[Gustav Friedrich] Waagen. Galleries and Cabinets of Art in Great Britain. London, 1857, p. 369, as "Bonnington—A flat country, with a piece of water with cows standing. Of very picturesque charm, warmly lighted, and of clear and powerful colouring".
A. Dubuisson. Richard Parkes Bonington: His Life and Work. London, 1924, p. 177, lists it as no. 139 in the artist's estate sale.
Andrew Shirley. Bonington. London, 1940, p. 132, as no. 139 in the1834 sale.
Christie's. Inventory of the Pictures, Drawings and Prints [of] The Rt. Hon. the Earl of Normanton, Somerley, Ringwood, Hants. 1948, p. 12, no. 96, as "A View among trees on the River at Rouen," no. 66 in the 1884 catalogue.
Pierre Miquel. Paul Huet (1803–1869). Exh. cat., Musée des Beaux-Arts, Rouen. 1965, p. 11, attributes it to Huet.
Marion Spencer. R. P. Bonington: 1802–1828. Exh. cat., Castle Museum and Art Gallery. Nottingham, 1965, p. 35, no. 259, pl. 27.
Patrick Noon. Richard Parkes Bonington: 'On the Pleasure of Painting'. Exh. cat., Yale Center for British Art. New Haven, 1991, p. 157, no. 55, ill. (color) [French ed., Richard Parkes Bonington: "Du plaisir de peindre," Paris, 1992, p. 157, no. 55, ill. (color)], as "Near Rouen," about 1825; asserts that it is "unquestionably" by Bonington although its composition is of a type particularly favored by Huet; comments that Bonington and Huet were working side by side in 1825; describes it as "less restrained in execution than might be expected from Bonington; however, it exhibits a disciplined touch and a precision of observation beyond Huet's interests or capacities".
Gary Tinterow in "Recent Acquisitions, A Selection: 2000–2001." Metropolitan Museum of Art Bulletin 59 (Fall 2001), pp. 5, 35, ill. (color), as "View near Rouen," observes that it was painted outdoors, from an island in the midst of the Seine, probably in summer 1825.
Patrick Noon in Patrick Noon. Crossing the Channel: British and French Painting in the Age of Romanticism. Exh. cat., Tate Britain. London, 2003, p. 200, no. 110, ill. (color), as a sketch with Rouen in the distance painted in autumn 1825, "en plein air," on commercially prepared millboard.
Gary Tinterow in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 20, 213–14, no. 18, ill. (color and black and white).
Patrick Noon. Richard Parkes Bonington: The Complete Paintings. New Haven, 2008, pp. 38, 238–39, no. 194, ill. (color), dates it about 1825 and places it among the artist's earliest plein-air oil sketches; states that it was probably painted in the fall of 1825, in the company of Paul Huet, and that its composition bears strong affinities with the latter's forest interiors.
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 264–66, no. 127, ill. (color).