Carlo Ridolfi. Le maraviglie dell'arte. Venice, 1648, part 1, p. 214, mentions a picture by Paris Bordon in the collection of Bernardo Trincavalla that depicts a knight whose page fastens his armor, possibly this work.
Marco Boschini. La carta del navegar pitoresco. Venice, 1660, pp. 366–67, describes a painting by Bordon of a gentleman armed by two pages that passed from the collection of Paolo del Sera to that of Leopoldo de' Medici.
Charles Lock Eastlake. Notebook entry. 1861, vol. 1, fol. 15r [National Gallery Archive, London, NG 22/28: 1861 (I); published in Walpole Society 73 (2011), vol. 1, p. 568], records seeing it in the Palazzo Guadagni in Florence, where it is called a Tintoretto; attributes it to Bordon and states that it is probably a late work; notes that it or a similar picture is mentioned in Boschini.
Luigi Bailo and Gerolamo Biscaro. Della vita e delle opere di Paris Bordon. Treviso, 1900, p. 199, list the painting described by Boschini (1660) among the lost or destroyed works of Bordon.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 431, as "Knight and Page", in the collection of the Earl of Harewood, London.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 370.
Tancred Borenius. Catalogue of the Pictures and Drawings at Harewood House. Oxford, 1936, pp. 7–8, no. 9, pl. VI, identifies it with the picture mentioned by Boschini; notes that A. van de Put suggested that it might represent the Duke of Alba, and that Charles R. Beard dated the armor about 1510.
Rodolfo Pallucchini. La giovinezza del Tintoretto. Milan, 1950, pp. 26–27, 63 n. 12, notes that it is similar in style to the early work of Tintoretto.
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 46.
Giordana Canova. Paris Bordon. Venice, 1964, p. 79, figs. 116–17 (overall and detail), accepts the identification of the picture with the one described by Boschini and dates it 1555–60.
Simona Savini-Branca. Il collezionismo veneziano nel '600. Padua, 1964, p. 277, cites Boschini's description.
Henry A. La Farge. "Noble Metropolitan Visitors." Art News 65 (February 1967), pp. 29–30, fig. 4, tentatively accepts the identification of the subject as the Duke of Alba.
Denys Sutton. "Pleasure for the Aesthete." Apollo 90 (September 1969), p. 232, no. 2, ill.
Everett Fahy in "Paintings, Drawings." The Wrightsman Collection. 5, [New York], 1973, pp. 16–24, no. 1, ill. p. 17 (color), figs. 1, 2, 7, 8 (details), notes that the motif of a soldier preparing for battle goes back to early sixteenth-century Venetian prototypes, and that the qualities of informality and psychological intimacy are rare in conventional military portraiture; observes that there are stylistic analogies with Bordon's Milanese works of the early 1540s, and dates the portrait during this period; notes that the subject might be the Milanese officer Carlo da Rho.
Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 94, ill.
Sylvia Hochfield. "Conservation: The Need is Urgent." Art News 75 (February 1976), p. 28.
R. A. Cecil. "The Wrightsman Collection." Burlington Magazine 118 (July 1976), p. 518.
Denys Sutton. "Tancred Borenius: Connoisseur and Clubman." Apollo 107 (April 1978), p. 304, fig. 17, notes that Tancred Borenius acquired the picture for the Earl of Harewood.
Paola Rossi. "Nota in margine alla mostra 'L'opera ritrovata'." Arte veneta 38 (1984), p. 257, relates it to Tintoretto's "Scipione Clusone with a Page" (Galleria Nazionale di Palazzo Spinola, Genoa).
Rodolfo Pallucchini in Paris Bordon. Exh. cat., Palazzo dei Trecento, Treviso. Milan, 1984, p. 24.
Francis Russell in The Treasures Houses of Britain. Exh. cat., National Gallery of Art. Washington, 1985, p. 564.
Giordana Mariani Canova. "Paris Bordon: problematiche cronologiche." Paris Bordon e il suo tempo. Treviso, 1987, p. 156, fig. 46, dates it about 1555.
Paola Rossi in Jacopo Tintoretto: ritratti. Exh. cat., Gallerie dell' Accademia, Venice. Milan, 1994, p. 24 [German ed., "Jacopo Tintoretto: Portraits"].
Everett Fahy in The Wrightsman Pictures. New York, 2005, pp. 10–13, no. 3, ill. (color), tentatively identifies it with a portrait by Paris Bordon described by Carlo Ridolfi in 1648 as a "knight whose page fastens his armor" and which was then in the collection of Bernardo Trincavalla.
Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." Metropolitan Museum of Art Bulletin 63 (Summer 2005), pp. 41–42, fig. 35 (color), suggests that Bordon painted it in Milan in the 1540s.
Paul H. D. Kaplan in "From the "Age of Discovery" to the Age of Abolition: Artists of the Renaissance and Baroque." The Image of the Black in Western Art. 3, part 1, Cambridge, Mass., 2010, p. 126, colorpl. 55, notes that the helmet held by the black page was sometimes known as a "morione" and that the resemblance to the word "moro" (moor) suggests that a pun could have been intended.