Catalogue of Pictures, Ancient and Modern, 35 Grosvenor Place. 1882, no. 208 [see letter of September 27, 1982 in archive file], as "Portrait of Count Sassetto and his Son," by Domenico Ghirlandaio.
[George Redford]. "The Graham Collection." Times (April 12, 1886), p. 6 [reprinted in George Redford, "Art Sales," London, 1888, vol. 1, p. 434].
Costanza Jocelyn Ffoulkes. "Le esposizioni d'arte italiana a Londra." Archivio storico dell'arte 7 (1894), p. 166, calls it an original work by Domenico Ghirlandaio that has been much overpainted.
Hermann Ulmann. "Photographische Reproductionen der in der New Gallery 1894 aus englischem Privatbesitz ausgestellten italienischen Bilder." Repertorium für Kunstwissenschaft 17 (1894), p. 493, attributes it to Ghirlandaio.
Ernst Steinmann. Ghirlandajo. Bielefeld, 1897, p. 34 n., p. 80, includes it among the genuine works of Ghirlandaio.
Emil Schaeffer. Das Florentiner Bildnis. Munich, 1904, pp. 112–13, attributes it to Ghirlandaio.
Salomon Reinach. Répertoire de peintures du moyen age et de la renaissance (1280–1580). 1, Paris, 1905, p. 232, ill. (engraving), reproduces an engraving of the picture as it appeared before cleaning.
Lionel Cust. "La collection de M. R.-H. Benson." Les arts 6 (October 1907), p. 26, ill. p. 13, attributes it to Ghirlandaio.
Henri Hauvette. Ghirlandaio. Paris, 1907, p. 134, attributes it to Ghirlandaio and dates it 1485; compares it to Ghirlandaio's frescoes in the Sistine Chapel and in the Sassetti chapel in the church of Santa Trinita in Florence, but doubts whether the man is Francesco Sassetti.
Aby Warburg. "Francesco Sassettis letztwillige Verfügung." Kunstwissenschaftliche Beiträge August Schmarsow gewidmet. Leipzig, 1907, p. 146 n. 11 [reprinted in A. Warburg, "Gesammelte Schriften," Leipzig, 1932, vol. 1, p. 132 n. 5], attributes it to Ghirlandaio and calls it a portrait of the younger Teodoro with his father, noting that Francesco Sassetti had two sons by that name, and that the older one died the same year that the younger was born.
Bernhard Berenson. The Florentine Painters of the Renaissance. 3rd ed. New York, 1909, p. 138, attributes it to Ghirlandaio.
Joseph Archer Crowe, and Giovanni Battista Cavalcaselle. "Florentine Masters of the Fifteenth Century." A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century. 4, London, 1911, pp. 336–37 n. 5, Douglas attributes it to Ghirlandaio and compares it to the Louvre portrait [see Notes].
Adolfo Venturi. "La pittura del quattrocento." Storia dell'arte italiana. 7, part 1, Milan, 1911, pp. 769–70, rejects the attribution to Domenico Ghirlandaio, cosidering it and the Louvre portrait workshop pieces.
Catalogue of Italian Pictures at 16, South Street, Park Lane, London and Buckhurst in Sussex collected by Robert and Evelyn Benson. London, 1914, pp. 50–52, no. 27, ill., attributes it to Ghirlandaio, calls it a portrait of Francesco Sassetti and the younger Teodoro, and dates it 1487–89.
Paul Erich Küppers. Die Tafelbilder des Domenico Ghirlandaio. Strasbourg, 1916, p. 44, attributes it to Ghirlandaio and dates it soon after 1485, the time of the frescoes in the Sassetti chapel of Santa Trinita.
Paul Erich Küppers in Allgemeines Lexikon der bildenden Künstler. 13, Leipzig, 1920, p. 558, considers it probably an autograph work by Ghirlandaio, though not of the highest quality.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill. and frontispiece (color), attributes it to Ghirlandaio, identifies the boy as the younger Teodoro Sassetti, and dates it 1487–89.
Esther Singleton. Old World Masters in New World Collections. New York, 1929, p. 71–72, ill., follows Ref. Bache 1929 on attribution, dating, and identification of the sitters.
August L. Mayer. "Die Sammlung Jules Bache in New-York." Pantheon 6 (December 1930), p. 541, attributes it to Ghirlandaio.
H. E. Wortham. "The Bache Collection." Apollo 11 (May 1930), p. 354, fig. III, attributes it to Ghirlandaio and believes the boy is the same one who appears in the Louvre portrait.
Alfred M. Frankfurter. "Ghirlandaio and Mainardi: A Study in Portraiture." Antiquarian 17 (November 1931), p. 58, ill. p. 25, considers it Ghirlandaio's first portrait showing the subject's full face; compares it with the portrait of Matteo Sassettiano (E. D. Levinson collection, New York) and with other portraits from the Ghirlandaio-Mainardi circle.
Raimond van Marle. "The Renaissance Painters of Florence in the 15th Century: The Third Generation." The Development of the Italian Schools of Painting. 13, The Hague, 1931, p. 57, fig. 32.
Raimond van Marle. "Tre ritratti di Domenico Ghirlandaio." Bollettino d'arte 25 (1931), p. 10.
W[illiam]. [E.] Suida. "A Portrait of a Youth by Domenico Ghirlandaio." Apollo 13 (January–June 1931), p. 40, notes that it has been connected with "a pupil [of Ghirlandaio] or with a painter in the artist's immediate circle".
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CCVI, attributes it to Ghirlandaio, dates it 1487–89, and observes the influence of Masaccio.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 225, as "Francesco Sassetti and Grandson".
Lionello Venturi. "Fifteenth Century Renaissance." Italian Paintings in America. 2, New York, 1933, unpaginated, pl. 268.
Luigi Serra. "La Mostra dell'antica arte italiana a Parigi." Bollettino d'arte 29 (July 1935), p. 37, ill. p. 34, attribtes it to Ghirlandaio.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 194.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 7, ill.
George Henry McCall. Catalogue of European Paintings and Sculpture from 1300–1800: Masterpieces of Art. Exh. cat., World's Fair. New York, 1939, p. 70, no. 141, pl. 19.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 113, ill., attributes it to Ghirlandaio and dates it about 1487–89.
Paul Wescher. Grosskaufleute der Renaissance: In Biographien und Bildnissen. Basel, 1941?, p. 182, ill. p. 53, attributes it to Ghirlandaio and dates it about 1485.
Regina Shoolman, and Charles E. Slatkin. The Enjoyment of Art in America. Philadelphia, 1942, pp. 291–92, colorpl. 1, attribute it to Ghirlandaio and compare it to the Louvre portrait.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 7, ill.
Florence Edler De Roover. "Francesco Sassetti and the Downfall of the Medici Banking House." Bulletin of the Business Historical Society 17 (October 1943), p. 77 n. 8, attributes it to Ghirlandaio and identifies the boy as the older Teodoro.
Jan Lauts. Domenico Ghirlandajo. Vienna, 1943, pp. 42–43, 56, fig. 105, attributes it to Ghirlandaio and dates it about 1488; suggests that it may have been executed after an earlier sketch or study if the name of Francesco Sassetti in the inscription correctly identifies the subject.
Florence Edler De Roover. Letter to Beulah Dimmick Chase. November 20, 1944, dates it to the late 1460s, when the older Teodoro Sassetti would have been seven to nine years old.
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, p. 284, no. 768, ill. p. 283 (cropped).
Raymond De Roover. The Medici Bank: Its Organization, Management, Operations, and Decline. New York, 1948, pp. 90–91, ill. opp. p. 62, identifies the boy as the older Teodoro and attributes the picture to the workshop of Domenico Ghirlandaio, crediting Richard Offner for suggesting that it was painted in the 1480s, mostly by an assistant, after an early original by the master.
F[rederick]. M. Godfrey. "The Apotheosis of Childhood in the Renaissance." Connoisseur 128 (January 1952), pp. 156–57, ill., dates it 1488 and compares it to the Louvre portrait; tentatively suggests that Ghirlandaio may have painted it from a drawing made earlier in the life of Francesco Sassetti.
Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 225, no. 89, colorpl. 89, attributes it to Ghirlandaio, identifies the boy as the older Teodoro, and dates it 1468–70.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, p. 76.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 133–35, 137, ill., attribute it to Ghirlandaio, date it about 1485–89, and state that it probably represents Francesco Sassetti with the younger Teodoro; observe areas of extensive repainting that were probably part of 1927 restoration; indicate that the inscription is not of the same period as the painting, and that the landscape shows the participation of Ghirlandaio's assistants.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 83, 517, 608.
Bernard Berenson. Looking at Pictures with Bernard Berenson. New York, 1974, pp. 188–89, ill.
Eve Borsook and Johannes Offerhaus. "Storia e leggende nella Cappella Sassetti in Santa Trinità." Scritti di storia dell'arte in onore di Ugo Procacci. 1, Milan, 1977, p. 307 n. 34, identify the city in the background as Geneva.
Eve Borsook and Johannes Offerhaus. Francesco Sassetti and Ghirlandaio at Santa Trinità, Florence: History and Legend in a Renaissance Chapel. Doornspijk, The Netherlands, 1981, pp. 23, 27, fig. A, attribute it to Ghirlandaio and call it "a wistful rendering" of Francesco and the older Teodoro as they would have looked in about 1466; tentatively suggest that Sassetti's lowered eyes may be a sign of mourning, and that the landscape view of Geneva may include the Oratory of our Lady built there at Sassetti's expense.
Colin Simpson. Artful Partners: Bernard Berenson and Joseph Duveen. New York, 1986, pp. 212, 294 [excerpt published in Connoisseur 216 (October 1986), p. 128, ill. p. 131 (color); British ed., "The Partnership: The Secret Association of Bernard Berenson and Joseph Duveen," London, 1987], states that Bache bought it for $350,000 on the recommendation of Berenson.
Charles M. Rosenberg. "Virtue, Piety and Affection: Some Portraits by Domenico Ghirlandaio." Il ritratto e la memoria: materiali. 2, Rome, 1993, pp. 189–90, 194 nn. 47–48, fig. 14, attributes it to Ghirlandaio and suggests that it may have been painted as an idealized posthumous memorial to Francesco Sassetti, who died in 1490.
Dominique Thiébaut in "Un chef-d'œuvre restauré: le 'Portrait d'un vieillard et d'un jeune garçon' de Domenico Ghirlandaio (1449–1494)." Revue du Louvre 46 (June 1996), pp. 47, 53 n. 46, fig. 6.
Christopher Fulton. "The Boy Stripped Bare by His Elders: Art and Adolescence in Renaissance Florence." Art Journal 56 (Summer 1997), pp. 31, 39 n. 1, fig. 1, attributes it to Ghirlandaio and dates it about 1485.
Jean K. Cadogan. Domenico Ghirlandaio: Artist and Artisan. New Haven, 2000, pp. 188, 277–79, no. 47, pl. 259, attributes it to Ghirlandaio and dates it about 1485; states that it "lacks the striking emotional connection of the Louvre panel".
Oliver Garnett. "The Letters and Collection of William Graham—Pre-Raphaelite Patron and Pre-Raphael Collector." Walpole Society 62 (2000), pp. 153, 316, no. d127, fig. 172.
Ronald G. Kecks. Domenico Ghirlandaio und die Malerei der Florentiner Renaissance. Munich, 2000, p. 110 n. 189, pp. 111, 409, fig. 274, attributes it to a follower or imitator of Ghirlandaio.
Meryle Secrest. Duveen: A Life in Art. New York, 2004, pp. 251, 443, reports that Michele Lazzaroni was responsible for the repainting of Francesco's face and the loss of figures in the background; dates it about 1478–89.
Paula Nuttall in Memling's Portraits. Exh. cat., Museo Thyssen-Bornemisza, Madrid. Ghent, 2005, p. 78.
Frank Zöllner. Sandro Botticelli. Munich, 2005, p. 53.
Nancy Edwards in Art and Love in Renaissance Italy. Exh. cat., The Metropolitan Museum of Art. New York, 2008, pp. 275–76, no. 127, ill. p. 275 (color), fig. 109 (infrared reflectogram detail), dates it about 1488, perhaps on the occasion of Sassetti's departure for Lyons, adding that the purse at Sassetti's belt is an "article of dress [that] appears frequently in paintings of the period depicting scenes of travel"; suggests that the work may not have been able to be painted from life, which could explain the idealized features.
Jacqueline Marie Musacchio. Art, Marriage, & Family in the Florentine Renaissance Palace. New Haven, 2008, pp. 49, 270 n. 288, fig. 49 (color).
Gert Jan van der Sman in Ghirlandaio y el Renacimiento en Florencia. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2010, pp. 45, 276, 279 n. 2, fig. 8 (color).
Everett Fahy in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, pp. 158–59, 161, no. 42, ill. (color) [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011], dates it about 1490 and identifies the boy as the second Teodoro.
Patricia Rubin in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, pp. 11, 16, 21, 23 [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011, pp. 12, 16, 21–23].