Bernard Berenson. Letter to Michael Friedsam. June 16, 1924, attributes it to Domenico Ghirlandaio; identifies the sitter as the lady whose portrait appears in the fresco of Saint Francis Raising the Dead Child, in the chapel of the Sassetti family in the church of the Santa Trinita, Florence.
Bernard Berenson in The Michael Friedsam Collection. [completed 1928], pp. 69–70, attributes it to Domenico Ghirlandaio, dates it no later than 1486, and identifies the sitter as a member of the Sassetti family.
Alfred M. Frankfurter. "Thirty-Five Portraits from American Collections." Art News 29, no. 33 (May 16, 1931), p. 3, as probably a portrait of a daughter of Francesco Sassetti.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CCV, attributes it to Domenico Ghirlandaio and dates it 1483, the time of the frescoes in Santa Trinita; accepts Van Marle's [see Ref. 1931] suggestion that the British Museum drawing is a study for the painting.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 13, The Renaissance Painters of Florence in the 15th Century: The Third Generation. The Hague, 1931, pp. 95–96, fig. 59, attributes it to Domenico Ghirlandaio and reproduces a drawing in the British Museum, London, as a sketch for this portrait (fig. 60); dates it to the same period as Ghirlandaio's frescoes in the church of Santa Maria Novella, Florence.
Raimond van Marle. "Tre ritratti di Domenico Ghirlandaio." Bollettino d'arte 25 (1931), pp. 13–14, fig. 5, dates it to the time of the Santa Maria Novella frescoes, 1486–90.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 225, lists it as "Head of Young Woman of Sassetti Family," by Domenico Ghirlandaio.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 36, no. 59, ill. p. 41, attribute it to Domenico Ghirlandaio, believe the same woman is represented in the Sassetti chapel fresco, and place it in the same period as Ghirlandaio's portrait of Giovanna degli Albizzi Tornabuoni (Museo Thyssen-Bornemisza, Madrid; formerly Morgan Library), dated 1488.
Lionello Venturi. Italian Paintings in America. Vol. 2, Fifteenth Century Renaissance. New York, 1933, unpaginated, pl. 266.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 194.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 54, as "Portrait of a Lady of the Sassetti Family"; attributes it to Domenico Ghirlandaio and dates it about 1490; states that the drawing in the British Museum "is possibly a sketch for this portrait" [see Ref. Marle, "Italian Schools," 1931].
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, p. 285, no. 777, ill. p. 284 (cropped).
Licia Ragghianti Collobi. Lorenzo il Magnifico e le arti. Exh. cat., Palazzo Strozzi. Florence, 1949, p. 67, no. 1, as by Domenico Ghirlandaio; dates it 1485–90; identifies the sitter as the same woman who appears in the "Resurrection of the Notary's Son" in the Sassetti chapel; accepts the British Museum drawing as a preparatory study.
Ugo Galetti and Ettore Camesasca. Enciclopedia della pittura italiana. [Milan], 1951, vol. 2, p. 1075, as in the Friedsman [sic] collection, New York; identify the sitter as the same young woman of the Sassetti family portrayed in the fresco in the Sassetti chapel; describe her clothing.
A. Hyatt Mayor. "The Gifts that Made the Museum." Metropolitan Museum of Art Bulletin 16 (November 1957), ill. p. 99, as "Portrait of a Lady of the Sassetti Family".
Giuseppe Marchini. "Domenico Ghirlandaio, il grande cronista figurativo della Firenze Laurenziana." Secoli vari ('300–'400–'500). Florence, 1958, pp. 309–10, mentions it as one of three portraits of Sassetti's daughters painted by Ghirlandaio while his assistants prepared the Sassetti chapel in Santa Trinita for frescoing; refers to the three pictures as among Domenico's best works.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 76.
A[ndré]. C[hastel]. in Dictionnaire universel de l'art et des artistes. Vol. 2, Paris, 1967, ill. p. 25 (color), as a portrait of a woman of the Sassetti family by Domenico Ghirlandaio.
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. 137, ill. p. 136, attribute it to Domenico Ghirlandaio and date it to "the last years of the 1480s".
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 83, 529, 607, as "Portrait of a Lady" by Domenico Ghirlandaio.
Jean K. Cadogan. Letter to Keith Christiansen. April 3, 1979, rejects the attribution to Domenico Ghirlandaio, stating, "the hand is the same as the one that executed the St. Roch in the Rimini altarpiece" in the Museo Civicio, Rimini [see Christian von Holst, "Francesco Granacci," Munich, 1974, for the attribution of this figure to Granacci].
Luísa Sampaio in "Only the Best": Masterpieces of the Calouste Gulbenkian Museum, Lisbon. Ed. Katharine Baetjer and James David Draper. Exh. cat., The Metropolitan Museum of Art. New York, 1999, p. 46, under no. 19, dates it about 1485 and compares it to a female portrait by Domenico Ghirlandaio in the Calouste Gulbenkian Museum.
Jean K. Cadogan. Domenico Ghirlandaio: Artist and Artisan. New Haven, 2000, pp. 188, 279–80, no. 48, fig. 260, states that it is "probably by an unidentified helper in Ghirlandaio's workshop in the mid-1480s".
David Alan Brown in Virtue and Beauty: Leonardo's "Ginevra de' Benci" and Renaissance Portraits of Women. Ed. David Alan Brown. Exh. cat., National Gallery of Art. Washington, 2001, pp. 186, 188 n. 4, under no. 29, calls it "Young Lady of the Sassetti Family," and compares it to a female portrait by Ghirlandaio in the Sterling and Francine Clark Art Institute, Williamstown.
Eleonora Luciano in Italian Paintings of the Fifteenth Century. Washington, 2003, pp. 306–7 n. 19, finds it closely related to a portrait of Lucrezia Tornabuoni of about 1475 attributed to Domenico Ghirlandaio (National Gallery of Art, Washington).
Francesca Pasut in Da Bernardo Daddi al Beato Angelico a Botticelli: dipinti fiorentini del Lindenau-Museum di Altenburg. Ed. Miklós Boskovits with the assistance of Daniela Parenti. Exh. cat., Museo di San Marco. Florence, 2005, p. 95 n. 27, calls it a portrait of the same young woman of the Sassetti family seen in the Santa Trinita fresco; notes that Cadogan [see Ref. 2000] rejects the attribution to Domenico Ghirlandaio.
Jacqueline Marie Musacchio. Art, Marriage, & Family in the Florentine Renaissance Palace. New Haven, 2008, p. 49, fig. 50 (color), calls it a portrait of one of Francesco Sassetti's five daughters and dates it about 1485.
Nicoletta Pons in Botticelli to Titian: Two Centuries of Italian Masterpieces. Ed. Dóra Sallay et al. Exh. cat., Museum of Fine Arts, Budapest. Budapest, 2009, p. 108.
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. 175.
Everett Fahy in Botticelli to Titian: Two Centuries of Italian Masterpieces. Ed. Dóra Sallay et al. Exh. cat., Museum of Fine Arts, Budapest. Budapest, 2009, pp. 182–83, no. 30, ill. (color).
Rab Hatfield. "Some Misidentifications in and of Works by Botticelli." Sandro Botticelli and Herbert Horne: New Research. Ed. Rab Hatfield. Florence, 2009, p. 34 n. 144, believes that the sitter—also depicted, dressed in blue and carrying a handkerchief, in Domenico Ghirlandaio's fresco of the "Raising of the Son of the Roman Notary" in the Sassetti chapel in Santa Trinita, Florence—cannot be a born Sassetti, but rather is probably an in-law.
Gert Jan van der Sman in Ghirlandaio y el Renacimiento en Florencia. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2010, pp. 48–49, 72–73, 86, 277, 285–86, 290, no. 15, ill. (color), accepts the identification of the sitter as Selvaggia Sassetti and dates the picture about 1487–88; calls it a "spin-off" from the commission of the fresco cycle in the Sassetti chapel and places it within "a group of independent portraits made under the supervision of Ghirlandaio in close collaboration with an assistant, possibly David".
Stefan Weppelmann in The Renaissance Portrait from Donatello to Bellini. Ed. Keith Christiansen and Stefan Weppelmann. Exh. cat., Bode-Museum, Berlin. New York, 2011, p. 67 [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011].
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. 117–18, 139, no. 17, ill. (color) [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011, pp. 117–18, no. 17, ill. (color)].