François Flameng, Paris (by 1912–at least 1917/18); Mme François Flameng (until d. 1919; posthumous sale, Galerie Georges Petit, Paris, May 26–27, 1919, no. 8, as by François Clouet, for Fr 13,000 to Gotti); [Gotti, from 1919]; Glückstadt, Copenhagen; George Rasmussen, Klampenborg, Denmark; Mrs. George Rasmussen, Chicago, Palm Beach and Klampenborg (until 1938; sale, Christie's, London, February 25, 1938, no. 58, as by Corneille de Lyon, for £225.15 to Bacri); [Bacri, Paris, 1938–67; sold to Linsky]; Mr. and Mrs. Jack Linsky, New York (1967–his d. 1980); The Jack and Belle Linsky Foundation, New York (1980–82)
Brussels. Hôtel Goffinet. "Exposition de la miniature," March–July 1912, no. 646 (as by François Clouet, lent by M. Flameng, Paris).
THIS WORK MAY NOT BE LENT, BY TERMS OF ITS ACQUISITION BY THE METROPOLITAN MUSEUM OF ART.
Charles Saunier. "Collection François Flameng." Les arts 14, no. 167 (1917–18), pp. 16–18, ill., as by François Clouet.
Guy C. Bauman inThe Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 114–15, no. 42, ill., observes that the quality of this picture warrants attribution to Corneille himself, rather than to an assistant; dates it about 1545; notes that a portrait attributed to Corneille in the Musée des Beaux-Arts, Dijon, must represent the same individual.
The picture is in a very good state of preservation.
A portrait attributed to Corneille in the Musée des Beaux-Arts, Dijon, clearly represents the same individual. Oval in format and almost twice as large, it differs only in the sitter's glance, which is directed to the left. The Dijon version, which is stiffer and less spontaneous in effect, appears to have been made after the present picture. Its subject is presumed, on the basis of a supposed similarity to a portrait by Corneille in the Louvre, to be Jean de Bourbon-Vendôme (1528–1577), comte de Soissons et d'Eghien. A label in an eighteenth-century hand on the reverse of the Louvre panel designates the subject as Jean, a fairly sure identification. However, the features of the man in the Dijon and Linksy portraits do not agree sufficiently with those of the Louvre subject to extend the identification convincingly.