P[ercy]. M[oore]. Turner. "Pictures of the English School in New York." Burlington Magazine 22 (February 1913), p. 270, pl. IIID, as "Bridge on the Stour".
C. H. Collins Baker. Letter to Harry B. Wehle. June 5, 1933, is "still unable to say that the 'Constable' is not a Constable".
C. H. Collins Baker. Letter to Harry B. Wehle. December 7, 1936, accepts "the prevailing view that Watts painted your Bridge".
Charles Cunningham. Letter to Harry B. Wehle. March 15, 1939, favors an attribution to "James Orrick—the Constable collector who was responsible for painting a good many so-called Constables"; has consulted [W. G.] Constable, who finds the Watts attribution untenable.
C. A. Brooks. Letter. December 17, 1964, points out the resemblance to the Constable drawing of a bridge inscribed "Hendon", published by Reynolds.
Ian Fleming-Williams and Leslie Parris. The Discovery of Constable. London, 1984, p. 209, mention it and the one in Philadelphia, and illustrate a third version, taken from yet another angle.
Graham Reynolds. The Later Paintings and Drawings of John Constable. New Haven, 1984, vol. 1, p. 62.
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 262–63, no. 126, ill. (color).