Heinrich Zimmermann. "Zu Cranachs Bildern." Zeitwende 1 (January–June 1925), p. 111, ill. between pp. VI and 1.
Julian Garner. "Portrait of a Man by Lucas Cranach." International Studio 84 (May 1926), pp. 54–55, ill. (color), suggests that the sitter is Elector John Frederick I of Saxony, or at least a member of the same family; notes that the picture "was shown in New York during the past season".
Ed[uard]. Heyck. Lukas Cranach. 2nd, rev. ed. Bielefeld, 1927, p. 96, colorpl. 62, as in the Galerie van Diemen, Berlin.
Max J. Friedländer and Jakob Rosenberg. Die Gemälde von Lucas Cranach. Berlin, 1932, p. 79, no. 273, ill.
Charles L. Kuhn. A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections. Cambridge, Mass., 1936, p. 43, no. 132.
Heinrich Lilienfein. Lukas Cranach und seine Zeit. Bielefeld, 1942, p. 70, colorpl. 13, erroneously calls it undated.
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, p. 396, no. 1054, ill.
Heinrich Zimmermann. "Über einige Bildniszeichnungen Lucas Cranachs d.J." Pantheon 20 (January–February 1962), p. 10.
Max J. Friedländer and Jakob Rosenberg. The Paintings of Lucas Cranach. rev. ed. Ithaca, N.Y., 1978, p. 136, no. 339, ill.
[Mary Sprinson] in The Metropolitan Museum of Art: Notable Acquisitions, 1980–1981. New York, 1981, p. 43, ill., states that the sitter's black-and-yellow striped costume may identify him as a member of the household of one of the electors of Saxony [this information apparently provided by Helmut Nickel, former curator of Arms and Armor, MMA; see Ref. 2006].
Peter Klein. Letter to The Metropolitan Museum of Art. May 2, 2006, writes that dendrochronological analysis reveals that the earliest felling date for the tree from which this panel is made is 1530, adding that a minimum of one year for seasoning means that the earliest possible execution date for the painting is 1531.
Helmut Nickel. E-mail to Mary Sprinson de Jesús. September 19, 2006, considers himself the likely source for information in Ref. Sprinson 1981 regarding the dress of high-ranking members of the court of the electors of Saxony; notes that "black and yellow were the main colors in the Saxon coat of arms . . .The uniform of the palace guard at Dresden was black doublets, slashed with yellow, yellow puffed pants and stockings, black beret with a yellow ostrich plume. Although the yellow stripes in the portrait are rather orangy in color, they are meant to be yellow [poetically "gold" used to be referred to as "das rote Gold" even Chaucher speaks of "gold so red"]".
Joshua Waterman in German Paintings in The Metropolitan Museum of Art, 1350–1600. New Haven, 2013, pp. 66–69, 288, no. 14, ill. (color), fig. 57 (x-radiograph), fig. 58 (color detail), fig. 59 (reverse, color detail).