Horace Walpole. Anecdotes of Painting in England. London, 1828, vol. 2, p. 221, as at Taymouth Castle.
Percy Rendell Head. Van Dyck. London, 1879, p. 80, identifies the sitter as Charles Rich.
Lionel Cust. Anthony van Dyck, An Historical Study of His Life and Works. London, 1900, p. 285.
Wilhelm R. Valentiner in The Second Loan Exhibition of Old Masters: British Paintings of the Late Eighteenth and Early Nineteenth Centuries. Exh. cat., Detroit Institute of Arts. Detroit, 1926, unpaginated.
Édouard Brandus. "La collection des tableaux anciens de M. Jules S. Bache, à New-York." La Renaissance 11 (May 1928), pp. 194–96, ill. p. 187.
Walter Heil. "The Jules Bache Collection." Art News 27 (April 27, 1929), p. 4, ill. p. 32, dates it about 1635.
A Catalogue of Paintings in the Collection of Jules S. Bache. New York, 1929, unpaginated, ill.
Esther Singleton. Old World Masters in New World Collections. New York, 1929, pp. 187–91, ill.
Wilhelm R. Valentiner. A Loan Exhibition of Fifty Paintings by Van Dyck. Exh. cat., Detroit Institute of Arts. Detroit, 1929, unpaginated, no. 41, ill., dates it 1632–33.
Royal Cortissoz. "The Jules S. Bache Collection." American Magazine of Art 21 (May 1930), p. 258.
Gustav Glück. Van Dyck, des Meisters Gemälde. 2nd ed. [1st ed. 1909]. Stuttgart, 1931, pp. XLIV, 562, ill. p. 395.
A Catalogue of Paintings in the Bache Collection. under revision. New York, 1937, unpaginated, no. 27, ill.
Duveen Pictures in Public Collections of America. New York, 1941, unpaginated, no. 188, ill., dates it about 1632–35.
Regina Shoolman and Charles E. Slatkin. The Enjoyment of Art in America. Philadelphia, 1942, p. 403, pl. 376.
Harry B. Wehle. "The Bache Collection on Loan." Metropolitan Museum of Art Bulletin 1 (June 1943), p. 288.
Walter Heil. "The Bache Paintings at the Metropolitan." Art News 42 (June–July 1943), pp. 20, 22–24, ill., dates it during Van Dyck's last stay in England, toward 1635.
A Catalogue of Paintings in the Bache Collection. rev. ed. New York, 1943, unpaginated, no. 26, ill.
Margaret Breuning. "Metropolitan Re-Installs Its Treasures in Attractive Settings." Art Digest 18 (June 1, 1944), p. 6.
An American Correspondent. "English Portraits in the Jules Bache Collection." Connoisseur 113 (March 1944), pp. 51–52, ill.
Albert C. Bates. "The Earl of Warwick." Wadsworth Atheneum News Bulletin, n.s., 2 (February 1944), unpaginated, as a version of the painting in Hartford.
Leo van Puyvelde. "Van Dyck's Style during his English Period (II)." Phoebus 1, nos. 3/4 (1946), p. 145.
Millia Davenport. The Book of Costume. New York, 1948, vol. 2, p. 574, no. 1510, ill. p. 575 (cropped).
Leo van Puyvelde. Van Dyck. Brussels, 1950, pp. 74, 89, 169.
Margaret Whinney and Oliver Millar. English Art, 1625-1714. Oxford, 1957, p. 71, pl. 15.
David Piper. Van Dyck. New York, 1968, ill. on cover (color detail) and colorpl. 26.
Oliver Millar. The Age of Charles I: Painting in England, 1620–1649. Exh. cat., Tate Gallery. London, 1972, pp. 71–72, no. 99, ill.
V. Denis. La peinture flamande 15e–16e–17e siècles. Brussels, 1976, fig. 58.
Joseph Burke. English Art 1714–1800. Oxford, 1976, p. 204.
Egbert Haverkamp-Begemann, ed. Wadsworth Atheneum Paintings. Catalogue 1, The Netherlands and the German-speaking Countries: Fifteenth–Nineteenth Centuries. Hartford, 1978, pp. 133–34, under no. 43.
Erik Larsen. L'opera completa di Van Dyck. Milan, 1980, vol. 2, p. 122, no. 910, ill. p. 121, dates it about 1637–38.
Edgar Peters Bowron. Pompeo Batoni (1708–87) and His British Patrons. Exh. cat., Iveagh Bequest, Kenwood. London, 1982, p. 12.
Christopher Brown. Van Dyck. Ithaca, N.Y., 1982, pp. 203, 206, pl. 209.
Oliver Millar. Van Dyck in England. Exh. cat., National Portrait Gallery. London, 1982, p. 24, fig. 22.
Walter A. Liedtke. Flemish Paintings in The Metropolitan Museum of Art. New York, 1984, vol. 1, pp. 72–74; vol. 2, pl. 30, finds the composition most consistent with Van Dyck's portraits of about 1632–35; doubts Millar's suggestion [see Ref. 1972] that the background alludes to Warwick's attempted attack on the Brazilian fleet in 1627, as it is unlikely he would have wanted to commemorate a failed mission in which he was nearly captured.
Walter A. Liedtke. "Anthony van Dyck." Metropolitan Museum of Art Bulletin 42 (Winter 1984/85), pp. 6, 24, 37–38, 41–42, figs. 2, 38, 40 (color, overall and details).
Aileen Ribeiro. The Dress Worn At Masquerades in England, 1730 to 1790, and Its Relation to Fancy Dress in Portraiture. PhD diss., Courtauld Institute of Art, London. New York, 1984, p. 207.
Walter A. Liedtke. "Flemish Paintings in the Metropolitan Museum—II: Van Dyck, Jordaens, Brouwer, and Others." Tableau 6 (February 15, 1984), pp. 29, 31.
Colin Simpson. Artful Partners: Bernard Berenson and Joseph Duveen. New York, 1986, pp. 204–5, 298 [British ed., "The Partnership: The Secret Association of Bernard Berenson and Joseph Duveen," London, 1987].
Erik Larsen. The Paintings of Anthony van Dyck. Freren, Germany, 1988, vol. 1, pp. 321, 398 n. 541, fig. 327; vol. 2, p. 402, no. 1028.
Arthur K. Wheelock Jr. in Anthony van Dyck. Exh. cat., National Gallery of Art. Washington, 1990, pp. 266–68, no. 68, ill. (color), dates it 1634.
Jean L. Druesedow in "Recent Acquisitions, A Selection: 1989–1990." Metropolitan Museum of Art Bulletin 48 (Fall 1990), p. 56.
Michael Jaffé. "Washington: Van Dyck at the National Gallery of Art." Burlington Magazine 133 (February 1991), pp. 142, 144.
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, pp. 26, 331, no. 208, ill.
David Piper. The English Face. Ed. Malcolm Rogers. [rev., enl. ed.]. London, 1992, p. 75, pl. 73.
Alfred Moir. Anthony van Dyck. New York, 1994, pp. 35, 41, 112–13, colorpl. 33.
Arline Meyer. "Re-dressing Classical Statuary: The Eighteenth-Century 'Hand-in-Waistcoat' Portrait." Art Bulletin 77 (March 1995), p. 53, fig. 15.
David Howarth. Images of Rule: Art and Politics in the English Renaissance, 1485–1649. Berkeley, 1997, pp. 230–32, ill.
Judy Egerton in Christopher Brown and Hans Vlieghe. Van Dyck 1599–1641. Exh. cat., Koninklijk Museum voor Schone Kunsten, Antwerp. London, 1999, pp. 260–61, no. 72, ill. (color), dates it about 1634.
Malcolm Rogers in Christopher Brown and Hans Vlieghe. Van Dyck 1599–1641. Exh. cat., Koninklijk Museum voor Schone Kunsten, Antwerp. London, 1999, p. 89.
Jeremy Wood. "Van Dyck: A Catholic Artist in Protestant England, and the Notes on Painting Compiled by Francis Russell, 4th Earl of Bedford." Van Dyck 1599–1999: Conjectures and Refutations. Ed. Hans Vlieghe. Turnhout, Belgium, 2001, p. 180, fig. 13.
Wayne Franits. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, 2004, p. 41, fig. 31, dates it about 1632–35, and erroneously calls the sitter Richard Rich.
Richard Ormond in Rule Britannia! Art, Royalty & Power in the Age of Jamestown. Exh. cat., Virginia Museum of Fine Arts. Richmond, 2007, p. 15, fig. 5 (color).
Edgar Peters Bowron and Peter Björn Kerber. Pompeo Batoni: Prince of Painters in Eighteenth-Century Rome. Exh. cat., Museum of Fine Arts, Houston. New Haven, 2007, pp. 55, 188 n. 100, refers to Batoni's full-length portrait of Thomas William Coke, later 1st Earl of Leicester (Earl of Leicester and the Trustees of the Holkham Estate, Norfolk), as an "ardent emulation" of portraits by Van Dyck such as this one.
Tim Batchelor in Van Dyck & Britain. Ed. Karen Hearn. Exh. cat., Tate Britain. London, 2009, pp. 85, 94–95, 124, 167, 242, no. 35, ill. (color), dates it about 1633.
Kevin Sharpe in Van Dyck & Britain. Ed. Karen Hearn. Exh. cat., Tate Britain. London, 2009, p. 22.
Susan Sloman in Van Dyck & Britain. Ed. Karen Hearn. Exh. cat., Tate Britain. London, 2009, p. 226.
Susan North in Van Dyck & Britain. Ed. Karen Hearn. Exh. cat., Tate Britain. London, 2009, pp. 126–27.