in another hand, lower left: A. W. Terror Gallorum (A[rthur] W[ellesley] Terror of the French)
Probably Miguel de Alava [1771-1843], Vitoria, Spain; Ricardo Alava, Madrid; sold c. 1902 to (Joseph Wicht, Madrid); sold in 1902 through Mary Cassatt to Henry Osborne Havemeyer [1847-1907], New York; his widow, Louisine W. Havemeyer, [née Elder, 1855-1929], New York; by descent to their daughter, Mrs. P.H.B. Frelinghuysen [née Adaline Havemeyer, 1884-1963], Morristown, New Jersey; gift 1963 to NGA.
- Loan Exhibition of Paintings by El Greco and Goya, M. Knoedler & Co., Inc., New York, 1912, no. 14, as by Goya.
- Paintings, Drawings and Prints: The Art of Goya, The Art Institute of Chicago, 1941, no. 83, as by Goya.
- Goya; Drawings and Prints, Smithsonian Institution, traveling exhibition, 1955, no. 187, as by Goya (cat. suppl. for the Metropolitan Museum of Art, New York).
- On loan to the National Gallery of Art, Washington, 1962-1963, no cat.
- Goya: The Condesa de Chinchón and Other Paintings, Drawings, and Prints from Spanish and American Private Collections and the National Gallery of Art, National Gallery of Art, Washington, D.C., 1986-1987, unpaginated brochure.
- La Alianza de Dos Monarquías: Wellington y España, Museo Municipal, Madrid, 1988, 161, color repro. 162, 376-377, no. 4.1.13.
- Napoleon, Grand Exhibition Hall, Memphis Cook Convention Center, 1993, no catalogue entry.
- Calvert, Albert. Goya: An Account of His Life and Works. London, 1908: 142, no. 253.
- Beruete y Moret, Aureliano de. Goya, pintor de retratos. Madrid, 1915: 122-123, no. 243, pl. 45 (also English ed. Translated by Selwyn Brinton. London, 1922: 148-149, no. 251, pl. 45).
- Mayer, August L. Francisco de Goya. Munich, 1923 (English ed. Translated by Robert West [pseud.]. London, 1924: 67, no. 450, fig. 228).
- Desparmet Fitz-Gerald, Xavier. L'oeuvre peint de Goya. 4 vols. Paris, 1928-1950: 2:190, no. 477, pl. 394.
- H.O. Havemeyer Collection. Catalogue of Paintings, Prints, Sculpture and Objects of Art. Portland, Maine, 1931: 318, repro. 319.
- Sánchez Cantón, Francisco Javier. Vida y obras de Goya. madrid, 1951: 96. Translated by Paul Burns, Madrid, 1964.
- Havemeyer, Louisine W. Sixteen to Sixty: Memoirs of a Collector. New York, 1961: 156-157.
- Brooke, Humphrey, ed. Goya and His Times. Exh. cat. Royal Academy of Arts. London, 1963: 61 (by Nigel Glendinning).
- Trapier, Elizabeth de Gué. Goya and His Sitters. New York, 1964: 38, no. 68, pls. 68, 70.
- Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 61, as by Goya.
- Braham, Allan. "Goya's Equestrian Portrait of the Duke of Wellington." The Burlington Magazine 108 (December, 1966): 618-621, appendix.
- European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 53, repro., as by Goya.
- Harris, Enriqueta. Goya. London, 1969: 87-88.
- Gassier, Pierre, and Juliet Wilson. Vie et oeuvre de Francisco Goya. Paris, 1970: 254, no. 900, repro. 262 (also English ed. Translated by C. Hauch and J. Wilson. New York, 1971).
- Gudiol y Ricart, José. Goya: 1746-1828; Biography, Analytical Study and Catalogue of His Paintings. Translated by Kenneth Lyons. 4 vols. New York, 1971: 1:146, 316, no. 558; 4:fig. 903.
- European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 160, repro., as by Goya.
- Camón Aznar, José. Francisco de Goya. 4 vols. Saragossa, 1984: 3:198.
- Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 404, no. 575, color repro.
- European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 184, repro.
- Brown, Jonathan, and Richard G. Mann. Spanish Paintings of the Fifteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1990: 37-41, repro. 39.
The painting is executed on a fabric support and has been lined to two auxiliary fabrics. A red colored ground of average thickness has been applied overall. The paint is applied in opaque layers with raised brushwork and some impasto in the details and highlights of the white shirt and white feather of the hat. The painting is in secure condition. Numerous small overpaints are scattered throughout the composition, notably in the upper left forehead and shadowed cheek. The profile line of the right cheek and the background to the left have also been reinforced with scattered application of overpaint. The varnish is in poor condition.