Paul Jeromack. "Old Master Paintings." Art & Auction 10 (September 1988), p. 151, ill., reports that it "was knocked down to Hazlitt's John Morton Morris for FF7.2 million ($1.15 million)".
Julian Agnew in Agnew's 1982–1992. London, 1992, pp. 66, 76, colorpl. 57.
Anne W. Lowenthal. Letter to Walter Liedtke. October 8, 1993, confirms that it is "a splendid example of [Wtewael's] work]".
Walter A. Liedtke in "Recent Acquisitions, A Selection: 1993–1994." Metropolitan Museum of Art Bulletin 52 (Fall 1994), pp. 26–27, ill. (color, overall and detail), calls it "distinctly Netherlandish in its realistic light and shade, soft modeling and many textures, and in its Jan Brueghel-like landscape".
Edgar Peters Bowron. "Full of Details and Very Subtly and Carefully Executed: Oil Paintings on Copper Around 1600." The International Fine Art Fair. Exh. cat.1995, p. 9–10, fig. 1 (color), states that the "glowing palette, sinuous forms, and sophisticated composition emphasize the strength of the mannerist idiom in the Netherlands in the first decade of the seventeenth century".
Anne W. Lowenthal. Mars and Venus Surprised by Vulcan. Malibu, 1995, pp. 72, 80 n. 124.
Walter Liedtke. "Style in Dutch Art." Looking at Seventeenth-Century Dutch Art: Realism Reconsidered. Cambridge, 1997, pp. 116–17, figs. 73–73a (overall and detail), observes that the landscape and still life elements recall works by Jan Brueghel the Elder, and compares the treatment of figures to that of Annibale Carracci.
Anne W. Lowenthal. "The Golden Age by Joachim Wtewael at The Metropolitan Museum of Art." Apollo 145 (February 1997), pp. 49–52, figs. 1 (color), 2 (detail), ill. on title page and cover (color detail), calls it the only known surviving painting of this subject by Wtewael, noting that the date places it relatively early in the artist's career; identifies Ovid's "Metamorphoses" as the source of the iconography, and suggests the "proximate inspiration" may have been Abraham Bloemaert's "Golden Age," engraved in 1604 by Nicolaes de Bruyn; compares it to drawings by Wtewael of the same theme (Staatliche Graphische Sammlung, Munich; Kupferstich-Kabinett, Staatliche Kunstsammlungen, Dresden); reports that a work on copper of this subject by Wtewael is recorded in a 1619 inventory of the collection of Emperor Rudolf II in Vienna.
Joaneath A. Spicer in Masters of Light: Dutch Painters in Utrecht During the Golden Age. Exh. cat., Fine Arts Museums of San Francisco. Baltimore, 1997, pp. 30–31, 44, 334.
Edgar Peters Bowron. "A Brief History of European Oil Paintings on Copper, 1560–1775." Copper as Canvas: Two Centuries of Masterpiece Paintings on Copper, 1575–1775. Exh. cat., Phoenix Art Museum. New York, 1998, p. 9, fig. 1.1 (color).
Wayne Franits. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, 2004, p. 66, fig. 58.
Walter Liedtke. "The Golden Age by Joachim Wtewael." Metropolitan Museum Journal 40 (2005), pp. 93–104, figs. 1, 7 (overall and detail), colorpl. 6, states that the Munich and Dresden drawings [see Ref. Lowenthal 1997] show the development of the composition, and notes that these were made in response to treatments of the same subject by Hendrick Goltzius and Abraham Bloemaert; argues that Emperor Rudolf II acquired it shortly after it was painted, and that it is the picture by Wtewael listed in the 1619 inventory of the imperial Kunstkammer in Vienna.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, p. xi; vol. 2, pp. 846, 975–86, no. 224, colorpl. 224, fig. 281 (color detail).
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), p. 64, fig. 78 (color).