanover, 1902, p. 106, no. 144.
Oskar Eisenmann and W. Köhler. Katalog der zur Fideikommiss-Galerie des Gesamthauses Braunschweig und Lüneburg . . . im Provinzial-Museum. Ed. Dr. Reimers. Hanover, 1905, p. 154, no. 528.
E. M. Sperling. Catalogue of a Loan Exhibition of Flemish Primitives. Exh. cat., F. Kleinberger Galleries, Inc., New York. New York, 1929, p. 148, no. 62, ill., calls it "Portrait of the Duke de Cossé-Brissac" by Corneille de Lyon and provides provenance.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 45, ill., note that the arms of the Finance Minister Jean-Baptiste Colbert and of King George of Hanover are on the back of the panel.
Charles Sterling in Chefs d'œuvre de l'art français. Exh. cat., Palais National des Arts. Paris, 1937, p. 29, no. 48, as "Portrait d'homme" by Corneille; date it about 1550.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 44, ill.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 32–33, ill., as Charles de Cossé-Brissac by Corneille de Lyon; notes that "the costume suggests the period about 1530–35, which corresponds well enough with the apparent age of the sitter"; observes that this panel bears the seal of Colbert de Torcy, nephew of Louis XIV's minister of Finance; notes that Colbert de Torcy was in charge of the sale in 1717 of the collection of Roger de Gaignières, which belonged to the king since 1711; concludes that this picture likely belonged to Gaignières, whose large collection of portraits by Corneille is the basis for our reconstruction of the artist's oeuvre; adds that a workshop replica of this portrait was in the sale of Mrs. E. Bayer, Countess Sala, in Paris (Charpentier's, May 19, 1933, no. 5, ill.), as a presumed portrait of Guillaume du Bellay.
Charles Sterling and Hélène Adhémar. Peintures: École français XIVe, XVe, et XVIe siècles. Paris, 1965, p. 30, ascribe the Louvre's portrait of Cossé-Brissac in a different costume (no. 84, pl. 191) to the workshop of Corneille, about 1535–40; note that our panel's worn condition makes it difficult to determine whether it is an "original replica" or from the workshop.
Katharine Baetjer. "Pleasures and Problems of Early French Painting." Apollo 106 (November 1977), p. 347, fig. 11.
Anne Dubois de Groër. Corneille de La Haye dit Corneille de Lyon. Paris, 1996, pp. 159–61, no. 50 A, ill., notes that the Louvre version appears to be slightly better than ours, although it is has suffered losses; believes the two Clouet drawings of Brissac at Chantilly date from about 1530–35 and that the Louvre and MMA replicas should be placed between 1535–40, but certainly before 1543 when Brissac was made chevalier de l'Ordre du roi.
Charles Sterling and Maryan W. Ainsworth in The Robert Lehman Collection. Vol. 2, Fifteenth- to Eighteenth-Century European Paintings. New York, 1998, p. 26, ill.