[Gustav Friedrich] Waagen. Treasures of Art in Great Britain. London, 1854, vol. 3, p. 6, cites it as a work by Holbein in Stanstead [sic] House, seat of W. Fuller Maitland, Esq.
Max J. Friedländer. Letter to Steinmeyer, Lucerne. March 3, 1923, calls it an excellent and important work by Isenbrant.
Max J. Friedländer in Allgemeines Lexikon der bildenden Künstler. Ed. Ulrich Thieme. Vol. 19, Leipzig, 1926, p. 246.
Max J. Friedländer. "Adriaen Ysenbrant als Porträtmaler." Pantheon 1 (1928), p. 4, ill.
Sidney P. Noe. "Flemish Primitives in New York." American Magazine of Art 21 (January 1930), ill. p. 37.
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), pp. 24–25, no. 35.
Max J. Friedländer. Die altniederländische Malerei. Vol. 11, Die Antwerpener Manieristen; Adriaen Ysenbrant. Berlin, 1933, pp. 81, 85–86, 139, no. 218, pl. 78.
Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, pp. 100–101, ill., identify the sitter as a banker or money changer and consider the portrait to be purely secular; suggest that there may have been a pendant representing the sitter's wife.
Erik Larsen. Les primitifs flamands au Musée Metropolitain de New York. Utrecht, 1960, p. 82.
Justus Müller Hofstede. "Zür Frühen Bildnismalerei von Peter Paul Rubens." Pantheon 5 (September/October 1962), p. 282, sees in this panel a resemblance to Rubens's portrait of a young man holding a watch [MMA 1982.60.24], particularly in the hands.
Max J. Friedländer et al. Early Netherlandish Painting. Vol. 11, The Antwerp Mannerists, Adriaen Ysenbrant. New York, 1974, pp. 48, 50, 92, no. 218, pl. 150.
Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, p. 189.
Guy Bauman. "Early Flemish Portraits, 1425–1525." Metropolitan Museum of Art Bulletin 43 (Spring 1986), pp. 46–47, ill. (color), calls it "one of the earliest surviving occupational portraits, in which the sitter is shown actually working in his professional environment," although the scales could not have failed to remind contemporaries of Saint Michael's on Judgment Day.
Introduction by Walter A. Liedtke in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America. Antwerp, 1992, p. 340, no. 269, ill.
Véronique Sintobin in From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art. Ed. Maryan W. Ainsworth and Keith Christiansen. Exh. cat., The Metropolitan Museum of Art. New York, 1998, pp. 140, 194–95, no. 41, ill. (color), dates it 1515–20.
Jean C. Wilson. Paintings in Bruges at the Close of the Middle Ages: Studies in Society and Visual Culture. University Park, Pa., 1998, p. 196, fig. 79.