John Smith. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters. 7, London, 1836, p. 105, no. 283, catalogues a portrait of a man "with gray hair and a short beard, seen in nearly a front view, habited in a dark dress, and a full white ruff" from the Tolozan and Montaleau sales, probably this work.
Paul Mantz. "Exposition en faveur de l'oeuvre des Alsaciens et Lorrains." Gazette des beaux-arts, 2nd ser., 10 (September 1874), p. 292, as in the collection of the princesse de Sagan.
C. Vosmaer. Rembrandt, sa vie et ses ouevres. 2nd ed. The Hague, 1877, pp. 493, 495, catalogues two male portraits, signed and dated 1632; gives the Collot and Seillière provenances for the first picture, and the Sagan provenance for the second, both possibly identical with this work; states that he saw the portrait in the Seillière collection that, according to its description, must be the work called a potrait of Nicolas Tulp in the Collot sales; rejects the identification of the sitter as Tulp, and states that there is another potrait in the Seillière collection, painted 1634, which he believes to be of Tulp.
Wilhelm [von] Bode. Studien zur Geschichte der holländischen Malerei. Braunschweig, 1883, pp. 399, 597, no. 305, catalogues it as an oval portrait, dated 1632, in the princesse de Sagan collection; mentions portraits of Nicolas Tulp and his wife in the Sagan collection, possibly including this work or the portrait identified as Tulp by Vosmaer [see Ref. 1877].
Eugène Dutuit. Tableaux et dessins de Rembrandt. Paris, 1885, pp. 11, 18, 52, 62, 66, no. 247, lists the portrait in the Tolozan sale without a current location, and identifies the ex Collot picture, which he says is wrongly called a portrait of Tulp, with the work in the Sagan collection.
Alfred von Wurzbach. Rembrandt-galerie. Stuttgart, 1886, text vol., no. 322.
"Art Notes." New York Times (September 11, 1889), p. 4, notes its purchase by James Ellsworth; calls it "Portrait of Dr. Tulp".
Émile Michel. Rembrandt: His Life, His Work, and His Time. English ed. New York, 1894, vol. 2, p. 248, as "'Portrait of a Young Man,' erroneously called a 'Portrait of Dr. Tulp,'" from the Collot and princesse de Sagan collections; lists it among works recently acquired by American collectors.
Wilhelm [von] Bode with the assistance of C. Hofstede de Groot. The Complete Work of Rembrandt. 2, Paris, 1897, pp. 5, 42, no. 81, pl. 81, as engraved by M. Desboutin; calls it "Bust of a Man of Forty," rejecting the identification of the sitter as Tulp; gives its earliest provenance as the Tolozan collection, Paris, in 1801, and later the collections of Robit, Montaleau, Collot, Seillière, and Sagan, "whence it passed to its present owner" [Ellsworth].
Adolf Rosenberg. Rembrandt, des Meisters Gemälde. Stuttgart, 1904, p. 256, ill. p. 37.
E. W. Moes. Iconographia Batava: Beredeneerde Lijst van Geschilderde en Gebeeldhouwde Portretten van Noord-Nederlanders in Vorige Eeuwen. 2, Amsterdam, 1905, p. 485 n. 1, states that the portrait in the Ellsworth collection is not of Nicolas Tulp.
Adolf Rosenberg. Rembrandt, des Meisters Gemälde. 2nd ed. Stuttgart, 1906, p. 395, ill. p. 67.
Adolf Rosenberg. Rembrandt, des Meisters Gemälde. 3rd ed. Stuttgart, 1909, p. 552, ill. p. 82.
Wilhelm R. Valentiner. The Hudson-Fulton Celebration: Catalogue of an Exhibition Held in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1909, vol. 1, p. 79, no. 78, ill. opp. p. 79.
C[ornelis]. Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 6, London, 1916, p. 357, no. 761.
William Howe Downes. "The Great Rembrandt Question." American Magazine of Art 14 (December 1923), p. 663.
John C. van Dyke. Rembrandt and His School. New York, 1923, p. 37.
W. R. Valentiner. "Important Rembrandts in American Collections." Art News 28 (April 26, 1930), p. 3, ill. following p. 4, in text, calls it a portrait of a cleric; in caption, calls it a portrait of a man of forty.
Wilhelm R. Valentiner. Rembrandt Paintings in America. New York, 1931, unpaginated, under no. 36, suggests that it is the pendant to the "Portrait of a Woman" in the Altman collection [MMA 14.40.625], stating that "the lady might well be the wife of a preacher, as the model in the Ellsworth painting seems to be".
A[braham]. Bredius. Rembrandt Gemälde. Vienna, 1935, p. 7, no. 160, pl. 160.
Kurt Bauch. Rembrandt Gemälde. Berlin, 1966, p. 19, pl. 357.
Horst Gerson. Rembrandt Paintings. Amsterdam, 1968, p. 494, no. 122, ill. p. 265, states that while this portrait and MMA 14.40.625 are believed to be pendants, the execution of the woman is weaker and he is not wholly convinced of the attribution.
A[braham]. Bredius. Rembrandt: The Complete Edition of the Paintings. 3rd ed. London, 1969, pp. 560, 576, no. 160, ill. p. 136.
Paolo Lecaldano in L'opera pittorica completa di Rembrandt. Milan, 1969, p. 98, no. 98, ill. p. 99.
Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, p. 172 [rev., enl. ed., 1989].
Josua Bruyn in "Round-Table Discussion: Problems of Attribution." Rembrandt After Three Hundred Years. Chicago, 1973, p. 34, suggests that the "Portrait of a Woman" in the Hage collection (Nivaagaards Malerisamling, Nivå, Denmark) is the possible pendant to this picture.
J. Bolten and H. Bolten-Rempt. The Hidden Rembrandt. Milan, 1977, p. 177, no. 117, ill.
Walter L. Strauss and Marjon van der Meulen. The Rembrandt Documents. New York, 1979, p. 83.
Gary Schwartz. Rembrandt, His Life, His Paintings. New York, 1985, p. 155, fig. 146 (color), states that it is not the pendant to MMA 14.40.625.
J[osua]. Bruyn et al. "1631–1634." A Corpus of Rembrandt Paintings. 2, The Hague, 1986, p. 5 n. 9, pp. 6–8, 238–42, 261–62, 417, 765, 860, 865, no. A59, figs. 1–4 (overall, details, and x-ray detail), rejects MMA 14.40.625 as the pendant, but states that it can be assumed that this work had a pendant, perhaps the portrait in Nivå.
Christian Tümpel. Rembrandt: Mythos und Methode. Königstein, 1986, p. 428, no. A79, ill. p. 89, as probably the companion to MMA 14.40.625.
Claus Grimm. Rembrandt selbst: Ein Neubewertung seiner Porträtkunst. Stuttgart, 1991, pp. 13–14, fig. 15.
Leonard J. Slatkes. Rembrandt: Catalogo completo dei dipinti. Florence, 1992, p. 246, no. 153, ill. (color).
Walter Liedtke in "Recent Acquisitions, A Selection: 1992–1993." Metropolitan Museum of Art Bulletin 51 (Fall 1993), p. 35, ill. p. 34 (color), states that MMA 14.40.625 "has wrongly been assumed by some to be the possible pendant of the painting here, for which no companion piece has ever been convincingly proposed".
Carol Vogel. "The Art Market: The Met's New Rembrandt." New York Times (March 12, 1993), p. C18, ill.
Walter Liedtke in "Paintings, Drawings, and Prints: Art-Historical Perspectives." Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. 2, New York, , pp. 40–42, 47, 50, 58, 60, no. 1, ill. (color) and fig. 49 (detail), notes that the inscription is old, but not by Rembrandt.
Hubert von Sonnenburg. "Paintings: Problems and Issues." Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. 1, New York, 1995, pp. 28, 29, 38, 90, 94, figs. 25 (reverse, detail), 28 (color detail), 29 (x-radiograph detail), 114, 115 (detail).
JoLynn Edwards. Alexandre-Joseph Paillet: Expert et marchand de tableaux à la fin du XVIIIe siècle. Paris, 1996, pp. 169, 297, 311, ill. p. 168.
Albert Blankert and Marleen Blokhuis in Rembrandt: A Genius and His Impact. Exh. cat., National Gallery of Victoria. Melbourne, 1997, p. 114 n. 1, under no. 8.
Christopher Wright. Rembrandt. Paris, 2000, p. 188, fig. 172 (color), as possibly the pendant to the Nivå portrait.
Jaap van der Veen. "Onbekende opdrachtgevers van Rembrandt (3)." Kroniek van het Rembrandthuis nos. 1–2 (2003), pp. 55, 58–59 n. 56, fig. 3.
Esmée Quodbach. "'Rembrandt's "Gilder" is here': How America Got its First Rembrandt and France Lost Many of its Old Masters." Simiolus 31, no. 1/2 (2004), p. 94 n. 13, p. 98.
Catherine B. Scallen. Rembrandt, Reputation, and the Practice of Connoisseurship. Amsterdam, 2004, pp. 187, 358 n. 19.
Lene Bøgh Rønberg in Rembrandt? The Master and His Workshop. Exh. cat., Statens Museum for Kunst. [Copenhagen], 2006, pp. 184, 283 n. 5, under no. 8.
Jaap van der Veen in Uylenburgh & Son: Art and Commerce from Rembrandt to De Lairesse, 1625–1675. Exh. cat., Dulwich Picture Gallery, London. Zwolle, The Netherlands, 2006, pp. 144–45.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol 1, pp. ix, 9, 324; vol. 2, pp. 550–54, 568, 585, 608, no. 141, colorpl. 141.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), p. 70.
George S. Keyes in Rembrandt in America: Collecting and Connoisseurship. Exh. cat., North Carolina Museum of Art. New York, 2011, p. 70, fig. 33 (color).