Carlo Ridolfi. Le maraviglie dell'arte. Venice, 1648, part 1, p. 214, mentions a picture by Paris Bordone in the collection of Bernardo Trincavalla that depicts a knight whose page fastens his armor, possibly this work.
Marco Boschini. La carta del navegar pitoresco. Venice, 1660, pp. 366–67, describes a painting by Bordon of a gentleman armed by two pages that passed from the collection of Paolo del Sera to that of Leopoldo de' Medici.
Luigi Bailo and Gerolamo Biscaro. Della Vita e delle opere di Paris Bordon. Treviso, 1900, p. 199, list the painting described by Boschini [see Ref. 1660] among the missing works of Bordon.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 431, as "Knight and Page", in the collection of the Earl of Harewood, London.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 370.
Tancred Borenius. Catalogue of the Pictures and Drawings at Harewood House. Oxford, 1936, pp. 7–8, no. 9, pl. 6, identifies it with the picture mentioned by Boschini; notes that A. van de Put suggested that it might represent the Duke of Alba, and that Charles R. Beard dated the armor about 1510.
Rodolfo Pallucchini. La giovinezza del Tintoretto. Milan, 1950, pp. 26–27, notes that it is similar in style to the early work of Tintoretto.
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 46.
Giordana Canova. Paris Bordon. Venice, 1964, p. 79, pls. 116, 117, accepts the identification of the picture with the one described by Boschini and dates it about 1555–60.
Simona Savini-Branca. Il collezionismo veneziano nel '600. Padua, 1964, p. 277, cites Boschini's description.
Henry A. La Farge. "Noble Metropolitan Visitors." Art News 65 (February 1967), pp. 29–30, fig. 4, tentatively accepts the identification of the subject as the Duke of Alba.
Everett Fahy in "Paintings, Drawings." The Wrightsman Collection. 5, [New York], 1973, pp. 16–24, ill. (overall in color and details in black and white), notes that the motif of a soldier preparing for battle goes back to early sixteenth-century Venetian prototypes, and that the qualities of informality and psychological intimacy are rare in conventional military portraiture; observes that there are stylistic analogies with Bordon's Milanese works of the early 1540s, and dates the portrait during this period; notes that the subject might be the Milanese officer Carlo da Rho.
Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 94, ill.
Denys Sutton. "Tancred Borenius: Connoisseur and Clubman." Apollo 107 (April 1978), p. 304, fig. 17, notes that Tancred Borenius acquired the picture for the Earl of Harewood.
Paola Rossi. "Nota in margine alla mostra 'L'opera ritrovata'." Arte veneta 38 (1984), p. 257, relates it to Tintoretto's "Scipione Clusone with a Page" (Galleria Nazionale di Palazzo Spinola, Genoa).
Francis Russell in The Treasures Houses of Britain. Exh. cat., National Gallery of Art. Washington, 1985, p. 564.
Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." Metropolitan Museum of Art Bulletin 63 (Summer 2005), pp. 41–42, fig. 35 (color), suggests that Bordon painted it in Milan in the 1540s.
Everett Fahy in The Wrightsman Pictures. New York, 2005, pp. 10–13, no. 3, ill. (color), tentatively identifies it with a portrait by Paris Bordon described by Carlo Ridolfi in 1648 [see Ref.] as a "knight whose page fastens his armor" and which was then in the collection of Bernardo Trincavalla.
Paul H. D. Kaplan in "From the "Age of Discovery" to the Age of Abolition: Artists of the Renaissance and Baroque." The Image of the Black in Western Art. 3, part 1, Cambridge, Mass., 2010, p. 126, colorpl. 55, notes that the helmet held by the black page was sometimes known as a "morione" and that the resemblance to the word "moro" (moor) suggests that a pun could have been intended.