Bernard Berenson. Letter to Mr. Kleinberger. May 2, 1925, calls it "probably the earliest of all Botticelli's known portraits".
Bernard Berenson. Letter to Michael Friedsam. May 31, 1925, considers it the earliest of Botticelli's known portraits and dates it somewhat before 1470.
Bernard Berenson. Letter to Kleinberger. March 31, 1925, considers it "perhaps [Botticelli's] earliest portrait".
"Col. Friedsam Buys Famous Old Masters." Art News 23 (July 18, 1925), pp. 1, 3, ill., as by Botticelli, about 1470.
"Another Botticelli for America." International Studio 81 (September 1925), p. 467, ill., as by Botticelli, about 1470.
Bernard Berenson in The Michael Friedsam Collection. [completed 1928], pp. 73–74, attributes it to Botticelli, calls it an early work, and suggests that it may represent a member of the Niccolini family of Florence.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 12, The Renaissance Painters of Florence in the 15th Century: The Third Generation. The Hague, 1931, p. 46, fig. 11, attributes it to Botticelli.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 105, lists it as by Botticelli.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), pp. 35–36, no. 58, assign it to the Florentine school and date it to the last quarter of the fifteenth century.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 90, erroneously as "Ritratto di giovine donna".
F. Mason Perkins. Letter. March 24, 1938, attributes it to Botticelli.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 42–43, ill., calls it Florentine and dates it to the third quarter of the fifteenth century, observing analogies to the work of Verrocchio, Pollaiuolo, Castagno, and Ghirlandaio.
Roberto Salvini. Tutta la pittura del Botticelli. Milan, 1958, vol. 1, p. 69, pl. 133 A [English ed., New York, 1965, part 2, p. 77, pl. 133a], rejects the attribution to Botticelli and calls it the work of an imitator, whose style resembles that of Jacopo del Sellaio and Raffaellino del Garbo.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 37.
Gabriele Mandel in The Complete Paintings of Botticelli. New York, 1967, pp. 88–89, no. 35, ill., gives an incorrect provenance.
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, p. 146, ill., attribute it to Biagio d'Antonio, relating it to his "Portrait of a Boy" in the National Gallery of Art, Washington, and dating it to the same time, about 1480.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 28, 523, 607.
Everett Fahy. Some Followers of Domenico Ghirlandajo. PhD diss., Harvard University. New York, 1976, p. 207, attributes it to Biagio d'Antonio.
John Pope-Hennessy and Keith Christiansen. "Secular Painting in 15th-Century Tuscany: Birth Trays, Cassone Panels, and Portraits." Metropolitan Museum of Art Bulletin 38 (Summer 1980), pp. 16, 37, figs. 31–32 (color, overall and detail).
Charles Sterling. "Fouquet en Italie." L'Oeil no. 392 (March 1988), pp. 26–27 n. 16, fig. 5, attributes it to Biagio d'Antonio and dates it about 1480.
Everett Fahy. "The Argonaut Master." Gazette des beaux-arts, 6th ser., 114 (December 1989), p. 287.
Nicoletta Pons. Botticelli: catalogo completo. Milan, 1989, p. 104, no. 174, ill., includes it among works formerly attributed to Botticelli; gives an incorrect provenance.
Roberta Bartoli. Biagio d'Antonio. Milan, 1999, pp. 38, 91, 187, 191, 202, no. 18, ill.
Miklós Boskovits in Italian Paintings of the Fifteenth Century. Washington, 2003, p. 593 n. 18, suggests that this work and the "Portrait of a Man" (about 1460–65; National Gallery of Art, Washington) attributed to Piero del Pollaiuolo might both be commemorative portraits because of their similarity to Buggiano's sculpted commemorative portrait of Brunelleschi (Duomo, Florence), noting that all three depict the sitter bare-headed, with his head covering thrown over his right shoulder and the end held in his right hand.
Eleonora Luciano in Italian Paintings of the Fifteenth Century. Washington, 2003, pp. 132–33 n. 18, finds it closely related to Biagio's "Portrait of a Boy" (National Gallery of Art, Washington) of about 1475–80, but calls the MMA picture more advanced compositionally and so dates it after the Washington picture.
Dóra Sallay and Vilmos Tátrai in Botticelli to Titian: Two Centuries of Italian Masterpieces. Ed. Dóra Sallay et al. Exh. cat., Museum of Fine Arts, Budapest. Budapest, 2009, p. 130, see a close relationship between the modelling of the head and that of Saint James in "The Virgin and Child Enthroned, with Five Saints and Two Angels" (Szépmuvészeti Múzeum, Budapest), attributed to the workshop of Verrocchio.
Keith Christiansen in The Renaissance Portrait from Donatello to Bellini. Ed. Keith Christiansen and Stefan Weppelmann. Exh. cat., Bode-Museum, Berlin. New York, 2011, p. 124.
Everett Fahy in The Renaissance Portrait from Donatello to Bellini. Ed. Keith Christiansen and Stefan Weppelmann. Exh. cat., Bode-Museum, Berlin. New York, 2011, pp. 132–34, no. 26, ill. (color) [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011, pp. 133–34, no. 26, ill. (color)].
Renaissance. Christie's, New York. January 29, 2014, p. 76, under no. 130.