References Marlborough Jewels and Pictures . [1718?], fol. 7v [British Museum, Add. mss. 9125; Coxe Papers, XLVIII; see Ref. Vlieghe 1987].Diary entry . August 1759 [published in Emily J. Climenson, ed., "Passages from the Diaries of Mrs. Philip J. Lybbe Powys of Hardwick House, Oxon., A.D. 1756–1808," London, 1899, p. 43], describes a visit to Blenheim Palace and mentions that "in the third apartment is that charming picture of Rubens' family by himself".The English Connoisseur: Containing an Account of Whatever is Curious in Painting, Sculpture, &c. in the Palaces and Seats of the Nobility and Principal Gentry of England, Both in Town and Country . London, 1766, vol. 1, p. 17.A Tour from Stow to Blenheim and Ditchley . . . London, [1770?], p. 6 [see Ref. Vlieghe 1987].Anecdotes of Painting in England . 4th ed. London, 1786, vol. 2, p. 144.New Description of Blenheim . London, [1789], p. 58 [see Ref. Vlieghe 1987].The Ferington Diary . [1801] [1922 ed. by J. Greig, London, vol. 1, p. 311; see Ref. Vlieghe 1987].A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters . 2, London, 1830, pp. 243–44, no. 831, notes that it was presented by the city of Brussels to John, Duke of Marlborough, and was worth 3,000 guineas; mentions an engraving by MacArdell [McArdell] and three chalk studies by Rubens, one for each of the portraits, in the Louvre.Tour of a German Artist in England . London, 1836, vol. 2, p. 8.Works of Art and Artists in England . London, 1838, vol. 2, pp. 233–34.Kunstwerke und Künstler in England und Paris . 2, Berlin, 1838, pp. 47–48.Histoire de P.-P. Rubens . Brussels, 1840, p. 346, no. 1172.Treasures of Art in Great Britain . London, 1854, vol. 3, p. 129.Catalogue Raisonné; or, A List of the Pictures in Blenheim Palace . London, 1861, p. 23, identifies it as hanging to the right of the fireplace in the dining room at Blenheim.in Histoire des peintres de toutes les écoles: École flamande . Paris, 1864, p. 30.Illustrated London News 47 (September 30, 1865), pp. 308, 310, ill. (engraving).Catalogue des estampes gravées d'après P. P. Rubens . Haarlem, 1873, p. 163, under no. 84, ill. (engraving), publishes McArdell's engraving.L'art 33 (1883), pp. 214, 216.Chronique des arts et de la curiosité, supplément à la Gazette des beaux-arts no. 30 (September 20, 1884), p. 423.Gazette des beaux-arts , 2nd ser., 32 (1885), p. 102.Repertorium für Kunstwissenschaft 10 (1887), p. 59.Bulletin-Rubens 3 (1888), p. 94.in Pierre Paul Rubens, sa vie et ses oeuvres . Paris, [1889], p. 170.in Pierre Paul Rubens, sa vie et ses oeuvres . Paris, [1889], p. 71 n. 3.L'Oeuvre de P. P. Rubens . 4, Antwerp, 1890, pp. 263–64, no. 1052, pl. 251 (engraving), states that it is entirely by Rubens and dates it about 1633; notes problems of condition.Rubens . London, 1892, ill. opp. p. 100 (engraving).Rubens . 4th ed. Bielefeld, 1897, p. 118 [English ed., 1904, pp. 135–36], dates it about 1632 and identifies the child as Clara Joanna, eldest child of Rubens and Helena Fourment.Rubens: His Life, His Work, and His Time . London, 1899, vol. 2, pp. 173–75, 313, ill. (frontispiece) [French ed., "Rubens," Paris, 1900, pp. 440, 465–67, 605 n. 1, ill. opp. p. 466].Rubens . London, 1904, vol. 1, pp. 505, 608–9 [French ed., "Rubens, sa vie et ses oeuvres," (1900–1903), pp. 505, 608], identifies the child as Frans, eldest son of Rubens and Helena Fourment.L'art 64 (1905), pp. 281–82, ill. p. 277 (engraving).P. P. Rubens, des Meisters Gemälde . 1st ed. Stuttgart, 1905, pp. 482, 487, ill. p. 341 [4th ed. by Rudolf Oldenbourg, 1921, p. 472, ill. p. 447], identifies the child as the firstborn [Clara Joanna] of Rubens and Helena Fourment.Burlington Magazine 8 (February 1906), p. 307.Rubens . London, [1909], pp. 163–64, pl. 349.Bulletin-Rubens 5 (1910), p. 79.Rubens . New York, 1918, pp. 139–40, 181 [French ed., Paris, n.d., pp. 125–26, 163], identifies the child as Clara Joanna.Jahrbuch der kunsthistorischen Sammlungen in Wien 35 (1920/21), p. 80, fig. 23.Nollekens and His Times . London, 1920, vol. 1, p. 197 [1st ed., 1828].P. P. Rubens, des Meisters Gemälde . 4th ed. [1st ed. 1905]. Stuttgart, 1921, p. 472, ill. p. 447 [1st ed. by Adolf Rosenberg, 1905, pp. 482, 487, ill. p. 341], attributes it to Boeckhorst.Zeitschrift für bildende Kunst , n.s., 32 (1921), p. 18.Rubens . Paris, 1928, ill. p. 47.Rubens, Van Dyck und ihr Kreis . Vienna, 1933, p. 387 n. n, notes that no scholars have supported Oldenbourg's attribution [see Ref. 1921] to Boeckhorst.Rubens, Van Dyck und ihr Kreis . Vienna, 1933, p. 122, fig. 73, reprints Ref. Glück 1920.Catalogus der Rubens-Tentoonstelling ten bate van de Vereeniging 'Rembrandt' . Exh. cat., Kunsthandel J. Goudstikker. Amsterdam, 1933, unpaginated, under no. 53.An Exhibition of Sixty Paintings and Some Drawings by Peter Paul Rubens . Exh. cat., Detroit Institute of Arts. Detroit, 1936, unpaginated, under no. 34.Rubens . Paris, 1936, p. 51, ill. [see Ref. Liedtke 1984].Revue de l'art ancien et moderne 71 (1937), p. 19, ill.Peter Paul Rubens . Munich, 1942, pp. 468, 470, 472, 508 n. 481, figs. 267, 269 (overall and detail), dates it 1638 and identifies the child as Peter Paul, second son of Rubens and Helena Fourment.Rubens und sein Werk: Neue Forschungen . Brussels, 1943, pp. 330, 340, 383, no. 409.Gazette des beaux-arts , 6th ser., 25 (January 1944), p. 31, fig. 6 (detail), in the caption, erroneously locates it in the Alte Pinakothek, Munich.Rubens in America . New York, 1947, p. 45, under no. A7, notes that it has been considered doubtful.Inventaire général des dessins des écoles du Nord: école flamande . Paris, 1949, vol. 2, p. 17, under no. 1023, p. 18, under no. 1026.Recollections of Rubens . English ed. New York, 1950, pp. 134, 183 n. 141, p. 373 [German ed., "Erinnerungen aus Rubens," Basel, 1898, p. 245].Rubens . Paris, 1952, p. 155.Rubens . Paris, 1956, p. 119.Rubens: Selected Drawings . London, [1959], vol. 1, p. 144, under no. 128.Dessins de Pierre-Paul Rubens . Exh. cat., Musée du Louvre, Cabinet des dessins. Paris, 1959, p. 8, under no. 12.Sir Peter Paul Rubens, The Bust Portrait of Helene Fourment . Brussels, 1964, unpaginated, ill., identifies the child as Claire-Jeanne [Clara Joanna].Revue belge d'archéologie et d'histoire de l'art 34 (1965), pp. 5, 8, ill. p. 6.The Pinakothek, Munich . New York, [1970], p. 208.Peter Paul Rubens: Bildgedanke und künstlerische Form . Berlin, 1976, p. 40, identifies the child as Peter Paul.Rubens e l'incisione nelle collezioni del Gabinetto Nazionale delle Stampe . Exh. cat., Villa della Farnesina. Rome, 1977, p. 180, under no. 399, identifies the child as probably Isabella Helena.Revue du Louvre et des musées de France 27, nos. 5–6 (1977), pp. 343–44, 346–47, 352 nn. 8, 19, 27, 28, p. 353 n. 31, fig. 1.L'Oeil no. 266 (September 1977), p. 19.Country Life 163 (April 27, 1978), p. 1152, reproduces a painting by John Eccardt of Charles and Mary Churchill that is based on this picture.Apollo 107 (April 1978), pp. 290–93, colorpl. XXVII, suggests a date of 1639.in Cinq années d'enrichissement du Patrimoine national 1975–1980 . Exh. cat., Galeries Nationales du Grand Palais. Paris, 1980, p. 45, under no. 31, erroneously states that there are two children in the picture.The Young Van Dyck . Exh. cat., National Gallery of Canada. Ottawa, 1980, p. 154, under no. 71.Drawings from the Collection of Louis C. G. Clarke, LL.D. Exh. cat., Fitzwilliam Museum. Cambridge, 1981, p. 9.The Evolution of a Late Rubens Family Portrait . September 24, 1982 [published in Tableau 5 (Summer 1983), pp. 380–86, ill. (overall, details, and x-radiograph details; German translation in Du, no. 509 (July 1983), pp. 6–15, 93, ill.], hypothetically reconstructs the first and second stages of the composition, suggesting that Helena and her son were originally depicted alone.in The Metropolitan Museum of Art: Notable Acquisitions, 1981–1982 . New York, [1982], pp. 39–40, ill. p. 40 and in color on cover (cropped), identifies the child as Peter Paul and dates it about 1639.Burlington Magazine 125 (March 1983), p. 149, figs. 13 (detail), 14 (x-radiograph detail).Tableau 6 (November/December 1983), pp. 83–88, nn. figs. 1 (overall, color), 2 (x-radiograph), 3 (cross section of paint layers, color), rejects Kopelman's [see Ref. 1983] hypothetical reconstruction of the earlier stages of the composition.Rubens und Rembrandt . Mittenwald, 1984, pp. 223, 388.Flemish Paintings in The Metropolitan Museum of Art . New York, 1984, vol. 1, pp. 176–87, figs. 37–38 (x-radiographs); vol. 2, colorpl. XIII, pls. 66–72 (overall and details), discusses the development of the composition and related works.Essays in Honor of Paul Mellon, Collector and Benefactor . Washington, 1986, pp. 206, 210–12, 215 n. 32, fig. 6, publishes a watercolor after this painting by Bernard Lens III (MMA, 1984.442).Picturing Art in Antwerp, 1550–1700 . Princeton, 1987, pp. 99, 223 n. 8, calls the repainted figure of Rubens "not . . . fully convincing as autograph work".Corpus Rubenianum Ludwig Burchard . pt. 19, vol. 2, London, [1987], pp. 170–73, no. 141, figs. 195–97 (overall, detail, and x-radiograph), identifies the child as Clara-Johanna, stating that he cannot see why Peter Paul, the third child of Rubens and Helena Fourment, should be represented without his two elder siblings as suggested by Evers [see Ref. 1942] and supported by later authors.Rubens: catalogo completo . Milan, 1989, pp. 62, 64, 375, no. 1401, ill. (overall and color details).Peter Paul Rubens . New York, 1989, p. 45, ill., observes that the child's appearance suggests that Rubens began the painting in early 1639.Merchants and Masterpieces: The Story of The Metropolitan Museum of Art . rev., enl. ed. New York, 1989, p. 390.in Anthony van Dyck . Exh. cat., National Gallery of Art. Washington, 1990, p. 127, under no. 18.in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America . Antwerp, 1992, pp. 12, 26, 214, 216, no. 66, fig. 1 (detail), and ill. pp. 214 (x-radiograph detail) and 215 (color).in Von Bruegel bis Rubens: Das goldene Jahrhundert der flämischen Malerei . Exh. cat., Wallraf-Richartz-Museum. Cologne, 1992, pp. 113, 115, 119 nn. 118, 120, fig. 8 (color).in "'Everything is not the same': Style and Expression in Some Religious Paintings by Rubens." Rubens and his Workshop: "The Flight of Lot and his Family from Sodom" . Exh. cat., National Museum of Western Art. Tokyo, 1994, pp. 138–40 n. 25, figs. 10–11 (overall and x-radiograph), discusses changes made to the composition.CAA: 84th Annual Conference . February 21–24, 1996 [published in Erin Griffey, ed., "Envisioning Self and Status: Self-Representation in the Low Countries 1400–1700," Hull, 1999, pp. 131–62, figs. 1 (overall), 2 (x-radiograph detail)].in The Dictionary of Art . 27, New York, 1996, p. 297, dates it about 1633.in "Rubens, His Patrons, and Style." Rembrandt, Rubens, and the Art of Their Time: Recent Perspectives . University Park, Pa., 1997, pp. 123, 130 n. 2, fig. 5-12 and frontispiece (color).in La pittura nei Paesi Bassi . Milan, 1997, vol. 2, pp. 349–50.in Velázquez, Rubens y Van Dyck: Pintores cortesanos del siglo XVII . Exh. cat., Museo Nacional del Prado. Madrid, [1999], p. 47.Important British Art . Christie's, London. June 10, 1999, p. 30, under no. 9, fig. 2.Rubens, A Portrait: Beauty and the Angelic . London, 1999, pp. 339–40, 347, colorpl. XVII.in Velázquez, Rubens y Van Dyck: Pintores cortesanos del siglo XVII . Exh. cat., Museo Nacional del Prado. Madrid, 1999, p. 124.in Christopher Brown and Hans Vlieghe. Van Dyck, 1599–1641 . Exh. cat., Koninklijk Museum voor Schone Kunsten, Antwerp. London, 1999, pp. 108, 206, as "The Walk in the Garden".Vermeer and the Delft School . Exh. cat., The Metropolitan Museum of Art. New York, 2001, p. 274, under no. 27, p. 277 n. 2.in Peter Paul Rubens . Exh. cat., Graphische Sammlung Albertina. Vienna, 2004, pp. 87, 113 n. 20, pp. 351, 451, figs. 1 (color), 2 (x-radiograph detail) [English ed., "Peter Paul Rubens: The Drawings," New York, 2005, pp. 39, 239, 255, figs. 135–36 (overall and x-radiograph detail)].in The Wrightsman Pictures . New York, 2005, pp. 117–22, no. 34, ill. (color) and fig. 1 (composite radiographs), identifies the child as Clara Joanna, and dates the picture to the early 1630s.in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne . Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 23–24, fig. 14 [Catalan ed., Barcelona, 2006, p. 20, fig. 14].Apollo 169 (March 2009), pp. 107–8 n. 23, identifies it as the source for the figures in the "View of the Courtyard and Garden of the Former House of Peter Paul Rubens in Antwerp" (Buckinghamshire County Museum, Aylesbury) attributed to an Antwerp painter of the seventeenth century.in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008 . New York, 2009, p. 35.in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008 . New York, 2009, p. 32, fig. 42 (color).
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