Wilhelm Suida. Leonardo und sein Kreis. Munich, 1929, p. 245.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 36, lists it in Oscar Bondy's collection in Vienna; attributes it to Bacchiacca.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 31, attributes it to Bacchiacca; lists it as part of the Oscar Bondy collection in Vienna.
Roberto Salvini in Allgemeines Lexikon der bildenden Künstler. 33, Leipzig, 1939, p. 523, attributes it to Bacchiacca.
William E. Suida in Leonardo da Vinci. Exh. cat., Los Angeles County Museum. Los Angeles, 1949, pp. 75–76, no. 7, ill., indicates that it was sold in March 1949 in New York.
Gertrude Rosenthal in Bacchiacca and His Friends. Exh. cat., Baltimore Museum of Art. Baltimore, 1961, p. 8, fig. 8.
Howard S. Merritt in Bacchiacca and His Friends. Exh. cat., Baltimore Museum of Art. Baltimore, 1961, p. 32 n. 9, states that the pose of the child clutching the egg at left is derived from a cupid riding a satyr in Perugino's "Battle of Chastity and Love" (Louvre, Paris).
Gertrude Rosenthal. "Il Bacchiacca at Baltimore." Connoisseur 149 (January 1962), p. 61, fig. 8.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 20; vol. 2, pl. 1247.
John Shearman. Andrea del Sarto. Oxford, 1965, p. 216, notes that the swan in our picture is derived from Andrea del Sarto's version of this subject (Musée Royaux des Beaux-Arts, Brussels), and that the left background is based on a print by Lucas van Leyden.
Lada Nikolenko. Francesco Ubertini called "Il Bacchiacca". Locust Valley, N.Y., 1966, pp. 18, 50, fig. 45, argues that Bacchiacca undermines the innocence of the Leda's nudity by giving her decorative accessories and posing her on the back of a large swan; dates this painting to about 1525.
Charles D. Colbert. "Bacchiacca in the Context of Florentine Art." PhD diss., Harvard University, 1979, p. 62 [see Ref. La France 2002].
Silvia Meloni Trkulja in Firenze e la Toscana dei Medici nell'Europa del Cinquecento: Il primato del disegno. Exh. cat., Palazzo Strozzi. Florence, 1980, p. 60.
Alessandro Vezzosi in Leonardo e il Leonardismo a Napoli e a Roma. Exh. cat., Museo Nazionale di Capodimonte, Naples. Florence, 1983, p. 111, no. 201, fig. 201.
Keith Christiansen in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 43–44, no. 11, ill. (color), discusses the subject in detail and Bacchiacca's four other versions of it; identifies the three children hatching from one egg in the present picture as Castor, Pollux, and Helen, and the two children at the left as Clytemnestra and Phoebe, based on Euripedes (Iphigenia at Aulus) and the medieval text known as the First Vatican Mythographer, as well as the fourteenth-century Ovide Moralisé, the last two of which state that Castor, Pollux, and Helen all emerged from a single egg; calls this painting the most individual and accomplished of the versions and believes it is also most likely to be the earliest.
Denys Sutton. "The Linsky Collection at The Metropolitan Museum of Art." Apollo, n.s., 122 (July 1985), p. 9, fig. 6.
Roberta Bartoli in Leonardo e il mito di Leda. Exh. cat., Palazzino Uzielli del Museo Leonardiana Vinci. Cinisello Balsamo (Milan), 2001, unpaginated, under no. III.8.
Robert G. La France. "Francesco d'Ubertino Verdi, il Bachiacca (1494–1557): 'diligente dipintore'." PhD diss., Institute of Fine Arts, New York University, 2002, pp. 382–84, no. 36, suggests that the convex nature of the panel means that the painting served as a piece of furniture; argues that the figure of Leda is based entirely on Saint John's mistress in Dürer's print of the "Penance of Saint John Chrysostom," and also resembles Franciabigio's Bathsheba in his "David and Bathsheba" in Dresden; dates it to around 1525.
Sophie Lillie. Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens. Vienna, 2003, p. 229.
Birgit Schwarz. Hitlers Museum, Die Fotoalben "Gemäldegalerie Linz": Dokumente zum "Führermuseum". Vienna, 2004, pp. 119, 499, no. V/18b, ill. p. 253 (reproduction of page from photo album), gives details of the Nazi seizure of this picture, stating that it was restituted to the Austrian Republic in 1946 and returned to the owner in 1948.
Giovanni Maria Fara. Albrecht Dürer: originali, copie, derivazioni. Florence, 2007, p. 114, under no. 45, notes that Leda's pose derives from Dürer's print "The Penance of Saint John Chrysostum".
Robert G. La France. Bachiacca: Artist of the Medici Court. Florence, 2008, pp. 26, 67, 102, 107, 153, 187, 293, no. 42, colorpl. XXVIII, dates it to the end of the 1520s, after his other versions of this subject; attributes the I Tatti picture to the workshop; suggests that Bacchiacca painted series, such as the Leda pictures, "on spec, implying a marketing and exportation of art".