New York. The Metropolitan Museum of Art. "Four Centuries of Miniature Painting," January 19–March 19, 1950, unnumbered cat. (p. 10).

New York. The Metropolitan Museum of Art. "European Miniatures in The Metropolitan Museum of Art," November 5, 1996–January 5, 1997, no. 236.

Mrs. Henry W. Howell Jr. Letter to Mrs. Albert TenEyck Gardner. December 31, 1954, states that she and Hope Mathewson have noticed that the sitter resembles known portraits of the Scottish artist Thomas Faed (1826–1900) and suggests that this work could be either a portrait of him by his brother John, known to have painted miniatures, or a self-portrait by John.

Leo R. Schidlof. The Miniature in Europe in the 16th, 17th, 18, and 19th Centuries. Graz, Austria, 1964, vol. 1, p. 246; vol. 3, pl. 204, fig. 388, dates it about 1840 based on the technique and costume, noting that it cannot therefore be by the artist named Fane who exhibited at the Royal Academy in 1776, but suggesting that it could be by a descendant of him.

Daphne Foskett. A Dictionary of British Miniature Painters. New York, 1972, vol. 1, p. 267; vol. 2, pl. 109, no. 291.

Graham Reynolds with the assistance of Katharine Baetjer. European Miniatures in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 14, 180–81, no. 236, colorpl. 236 and ill. p. 181, date it about 1850 and tentatively attribute it to John Faed; relate the style to that of Sir William Ross and note that the quality of the work is very high.

David Devereux. Letter to Katharine Baetjer. June 18, 1997, does not believe it is a self-portrait by John Faed.

Stephen Lloyd. Letter to Katharine Baetjer. May 5, 1997, writes that it "could well be by John Faed, but may represent either himself, or Tom Faed, or another sitter".