Hollingworth Magniac, Colworth, Bedford (until 1892; his estate sale, Christie's, London, July 2, 1892, no. 49, as a portrait of the brother of Claude de Clermont, by Janet, for £99.15.0 to Sedelmeyer); [Sedelmeyer, Paris, from 1892]; [T. J. Blakeslee, New York, 1895]; Theodore M. Davis, Newport, R.I. (1895–d. 1915; his estate, on loan to the MMA, 1915–30)
New York. National Academy of Design. "Loan Exhibition of Portraits," October 30–December 7, 1895, no. 74 (as "The Brother of Claude de Clermont" by François Clouet, lent by T. J. Blakeslee).
Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 20.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, p. 37, ill., calls it "Workshop of Corneille de Lyon" and dates the costume about 1530–40; rejects the identification of the sitter as the brother of Claude de Clermont.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 355, ill.
Anne Dubois de Groër. Corneille de La Haye dit Corneille de Lyon. Paris, 1996, p. 157, no. 48, ill., as a portrait of an unkown sitter from about 1535–40; neither accepts nor rejects an attribution to Corneille.
Our panel appears to be a copy of a portrait ascribed to Corneille de Lyon that was in the Hosmer-Pillow-Vaughn collection, on loan to the Montreal Museum of Fine Arts in 1977; both panels were in the Magniac Collection in the nineteenth century. In the catalogue of the Magniac sale the Montreal picture is identified as a portrait Claude de Clermont, while ours is identified as a portrait of the brother of Claude de Clermont. A sixteenth-century drawing, formerly in the Hodgkin collection, London, but now lost, represented the same sitter and bore the inscription "Monsr Claude de Clermont qui mourut en la bataille de Moncontour (1574).