Girolamo da Casio. Letter to Isabella d'Este. November 20, 1510 [see Refs. Luzio 1886 and Negro and Roio 1998], writes that he has recovered the portrait, and that he has taken Francia to see Federigo, in order to compare the painting with the sitter; adds that they both believe that the painting cannot be improved upon and that she will be satisfied with the results, since everything she requested has been done [probably referring to the retouching of the hair].
Girolamo da Casio. Letter to Isabella d'Este. November 7, 1510 [see Refs. Luzio 1886 and Negro and Roio 1998], writes that he is attempting to recover the painting from Rome, where it is being held by a man named Zoanpietro da Cremona; recommends that Isabella herself write a letter requesting its return.
Isabella d' Este. Letter to Matteo Ippolito. July 24, 1510 [see Refs. Luzio and Renier 1901 and Negro and Roio 1998], writes that she is asking Lorenzo Costa to paint a portrait of her son Federigo but since she doesn't believe he will have time, would like Ippolito to arrange to have Francia do it instead.
Isabella d' Este. Letter to Girolamo da Casio. August 10, 1510 [see Refs. Luzio 1886 and Negro and Roio 1998], writes that she finds the portrait to be an excellent likeness and that she is impressed that the artist could have created it in such a short amount of time, but requests that the hair be retouched to make it slightly darker.
Isabella d' Este. Letter to Girolamo da Casio. November 29, 1510 [see Refs. Luzio and Renier 1901 and Negro and Roio 1998], writes that she has received the portrait and that she finds it much improved and that it pleases her immensely; adds that she is sending him thirty gold ducats to be given to Francia in payment for the picture.
Matteo Ippolito. Letter to Isabella d'Este. July 29, 1510 [see Refs. Bertolotti 1885 and Negro and Roio 1998], writes that Francia has begun the portrait.
Isabella d' Este. Letter to Matteo Ippolito. May 24, 1512 [see Ref. Luzio 1886], writes that since she has had to give away the portrait of Federigo by Francia, she would like to commission one by Raphael.
Zanfrancesco Zaninello. Letter to Isabella d'Este. May 30, 1512 [see Ref. Luzio 1900], thanks her for the gift of the portrait.
A[ntonino]. Bertolotti. Artisti bolognesi, ferraresi ed alcuni altri del già Stato Pontificio in Roma nei secoli XV, XVI e XVII: studi e ricerche tratte dagli archivi romani. Bologna, 1885, pp. 33–34, publishes an extract of the letter of July 29, 1510 from Matteo Ippolito to Isabella d'Este [see Ref.].
Alessandro Luzio. "Federico Gonzaga, ostaggio alla corte di Giulio II." Archivio della R. Società romana di storia patria 9 (1886), pp. 513, 548, 563–64, publishes letters detailing the circumstances of the commission and execution of the painting [see Refs. Este, Ippolito, and Casio 1510 and 1512].
Adolfo Venturi. "Lorenzo Costa." Archivio storico dell'arte 1 (1888), p. 253, mentions the portrait.
Ch[arles]. Yriarte. "Isabelle d'Este et les artistes de son temps." Gazette des beaux-arts, 3rd ser., 15 (April 1896), p. 340, repeats the story of the execution of the portrait.
W[illiam]. Roberts. Memorials of Christie's: A Record of Art Sales from 1766 to 1896. London, 1897, vol. 1, p. 223, states that it sold for 390 guineas at the Bonaparte sale of 1872, but does not name the buyer.
Alessandro Luzio. "Arte retrospettiva: I ritratti d'Isabella d'Este." Emporium 11 (1900), p. 430, states that Isabella gave the portrait to Zanfrancesco Zaninello of Ferrara in 1512, quoting a letter to her from him [see Ref. Zaninello 1512].
Alessandro Luzio and Rodolfo Renier. "La coltura e le relazioni letterarie di Isabella d'Este Gonzaga." Giornale storico della letteratura italiana 38, nos. 1–2 (1901), p. 63.
George C. Williamson. Francesco Raibolini called Francia. London, 1901, pp. 139–41, repeats the story of the execution of the portrait.
"Burlington Fine-Arts Club." Athenæum no. 3927 (January 31, 1903), p. 154.
Julia Cartwright. Isabella d'Este, Marchioness of Mantua, 1474–1539: A Study of the Renaissance. London, 1903, vol. 1, pp. 379–81, repeats the story of the execution of the portrait.
Julia Cartwright. "The Lost Portrait by Francia." Athenæum no. 3929 (February 14, 1903), p. 216, accepts Cook's [see Ref. (Athenæum) 1903] identification of the MMA work as the documented portrait of Federigo Gonzaga painted by Francia in 1510; notes that the sitter's hair has been repainted, as requested by his mother in a letter to Francia [see Ref. Este (August) 1510]; suggests that the medallion in the hat is the work of Caradosso.
Herbert Cook. "Three Unpublished Italian Portraits." Burlington Magazine 1 (April 1903), p. 186, ill. opp. p. 147.
Herbert Cook. "A Lost Portrait by Francia." Athenæum no. 3928 (February 7, 1903), pp. 183–84, as in the collection of A. W. Leatham; erroneously states that Leatham's father acquired it from the Bonaparte collection; identifies it as the documented portrait of Federigo Gonzaga painted by Francia in 1510.
Langton Douglas. "The Exhibition of Old Masters at the Burlington Fine Arts Club." Connoisseur 5 (April 1903), pp. 271–72, ill.
Langton Douglas. "The Lost Portrait by Francia." Athenæum no. 3929 (February 14, 1903), p. 216, accepts Cook's [see Ref. (Athenæum) 1903] identification of the MMA portrait as the documented portrait of Federigo Gonzaga painted by Francia in 1510.
Langton Douglas. "Notizie d'Inghilterra." L'arte 6 (1903), pp. 107–8, ill. opp. p. 110.
Louise M. Richter. "Drei verschollene, kürzlich wiedergefundene Meisterwerke." Zeitschrift für bildende Kunst, n.s., 14 (1903), pp. 263–65, ill., accepts the identification of the MMA painting as Francia's documented portrait of Federigo of 1510.
Bernhard Berenson. North Italian Painters of the Renaissance. New York, 1907, p. 221.
Salomon Reinach. Répertoire de peintures du moyen age et de la renaissance (1280–1580). 3, Paris, 1910, p. 81, no. 2, ill. (engraving).
Bernhard Berenson. Letter to Duveen. January 12, 1911.
Edmund G. Gardner. The Painters of the School of Ferrara. London, 1911, pp. 102–4, 218.
"A Francia Coming Here." American Art News 10 (March 16, 1912), p. 4.
"Altman Gets the Francia." American Art News 10 (April 13, 1912), p. 1, ill.
"Aus der Sammlerwelt und vom Kunsthandel." Der Cicerone 4, no. 10 (1912), p. 415, notes that it has been bought by Altman.
"Our Plates." Connoisseur 33 (May 1912), p. 50, ill. opp. p. 12, states that it remained in Ferrara until Napoleon's invasion of Italy and, erroneously, that E. A. Leatham bought it from the Bonaparte collection [see also Ref. Cook (Athenæum) 1903]; adds that Duveen purchased it from Leatham's son.
J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. A History of Painting in North Italy: Venice, Padua, Vicenza, Verona, Ferrara, Milan, Friuli, Brescia, from the Fourteenth to the Sixteenth Century. 2nd ed. [1st ed. 1871]. London, 1912, vol. 2, p. 285 n., Borenius erroneously lists it as still in the Leatham collection.
F. "Aus der Sammlerwelt und vom Kunsthandel: New-York." Der Cicerone 4 (1912), p. 339, notes that Duveen bought it from Leatham for an American collector.
Giuseppe Lipparini. Francesco Francia. Bergamo, 1913, p. 128, ill. p. 126, erroneously as still in the Leathan [sic] collection.
Alessandro Luzio. La Galleria dei Gonzaga venduta all'Inghilterra nel 1627–28. repr., 1974. Rome, 1913, pp. 81, 214–16, ill. opp. p. 16, erroneously as still in the Leatham collection; accepts the identification of the MMA picture as Francia's documented portrait of Federigo.
A[dolfo]. Venturi. "La pittura del Quattrocento." Storia dell'arte italiana. 7, part 3, Milan, 1914, pp. 855–56, 940, fig. 697.
G[eorg]. Gronau in Allgemeines Lexikon der bildenden Künstler. 12, Leipzig, 1916, p. 321.
Francesco Malaguzzi Valeri. Il Francia. Florence, 1921, p. 15, fig. 36.
François Monod. "La galerie Altman au Metropolitan Museum de New-York (1er article)." Gazette des beaux-arts, 5th ser., 8 (September–October 1923), pp. 190–91, ill. p. 189.
Giuseppe Piazzi. Le opere di Francesco Raibolini, detto Il Francia: Orefice e pittore. Bologna, 1925, pp. 58–59.
[Michael] Bryan. Bryan's Dictionary of Painters and Engravers. 4, new ed., rev. and enl. London, 1926, p. 183.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CCCXXII.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 208.
"Our Plates." Connoisseur 89 (June 1932), p. 416, ill. opp. p. 390.
Lionello Venturi. "Fifteenth Century Renaissance." Italian Paintings in America. 2, New York, 1933, unpaginated, pl. 433.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 179.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 144–45, ill.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 139, ill.
Lillian Ross. "Profiles: How do you like it now, gentlemen?" New Yorker (May 13, 1950), p. 58 [reprinted as "Portrait of Hemingway," New York, 1961, p. 57], records Ernest Hemingway's comments on this painting during a visit to the Museum.
Jan Lauts. Isabella d'Este, Fürstin der Renaissance: 1474–1539. Hamburg, 1952, p. 257, fig. 45.
Chiara Perina in "Dall'inizio del secolo XV alla metà del XVI." Mantova: Le arti. 2, Mantua, 1961, part 1, p. 385; part 2, pl. 328.
Paola Boni Fellini. "Isabella d'Este a Roma." Capitolium 37 (March 1962), ill. p. 145.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 148.
Fern Rusk Shapley. "Italian Schools: XV–XVI Century." Paintings from the Samuel H. Kress Collection. 2, London, 1968, p. 71.
Francis Haskell. "The Benjamin Altman Bequest." Metropolitan Museum Journal 3 (1970), pp. 272–73, fig. 12, states that Altman acquired it in February 1912.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 75, 513, 606.
Fern Rusk Shapley. Catalogue of the Italian Paintings. Washington, 1979, vol. 1, p. 191.
Maurizia Tazartes. "Artisti e committenti ai primi del Cinquecento in San Frediano di Lucca." Ricerche di storia dell'arte 21 (1983), p. 6.
Carlo Volpe. "Un quadro in cerca d'autore: l''Ignota' dell'Ambrosiana." Scritti di storia dell'arte in onore di Federico Zeri. 1, Milan, 1984, p. 283.
Vera Fortunati Pietrantonio in Pittura bolognese del '500. Bologna, 1986, vol. 1, p. XVII.
Simonetta Stagni in Pittura bolognese del '500. Bologna, 1986, vol. 1, pp. 5, 8, ill. p. 24.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, North Italian School. New York, 1986, pp. 19–20, pl. 25.
Chiara Tellini Perina in Pittura a Mantova dal Romanico al Settecento. Milan, 1989, pp. 24, 225, pl. 49.
Marzia Faietti. "Protoclassicismo e cultura umanistica nei disegni di Francesco Francia." Il classicismo: Medioevo, rinascimento, barocco. Bologna, 1993, pp. 187–88.
Federica Toniolo. "I dipinti di Francesco Francia e della sua bottega conservati al Museo di Belle Arti." Bulletin du Musée Hongrois des Beaux-Arts no. 78 (1993), p. 67 n. 5.
Sylvia Ferino-Pagden. "La prima donna del mondo": Isabella d'Este, Fürstin und Mäzenatin der Renaissance. Exh. cat., Kunsthistorisches Museum. Vienna, , p. 94, fig. 20.
Michela Scolaro in La pittura in Emilia e in Romagna: Il Cinquecento. Milan, 1995, vol. 1, p. 92, ill. p. 96.
Leandro Ventura. Lorenzo Leonbruno: Un pittore a corte nella Mantova di primo Cinquecento. Rome, 1995, p. 79, fig. 88.
David Ekserdjian in The Dictionary of Art. 11, New York, 1996, p. 701.
Gaudenz Freuler. "'El più bel ritracto facesse mai Magistro Francesco': Francesco Bonsignoris wiedergefundene Porträtzeichnung des dreijährigen Federico II. Gonzaga." Pantheon 54 (1996), pp. 51–52, 54–55, 58 nn. 10, 20, fig. 5.
Emilio Negro and Nicosetta Roio. Francesco Francia e la sua scuola. Modena, 1998, pp. 84, 116–18, 195–97, no. 70, ill. (color).
Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Lombardy and Emilia-Romagna." Metropolitan Museum of Art Bulletin 60 (Spring 2003), pp. 42–44, fig. 29 (color).
Joseph Manca in Italian Paintings of the Fifteenth Century. Washington, 2003, pp. 283–84, 286 n. 10, fig. 1.
John Shearman. Raphael in Early Modern Sources (1483–1602). New Haven, 2003, vol. 1, pp. 158–59.
Sally Hickson. "'To see ourselves as others see us': Giovanni Francesco Zaninello of Ferrara and the Portrait of Isabella d'Este by Francesco Francia." Renaissance Studies 23, no. 3 (2009), p. 295, fig. 3.
Andrea Bayer in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, pp. 241–44, no. 93, ill. (color) [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011, pp. 242–44, no. 93, ill. (color)].
Beverly Louise Brown in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, pp. 47, 383 n. 125 [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011, pp. 46, 383 n. 125].
Keith Christiansen in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, p. 236 [German ed., "Gesichter der Renaissance: Meisterwerke italienischer Portrait-Kunst," Berlin, 2011, p. 234].
Eleonora Luciano in The Renaissance Portrait from Donatello to Bellini. Exh. cat., Bode-Museum, Berlin. New York, 2011, p. 239.