Dated and inscribed: (center) ·15 12·; (on window frame, with ages of sitters) ·52· ·35·

Palm Beach. Society of the Four Arts. "Portraits, Figures and Landscapes," January 12–February 4, 1951, no. 1.

Little Rock. Arkansas Arts Center. "Five Centuries of European Painting," May 16–October 26, 1963, unnumbered cat. (p. 12).

"Accessions and Notes." Metropolitan Museum of Art Bulletin 7 (August 1912), p. 150, ill.

Bryson Burroughs. Catalogue of Paintings. 1st ed. New York, 1914, p. 7.

C. H. Collins Baker. Catalogue of the Pictures at Hampton Court. Glasgow, 1929, p. 3, attributes the Hampton Court picture to Ulrich Apt, calls ours a repetition of it, and mentions the third example, in a private collection, as another repetition.

Charles L. Kuhn. A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections. Cambridge, Mass., 1936, pp. 65–66, no. 275, pl. 56, under the entry for the MMA picture, mistakenly includes the provenance for the private collection version.

Harry B. Wehle and Margaretta Salinger. The Metropolitan Museum of Art: A Catalogue of Early Flemish, Dutch and German Paintings. New York, 1947, p. 198, ill., mentions the other two versions of this portrait, noting that the Hampton Court picture was erroneously attributed to Holbein the Younger.

Ernst Buchner. Das Deutsche Bildnis der Spätgotik und der Frühen Dürerzeit. Berlin, 1953, p. 89 n. 1, cites a 1952 letter from Karl Feuchtmayr comparing the weak modeling of the hand in a "Portrait of a Youth" attributed to Apt (formerly Galerie Harrach, Vienna) with the hands in Apt's 1512 double portrait [does not specify which version].

Alfred Stange. "Schwaben in der Zeit von 1450 bis 1500." Deutsche Malerei der Gotik. 8, Munich, 1957, p. 54, fig. 111 (mistakenly ill. private collection version as ours).

Kurt Löcher. "Studien zur oberdeutschen Bildnismalerei des 16. Jahrhunderts." Jahrbuch der Staatlichen Kunstsammlungen in Baden-Württemberg 4 (1967), p. 79 n. 42, mentions the MMA portrait, but refers to an illustration of the private collection version.

Berthold Hinz Westfälischen Wilhelms-Universität zu Münster. Das Ehepaarbildnis—seine Geschichte vom 15. bis 17. Jahrhundert. Marburg, 1969, pp. 13–14, 81 n. 41.

Gert von der Osten and Horst Vey. Painting and Sculpture in Germany and the Netherlands 1500 to 1600. Baltimore, 1969, p. 108, mention only this version of the painting.

Alfred Stange. "Oberrhein, Bodensee, Schweiz, Mittelrhein, Ulm, Augsburg, Allgäu, Nördlingen, von der Donau zum Neckar." Kritisches Verzeichnis der deutschen Tafelbilder vor Dürer. 2, Munich, 1970, p. 159, no. 739, lists the Hampton Court portrait (no. 740) as a copy of ours.

Berthold Hinz. "Studien zur Geschichte des Ehepaarbildnisses." Marburger Jahrbuch für Kunstwissenschaft 19 (1974), pp. 147, 166, 207 n. 49, fig. 28, comments that a double portrait such as this one, like the tradition of the family tree, alluded to the continuation of the family through marriage; notes that it became common for the newly emergent middle class to commission such portraits of themselves.

Paul H. Boerlin. "Hans Holbein d. Ä.: Bildnis eines Herrn mit Pelzmütze, 1513." Pantheon 40 (January/February/March 1982), pp. 36, 39 n. 38, fig. 7, compares the man in this portrait to Holbein the Elder's "Man with a Fur Cap" (Kunstmuseum Basel) and notes the difference between Apt's old-fashioned 'Netherlandish' landscape background and Holbein's depiction of modern Renaissance architecture.

Johannes Wilhelm in Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. 4, Munich, 1992, p. 590, lists it among works by Apt.

Manuel Teget-Welz. Martin Schaffner: Leben und Werk eines Ulmer Malers zwischen Spätmittelalter und Renaissance. Stuttgart, 2008, pp. 133–34.