Max J. Friedländer. "Ein neu erworbenes Porträt Cranachs." Amtliche Berichte aus den Königl. Kunstsammlungen 37 (April 1916), col. 132, states that it went from an English private collection to an American art dealer; notes that it is painted on oak, and is therefore probably from the Netherlands and, if by Cranach, dates from 1508, because he was in the Netherlands at that time.
Max J. Friedländer. "Gemälde Cranachs aus der Zeit um 1509." Zeitschrift für bildende Kunst, n.s., 30 (1919), p. 84, ill. p. 82, as in an American private collection.
"Havemeyer Collection at Metropolitan Museum: Havemeyers Paid Small Sums for Masterpieces." Art News 28 (March 15, 1930), ill. p. 35.
"Die Sammlung Havemeyer im Metropolitan-Museum." Pantheon 5 (May 1930), ill. p. 216.
Frank Jewett Mather Jr. "The Havemeyer Pictures." The Arts 16 (March 1930), ill. p. 471.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, p. 14, ill.
Max J. Friedländer and Jakob Rosenberg. Die Gemälde von Lucas Cranach. Berlin, 1932, p. 39, no. 49, ill., date it about 1510–12 on the basis of style, noting that although the oak panel suggests that it was produced in the Netherlands during Cranach's time there in 1508, there are also later examples of Cranach paintings on oak supports; mention a related portrait included in the Sedelmeyer sale of 1907 [see Ref. Fischer 1958].
Hans Tietze. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935, p. 339, pl. 204 [English ed., "Masterpieces of European Painting in America," New York, 1939, p. 323, pl. 204].
Charles L. Kuhn. A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections. Cambridge, Mass., 1936, p. 37, no. 89, dates it about 1511.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 199–200, ill., date it 1510–12; note that the rosary and the traces of a grisaille figure on the reverse suggest that the panel was devotional and may have been the wing of a small altarpiece opposite an image of the Virgin and Child; identify the coat of arms on the sitter's ring as that of the Dutch family Six te Hillegom.
Gabriel Rouchès. Cranach l'Ancien, 1472–1553. Paris, 1951, pl. 20, dates it about 1508.
Grosse Kunstauktion in Luzern. Galerie Fischer, Lucerne. June 17–21, 1958, p. 140, under no. 2767, mentions it in connection with a similar portrait included in the sale [previously sold in 1907; see Ref. Friedländer and Rosenberg 1932].
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. New York, 1961, p. 20.
Dieter Koepplin. "Zu Cranach als Zeichner—Addenda zu Rosenbergs Katalog." Kunstchronik 25 (October 1972), p. 347.
Dieter Koepplin and Tilman Falk. Lukas Cranach: Gemälde, Zeichnungen, Druckgraphik. Exh. cat., Kunstmuseum Basel. 2, Basel, 1976, p. 682, pls. 333 (obverse), 335 (reverse), Koepplin suggests that the MMA and Zürich portraits were the wings of an altarpiece, with a horizontal central panel of some sacred subject, comparable to the small devotional triptychs of Memling and to Rogier van der Weyden's Bracque triptych (Musée du Louvre, Paris); dates the Zürich picture about 1508; attributes the grisaille figures on the reverses of the two portraits to Cranach himself and calls them in the Netherlandish style, also describing the headdress worn by the woman in the Zürich portrait as Netherlandish.
Max J. Friedländer and Jakob Rosenberg. The Paintings of Lucas Cranach. rev. ed. Ithaca, N.Y., 1978, p. 80, no. 56, ill.
Werner Schade. Cranach: A Family of Master Painters. New York, 1980, pp. 54, 384 nn. 383–84, pp. 459–60, pl. 61 [German ed., "Die Malerfamilie Cranach," Dresden, 1974, pp. 54, 384 nn. 383–84, p. 460, pl. 61], dates it about 1510, and accepts Koepplin's identification of the MMA and Zürich portraits as pendants.
Frances Weitzenhoffer. "The Creation of the Havemeyer Collection, 1875–1900." PhD diss., City University of New York, 1982, p. 166 n. 7.
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, p. 255.
Angelica Dülberg. Privatporträts: Geschichte und Ikonologie einer Gattung im 15. und 16. Jahrhundert. Berlin, 1990, pp. 85, 261, no. 241, figs. 328 (obverse), 331 (reverse).
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 20, 310 n. 38.
Maryan W. Ainsworth in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 54–55, colorpl. 56, notes that although the MMA and Zürich portraits may have flanked a central panel of the Virgin Mary, the fact that the man wears a hat makes this unlikely.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 264.
Gary Tinterow in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 10.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 321, no. A168, ill., adds to the provenance of the picture.
Fedja Anzelewsky. "Studien zur Frühzeit Lukas Cranachs d.Ä." Städel-Jahrbuch, n.s., 17 (1999), pp. 136, 144 n. 36.
Gunnar Heydenreich. "Painting Materials, Techniques and Workshop Practice of Lucas Cranach the Elder." PhD diss., Courtauld Institute of Art, University of London, 2002, vol. 1, p. 35.
Peter Klein. Letter to The Metropolitan Museum of Art. April 27, 2006, writes that dendrochronological analysis reveals that the earliest felling date for the tree from which this panel is made is 1500, with a date between 1504 and 1510 being more plausible; adds that a minimum of two years for seasoning means that the earliest possible execution date for the painting is 1502 and that a date of 1508 or later is more likely.
Bodo Brinkmann in Cranach der Ältere. Exh. cat., Städel Museum. Frankfurt, 2007, pp. 138–39, no. 12, ill. (color, obverse and reverse).
Guido Messling. L'Univers de Lucas Cranach: un peintre à l'époque de Dürer, de Titien et de Metsys. Exh. cat., Palais des Beaux-Arts, Brussels. Paris, 2010, p. 138, no. 60, ill. pp. 138 and 172 (color).
Till-Holger Borchert in Guido Messling. L'Univers de Lucas Cranach: un peintre à l'époque de Dürer, de Titien et de Metsys. Exh. cat., Palais des Beaux-Arts, Brussels. Paris, 2010, p. 27.
Maryan W. Ainsworth in German Paintings in The Metropolitan Museum of Art, 1350–1600. New Haven, 2013, pp. 44–46, 284, no. 8, ill. (color) and fig. 37 (reverse, color)).