Pulitzer acquired the painting in 1962, and thereafter took the attribution further than Eyre, claiming that it was Leonardo's only real portrait of Lisa Gherardini, implying the Louvre "Mona Lisa" to be a copy. Hales wrote that "Pulitzer had to sell his grand house in Kensington, all of its furnishings, and many of its paintings... Although the art world never overcame its skepticism, Pulitzer remained a believer to the end". Pulitzer's argument included much historical evidence, including Vasari's controversial account. In 1963, Pulitzer exhibited the painting in Phoenix, Arizona, inviting "all experts and critics who wish to view the painting and his evidence". Jean-Pierre Isbouts notes of Pulitzer that despite his success as a publisher he was "not a very talented author", concluding that "is unfortunate 1966 book about the painting, filled with uppercase screeds... did far more harm than good, and ensured that no self-respecting art historian would go near the work".