Lionello Venturi. "Studii Antonelliani." L'arte 11 (1908), pp. 449–50, fig. 4, as in the Schickler collection, Paris, where it is attributed to Antonello; himself assigns it to Alvise Vivarini, relating it to a portrait of a boy (Salting Bequest, National Gallery, London) that he also gives to Alvise.
Bernhard Berenson. "La 'Sainte Justine' de la collection Bagatti-Valsecchi à Milan." Gazette des beaux-arts, 4th ser., 9 (June 1913), p. 477, ill. p. 476 [reprinted in English in "The Study and Criticism of Italian Art," vol. 3, London, 1916, p. 59, ill. opp. p. 59], as in the Schickler collection; concurs with Venturi's [see Ref. 1908] attribution to Alvise Vivarini.
Adolfo Venturi. "La pittura del Quattrocento." Storia dell'arte italiana. 7, part 4, Milan, 1915, pp. 422, 424, 426, fig. 252, as in the Schickler collection; attributes it to Alvise Vivarini and compares it with the Salting portrait which he dates 1488; notes the combined influence of Antonello and Giovanni Bellini.
Salomon Reinach. Répertoire de peintures du moyen age et de la renaissance (1280–1580). 4, Paris, 1918, p. 24, no. 3, ill. (engraving), as in the Schickler collection; as by A. Vivarini.
Arsène Alexandre. "En feuilletant des primitifs." La renaissance des arts français 6 (July 1923), p. 402, ill. p. 401, thinks it is more likely to be by Antonello than by Giovanni Bellini.
Richard Offner. "A Remarkable Exhibition of Italian Paintings." Arts 5 (May 1924), p. 264, ill. p. 263, as in the collection of Andrew W. Mellon; as Attributed to Giovanni Bellini.
B[ernard]. Berenson. "Nove pitture in cerca di un'attribuzione." Dedalo 5 (1925), p. 768 [reprinted in "Three Essays in Method," Oxford, 1927, p. 65], notes that he has changed his attribution from Alvise Vivarini to Giovanni Bellini.
W. R. Valentiner. A Catalogue of Early Italian Paintings Exhibited at the Duveen Galleries New York: April to May, 1924. New York, 1926, unpaginated, no. 42, ill., attributes it to Giovanni Bellini.
C. H. Collins Baker. "Alvise Vivarini in the National Gallery." Burlington Magazine 50 (January 1927), pp. 24, 27, pl. II, B, relates it to the Salting portrait, rejecting the attribution to Alvise Vivarini for both and suggesting instead an attribution to an unknown painter influenced by both Antonello and Giovanni Bellini.
Detlev von Hadeln. "Two Portraits by Giovanni Bellini." Burlington Magazine 51 (July 1927), pp. 4, 7 n. 8, attributes it to Giovanni Bellini.
Bernard Berenson. Letter to Edward Fowles. July 23, 1928, confirms his attribution to Giovanni Bellini.
Walter Heil. "The Jules Bache Collection." Art News 27 (April 27, 1929), p. 3, ill. p. 25, as by Giovanni Bellini, in the style of his middle period.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill., as by Giovanni Bellini.
Georg Gronau. Giovanni Bellini: Des Meisters Gemälde. Stuttgart, 1930, pp. XXII, 205, 222, ill. p. 70, attributes it to Giovanni Bellini.
August L. Mayer. "Die Sammlung Jules Bache in New-York." Pantheon 6 (December 1930), pp. 541–42, as by Giovanni Bellini.
H. E. Wortham. "The Bache Collection." Apollo 11 (May 1930), p. 354, fig. II, as by Giovanni Bellini.
Royal Cortissoz. "The Jules S. Bache Collection." American Magazine of Art 21 (May 1930), p. 249, as by Giovanni Bellini.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CCLXXXV, attributes it to Antonello da Messina.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 71.
Lionello Venturi. "Fifteenth Century Renaissance." Italian Paintings in America. 2, New York, 1933, unpaginated, pl. 380.
Luitpold Dussler. Giovanni Bellini. Frankfurt, 1935, pp. 99, 142–43, catalogues it among works attributed to Bellini; notes the close connection to the Salting portrait, which he thinks may be slightly later, and also relates it to a drawing of the head of a man in the Städelsches Kunstinstitute, Frankfurt.
Raimond van Marle. "The Renaissance Painters of Venice." The Development of the Italian Schools of Painting. 17, The Hague, 1935, pp. 234–35, fig. 132, attributes it to Giovanni Bellini.
Mary Morsell. "Loan Display at Knoedler Galleries." Art News 33 (April 20, 1935), pp. 3, 6, ill.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 62.
Carlo Gamba. Giovanni Bellini. Milan, 1937, p. 84, fig. 76, attributes it to Giovanni Bellini.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 3, ill., as by Giovanni Bellini.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 81, ill., attributes it to Giovanni Bellini and dates it about 1475.
Vittorio Moschini. Giambellino. Bergamo, 1943, p. 23, pl. 83, attributes it to Giovanni Bellini and notes the influence of Antonello.
Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), pp. 285–86.
Walter Heil. "The Bache Paintings at the Metropolitan." Art News 42 (June–July 1943), p. 15, as by Giovanni Bellini, in the style of his middle period.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 3, ill., as by Giovanni Bellini.
Philip Hendy and Ludwig Goldscheider. Giovanni Bellini. Oxford, 1945, p. 27, pl. 39, attribute it to Giovanni Bellini.
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, p. 254, no. 713, ill. (cropped).
Luitpold Dussler. Giovanni Bellini. Vienna, 1949, p. 98, pl. 126.
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 32.
Fritz Heinemann. Giovanni Bellini e i Belliniani. Venice, , vol. 1, p. 245, no. V.179; vol. 2, fig. 859, attributes it to Lorenzo Lotto.
Giles Robertson. Giovanni Bellini. Oxford, 1968, p. 107, rejects the attribution to Giovanni Bellini.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 100, 523, 608.
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. 35–36, pl. 38, attribute it to Jacometto.
Colin Simpson. Artful Partners: Bernard Berenson and Joseph Duveen. New York, 1986, pp. 184, 292 [British ed., "The Partnership: The Secret Association of Bernard Berenson and Joseph Duveen," London, 1987].
Denys Sutton. "Review of Simpson 1986." Burlington Magazine 129 (December 1987), p. 816.
Peter Humfrey in The Dictionary of Art. 16, New York, 1996, p. 835, calls the attribution to Jacometto convincing.
David Alan Brown in Virtue and Beauty: Leonardo's "Ginevra de' Benci" and Renaissance Portraits of Women. Exh. cat., National Gallery of Art. Washington, 2001, p. 158, under no. 20.
Mauro Lucco in Antonello da Messina: l'opera completa. Exh. cat., Scuderie del Quirinale, Rome. Cinisello Balsamo (Milan), 2006, pp. 290–91, 322, 334, dates it to the 1480s; discusses other works with the same hair style.
Andrea Bayer in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, pp. 344–45, no. 151, ill. (color) [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011], dates it to the late 1480s or 1490s.
Peter Humfrey in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, p. 51 [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011].