David Wilkie. Letter. May 28, 1836 [published by A. Cunningham, The Life of Sir David Wilkie, vol. 3, 1843, p. 117], mentions this painting, "The Man with the Dog," in an exhibition at the British Institution; ascribes it to Murillo and notes that he saw it in "the linen-draper's [Bravo's] house in Seville".
Edmund Head. A Handbook of the History of the Spanish and French Schools of Painting. London, 1848, p. 178, mentions it as the finest Murillo portrait in the Galerie Espagnole at the Louvre.
William Stirling[-Maxwell]. Annals of the Artists of Spain. London, 1848, vol. 2, p. 919; vol. 3, p. 1444, catalogues the painting as Don Andres de Andrade, "Pertigero" or verger of the Cathedral of Seville; mentions a copy with Sir A. Aston, Aston Hall, Cheshire.
Richard Ford. "Sale of Louis Philippe's Spanish Pictures." Athenæum (May 14, 21, 28, 1853), unpaginated, [see Refs. Curtis 1883, Richter 1889 and Stratton-Pruitt 2002], notes that Sir John Brackenbury obtained the painting from the Heirs of Andrade for less than £400; claims that this painting was substituted for a copy and smuggled out of Spain; notes that Louis-Philippe purchased the painting for £2,000 (Curtis and Richter), but Stratton-Pruitt claims that the figure was closer to £1,025 sterling.
[Gustav Friedrich] Waagen. Treasures of Art in Great Britain. London, 1854, vol. 2, pp. 180–81, as in the collection of Thomas Baring, purchased by him at the sale of Louis-Philippe's Spanish pictures.
J. J. A. Bristead. Manuscript catalogue of Spanish paintings. 1870–75, pp. 69, 91, as in Thomas Baring's collection, London.
Ellen E. Minor. Murillo. London, 1882, pp. 53, 74, 78, as in the Northbrook collection, London.
Charles B. Curtis. Velazquez and Murillo. London, 1883, pp. 292–93, no. 457, mentions a copy by Juan Simon Gutiérrez in the Academy of San Fernando, Madrid, and another (82 x 44 in.) sold as a Murillo in Lord Aston's sale, August 6, 1862.
Ronald [Sutherland] Gower. The Northbrook Gallery. London, 1885, pp. 10–11, pl. 7, notes that the pilaster at left bears the arms of the Andrade family with the motto "AVE MARIA GRACIAE PLENA"; mentions the ex-Aston copy then attributed to Valdés Leal in the collection of F. W. Cosens, Lewes.
Luis Alfonso. Murillo: El hombre, el artista, las obras. Barcelona, 1886, p. 188.
W. H. J. Weale and Jean Paul Richter. A Descriptive Catalogue of the Collection of Pictures Belonging to the Earl of Northbrook. London, 1889, pp. 173–74, no. 228.
Carl Justi. "Murillo." Zeitschrift für bildende Kunst 2 (1891), p. 267, fig. 13 (engraving).
Carl Justi. Murillo. Leipzig, 1892, pp. X, 35, fig. 13.
Paul Lefort. Murillo et ses élèves. Paris, 1892, pp. 64, 95, no. 419.
Exhibition of Spanish Art. Exh. cat., New Gallery. London, 1895, p. 9, no. 36.
The Masterpieces of Murillo. London, 1906, pl. 6.
Albert F. Calvert. Murillo: A Biography and Appreciation. London, 1907, pp. 183–84.
Paul Lafond. Murillo. Paris, 1908, pp. 100, 121, ill., cites it as one of three portraits unquestionably by Murillo.
Narciso Sentenach y Cabañes. The Painters of the School of Seville. London, 1911, p. 197.
August L. Mayer. Murillo: Des Meisters Gemälde. Stuttgart, 1913, pp. 222, 289, dates it about 1650–60.
August L. Mayer. Geschichte der spanischen Malerei. Leipzig, 1913, vol. 2, p. 101.
August L. Mayer. Geschichte der spanischen Malerei. Leipzig, 1922, pp. 345–46, ill.
Santiago Montoto. Bartolomé Esteban Murillo. Seville, 1923, p. 120, questions the identification of the sitter.
Gabriel v. Térey. "Die Murillo-Bilder der Sammlung Eugen Boross in Larchmond (New York)." Der Cicerone 15 (1923), p. 773.
Paul Lafond. Murillo. Paris, 1928, p. 100.
International Studio 91 (October 1928), ill. p. 30, notes the influence of portraits by Velázquez and Van Dyck.
Bryson Burroughs. "Spanish Paintings from El Greco to Goya." Metropolitan Museum of Art Bulletin 23 (February 1928), pp. 41, 44, ill.
"From El Greco to Goya." American Magazine of Art 19 (April 1928), pp. 180–8, ill.
August L. Mayer in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 25, Leipzig, 1931, p. 286.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 243–44, ill.
Antonio Muñoz. Murillo. Novara, , p. 20.
Lorenzo Varela. Murillo. Buenos Aires, 1946, pl. 9.
Juan Antonio Gaya Nuño. La pintura española fuera de España. Madrid, 1958, p. 243, no. 1868.
Julián Gállego. La peinture espagnole. Paris, 1962, p. 135.
Introduction by Kenneth Clark in Masterpieces of Fifty Centuries. Exh. cat., The Metropolitan Museum of Art. New York, 1970, p. 255, no. 272, ill.
Ramón Carande in Bartolomé Estéban Murillo. Madrid, 1972, pp. 213–14, dates the painting about 1650–60, and disputes the identity of the sitter, citing the presence of the coat of arms and senorial dress as inconsistent with Andrade's personal circumstances.
Francis Haskell. Rediscoveries in Art: Some Aspects of Taste, Fashion and Collecting in England and France. Ithaca, N.Y., 1976, p. 73, pl. 174.
Juan Antonio Gaya Nuño. L'opera completa di Murillo. Milan, 1978, pp. 92, 119, no. 68, ill.
Denys Sutton. "Robert Langton Douglas, Part III, XVII: Dramatic Days." Apollo, n.s., 109 (June 1979), p. 191, fig. 48.
Eric Young. Bartolomé Murillo: Werkverzeichnis. Frankfurt am Main, 1980, p. 32, no. 71, ill., dates it to about 1656–60.
A Dealer's Record: Agnew's, 1967–81. London, 1981, p. 102, fig. 219, mentions it as one of Murillo's earliest known portraits.
Diego Angulo Íñiguez. Murillo. Madrid, 1981, vol. 1, p. 459; vol. 2, pp. 313–14, no. 405; vol. 3, pl. 458, accepts Mayer's [Ref. 1913] date of 1650–60; discusses the sitter's family and estimates a birth date for him of about 1630.
Julián Gállego. "La pintura española en las colecciones norteamericanas (1650–1700)." Goya (July–December 1982), p. 201, cites it as "Don Andreas de Andrada y su perro".
Juan José Martín González. "Murillo ante la estadistica." Goya (July–December 1982), p. 25, observes that dogs in Murillo's paintings are "generally situated in the foreground, as an anecdotal element and with the purpose of filling the space".
Claudie Ressort in Murillo dans les musées français. Exh. cat., Musée du Louvre. Paris, 1983, p. 62, no. 124, ill.
Nina Ayala Mallory. Bartolomé Estebán Murillo. Madrid, 1983, p. 76, fig. 70, dates it to the 1650s.
José López-Rey. "Views and Reflections on Murillo." Gazette des beaux-arts 109 (January 1987), pp. 29–30, fig. 35, dates it to the 1650s; notes that only in his early portraits, like this one, did Murillo aim to depict the sitter's individual character traits.
Enrique Valdivieso. Murillo: Sombras de la tierra, luces del cielo. Madrid, 1990, p. 216, dates the painting 1650–60.
Nina Ayala Mallory. Del Greco a Murillo: La pintura española del Siglo de Oro, 1556–1700. Madrid, 1991, p. 221, cites it as a work in the tradition of Antonis Mor.
Karin Hellwig. "Vom Reiz des Alltäglichen: Bartolomé Estebán Murillo." Vision oder Wirklichkeit: Die spanische Malerei der Neuzeit. Ed. Henrik Karge. Munich, 1991, pp. 168–69, ill. (color), dates it about 1650.
Alfonso E. Pérez Sánchez. Pintura barroca en España (1600–1750). Madrid, 1992, p. 360.
Nicholas Tromans. "Le Baron Taylor à Londres en 1837." Revue des musées de France: Revue du Louvre no. 3 (1998), pp. 66–69 ns. 9–12, ill. (color), discusses the 1837 purchase of the painting by Baron Isidore Taylor on behalf of King Louis Philippe for £1025, making it one of the most expensive purchases for the Galerie Espagnole.
Hugh Brigstocke et al. in En torno a Velázquez: Pintura española del siglo de oro. Exh. cat., Museo de Bellas Artes de Asturias. London, 1999, pp. 8, 184, ill., mentions the sale of the painting by Sir John Brackenbury to Louis Philippe of France.
Suzanne L. Stratton-Pruitt in Bartolomé Esteban Murillo (1617–1682): Paintings from North American Collections. Exh. cat., Kimbell Art Museum. New York, 2002, pp. 90, 92, 188–90, no. 34, ill. (color, overall and detail), notes that Louis Philippe paid £1,025 sterling for the portrait instead of the £2,000 claimed by Ford.
Claudie Ressort in Écoles espagnole et portugaise. Paris, 2002, p. 216, notes that this portrait and Murillo's portraits of Iñigo Melchior Fernández de Velasco (Louvre) and Don Diego Félix de Esquivel y Aldama (Denver Art Museum) are stylistically cohesive; places the Louvre portrait in 1659, during Murillo's only visit to Madrid, and considers the MMA work from the same period, although apparently produced after his return to Seville.
María de los Santos García Felguera in Gary Tinterow and Geneviève Lacambre. Manet/Velázquez: The French Taste for Spanish Painting. Exh. cat., Musée d'Orsay, Paris. New York, 2003, pp. 36, 373, 378, 434–35, no. 52, ill. p. 435 and fig. 1.31 (color) [French ed., Manet/Velázquez: La manière espsagnole au XIXe siècle, Paris, 2002, p. 51, fig. 18 (color)], notes that if he was, indeed, "pertiguero" (or verger), Andrade would have "carried the pértiga, a good-sized staff garnished with silver, when accompanying the priests in various church ceremonies"; comments that the inscription on the coat of arms must reflect either Andrade's position as "pertiguero" or his noble status, as it also appears in a book about horses written by his ancestor, Pedro Fernández de Andrade, in 1580; discusses the provenance.