Inventory of the estate of Canon Jan Philip Happaert, Antwerp 1686: 'Item een schetsken van mijnheer Rubbens, naer Primatricij gequoteert No 33', in E. Duverger, Antwerpse Kunstinventarissen uit de zeventiende eeuw (Fontes historiae artis neerlandicae. Bronnen voor de Kunstgeschiedenis van de Nederlanden, I), Brussels 1984–2009, XI, p. 371, doc. 3.754;<br>Catalogue des tableaux du fameux cabinet de feu Mr. Jacques Meijers, qu'on vendra publiquement le 9 Septembre 1722 dans la maison mortuaire du defunt à Rotterdam, Rotterdam 1722, no. 77 (as '[Rubens] Un Tableau en maniere de Plafond, representant un Triomphe. 2' 5'' x 3' 2''');<br>G. Hoet, Catalogus of naamlyst van Schilderyen, met derzelver pryzen. Zedert een langen reeks van Jaaren zoo in Holland als op andere Plaatzen in het openbaar verkogt, The Hague 1752, I, p. 273, no. 77;<br>A Catalogue of Pictures by Sir Joshua Reynolds; with a selection from the Italian, Spanish, Flemish and Dutch Schools, with which the proprietors have favoured the Institution, British Institution, London 1823, p. 18, no. 125;<br>An Account of all the Pictures exhibited in the Rooms of the British Institution from 1813 to 1823, belonging to the Nobility and Gentry of England, with remarks, critical and explanatory, London 1824, p. 150;<br>J. Smith, A catalogue raisonné…, Part II, London 1830, p. 269, no. 908;<br>J. Smith, A catalogue raisonné... Supplement, Part IX, London 1842, p. 326, no. 299;<br>M. Rooses, L’œuvre de P.P. Rubens, Antwerp 1886–92, vol. III, pp. 45–46, no. 566;<br>L. Dimier, Le Primatice, peintre, sculpteur et architecte des rois de France. Essai sur la vie et les ouvrages de cet artiste suivi d'un catalogue raisonné de ses dessins et de ses compositions gravées, Paris 1900, p. 478, no. *3;<br>E. Molinier, Collection du Baron Albert Oppenheim. Tableaux et objets d’art, Paris 1904, p. 15, no. 36, reproduced as plate XXXIII;<br>A. Marguillier, ‘Review of E. Molinier, Collection du baron Albert Oppenheim. Tableaux et objets d’art’, in La Chronique des arts et de la curiosité, supplément à La Gazette des Beaux-Arts, no. 16, 22 April 1905, p. 126;<br>A. Rosenberg, P. P. Rubens. Des Meisters Gemälde, Klassiker der Kunst, vol. V, Stuttgart–Leipzig 1905, p. 472, reproduced on p. 170;<br>W. von Bode, Collection Baron Albert Oppenheim, Cöln, Gemälde, Berlin–Munich 1914, p. 54, no. 34, reproduced;<br>I. Q. van Regteren Altena, ‘Rubens as a Draughtsman, I: Relations to Italian Art’, The Burlington Magazine, LXXVI, 1940, p. 194;<br>L. Van Puyvelde, The Sketches of Rubens, London 1947, p. 83, no. 54;<br>L. Burchard, A loan exhibition of works by Peter Paul Rubens, Kt.: held under the auspices of the Royal Empire Society in aid of the Lord Mayor's National Thanksgiving Fund, London 1950, p. 57, under no. 50;<br>I. Q. van Regteren Altena, ‘Rubens en de Galerie d’Ulysse’, Bulletin van het Rijksmuseum, I, 1953, p. 11;<br>L. Burchard and R.-A. d’Hulst, Rubens Drawings, I, Brussels 1963, p. 253;<br>J. Foucart, in S. Béguin, L’École de Fontainebleau, exhibition catalogue, Grand Palais, Paris 1972–73, p. 191, under no. 215;<br>M. Jaffé, Rubens and Italy, Oxford 1977, p. 45;<br>J. S. Held, The Oil Sketches of Peter Paul Rubens. A Critical Catalogue, Princeton 1980, vol. I, p. 3, note 2, reproduced as fig. 71;<br>K. Wilson-Chevalier, ‘La postérité de l’école de Fontainebleau dans la gravure du XVIIe siècle’, Nouvelles de l’Estampe, no. 62, 1982, p. 15, note 38;<br>S. Béguin, J. Guillaume and A. Roy, La Galerie d’Ulysse à Fontainebleau, Paris 1985, p. 174;<br>M. Jaffé, Rubens. Catalogo Completo, Milan 1989, p. 286, no. 796;<br>F. Healy, ‘Rubens and the Judgement of Paris: a question of choice’, in Pictura Nova. Studies in the 16th- and 17th-Century Flemish Painting and Drawing, III, 1997, pp. 78, 187, note 60;<br>D. Jaffé, ‘Rubens back and front. The case of the National Gallery Samson and Delilah’, Apollo, July 2000, pp. 21, 25;<br>J. Wood, ‘Rubens as Thief. His use of past art and some adaptations from Primaticcio’, in Concept, Design, and Execution in Flemish Painting (1550–1700), H. Vlieghe, A. Balis and C. Van de Velde (eds), Turnhout 2000, pp. 155, 169, notes 26, 28;<br>N. Lowitzsch, in Rubens in Vienna. The Masterpieces, J. Kräftner, W. Seipel and R.Trnek (eds), Vienna 2004, p. 268, under no. 68;<br>V. Romani, in D. Cordellier and G. Bresc, Primatice. Maître de Fontainebleau, exhibition catalogue, Musée du Louvre, Paris 2004–05, p. 316, under no. 154;<br>J. Wood, ‘Rubens’ italienische Kopien. Ein chronologischer Abriss’, in Rubens im Wettstreit mit Alten Meistern. Vorbild un Neuerfindung, R. Baumstark, K. Lohse Belkin, G. Cavalli-Björkman, M. Neumeister, C. Quaeitzsch and J. Wood (eds), exhibition catalogue, Bayerische Staatsgemäldesammlungen, Alte Pinakothek, Munich 2009–10, pp. 69–70, reproduced as fig. 43;<br>J. Wood, Rubens: Copies and adaptations from Renaissance and later artists, Italian Artists, III, Artists working in central Italy and France, Corpus Rubenianum Ludwig Burchard, XXVI, London 2011, vol. I, pp. 270, 307–11, no. 217, vol. II, reproduced as fig. 146;<br>P. Golenia, K. Kratz-Kessemeier, I. Le Masne de Chermont, Paul Graupe (1881–1953), Cologne 2016, p. 50, reproduced fig. 47.<br <="" span="">