Olson, 91; the long catalogue entry in The Renaissance Portrait: From Donatello to Bellini, ed. Patricia Lee Rubin, (Metropolitan Museum of Art/Bode-Museum), 2011, 126-128 attributes it to "Workshop of Desiderio da Settignano" from "c. 1450-55", noting that the attribution to Donatello is not recorded before 1745 "when almost all Florentine Quattrocento sculpture was, in confused fashion, ascribed to the Father of the Renaissance" (p. 126). Janson, 1957, 237–40, rejects the attribution to Donatello and hints at Desiderio da Settignano and followers in the 1460s–70s, due to the specific backward tilt of the head; among others he cites Ulrich Middeldorf who denies any artistic quality and speaks of a "complete lack of style in the modeling of the face." (Middeldorf, review of Hans Kauffmann, Donatello, 1935, in: Art Bulletin, 38, 1936, 570ff); lastly indecisive Georges Didi-Huberman, "Torsion, Pathos, Dis-Gratia. Neue kritische Überlegungen zur Büste des Niccolò Uzzano", in: Rowley 2022, 69–83.
