Bernhard Berenson. "Due ritratti fiorentini del Quattrocento." Rassegna d'arte 5 (December 1905), pp. 177–78, ill., attributes it to Cosimo Rosselli and calls it a portrait of a Florentine gentleman.
Bernhard Berenson. The Florentine Painters of the Renaissance. 3rd ed. New York, 1909, p. 179.
Adolfo Venturi. "La pittura del quattrocento." Storia dell'arte italiana. 7, part 1, Milan, 1911, p. 690, fig. 402.
Tancred Borenius. "Professor Venturi on Quattrocento Painting." Burlington Magazine 29 (July 1916), p. 162.
A. Lorenzoni. Cosimo Rosselli. Florence, 1921, p. 79.
Raimond van Marle. The Development of the Italian Schools of Painting. 11, The Hague, 1929, p. 605, calls it a work in Rosselli's Botticelliesque manner.
Ella S. Siple. "Art in America—Messrs. Knoedler's Exhibition." Burlington Magazine 55 (December 1929), p. 331, pl. IIB, calls it a self-portrait.
Raimond van Marle. "Die Sammlung Joseph Spiridon." Der Cicerone 21 (1929), p. 183, fig. 8, as a portrait of a man.
R. H. Wilenski. "A Recent Loan Exhibition in New York." Apollo 11 (January 1930), ill. p. 34, as a self-portrait.
"New York: The Knoedler Exhibition." Connoisseur 85 (January 1930), p. 51, ill. p. 57, as a portrait of a man.
Hans D. Gronau. "Zwei unpublizierte Porträts von Cosimo Rosselli." Pantheon 7 (1931), pp. 154–56, ill., does not believe it is a self-portrait.
"A Self Portrait by Rosselli." Connoisseur 90 (August 1932), pp. 143–44, ill.
W. R. Valentiner in The Sixteenth Loan Exhibition of Old Masters: Italian Paintings of the XIV to XVI Century. Exh. cat., Detroit Institute of Arts. Detroit, 1933, unpaginated, no. 22, ill., calls it a self-portrait.
Wilhelm R. Valentiner. "Die Leihausstellung frühitalienischer Malerei in Detroit." Pantheon 12 (1933), p. 238, ill. p. 237.
[Georg] Gronau in Allgemeines Lexikon der bildenden Künstler. 29, Leipzig, 1935, p. 36.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 423, lists it as a portrait of a man.
"Illustrations of Outstanding Harkness Gifts." Metropolitan Museum of Art Bulletin 10 (October 1951), ill. p. 60, as "Portrait of the Artist".
"List of Gifts and Bequests of Mr. and Mrs. Harkness." Metropolitan Museum of Art Bulletin 10 (October 1951), p. 83.
U[mberto]. Baldini. "Note brevi su inediti toscani: Cosimo Rosselli." Bollettino d'arte 38 (July–September 1953), p. 280, suggests assigning it to the same period as a fresco of an apostle by Rosselli (parish church, Sesto Fiorentino), which he tentatively dates between 1470 and 1475.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol. 1, p. 191.
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, pp. 148–49, ill., date it about 1481–82; doubt that it is a self-portrait.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 178, 523, 608.
Edith Gabrielli. "L'impresa Sistina e l'ultima 'maniera' di Cosimo Rosselli." Sisto IV: le arti a Roma nel primo rinascimento. Rome, 2000, pp. 209, 219 n. 81, sees the influence of Memling's "Portrait of a Man" in the Uffizi, Florence.
Arthur R. Blumenthal in Cosimo Rosselli: Painter of the Sistine Chapel. Exh. cat., George D. and Harriet W. Cornell Fine Arts Museum. Winter Park, Fla., 2001, pp. 148–53, no. 16, ill. (color).
Everett Fahy in Cosimo Rosselli: Painter of the Sistine Chapel. Exh. cat., George D. and Harriet W. Cornell Fine Arts Museum. Winter Park, Fla., 2001, p. 251.
Edith Gabrielli. Cosimo Rosselli: catalogo ragionato. Turin, 2007, pp. 56, 201–2, no. 65, ill., rejects the idea that it is a self-portrait.
Everett Fahy in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, pp. 301–2, no. 127, ill. (color) [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011], relates it to Rosselli's work in the Sistine Chapel (1481–82) and in the church of Sant'Ambrogio in Florence (1484–86); notes that "the sitter's clothes . . . indicate he was a member of the Florentine patrician class.