William Cotton. Sir Joshua Reynolds, and His Works. London, 1856, p. 161, mentions the 1782 portrait of Mr. Cousmaker and, in March, an appointment for Mr. Cousmaker's horse.
William Cotton. A Catalogue of the Portraits Painted by Sir Joshua Reynolds, Knt., P.R.A. London, 1857, p. 18, dates it to Feb. 1782 based on Reynolds's Pocket Book.
Charles Robert Leslie and Tom Taylor. Life and Times of Sir Joshua Reynolds. London, 1865, vol. 2, p. 387, as Mr. Coussmaker.
Algernon Graves and William Vine Cronin. A History of the Works of Sir Joshua Reynolds P.R.A. 1, London, 1899, p. 199, as Colonel George Coussmaker, Colonel Grenadier Guards; record, in addition to sittings, payments in 1781 and 1782; provide biographical details.
Walter Armstrong. Sir Joshua Reynolds, First President of the Royal Academy. London, 1900, p. 200.
Algernon Graves, and William Vine Cronin. A History of the Works of Sir Joshua Reynolds, P.R.A. 4, London, 1901, p. 1287, provide biographical details.
A. L. Baldry. Sir Joshua Reynolds. London, , p. xxxiv.
"The William K. Vanderbilt Bequest." Metropolitan Museum of Art Bulletin 15 (December 1920), p. 270.
C. H. Collins Baker. British Painting. London, 1933, pp. 164, 284.
"Kansas City: Exhibition of English Painting." Art News 35 (April 24, 1937), p. 10.
Ellis K. Waterhouse. Reynolds. London, 1941, pp. 74, 87, 116, pl. 234.
Lillian Ross. "Profiles: How do you like it now, gentlemen?" New Yorker (May 13, 1950), p. 59 [reprinted as "Portrait of Hemingway," New York, 1961, p. 59], records Ernest Hemingway's comments on this painting during a visit to the Museum, noting that he called it "a damn good picture" and remarked on the arrogance of the sitter.
"Ninetieth Annual Report of the Trustees for the Fiscal Year 1959–1960." Metropolitan Museum of Art Bulletin 19 (October 1960), p. 36, ill., when installed in a frame from Croome Court.
Malcolm Cormack. "The Ledgers of Sir Joshua Reynolds." Walpole Society 42 (1968–70), pp. 148–49, records payments by Mr. Cousmaker of £100 on February 9, 1782 and of £105 plus "Frame 10 gs." in May 1782.
Edith A. Standen in Masterpieces of Painting in The Metropolitan Museum of Art. Exh. cat., Museum of Fine Arts, Boston. New York, , p. 96, ill. (color).
William S. Talbot. "Thomas Gainsborough: George Pitt, First Lord Rivers." Bulletin of the Cleveland Museum of Art 58 (November 1971), pp. 260–61, fig. 5.
Ronald Paulson. Emblem and Expression: Meaning in English Art of the Eighteenth Century. Cambridge, Mass., 1975, p. 91, fig. 47, analyzes the composition.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 384, 389, fig. 697.
David Mannings in Reynolds. Exh. cat., Royal Academy of Arts, London. New York, 1986, p. 301, no. 130, ill. p. 154 (color) [French ed., 1985, pp. 240–42, no. 60, ill.], observes that this portrait "might be described as a tribute to Gainsborough . . . not a capitulation to him".
Nicholas Penny in Reynolds. Exh. cat., Royal Academy of Arts, London. New York, 1986, p. 20 [French ed., 1985, p. 26].
M. Kirby Talley Jr. in Reynolds. Exh. cat., Royal Academy of Arts, London. New York, 1986, p. 60 [French ed., 1985, p. 93].
Walter Liedtke. The Royal Horse and Rider: Painting, Sculpture, and Horsemanship, 1500–1800. New York, 1989, p. 312, no. 197, colorpl. 33.
Renate Prochno. Joshua Reynolds. Weinheim, 1990, pp. 72–75, colorpl. 30, analyzes it among dismounted equestrian portraits.
Masterpieces of The Metropolitan Museum of Art. New York, 1993, pp. 220–21, ill. (color).
Kenneth Paul Bendiner in The Taft Museum: Its History and Collections. 1, New York, 1995, p. 189.
Judy Egerton. National Gallery Catalogues: The British School. London, 1998, p. 208, notes that Reynolds here adapted the position of Captain Orme's horse.
Katharine Baetjer. "British Portraits in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 57 (Summer 1999), p. 31, ill. p. 32 (color) and inside back cover (detail, color).
David Mannings and Martin Postle. Sir Joshua Reynolds: A Complete Catalogue of His Paintings (The Subject Pictures catalogued by Martin Postle). New Haven, 2000, vol. 1, pp. 10, 148, no. 429, ill.; vol. 2, colorpl. 105, fig. 1379, observes that it "seems to have been wholly executed by Reynolds himself," an impression confirmed by the exceptional number of sittings; records appointments and payments; and, as no. 429a, lists a copy, measuring 76 x 63.5 cm, of the head and shoulders only.
Nadia Tscherny. "Style and Substance: Gainsborough." Art in America 91 (July 2003), p. 54, ill. p. 52 (color).
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 76–78, no. 32, ill. pp. x (gallery installation, color), 77 (color).
Malcolm Warner. "Books: British Paintings in the Metropolitan Museum of Art." Burlington Magazine 153 (April 2011), p. 257, reviews Ref. Baetjer 2009.