John Evelyn. Journal entry. November 16, 1677 [published in W. Bray, ed., "Diary and Correspondence of John Evelyn, F. R. S.," London, 1850, vol. 2, p. 109], mentions seeing it at the home of Henry Bennet, who, at the time was Lord Chamberlain.
Horace Walpole. Anecdotes of Painting in England. London, 1828, vol. 2, p. 223, as in the Duke of Grafton's collection.
John Smith. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters. Vol. 3, London, 1831, pp. 210–11, no. 742, as in the Duke of Grafton's collection.
Jean Durand. L'Exposition Van Dyck à Anvers. Paris, 1899, p. 35, as Van Dyck at the age of sixteen or seventeen.
Lionel Cust. Anthony van Dyck, An Historical Study of His Life and Works. London, 1900, pp. 19, 203, 211, 221, 235, ill. opp. p. 20, as a repetition of the self-portrait in St. Petersburg.
[Max J.] Friedländer. "Die V. Dyck-Ausstellung in London." Repertorium für Kunstwissenschaft 23 (1900), p. 169.
Emil Schaeffer. Van Dyck, des Meisters Gemälde. 1st ed. Stuttgart, 1909, p. 502, ill. p. 171 [2nd ed. by Gustav Glück, 1931, p. 532, ill. p. 122], considers the Hermitage self-portrait and others to be repetitions of this picture.
Gustav Glück. "Antonius Van Dyck's Portrait of Cardinal Domenico Rivarola." Bulletin of the Bachstitz Gallery 7/8 (September 1924), unpaginated [reprinted in "Rubens, Van Dyck und ihr Kreis," Vienna, 1933, p. 310].
Wilhelm R. Valentiner, ed. "An Unknown Self-portrait by Rubens." Art in America. By Frank E. Washburn Freund. 16 (December 1927), p. 3, fig. 4.
Édouard Brandus. "La collection des tableaux anciens de M. Jules S. Bache, à New-York." La Renaissance 11 (May 1928), p. 194, ill. p. 187, as Van Dyck at the age of twenty-five.
Walter Heil. "The Jules Bache Collection." Art News 27 (April 27, 1929), p. 4, ill. p. 15.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill.
Wilhelm R. Valentiner. A Loan Exhibition of Fifty Paintings by Van Dyck. Exh. cat., Detroit Institute of Arts. Detroit, 1929, unpaginated, no. 12, ill.
Walter Heil. "Die Van Dyck-Ausstellung in Detroit." Pantheon 4 (July–December 1929), p. 302.
Royal Cortissoz. "The Jules S. Bache Collection." American Magazine of Art 21 (May 1930), p. 258, ill. p. 253.
Gustav Glück. Van Dyck, des Meisters Gemälde. 2nd ed. [1st ed. 1909]. Stuttgart, 1931, p. 532, ill. p. 122 [1st ed. by Emil Schaeffer, 1909, p. 502, ill. p. 171], states that it was engraved by Pontius and that it is earlier than the self-portraits in St. Petersburg and Munich; suggests that a single sketch served for the three pictures.
Ludwig Burchard, ed. Rubens, Van Dyck und ihr Kreis. By Gustav Glück. Vienna, 1933, p. 412.
Gustav Glück. "Self-portraits by Van Dyck and Jordaens." Burlington Magazine 65 (November 1934), pp. 195–96, claims that it "may on stylistic grounds be dated with certainty 1621".
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 26, ill.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 183, ill., proposes that it was painted about 1620 in Antwerp.
Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), p. 288.
Walter Heil. "The Bache Paintings at the Metropolitan." Art News 42 (June–July 1943), pp. 21, 23–24, ill., dates it about 1620.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 25, ill.
Leo van Puyvelde. "Van Dyck's Style during his English Period (II)." Phoebus 1, nos. 3/4 (1946), p. 150.
Leo van Puyvelde. Van Dyck. Brussels, 1950, pp. 96, 125, 130, 172, dates it about 1620.
W. R. Valentiner. "Van Dyck's Character." Art Quarterly 13 (Spring 1950), pp. 87–88, fig. 1, as earlier than the Munich self-portrait and broader in execution.
Lillian Ross. "Profiles: How do you like it now, gentlemen?" New Yorker (May 13, 1950), p. 58 [reprinted as "Portrait of Hemingway," New York, 1961, p. 57].
Herbert Gerhold. "A Self-portrait by Van Dyck." Country Life 112 (November 28, 1952), p. 1744.
100 Opere di Van Dyck. Exh. cat., Palazzo dell'Accademia. Genoa, 1955, p. 17, under no. 1, as a "modified replica" of the self-portrait in Munich.
H[orst]. Gerson and E. H. ter Kuile. Art and Architecture in Belgium 1600 to 1800. Baltimore, , p. 121.
Michael Jaffé in Encyclopedia of World Art. Vol. 4, New York, 1961, col. 534, dates it about 1621.
David Piper. Catalogue of Seventeenth-Century Portraits in the National Portrait Gallery, 1625–1714. Cambridge, 1963, pp. 358–59, as "now in the Bache collection".
Alain Roy in Le Siècle de Rubens dans les collections publiques françaises. Exh. cat., Galeries Nationales du Grand Palais. Paris, 1977, p. 84, under no. 45.
Erik Larsen. L'opera completa di Van Dyck. Milan, 1980, vol. 1, pp. 84, 103, no. 254, ill. (overall and detail).
Alan McNairn. The Young Van Dyck. Exh. cat., National Gallery of Canada. Ottawa, 1980, pp. 8, 26, 165–67, no. 76 and under no. 77, ill. p. 259 and cover (color detail).
J. Douglas Stewart. "Ottawa: The Young Van Dyck at the National Gallery of Canada." Burlington Magazine 123 (February 1981), p. 123.
Christopher Brown. Van Dyck. Ithaca, N.Y., 1982, pp. 52–53, pl. 43.
Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, pp. 67–71, fig. 14 (radiograph); vol. 2, pl. 29 and colorpl. VII, dates it to the autumn of 1621, observing that the portrait visible through radiography appears to be by Van Dyck and recalls the portraits that he executed in Antwerp about 1619.
Walter A. Liedtke. "Anthony van Dyck." Metropolitan Museum of Art Bulletin 42 (Winter 1984/85), pp. 4, 15, 18, 20–21, figs. 1, 15 (color, overall and detail).
Hans-Joachim Raupp. Untersuchungen zu Künstlerbildnis und Künstlerdarstellung in den Niederlanden im 17. Jahrhundert. Hildesheim, 1984, p. 231, as the model for a portrait of a man in the collection of the Duke of Portland.
Walter A. Liedtke. "Flemish Paintings in the Metropolitan Museum—II: Van Dyck, Jordaens, Brouwer, and Others." Tableau 6 (February 15, 1984), pp. 29–31, fig. 2 (color).
Colin Simpson. Artful Partners: Bernard Berenson and Joseph Duveen. New York, 1986, pp. 204, 207, 298 [British ed., "The Partnership: The Secret Association of Bernard Berenson and Joseph Duveen," London, 1987].
Erik Larsen. The Paintings of Anthony van Dyck. Freren, Germany, 1988, vol. 1, pp. 197, 394 n. 199, fig. 135; vol. 2, pp. 28–29, no. 41 and under nos. 40, 42, 43, 44.
Andrew W. Moore. Dutch and Flemish Painting in Norfolk. Exh. cat., Castle Museum, Norwich. London, 1988, pp. 9, 89, no. 13, ill. p. 9 and colorpl. 10, dates it about 1621.
Susan J. Barnes in Anthony van Dyck. Exh. cat., National Gallery of Art. Washington, 1990, pp. 167–68, fig. 1.
Introduction by Walter A. Liedtke in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, pp. 12, 26, 241–43, no. 76, ill. (color).
Deborah Krohn et al. in From El Greco to Cézanne: Masterpieces of European Painting from the National Gallery of Art, Washington, and The Metropolitan Museum of Art, New York. Exh. cat., National Gallery Alexandros Soutzos Museum. Athens, 1992, pp. 36–37, 306, no. 8, ill. (color) [catalogue section unpaginated].
Julius S. Held. "Van Dyck's Relationship to Rubens." Van Dyck 350. Ed. Susan J. Barnes and Arthur K. Wheelock Jr. Washington, 1994, pp. 64–65, fig. 3.
Alfred Moir. Anthony van Dyck. New York, 1994, pp. 18–19, 22, 44, fig. 26.
Katlijne van der Stighelen in Christopher Brown and Hans Vlieghe. Van Dyck 1599–1641. Exh. cat., Koninklijk Museum voor Schone Kunsten, Antwerp. London, 1999, pp. 43, 47 nn. 67, 68, p. 164, fig. 26 (color).
Jonathan Brown in Velázquez, Rubens y Van Dyck: Pintores cortesanos del siglo XVII. Ed. Jonathan Brown. Exh. cat., Museo Nacional del Prado. Madrid, , p. 47.
Robin Blake. Anthony van Dyck: A Life, 1599–1641. London, 1999, pp. 136–41, 281, 379 n. 6, pl. 15.
Gudrun Raatschen. Van Dyck in der Alten Pinakothek. [Munich], 1999, pp. 10–11.
Katlijne van der Stighelen. "'Van Dyck's Character' revisited: Valentiner versus de zeventiende-eeuwse historiografische traditie." Van Dyck 1599–1999: Conjectures and Refutations. Ed. Hans Vlieghe. Turnhout, Belgium, 2001, p. 229, fig. 2.
Emilie E. S. Gordenker. Anthony van Dyck (1599–1641) and the Representation of Dress in Seventeenth-century Portraiture. Turnhout, Belgium, 2001, pp. 60–61, 117–18 nn. 117, 118, fig. 100.
Natalya Gritsay in Rubens and his Age: Treasures from the Hermitage Museum, Russia. Exh. cat., Art Gallery of Ontario, Toronto. London, 2001, p. 66, under no. 23.
Konrad Renger with Claudia Denk. Flämische Malerei des Barock in der Alten Pinakothek. Munich, 2002, pp. 148, 150.
Walter Liedtke in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 19–20, 100–104, no. 16, ill. (color) [Catalan ed., Barcelona, 2006, pp. 18, 56–59, no. 12, ill. (color, overall and detail)].
Christopher White. The Later Flemish Pictures in the Collection of Her Majesty the Queen. London, 2007, p. 198, under no. 60.
Alexis Merle du Bourg in Antoon van Dyck, Portraits. Exh. cat., Musée Jacquemart-André. Brussels, 2008, p. 64.
Karen Hearn in Van Dyck & Britain. Ed. Karen Hearn. Exh. cat., Tate Britain. London, 2009, pp. 47, 133, 242, no. 5, ill. (color), dates it about 1620.
Kevin Sharpe in Van Dyck & Britain. Ed. Karen Hearn. Exh. cat., Tate Britain. London, 2009, p. 23.
Görel Cavalli-Björkman in Rubens & Van Dyck. Exh. cat., Nationalmuseum. Stockholm, , p. 156, no. 30, ill. pp. 21, 157, and inside back cover (color, overall and details).