B[ryson]. B[urroughs]. "Portrait of a Man, by the Master of the Holzhausen Portraits (Conrad Von Creuznach)." Metropolitan Museum of Art Bulletin 7 (July 1912), p. 136, ill., notes that the Master of the Holzhausen Portraits has recently been identified with Conrad von Creuznach; mentions that he was influenced by Dürer, to whom the MMA picture was until recently attributed.
Max J. Friedländer. "Conrad Faber: Painter of the Patricians of Frankfort in the Second Quarter of the Sixteenth Century." Art in America 1 (July 1913), pp. 143, 150, no. 32, fig. 1, includes it among a list of portraits he attributes to Faber; identifies the sitter as Georg von [vom] Rhein zum Mohren, a hypothetical name based on the facts that the hilt of the dagger depicts Saint George and the signet ring depicts a Moor's head; notes that Faber painted another member of this family (Musées Royaux des Beaux-arts de Bruxelles).
K. Simon in Allgemeines Lexikon der bildenden Künstler. Ed. Ulrich Thieme. Vol. 11, Leipzig, 1915, p. 149.
C[harles]. R. B[eard]. "Another Re-identified Portrait." Connoisseur 87 (June 1931), pp. 396–97, ill. p. 361, dates it about 1535 based on the costume, and estimates the sitter's age at between forty-five and fifty-five; notes that there is no reason to assume that Faber confined himself to depicting residents of Frankfurt, and that neither the Vom Rhein nor any other patrician family of Frankfurt had a coat of arms with a Moor's head; suggests that the city in the background might be Munich; tentatively identifies the sitter as a member of the Schedel family of Nuremberg, whose arms include a Moor's head, suggesting Sebastian Maria Schedel (born 1494) or one of his three brothers.
Walther Karl Zülch. Frankfurter Künstler, 1223–1700. Frankfurt am Main, 1935, p. 310, proposes identifying the sitter as Dr. Jacob Schwarzkopf, who died in 1577.
Charles L. Kuhn. A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections. Cambridge, Mass., 1936, p. 51, no. 184, pl. XXXIII, calls it "Portrait of Georg von [sic] Rhein (?)," but notes that the name of the sitter is hypothetical; dates it about 1535.
Emil Waldmann. "Deutsche Kunst in amerikanischen Museen." Der Türmer: Deutsche Monatshefte 39 (January 1937), pp. 298, 300, ill., calls it "Männerbildnis" and suggests that the background city is either Passau or Zürich.
Erna Auerbach. "Conrad Faber, or 'The Master of the Holzhausen Portraits'." Burlington Magazine 70 (January 1937), p. 23, lists it as a portrait of Georg vom Rhein among works dated 1529 and 1533, noting that all the pictures in this group have a large blank space above the sitter's head, an open landscape characteristic of Cranach's early style, and "hands [that] are round and thick".
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 193–94, ill., reject the identification of the sitter proposed by Friedländer [see Ref. 1913]; date the picture about 1525 based on the costume; state that the background cityscape is probably invented.
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, p. 396, no. 1056, ill. (cropped).
Important Oil Paintings from the Collection of N. M. Friberg, Stockholm, Sweden, With a Few Additions from Private Collections. Kende Galleries, New York. May 18, 1950, p. 34, under no. 23.
Wolfgang Brücker. Conrad Faber von Creuznach. Frankfurt am Main, 1963, pp. 13, 53, 56–57, 125 nn. 181–82, pp. 146, 186–87, no. 31, fig. 31, dates it about 1535–36, stating that the relatively high level of the horizon is no reason to date the picture to the early 1530s; calls it "Bildnis eines Patriziers mit Mohrenwappen (ein Schwarzkopf?)"; discusses a possible identification with a member of the Schwarzkopf family, but also mentions the possibility that the sitter may be a member of the Tucher family of Nuremberg, noting that although the view is not topographically accurate the churches might be St. Lorenz and St. Sebald in Nuremberg; states that the landscape would have been completed in a pendant, presumed lost.
Gert von der Osten. "Studien zu Conrad Faber von Creuznach." Mainz und der Mittelrhein in der europäischen Kunstgeschichte: Studien für Wolfgang Fritz Volbach zu seinem 70. Geburtstag. Mainz, 1966, pp. 418, 421, fig. 260, calls it "Männerbildnis," noting the various proposed identifications; mentions it in connection with the 1530 portrait of a forty-two-year-old man (fig. 259; formerly Schloß Wernigerode am Harz), but connects it stylistically with the 1535 portrait of Gilbrecht von Holzhausen (Städelsches Kunstinstitut, Frankfurt).
Peter Klein. Letter to The Metropolitan Museum of Art. April 3, 2006, identifies the wood of the panel as linden.