Bernard Berenson. "Italian Paintings." Catalogue of a Collection of Paintings and some Art Objects. 1, Philadelphia, 1913, pp. 127–28, under no. 204.
Bernard Berenson. Letter to Louis Duveen. March 4, 1913, attributes it to Titian and dates it 1555, two or three years before the version now in the Philadelphia Museum of Art.
Bernard Berenson. Letter to Messrs. Duveen. March 17, 1913, dates it about 1554–55.
François Monod. "La galerie Altman au Metropolitan Museum de New-York (1er article)." Gazette des beaux-arts, 5th ser., 8 (September–October 1923), p. 191, attributes it to Titian and dates it either 1543, at the time of Titian's portrait of Pope Paul III, or 1545–46, during Titian's time in Rome; calls the Philadelphia picture a later replica, probably also by Titian.
Oskar Fischel. Tizian: Des Meisters Gemälde. Stuttgart, [1929?], p. 319, ill. p. 184, attributes it to Titian and dates it about 1554.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 573, dates it 1554–56.
Wilhelm Suida. Tizian. Zürich, 1933, pp. 107, 169, pl. CCVIb.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 493.
Jan Zarnowski. "L'atelier de Titien: Girolamo di Tiziano." Dawna Sztuka 1 (1938), p. 129, attributes it to Girolamo di Tiziano and calls the Philadelphia picture a weak replica.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 193–94, ill.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, ill., attributes it to Titian and dates it about 1554–56.
Rodolfo Pallucchini. Tiziano: Lezioni tenute alla Facoltà di Lettere dell'Università di Bologna durante l'Anno 1953–54. Bologna, [1953–54], vol. 2, pp. 62–63, judging from a photograph, suggests that it was begun by Titian himself but completed by his workshop; notes that it repeats the composition of Titian's portrait of Ludovico Beccadelli (Uffizi, Florence).
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 189.
Francesco Valcanover. Tutta la pittura di Tiziano. Milan, 1960, vol. 2, p. 71, pl. 174 [English ed., "All the Paintings of Titian," New York, 1960, vol. 4, p. 92, pl. 174], as Attributed to Titian.
Ruth Wedgwood Kennedy. "Apelles redivivus." Essays in Memory of Karl Lehmann. New York, 1964, p. 168 n. 64, suggests that the Philadelphia painting "may originally have served as a cover for" the MMA picture.
Barbara Sweeny. John G. Johnson Collection: Catalogue of Italian Paintings. Philadelphia, 1966, p. 76, under no. 204.
Richard J. Betts. "Titian's Portrait of Filippo Archinto in the Johnson Collection." Art Bulletin 49 (March 1967), pp. 59–61 n. 27, fig. 2, attributes the Philadelphia painting to Titian and calls this work a copy after it, possibly a workshop product or possibly by Leandro Bassano (1557–1622).
Francesco Valcanover in L'opera completa di Tiziano. repr., 1978. Milan, 1969, p. 126, no. 392, ill., attributes it to Titian's workshop and dates it "1554–56?".
Rodolfo Pallucchini. Tiziano. Florence, 1969, vol. 1, pp. 137, 302–3; vol. 2, pl. 398, as by Titian and workshop (Orazio Vecellio); dates it about 1554–56.
Harold E. Wethey. "The Portraits." The Paintings of Titian. 2, London, 1971, p. 75, under no. 4, pl. 163, calls it a variant of the Philadelphia painting, either by Titian's workshop or a later copy by Leandro Bassano.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 202, 510, 606.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 75–76, pl. 91, attribute it to Titian with some workshop assistance; call the Philadelphia painting probably a copy after it.
Edward Fowles. Memories of Duveen Brothers. London, 1976, p. 76.
Fritz Heinemann Università degli Studi di Venezia. "La bottega di Tiziano." Tiziano e Venezia. Vicenza, 1980, p. 438, states that Titian painted the face and Cesare Vecellio painted the rest of the work, after a sketch by Titian.
Angelica Dülberg. Privatporträts: Geschichte und Ikonologie einer Gattung im 15. und 16. Jahrhundert. Berlin, 1990, p. 296, no. 337, fig. 636.
Maria Agnese Chiari Moretto Wiel in Filippo Pedrocco. Titian. New York, 2001, p. 245, under no. 203, refers to it as "the second version, of inferior quality".
David Alan Brown in Sybille Ebert-Schifferer. Deceptions and Illusions: Five Centuries of Trompe l'Oeil Painting. Exh. cat., National Gallery of Art. Washington, 2002, p. 124, under no. 7, ill. (color).
Meryle Secrest. Duveen: A Life in Art. New York, 2004, p. 493, dates it about 1554–56; incorrectly states that the MMA now attributes it to the workshop of Titian or Leandro Bassano.
Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." Metropolitan Museum of Art Bulletin 63 (Summer 2005), pp. 11–12, fig. 9 (color), believes that Titian painted the MMA portrait several years before the Philadelphia version, and that he may have had studio assistance with the latter.
Andrea Bayer. "Collecting North Italian Paintings at The Metropolitan Museum of Art." A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America. University Park, Pa., 2015, pp. 91–92, 124 n. 23.