Rodolfo Pallucchini, “L’Art Institute di Chicago,” L’Illustrazione del Medico (February 1966) pp. 11-12.
Anna Maria Matteucci, I Maestri del Colore: Bernardo Strozzi (Milan, 1966), pp. 10, fig. 2, ill. X.
Carlo Donzelli and Giuseppe Maria Pilo, I Pittori del Seicento Veneto (Florence, 1967), p. 384.
Michael Milkovich, Bernardo Strozzi: Paintings and Drawings, Catalogue for exhibition at University Art Gallery, State University of New York at Binghamton, 8 October - 5 November 1967, ill. p. 96.
John Maxon, The Art Institute of Chicago (London and New York, 1970), p. 286, ill. p. 258.
Franco Sborgi, “Il ritratto a Genova nel Seicento e nel Settecento,” in La Pittura a Genova e in Liguria, vol. 2, (1971), p. 316.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), pp. 193, 457, 571.
John Maxon, The Art Institute of Chicago (London and New York, 1977), p. 287, ill. p. 258.
Homan Potterton, Venetian Seventeenth Century Painting, catalogue for exhibition at the National Gallery, London, 5 September - 30 November 1979, p. 32.
Cristiana Mazza, “La committenza artistica del futuro doge Nicoló Sagredo e l’inventario di Agostino Lama,” Arte veneta 51 (1997), pp. 90.
Manchester, Art Treasures Exhibition, 1857, no. 364, as Giovanni Lanfranco, A Bishop.
Possibly commissioned by Niccolò Sagredo (d. 1685), 1633; possibly Sagredo collection until at least 1685 [for dating of inventory, see Mazza p. 89]. Thomas Egerton, 2nd Earl of Wilton, England, by 1857 [lent to 1857 Manchester exhibition]. Mrs. H. Danninger, England. Antonio Morassi, by 1957; sold to Wildenstein, July 1957, New York; sold to Art Institute, 1958.
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