拍品专文
Adolfo Venturi, publishing the present picture for the first time, relates this 'forte ritratto' to Vasari's circular Cosimo I de' Medici with Artists of his Time in the centre of the vault of the Sala di Cosimo I in the Palazzo Vecchio, Florence, and his oval Portrait of Eleonora di Toledo also in the Palazzo Vecchio, in all of which the artist 'fedelmente riflette i caratteri del Bronzino nella fissità delle pose, nella levigatezza delle superfici, d'effetto schematico'. He goes on to point out that in the present portrait 'è tuttavia, più che negli altri del Vasari, un'affinità col Salviati per il metallico modellato del volto'.
The traditional attribution has recently been supported by Luisa Mortari (loc. cit.; she seems to be mistaken in stating that the picture was published as the work of Salviati by Hermann Voss, Die Malerei der Spätrenaissance in Rom und Florenz, Berlin, 1920, I, p. 244), by Dr. Larry J. Feinberg (private communication of 22 January 1987) and Dr. Edmund P. Pillsbury (from a transparency; private communications of 2 June 1992, October 1994 and March 1996).
The traditional attribution has recently been supported by Luisa Mortari (loc. cit.; she seems to be mistaken in stating that the picture was published as the work of Salviati by Hermann Voss, Die Malerei der Spätrenaissance in Rom und Florenz, Berlin, 1920, I, p. 244), by Dr. Larry J. Feinberg (private communication of 22 January 1987) and Dr. Edmund P. Pillsbury (from a transparency; private communications of 2 June 1992, October 1994 and March 1996).