August L. Mayer. "Bildnisse aus dem Kreis des jungen Goya." Monatshefte für Kunstwissenschaft 7 (1914), pp. 385–86, pl. 82, fig. 2, attributes it to Goya; based on the signature, dates it 1775, remarking, however, that the last number is not clearly legible.
"The H. O. Havemeyer Collection." Parnassus 2 (March 1930), p. 4, calls it a portrait of the painter Vicente de López by Goya; suggests that it might be Goya's "revenge" for López's "far from flattering" painting of the artist in the Prado, Madrid.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 48–49, ill.
Anthony M. Clark. Letter to Katharine Baetjer. February 6, 1975, ascribes this picture to Gaspare Traversi, pointing out, however, that it is "less brilliant and in far worse condition than Paul Ganz's 1770 portrait of a cleric" [now in the Museo di Capodimonte, Naples].
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, p. 258, calls it "style of Goya".
Nicola Spinosa. Letter to Keith Christiansen. April 13, 1993, accepts Anthony Clark's attribution to Traversi [see Ref. Clark 1975].
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 260, 285, as style of Goya, "Portrait of a Man, said to be the painter Vicente López".
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 345, no. A301, ill., as style of Goya, "Portrait of a Man, said to be the painter Vicente López".
Susan Alyson Stein in Goya in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1995, pp. 48–49, 54, 63, 68, ill., notes that its attribution was recently changed to Gaspare Traversi, "an assignment that accords not only with its style but its provenance; it was purchased in Italy in 1912".
José Manuel Arnaiz. "Nuevas andanzas de Goya: Falsos y auténticos en el Metropolitan." Galeria antiquaria no. 136 (February 1996), pp. 42–43, supports the change of attribution from Goya.