P. Lelarge-Desar. "La collection Édouard Aynard." Revue de l'art ancien et moderne 34 (July–December 1913), p. 392, accepts the attribution to Filippo Lippi in the Aynard sale catalogue.
Bernard Berenson. Letter to Kleinberger. April 18, 1922, attributes it to Fra Diamante.
Bernard Berenson in The Michael Friedsam Collection. [completed 1928], p. 44, tentatively attributes it to Fra Diamante and dates it soon after 1450; calls it "perhaps the earliest example of a head framed in a sort of box".
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 169, lists it as by Fra Diamante.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), pp. 32–33, no . 51, ill., as attributed to Fra Diamante; date it in the 1440s or early 1450s, and compare it with the Portrait of a Man and Woman at a Casement by Filippo Lippi (MMA 89.15.19).
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 279, tentatively attributes it to the Master of the Carrand Triptych, Giovanni di Francesco.
Jean Lipman. "The Florentine Profile Portrait in the Quattrocento." Art Bulletin 18 (March 1936), pp. 76, 101, fig. 32, as possibly by Fra Diamante; lists it with portraits that date 1450–75.
Georg Pudelko. "Per la datazione delle opere di Fra Filippo Lippi." Rivista d'arte 18 (1936), p. 57 n. 1 (from p. 56), attributes it to a close follower of Filippo Lippi whom he calls "Scolaro di Prato".
F. Mason Perkins. Letter. March 24, 1938, attributes it to a close follower of Filippo Lippi, not necessarily Fra Diamante.
[Carlo Lodovico] R[agghianti]. "Intorno a Filippo Lippi." Critica d'arte 3 (1938), p. XXV, attributes it to Giovanni di Francesco.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 30–31, ill., tentatively attributes it to Fra Diamante and dates it to the middle of the fifteenth century.
Mary Pittaluga. Filippo Lippi. Florence, 1949, pp. 221–22, lists it among works wrongly connected to Filippo Lippi and his close followers.
Edoardo Arslan. Letter. April 21, 1952, considers it a fake.
r[oberto]. l[onghi]. "Quadri italiani di Berlino a Sciaffusa (1951)." Paragone 3 (September 1952), p. 43, attributes it to Giovanni di Francesco and dates it about 1450.
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. 113–14, ill., attribute it to Giovanni di Francesco, comparing it to his triptych in the Carrand collection (Museo Nazionale del Bargello, Florence); date it late 1440s and note the influence of Filippo Lippi, Domenico Veneziano, and Paolo Uccello.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 88, 529, 607, attribute it to Giovanni di Francesco.
Burton B. Fredericksen. Giovanni di Francesco and the Master of Pratovecchio. [Malibu], 1974, p. 29, no. 1, p. 37 n. 150, rejects the attribution to Giovanni di Francesco.
John Pope-Hennessy and Keith Christiansen. "Secular Painting in 15th-Century Tuscany: Birth Trays, Cassone Panels, and Portraits." Metropolitan Museum of Art Bulletin 38 (Summer 1980), pp. 56, 59, fig. 49 (color), attribute it to an artist they call the Prato Master, who was apparently trained in the workshop of Uccello and who painted a fresco cycle in the chapel of the Assumption in the cathedral of Prato; date it about 1443–45.
Dieter Jansen. "Fra Filippo Lippis Doppelbildnis im New Yorker Metropolitan Museum." Wallraf-Richartz-Jahrbuch 48/49 (1987–88), pp. 97–98, 118 n. 6, fig. 2, tentatively attributes it to the circle of Paolo Uccello and dates it about 1440.
Paul Joannides. "A Portrait by Fra Carnevale." Source: Notes in the History of Art 8 (Spring 1989), pp. 7–10, fig. 1, rejects the attribution to Giovanni di Franceso and assigns it to the Master of the Barberini Panels, Fra Carnevale, comparing it with the head of the Virgin in the Presentation of the Virgin in the Museum of Fine Arts, Boston.
Daniele Benati. "Il 'Maestro delle tavole Barberini': un ritratto." Nuovi studi 1 (1996), p. 27 n. 4, rejects the attribution to Fra Carnevale and considers Giovanni di Francesco the more likely author.
Miklós Boskovits. "Studi sul ritratto fiorentino quattrocentesco—I." Arte cristiana 85 (July–August 1997), pp. 255, 261 n. 5, states that Carlo Volpe attributed it to Fra Carnevale during a conversation in about 1970; dates it toward the middle of the fifteenth century.
Keith Christiansen in From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master. Exh. cat., The Metropolitan Museum of Art. New York, 2005, pp. 178–79, no. 17, ill. (color) [Italian ed., "Fra Carnevale: un artista rinascimentale da Filippo Lippi a Piero della Francesca," Milan, 2004, pp. 178–79, no. 17, ill.], comments that both the format and the attribution are enigmatic and unsettled; finds this work closest to Uccello, but also with links to Filippo Lippi, and notes that the sitter's ear is almost identical to those of cherubs in the Assumption of the Virgin (San Giovanni Evangelista, Pratovecchio) by the Pratovecchio Master.
Emanuela Daffra in From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master. Exh. cat., The Metropolitan Museum of Art. New York, 2005, pp. 30–31 [Italian ed., "Fra Carnevale: un artista rinascimentale da Filippo Lippi a Piero della Francesca," Milan, 2004, p. 30], rejects Joannides' [see Ref. 1989] attribution to Fra Carnevale.
Andrea De Marchi in From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master. Exh. cat., The Metropolitan Museum of Art. New York, 2005, p. 94 n. 72 [Italian ed., "Fra Carnevale: un artista rinascimentale da Filippo Lippi a Piero della Francesca," Milan, 2004, p. 94 n. 75], expresses "strong reservations about the authenticity of" this painting.