Giorgio Vasari. Le vite de' più eccellenti pittori, scultori, ed architettori. Ed. Gaetano Milanesi. 1906 ed. Florence, 1568, vol. 5, p. 52, describes the painting executed by Andrea del Sarto for Giovanni Borgherini.
J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. A History of Painting in Italy from the Second to the Fourteenth Century. Vol. 3, London, 1866, p. 578, mention a painting in the Corsini collection, Florence, of the Virgin, child, young Baptist, and Saint Joseph on wood as by a pupil rather than by Andrea; note Vasari's description of the painting made for Giovanni Borgherini.
Gaetano Milanesi, ed. Le vite de' più eccellenti pittori, scultori, ed architettori. By Giorgio Vasari. Vol. 5, 1906 ed. Florence, 1880, vol. 5, p. 52 n. 2, notes that he saw this painting for sale in Florence in 1852.
H. Guinness. Andrea del Sarto. London, 1899, pp. 93–94, lists a painting in the Corsini Gallery as an old copy of the Borgherini Holy Family described by Vasari and offered for sale in 1852.
O. v[on]. Schleinitz. Kunstchronik, n.s., 18 (February 22, 1907), col. 242, attributes it to the school of Andrea del Sarto.
Filippo di Pietro. I disegni di Andrea del Sarto negli Uffizi. Siena, 1910, pp. 18, 74–75, mentions two old copies in the Museo di San Marco and in the Uffizi; publishes drawings for it in the Uffizi; mentions this painting as in the Murray collection.
F. Mason Perkins. Letter to d'Hendecourt. December 11, 1920, attributes it to Andrea del Sarto.
B[ryson]. B[urroughs]. "A Holy Family by Andrea del Sarto." Metropolitan Museum of Art Bulletin 17 (June 1922), pp. 123–24, ill. (cover), states that this painting is the one that Vasari describes; notes Filippo di Pietro's [see Ref. 1920] connection between this painting and the drawings in the Uffizi, Florence; states that this painting was sold from Fairfax Murray's collection at auction to Durlacher & Co.; calls it an "undoubtable example of the latest and most powerful period of Andrea del Sarto's art".
W. S. Spanton. An Art Student and His Teachers in the Sixties with Other Rigmaroles. London, 1927, p. 114, notes that Fairfax Murray lent the painting to Dulwich, and that it was withdrawn at his death.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 19, lists it as a work by Andrea del Sarto.
Ingeborg Fraenckel. Andrea del Sarto: Gemälde und Zeichnungen. Strasbourg, 1935, pp. 86–87, 159, 182, 233 n. 82, pl. XI, dates it about 1526 and thinks it was designed and begun by Andrea del Sarto; publishes drawings for it in the Louvre, Paris (no. 1714, recto and verso).
I[ngeborg]. Fraenckel in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 29, Leipzig, 1935, p. 474, lists it as a painting by Andrea, presumably worked over by another artist.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 65–66, ill., calls it one of Andrea's late works and identifies it as the picture described by Vasari as painted for Giovanni Borgherini; notes that there are several preparatory sketches for it in the Louvre, Paris, and in the Uffizi, Florence.
John Shearman. "Andrea del Sarto's Two Paintings of the Assumption." Burlington Magazine 101 (April 1959), p. 127, identifies the head of Saint Joseph as a self-portrait, comparing it with the self-portraits in the Passerini and Panciatichi Assumptions in the Pitti Palace, Florence.
Edward Sanchez. Letter to Clare Le Corbeiller. March 1, 1960, connects this painting with one sold by Vincenzo Borgherini to Cardinal Ferdinando de' Medici in 1579, mentioned in documents in the State Archive of Florence.
Bernard Berenson. I disegni dei pittori fiorentini. Milan, 1961, vol. 1, p. 428; vol. 2, p. 15, under no. 90, p. 16, under no. 98, p. 25, under no. 127, p. 31, under no. 154; vol. 3, fig. 849, calls it a "masterpiece of the 'grand manner'" by Andrea and dates it to his late but not final period; lists the drawings for it in the Uffizi, Florence, and the drawing in the Louvre, Paris.
Bernard Berenson. Italian Pictures of the Renaissance: Florentine School. London, 1963, vol.1, p. 10.
S[ydney]. J. Freedberg. Andrea del Sarto. Cambridge, Mass., 1963, text vol., pp. 79–80, 84–85, fig. 194; catalogue raisonné vol., pp. 153–56, no. 68, dates it about 1527 and identifies it with the painting described by Vasari as painted for Giovanni Borgherini; quotes the Medici documents regarding the purchase in 1579 from Vincenzo Borgherini by Cardinal Ferdinando de' Medici; lists preparatory drawings in the Uffizi, Florence, and the Louvre, Paris, and lists copies.
John Shearman. Andrea del Sarto. Oxford, 1965, vol. 1, p. 109, pls. 163a, 164a (overall and detail); vol. 2, pp. 276–78, no. 90, notes its close relationship to a painting of Charity in the National Gallery of Art, Washington; catalogues it among the authentic paintings by Andrea del Sarto, identifying it with the one painted for Giovanni Borgherini; agrees with Vasari's dating (about 1529); rejects the identification with the painting sold by Vincenzo Borgherini to Cardinal Ferdinando de' Medici in 1579.
Raffaele Monti. Andrea del Sarto. 1981 ed. Milan, 1965, pp. 108–10, 178 n. 176, ill. p. 109 (color), and fig. 267, accepts the attribution to Andrea del Sarto and dates it to the painter's late period, about 1528; identifies it with the one described by Vasari as executed for Borgherini; illustrates its preparatory drawings.
James F. O'Gorman. "An Interpretation of Andrea del Sarto's 'Bogherini [sic] Holy Family'." Art Bulletin 47 (December 1965), pp. 502–4, fig. 1, interprets the iconographic theme as the transfer of Florentine allegiance from Saint John the Baptist to Christ as King of Florence and dates the painting between 1526 and 1530.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Florentine School. New York, 1971, pp. 198–200, ill., mention that according to Vasari this picture was painted for Giovanni Borgherini and that the motif of the handing of the globe by Saint John the Baptist to the Infant Christ symbolizes a doctrine promulgated by Savonarola to the effect that Florence transferred its allegiance from John the Baptist to Christ himself; call it a mature work, possibly painted about 1530.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 8, 350, 606.
Felix Gilbert. "Andrea del Sartos 'Heilige Familie Borgherini' und Florentinische Politik." Festschrift für Otto von Simson zum 65. Geburtstag. Ed. Lucius Grisebach and Konrad Renger. Frankfurt, 1977, pp. 284–88, ill., discusses the patron, Giovanni Borgherini, as an important member of the anti-Medici faction in Florence and as one of the protagonists of Gianotti's dialogue, "Della Repubblica de' Veneziani," the subject of which was an ideal republic; notes a biblical justification for republican government in Samuel's speech to the Israelites; points out that when Florentine republicans gave Christ the title "the King of the Florentine People" this implied that there could be no other temporal monarch; believes the painting shows Christ and the Baptist together as protectors of Florence's republican freedoms; dates the painting to between April 1528, when Christ was declared "Rex populi Florentini," and April 1529, when the Republic fell.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 252, 254, fig. 454 (color).
Alessandro Cecchi in Andrea del Sarto, 1486–1530: dipinti e disegni a Firenze. Exh. cat., Palazzo Pitti, Florence. Milan, 1986, p. 105, under no. X–XI, cites it as an example of Savonarolian republican ideologies.
Alessandro Cecchi in Andrea del Sarto: catalogo completo dei dipinti. Florence, 1989, p. 119, no. 56, ill., notes the unusual iconography and relates it to the republican sentiments of the patron, Giovanni Borgherini, and therefore accepts the date of about 1528; agrees with Shearman that this is not the painting sold by Vincenzo Borgherini to Cardinal Ferdinando de' Medici in 1579.
Alessandro Cecchi in L'officina della maniera: Varietà e fierezza nell'arte fiorentina del Cinquecento fra le due repubbliche 1494–1530. Ed. Alessandro Cecchi and Antonio Natali. Exh. cat., Galleria degli Uffizi, Florence. Venice, 1996, p. 62, ill. p. 59, discusses the political context of the painting, noting that Giovanni Borghesini was married to Selvaggia Capponi, wife of the Gonfaloniere during the siege of Florence.
Jaynie Anderson. Giorgione: The Painter of "Poetic Brevity". Paris, 1997, pp. 142–44, 351 n. 36, fig. 91 (color) [French ed., 1996], discusses the patron, Giovanni Borgherini, as an exponent of republicanism.
Carolyn C. Wilson. St. Joseph in Italian Renaissance Society and Art. Philadelphia, 2001, pp. 80, 93, 227 n. 212, p. 235 n. 12, p. 237 n. 34, pl. 69, states that the motif of Saint John the Baptist holding the terrestrial globe has led to historical and political interpretations of the painting, but notes that the hand steadying the cross on the globe belongs to Saint Joseph, symbolizing his role as earthly protector of Christ.
Old Master & British Paintings. Sotheby's, London. December 10, 2009, p. 47, under no. 150.
Andrea Donati. Michelangelo Buonarroti, Jacopino del Conte, Daniele Ricciarelli: Ritratto e figura nel manierismo a Roma. San Marino, 2010, p. 124.