George Vertue. Notebook entry. 1741 [published in "Vertue Note Books Volume IV" in Walpole Society 24 (1935–36), pp. 191–92], sees the picture at Wroxton Abbey in 1741 and describes it at length.
Thomas Warton. The Life of Sir Thomas Pope, Founder of Trinity College Oxford. London, 1772, p. 414 n. a, as at Wroxton; describes it and discusses the prince's fondness for hunting.
J[ames]. Granger. A Biographical History of England from Egbert the Great to the Revolution. 3rd ed. London, 1779, vol. 1, p. 337, as at Wroxton.
Thomas Pennant. Some Account of London. 3rd ed. London, 1793, p. 117 [4th ed., 1805, p. 98], mentions it as another version of the portrait in the Royal Collection, mistakenly believing that both works depict the earl of Essex.
Sylvester Harding. The Biographical Mirrour. London, 1795, vol. 2, pp. 53, 58, ill. (Clamp engraving).
John Nichols. The Progresses, Processions, and Magnificent Festivities, of King James the First. . . London, 1828, vol. 1, p. 528, ill. (Clamp engraving).
J[eremiah]. H[olmes]. Wiffen. Historical Memoirs of the House of Russell, from the Time of the Norman Conquest. London, 1833, vol. 2, p. 82 n. 1, assumes that the picture was commissioned by the prince.
W. Bürger [Théophile Thoré]. Trésors d'art en Angleterre. Brussels, 1860, p. 351, as a portrait of Henry, Prince of Wales, by Paul van Somer, belonging to Colonel North.
Claude Phillips. The Picture Gallery of Charles I. London, 1896, p. 11, mentions two examples of the hunting portrait of Henry, Prince of Wales, no. 400 at Hampton Court (where he is shown with Robert Devereux, Earl of Essex) and another at Wroxton.
Ernest Law. The Royal Gallery of Hampton Court. London, 1898, p. 158, no. 400, of the two, calls the Wroxton portrait of Prince Henry with Sir John Harington, dated 1603, the original, noting that on April 23, 1603 the king and prince were entertained by Sir John Harington (the father) at Burley-on-the-Hill and "had most excellent sport with Sir John's best hounds with good mouthes following the game, the King taking great leisure & pleasure in the same".
Charles Latham. In English Homes. Vol. 1, London, 1904, p. 173, ill. [3rd ed., vol. 1, 1909], illustrates it hanging over the mantel in the garden parlor at Wroxton Abbey, noting that an exact replica is at Hampton Court.
Lionel Cust. "Marcus Gheeraerts." Walpole Society 3 (1913–14), p. 28, no. 4a, pl. XXXIVa, attributes it to Marcus Gheeraerts the Younger, calls the Hampton Court picture "the later of the two, and by a different hand".
Lionel Cust. "A Portrait called 'Henry, Prince of Wales, by Isaac Oliver'." Burlington Magazine 24 (March 1914), pp. 347–48, as probably by Paul van Somer (1576–1621), one of two versions, questioning whether either can be as early as 1603.
M[ary]. Chamot. "Sporting Pictures at Burlington House." Country Life 75 (January 13, 1934), p. 32, fig. 2.
W. G. Constable and Charles Johnson, ed. Commemorative Catalogue of the Exhibition of British Art. Exh. cat., Royal Academy of Arts, London. Oxford, 1935, p. 11, no. 25, pl. XII,, as Attributed to Isaac Oliver, noting that a replica with slight differences is at Hampton Court.
Alfred M. Frankfurter. "383 Masterpieces of Art." Art News, (The 1940 Annual), 38 (May 25, 1940), p. 34.
Margaret Miller. "Notes from New York." Apollo 38 (June 1940), p. 167.
Helen Comstock. "The Connoisseur in America: Forty British Portraits." Connoisseur 106 (August 1940), p. 28.
Elizabeth E. Gardner. "A British Hunting Portrait." Metropolitan Museum of Art Bulletin 3 (January 1945), pp. 113–17, ill. p. 115 and on cover (color detail), supplies the historical context, and rejects the attribution to Isaac Oliver but cannot propose another.
Millia Davenport. The Book of Costume. New York, 1948, vol. 1, ill. (color detail, frontispiece); vol. 2, pp. 562–63, no. 1471, ill. (cropped).
J. F. Kerslake. Letter to Mrs. H. D. Allen. July 10, 1956, believes it to be by the same hand as the two portraits of young women reproduced by Cust.
Julius S. Held. "'Le Roi à la Ciasse'." Art Bulletin 40 (March 1958), pp. 144–46, fig. 3, as British school, provides the iconographic source in the English edition of "Turbervile's Booke of Hunting" (London, 1576; 2nd ed., 1611; repr., Oxford, 1908, p. 134) [see fig. 4].
Roy Strong. "Elizabeth Painting: An Approach through Inscriptions—I: Robert Peake the Elder." Burlington Magazine 105 (February 1963), p. 54, notes that Oliver Millar has drawn his attention to this group portrait with an authentic Peake inscription, and dates it between the arrival of Prince Henry in the south in the summer of 1603 and March of the following year.
Oliver Millar. The Tudor, Stuart and Early Georgian Pictures in the Collection of Her Majesty the Queen. London, 1963, vol. 1, p. 79, under no. 100, calls it probably by Peake, by comparison with the Hampton Court picture, which is "a later adaptation, possibly by a different hand," datable about 1606–7.
Roy Strong. "Forgotten Age of English Painting: Portraits at Cowdray and Parham, Sussex." Country Life Annual (1966), p. 47.
Roy Strong. The English Icon: Elizabethan & Jacobean Portraiture. London, 1969, pp. 226, 234–35, 243, 246, no. 201, ill. (overall and details), ascribes it to Robert Peake the Elder (fl. 1576–?d. 1626), lists eighteen paintings similarly inscribed, one of which is signed, and notes that after the accession of James I Peake became Prince Henry's chief painter.
Anthony Powell. "Review of Ormond 1977." Apollo 106 (July 1977), p. 79.
Richard Ormond. The Face of Monarchy: British Royalty Portrayed. Oxford, 1977, p. 187, pl. 69.
Yvonne Hackenbroch. Renaissance Jewellery. London, 1979, p. 305, figs. 806A–B (overall and detail).
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 268, 273, fig. 480.
Roy Strong in The Treasure Houses of Britain: Five Hundred Years of Private Patronage and Art Collecting. Ed. Gervase Jackson-Stops. Exh. cat., National Gallery of Art. Washington, 1985, p. 132, mentions it in connection with Peake's equestrian portrait of Prince Henry, painted about 1610, from Parham Park.
Roy Strong. Henry, Prince of Wales. London, 1986, p. 114, fig. 24, describes the two portraits in landscape settings as "a quite unprecedented innovation in royal portraiture".
Walter Liedtke. The Royal Horse and Rider: Painting, Sculpture, and Horsemanship, 1500–1800. New York, 1989, pp. 255, 257, pl. 123.
Mark Weiss. "Elizabeth of Bohemia by Robert Peake: The Problem of Identification Solved." Apollo 132 (December 1990), pp. 409–10 nn. 11–14, 16–17, fig. 1.
Roger Quarm. "Robert Peake's Portrait of Elizabeth of Bohemia." National Art Collections Fund Annual Report 87 (1991), pp. 104, 106–7, observes that the 1603 portraits of Prince Henry and Princess Elizabeth were "the first image[s] of the Stuart Royal family, newly arrived in England" and that both were probably commissioned by Lord and Lady Harington.
Christopher Lloyd. The Queen's Pictures: Old Masters from the Royal Collection. [London], 1994, p. 38.
Karen Hearn in Dynasties: Painting in Tudor and Jacobean England, 1530–1630. Exh. cat., Tate Gallery. [London], 1995, pp. 185, 187, fig. 49, notes that the 1603 portrait of Princess Elizabeth appears to be the pendant, mentioning the corresponding figures engaged in the chase in the background of that painting.
Catharine MacLeod. "London, Tate Gallery: Dynasties." Burlington Magazine 138 (January 1996), p. 42.
David Howarth. Images of Rule: Art and Politics in the English Renaissance, 1485–1649. Berkeley, 1997, pp. 132–33, ill.
Mark L. Evans in Princes as Patrons: The Art Collections of the Princes of Wales from the Renaissance to the Present Day. Exh. cat., National Museums and Galleries of Wales, Cardiff. London, 1998, p. 25.
Jonathan Brown in Velázquez, Rubens y Van Dyck: Pintores cortesanos del siglo XVII. Ed. Jonathan Brown. Exh. cat., Museo Nacional del Prado. Madrid, , pp. 58, 101.
Katharine Baetjer. "British Portraits in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 57 (Summer 1999), pp. 9–10, ill. (color).
Julia Marciari Alexander in Great British Paintings from American Collections: Holbein to Hockney. Exh. cat., Yale Center for British Art, Yale University. New Haven, 2001, pp. 49–52, no. 2, ill. (color).
Elizabeth A. Pergam. "From Manchester to Manhattan: The Transatlantic Art Trade After 1857." Bulletin of the John Rylands Library 87, no. 2 (2005), pp. 82, 87, 89.
James Taylor in Rule Britannia! Art, Royalty & Power in the Age of Jamestown. Exh. cat., Virginia Museum of Fine Arts. Richmond, 2007, p. 30, under no. 6.
Karen Hearn in Van Dyck & Britain. Ed. Karen Hearn. Exh. cat., Tate Britain. London, 2009, pp. 39, 42–45, 242, no. 1, ill. (color), as "Henry, Prince of Wales, and Sir John Harington in the Hunting Field".
Kevin Sharpe in Van Dyck & Britain. Ed. Karen Hearn. Exh. cat., Tate Britain. London, 2009, p. 18.
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 11–13, no. 5, ill. (color).
Catharine MacLeod. The Lost Prince: The Life & Death of Henry Stuart. Exh. cat., National Portrait Gallery. London, 2012, pp. 35–39, 41 n. 9, pp. 59, 70, fig. 12 (color), discusses it in connection with two other portraits of Prince Henry by Peake (Parham House, Pulborough, and Palazzo Reale, Turin); relates the prince's pose to images of the Archangel Michael.
Mark Hallett. Reynolds: Portraiture in Action. New Haven, 2014, pp. 239, 456 n. 65, fig. 220 (color), mentions it in connection with Reynolds's portrait of Lord Sydney and Colonel John Acland known as "The Archers" of 1769 (Tate, London).