Louis Réau in The Michael Friedsam Collection. [completed 1928], p. 158, as by François Clouet; suggests the sitter bears a resemblance to the drawing of Jean, Seigneur de Taix at the Musée Condé, Chantilly.
E. M. Sperling. Catalogue of a Loan Exhibition of Flemish Primitives. Exh. cat., F. Kleinberger Galleries, Inc., New York. New York, 1929, pp. 136–37, ill., as by François Clouet; comments on the sitter's resemblance to the "crayon in the Condé Museum at Chantilly, which represents Jean, Seigneur de Taix".
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 14, as by Corneille.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 38–39, ill., ascribes it to the workshop, but says it is "almost worthy of Corneille himself"; believes the subject resembles Jean, Seigneur de Taix, as represented in the Chantilly drawing; notes that his costume indicates the period between 1550 and 1560, and that the pointed collar is more common in North Italian than in French portraits.
Anne Dubois de Groër. Corneille de La Haye dit Corneille de Lyon. Paris, 1996, pp. 52, 228, 230, no. 150, ill., rejects Sterling's suggestion that this portrait may represent Jean de Taix, noting that it bears no resemblance to Corneille's own portrait of the subject (Dubois de Groër no. 77, ill. p. 51) or to two drawings at Chantilly; describes our panel as painted with refinement and delicacy, perhaps by Corneille himself; comments on the unusual chestnut-colored background.