- Château de Villeroi, famille Villeroi
- Paris, collection privée
- 1979, Paris, marché de l'art
- Londres, Alexander & Berendt Limited
- 1980, acheté avec des fonds provenant du legs de Florence Scott Libbey en mémoire de son père, Maurice A. Scott
- Museum's website, December 11, 2012
- 1981 Antiques World
"Acquisitions," Antiques World, vol. 4, no. 2, December 1981, p. 94, repr.
- 1981 Camins
Laura Camins, "The Equestrian Portrait," in Glorious Horseman, Springfield, MA, 1981, p. 36, repr., fig. 22, p. 37
- 1987 Augarde
Jean Dominique Augarde, "1749 - Joseph Baumhauer, ébeniste privilegié du roi," L'Estampille, no. 204, June 1987, pp. 37, 38
- 1986 Martin
Michel Martin, Les monuments équestres de Louis XIV, Paris, 1986, pp. 150, 204, fig. 122, p. 229, no. 333
- 1986 Seelig
Lorenz Seelig, "Eine Reiterstatuette Kurfurst Max Emanuels von Bayern aus dem Jahr 1699," Anzeiger des Germanischen Nationalmuseums, 1986, pp. 67-69, fig. 13
- 1995 Toledo
Toledo Museum of Art, Toledo Treasures, Toledo, 1995, p. 101 repr. (col.)
- 2007 Putney and Reich
Richard H. Putney and Paula Reich, Glass in Glass: Toledo Museum of Art, Toledo, 2007, repr. (col.) p. 18
- 2009 Toledo Masterworks
The Toledo Museum of Art, Toledo Museum of Art Masterworks, Toledo, 2009, p. 185, repr. (col.)
- 1979 London
Art Treasures Exhibition, London, Somerset House, 1979, no. F77
- 1979 Paris
Antiquaires à Paris, VIe Exposition, Paris, Hôtel George- V, 1979
- 1980-1981 Toledo
The Museum Collects: Treasures by Sculptors and Craftsmen, Toledo Museum of Art, December 7, 1980-January 25, 1981, p. 20-22, repr. and repr. on cover
Socle par l'ébéniste Joseph Baumhauer (né en Allemagne, mort à Paris en 1772).
Museum's website, December 11, 2012:
The ruler on horseback as the ultimate image of power has a long history going back to ancient Greek and Roman monuments. Following this ancient precedent, seventeenth-century French king Louis XIV (ruled 1643-1715) is shown riding without saddle or stirrups, wearing Roman military armour and the imperial cloak, and holding a commander's baton. On his breastplate is the Gallic cock overcoming a lion emblematic of Holland or Spain, two French adversaries. The magnificent horse treads upon a sword and a barbarian shield bearing an Amazon's head to symbolize enemies defeated. A concession to current fashion is the flowing wig, which had the advantage of making the king's head seem larger.
Civic homage to Louis XIV was expressed by grandiose monuments conceived within a program of political propaganda. In 1688 the city of Lyon commissioned the sculptor Martin Desjardins to make an over-life-size bronze equestrian statue of the king for the new Place Bellecour. Desjardins, Dutch by birth, had achieved professional eminence in France. His great figure, cast in Paris shortly before he died in 1694, became celebrated after it was finally installed in 1713. Destroyed during the French Revolution as a symbol of tyranny—as were all public royal images—it is now known by various small-scale versions, the largest and finest of which is the Museum's bronze.
In 1755 a description of the château of Villeroi south of Paris singled out a bronze after the Lyon equestrian Louis XIV. This was the residence of the maréchal duc de Villeroi, a favorite of the king and, as governor of Lyon, close to the monument project. No other surviving bronze can be as plausibly associated with him as can this princely work that speaks so eloquently of those ideals and ambitions by which France defined monarchic grandeur.