References Toby Matthew. Letter to Sir Dudley Carleton . October 9, 1616 [published in Ref. Sainsbury 1859], mentions a "peece of huntinge," probably this work, for sale in Rubens's studio; notes his attempt, with George Gage, to purchase it for Carleton in exchange for a diamond chain.Letter to Sir Dudley Carleton . December 30, 1616 [published in Ref. Sainsbury 1859], notes Rubens's refusal to exchange it for a diamond chain [see letter of October 9, 1616]; mentions that the Duke of Ariscott [Aarschot] is also interested in buying the picture.Letter to Sir Dudley Carleton . November 1, 1617 [published in Ref. Sainsbury 1859], notes that the hunting scene painted for Carleton is "perhaps preferable" to the original version, probably this work.Letter to Sir Dudley Carleton . February 6, 1617 [published in Ref. Sainsbury 1859], writes that he believes the work has been bought by the Duke of Arscot [Aarschot] for £100; mentions another, presumably smaller, hunting scene being produced for Carleton by Rubens.Letter to Sir Dudley Carleton . April 24, 1617 [published in Ref. Sainsbury 1859], states that the "great peece of huntinge," probably this work, has been sold by Rubens for £100.Inventory of the collection of Diego Messía Felípez de Guzmán, marques de Leganés . 1642, no. 1126 [Archivo Histórico de Protocolos, Madrid, leg. 6210, fol. 1186; see Ref. Balis 1986], appears without the artist's name; notes that six paintings in the collection [probably including this work] come from the Duke of Aarschot's house.Inventory of the estate of Diego Messía Felípez de Guzmán, marques de Leganés . April 6, 1655, no. 1125 [published in Jose López Navío, "La gran colección de pinturas del Marqués de Leganés," n.d., p. 316].Notice des tableaux des écoles primitives . . . Exh. cat., Musée Royal. Paris, 1814, p. 85, no. 102, states that it has been engraved by Soutman, and notes a claim that the three mounted figures are portraits of Rubens, his wife, and his son Albert.A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters . 2, London, 1830, pp. 273–74, no. 925, describes it as by Rubens, with the exception of a landscape by Wildens and possible contribution from Snyders, and identifies the figures at right as portraits of Rubens and his wife, Elizabeth [sic for Isabella] Brant; reports that it was painted for Leganés in 1612, then was owned by the Altamira family, taken to Paris during the Napoleonic Wars, returned to the Altamira family in 1815, and sent to Paris for sale, where Smith bought it in 1824 for 50,000 francs; calls the Corsham picture "a duplicate . . . in which the animals are by Snyders and the figures finished by Rubens"; states that it was engraved by Soutman and Vander Leuw [van der Leeuw].Works of Art and Artists in England . London, 1838, vol. 2, pp. 271–72; vol. 3, p. 102.Kunstwerke und Künstler in England und Paris . 2, Berlin, 1838, pp. 84–85, 312.Histoire de P.-P. Rubens . Brussels, 1840, p. 359, no. 1288, ascribes the animals to Rubens.Criticisms on Art . London, 1844, appendix IV, no. 37.Treasures of Art in Great Britain . London, 1854, vol. 2, p. 102.Galleries and Cabinets of Art in Great Britain . London, 1857, p. 395.Original Unpublished Papers Illustrative of the Life of Sir Peter Paul Rubens . London, 1859, pp. 14–17, 21, 24, publishes correspondence regarding negotiations for its purchase by Sir Dudley Carleton, Rubens's refusal to exchange it for a diamond chain offered by Carleton's agents, and the picture's subsequent sale to the Duke of Aarschot; identifies the work, however, as the one belonging to the King [Elector Maximilian] of Bavaria.Kleine Schriften . Stuttgart, 1875, p. 291 [see Ref. Balis 1986].Beiträge zur niederländischen Kunstgeschichte . Berlin, 1882, vol. 1, p. 286.L'Oeuvre de P. P. Rubens . 4, Antwerp, 1890, pp. 340–41, no. 1156, pl. 324 (engraving), states that it is by Rubens and assistants, dating from about 1617, and refers to Aarschot's picture as lost and the Corsham picture as a repetition made for Carleton.Annals of the Artists of Spain . 2nd rev. ed. [1st ed. 1848]. London, 1891, vol. 2, p. 642, as "Lion Hunt".Correspondance de Rubens et documents épistolaires concernant sa vie et ses oeuvres . 2, Antwerp, 1898, pp. 85–87, 90, 93–94, 96–98, 107–8, 119–21, publish letters from Toby Matthew and George Gage to Dudley Carleton mentioning this picture, but state that the Museum's work cannot be the one bought by Aarschot.Rubens . London, 1904, vol. 1, pp. 258–59 [French ed., "Rubens, sa vie et ses oeuvres," (1900–1903)].Burlington Magazine 12 (February 1908), pp. 303–4, ill. p. 302, cites Rubens's dependence on Leonardo.Rubens . London, [1909], pp. 116–17, 230, pl. CXIV.Metropolitan Museum of Art Bulletin 5 (May 1910), pp. 120–22, ill. (overall and detail), as probably finished in 1617.Der Cicerone 2 (1910), pp. 407–8, ill.Zeitschrift für bildende Kunst , n.s., 23, no. 11 (1912), pp. 184, 186, fig. 8 (detail), considers it likely that the Museum's picture is the one bought by Aarschot, suggests that it was cut down, and supports this view by comparing Soutman's print; excludes Wildens and Snyders as possible collaborators, suggesting that the painting was executed by assistants and reworked by Rubens.The Art of the Low Countries . English ed. Garden City, N.Y., 1914, pp. 180–82, ill.P. P. Rubens, des Meisters Gemälde . 4th ed. [1st ed. 1905]. Stuttgart, 1921, p. 459, ill. p. 112, as entirely by Rubens, probably his first Hunt, of about 1615.Peter Paul Rubens . Munich, 1922, p. 10.Die Flämische Malerei des XVII. Jahrhunderts . Berlin, 1922, pp. 38, 190, 192.Arts 11 (March 1927), p. 147, fig. 28.Das Reiterbild im Malerei und Plastik . Berlin, 1931, p. 90, reproduces on pl. XXIII a sketch of the mounted figure at right in the MMA canvas.Boletín de la Sociedad Española de Excursiones 40 (1932), p. 96, lists it among paintings returned to Spain after the Napoleonic Wars.Rubens . Vienna, [1937], p. 136, dates it 1612.Rubens . Vienna, 1938, p. 184, pl. 87 [same text as Ref. Burckhardt 1937].A Catalogue of the Pictures at Corsham Court . London, [1939], p. 74, under no. 128, describes the Corsham picture as a studio replica of the MMA painting.Frans Snyders: An Essay . [New York?], [1943], p. 31.Rubens und sein Werk: Neue Forschungen . Brussels, 1943, p. 174.Art Digest 18 (June 1, 1944), p. 6.A Gallery of Great Paintings . New York, 1944, ill. p. 23 (color).Art Digest 18 (September 1, 1944), ill. p. 10.Metropolitan Museum of Art Bulletin 3 (Summer 1944), p. 13, ill. (detail).Art Quarterly 9 (Spring 1946), p. 159, no. 47, dates it about 1615, calling it "pupil work to a great extent," with animals by Snyders.Rubens in America . New York, 1947, p. 41, no. 94, pl. 76, attribute it to Rubens, and reject Valentiner's [see Ref. 1912] identification of the picture as the one bought by Aarschot.Reiterbilder in der europäischen Malerei . Zürich, 1949, p. 92, no. 29, pl. 29.Miscellanea Leo van Puyvelde . Brussels, 1949, p. 140.Recollections of Rubens . English ed. New York, 1950, p. 186 n. 159, pl. 33, dates it about 1616.P. P. Rubens . Antwerp, 1952, p. 216, no. 30, as painted in or shortly before 1615, noting that studio assistance is apparent in some parts.Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 4.Rubens ou Snyders? Paris, [1955?], pp. 81, 86, fig. 29.Les peintres flamands de cabinets d'amateurs au XVIIe siècle . [Brussels], 1957, p. 205 n. 55.Art and Architecture in Belgium 1600 to 1800 . Baltimore, [1960], p. 82.Dessins de la collection Alfred Bruyas . . . Paris, 1962, unpaginated, under no. 60, catalogues a sketch by Delacroix after this composition.Rubens Drawings . Brussels, 1963, vol. 1, p. 87, under no. 50.Philadelphia Museum of Art Bulletin 59, no. 279 (1963), p. 20, suggests that it may be Carleton's Hunt.Peter Paul Rubens . Hamburg, 1965, pp. 12–15, 27–28, pl. 4, suggests that the Wolf and Fox Hunt is the earliest of Rubens's hunting scenes, the MMA picture the third version of the composition.Weltkunst aus Privatbesitz . Exh. cat., Kunsthalle Köln. Cologne, 1968, unpaginated, under no. F28.Old Master Drawings from Chatsworth . Exh. cat., National Gallery of Art. Washington, 1969, p. 44, under no. 98, describes the drawing at Chatsworth as a copy after the MMA painting and suggests that the drawing may be by Van Dyck.Wallraf-Richartz-Jahrbuch 31 (1969), p. 54, compares the mounted couple at right with that of Rubens's and Snyders's "Falconer and Fruit Seller" (National Museum of Wales, Cardiff) of 1615–16.Art Bulletin 51 (March 1969), pp. 36–37, fig. 23.The Flemish School, circa 1600–circa 1900 . London, 1970, pp. 184, 186 n. 16.Merchants and Masterpieces: The Story of The Metropolitan Museum of Art . New York, 1970, p. 169 [rev., enl. ed., 1989].The Attainment of Delacroix . Baltimore, [1970], p. 212 n. 14.Spanish Painting and the French Romantics . Cambridge, Mass., 1972, p. 318.Corpus Rubenianum Ludwig Burchard . part 16, London, 1972, p. 214, under no. 55.in European Paintings in the Collection of the Worcester Art Museum . Worcester, Mass., 1974, pp. 211–12 n. 10.in Rubenism . Exh. cat., Brown University. Providence, 1975, pp. 15, 18.Rubens e Genova . Exh. cat., Palazzo Ducale. Genoa, 1977, p. 213, under no. 2.Rubens e l'incisione nelle collezioni del Gabinetto Nazionale delle Stampe . Exh. cat., Villa della Farnesina. Rome, 1977, p. 100, under no. 208.P. P. Rubens et la peinture animaliere . [Antwerp], [1977], pp. 47–49, ill. [Dutch ed., Antwerp, 1977].Master Drawings 15 (Winter 1977), p. 412.in "Maler mit dem Grabstichel, Rubens und die Druckgraphik." Peter Paul Rubens, 1577–1640 . Exh. cat., Wallraf-Richartz-Museum. 2, Cologne, 1977, p. 81, discusses Soutman's print after this picture.Rubens: Drawings and Sketches . Exh. cat., British Museum. London, 1977, p. 63, under no. 58, notes studies for the picture on the verso of a drawing at Windsor.Corpus Rubenianum Ludwig Burchard . part 24, Brussels, 1980, pp. 103, 132.The Oil Sketches of Peter Paul Rubens . Princeton, 1980, vol. 1, p. 247, under no. 166.The Metropolitan Museum of Art . New York, 1980, pp. 308, 317, figs. 547 (color detail), 568.Letters to Walter Liedtke . February 1 and July 31, 1981, identifies it with the picture bought from Rubens by Philippe-Charles d'Arenberg, duc d'Aarschot, and suggests that it may have been cut down.National Sporting Library Newsletter no. 12 (June 1981), p. 3, ill.in Richard Ormond. Sir Edwin Landseer . Exh. cat., Philadelphia Museum of Art. Philadelphia, 1981, pp. 26–27, fig. 27.Tableau 6 (November/December 1983), pp. 85, 87–88, fig. 13.Corpus Rubenianum Ludwig Burchard . part 7, London, 1984, p. 128 n. 13, under no. 31.Flemish Paintings in The Metropolitan Museum of Art . New York, 1984, vol. 1, pp. 198–209; vol. 2, colorpl. XV, pls. 77–78 (overall and detail), as painted with the help of assistants in about 1616; notes Balis's hypothesis [see Ref. 1981] that the picture was cut down, but states that technical analysis reveals that it was not significantly trimmed; refers to the Aarschot picture as "presumably now lost".Corpus Rubenianum Ludwig Burchard . part 18, vol. 2, London, 1986, pp. 95–104, no. 2, fig. 33, publishes his identification of this picture with the one bought by Aarschot, and suggests that it was cut down.Rubens: catalogo completo . Milan, 1989, pp. 213–14, no. 345, ill.The Royal Horse and Rider: Painting, Sculpture, and Horsemanship, 1500–1800 . New York, 1989, p. 233, no. 100, ill.in Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America . Antwerp, 1992, pp. 11, 24, 193–96, no. 59, ill. (color, overall and detail).CAA: 81st Annual Conference . February 4, 1993 [published and expanded in Ref. Koslow 1996].The Age of Rubens . Exh. cat., Museum of Fine Arts, Boston. Boston, 1993, pp. 30, 92.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. 132–33, fig. 3.Rubens and his Workshop: "The Flight of Lot and his Family from Sodom" . Exh. cat., National Museum of Western Art. Tokyo, 1994, pp. 27–29, 31, fig. 1.Art Bulletin 78 (December 1996), pp. 681–706, figs. 1 (color), 3, 6, 26 (details).in "Rubens, His Patrons, and Style." Rembrandt, Rubens, and the Art of Their Time: Recent Perspectives . University Park, Pa., 1997, p. 128, fig. 5-9.Jacob Jordaens: Design for Tapestry . [Turnhout, Belgium], 1998, pp. 88, 180 n. 11, under no. 17.Flemish Art and Architecture, 1585–1700 . New Haven, 1998, p. 225.Rubens and His Spanish Patrons . Cambridge, 1999, pp. 113–14, 136, 138, 171–72, 227 n. 2, p. 243 nn. 142, 147, fig. 50.in Gary Tinterow and Geneviève Lacambre. Manet/Velázquez: The French Taste for Spanish Painting . Exh. cat., Musée d'Orsay, Paris. New York, 2003, p. 367, fig. 14.23 [French ed., "Manet/Velázquez: La manière espagnole au XIXe siècle," Paris, 2002, p. 295].in A House of Art: Rubens as Collector . Exh. cat., Rubenshuis, Antwerp. Schoten, Belgium, 2004, p. 320.in Peter Paul Rubens . Exh. cat., Graphische Sammlung Albertina. Vienna, 2004, p. 237 [English ed., "Peter Paul Rubens: The Drawings," New York, 2005, p. 134].in Rubens and Brueghel: A Working Friendship . Exh. cat., J. Paul Getty Museum. Los Angeles, 2006, p. 173 n. 38, under no. 22.The Later Flemish Pictures in the Collection of Her Majesty the Queen . London, 2007, pp. 254–55, under no. 69.
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