It's worth a shot Vincent. The large format lenses from Schneider-Kreuznach, Rodenstock, Nikon and Fujifilm are all professional gear. I think you can choose based mostly on how they render. I thought my Fujinon-W lenses were sharp enough on my GFX 50R outfit, but the colours are very different than my other lenses.
It is a good idea to get the modest modern designs so you can get the best coatings that were available. I considered what you're thinking of too, and was leaning to the Nikon because it's an f/4. When I looked around it was usually suggested that the best of the Nikkor 65mm lenses was the f/4
S model.
Coatings are important, but I wouldn't get too excited about slight differences among modern lenses because there are much more important considerations in play. Here's a case in point. This is the long lens for my outfit. It's a Schneider-Kreuznach Componon-S 180mm f/5.6. I'm using modern cells (from the early 2000s) in the old style housing with 19 aperture blades (early 1970s). The coatings on the modern cells are slightly better than the coatings on the 1970s cells (I tested side-by-side). However, the difference is marginal.
I actually had this thing up for sale on eBay because I thought it was impossible to control stray light that caused massive veiling flare. I used very long hoods lined with telescope flocking paper; they made little or no difference. The problem is this lens was designed to enlarge 5x7 film, so it has a huge image circle that collects an enormous amount of light that isn't used directly for image formation on my setup. If it's not controlled, that light just bounces around inside the camera and causes flare that destroys contrast and sharpness. Any shiny surface in the light path (even very small) is a problem.
The solution turned out to be controlling flare at the rear end. The lens mounts to my Toyo via that aluminum adapter you see in the bottom pictures. Inserting that simple baffle in the rear of the adapter (round flocked disk with rectangular hole) eliminates the veiling flare problem. I added a shade built up of step-down rings (top-right) picture to further cut down on unwanted light hitting the glass.
The important thing to note here is how little of the front element has to be uncovered. The hole in my "hood" is 26mm in diameter; by way of comparison, the lens takes 62mm filters. That 26mm hole is enough not only to fully cover the 33mm x 44mm sensor in my GFX 50R, but also to provide 20mm of shift in landscape orientation. No wonder this thing had a massive veiling flare problem!
This is why I'm not as worried about using lenses with the absolute most modern coatings. Of course you want the most modern coatings if your goal is to get maximum image quality. However, the most modern coatings won't do you any good if the lens is allowing too much stray light that isn't managed properly.
This brings me to your plan to use a lens designed to cover 4x5 film on a much smaller sensor: give a lot of thought to how you're going to control for flare. A short little hood on the front of the lens may be completely inadequate.
