Cornelis Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 4, London, 1912, p. 6, as by Gerrit van Hees; as in the Thayer collection, Boston.
Georges Broulhiet. Meindert Hobbema (1638–1709). Paris, 1938, p. 443, no. 507, ill. p. 353, as by Hobbema; calls it inspired by a drawing by Ruisdael in the Louvre.
Wolfgang Stechow. Salomon van Ruysdael: Eine Einführung in seine Kunst. Berlin, 1938, p. 58, as by Jacob Salomonsz. van Ruysdael [a cousin of Ruisdael].
Claus Virch. The Adele and Arthur Lehman Collection. New York, 1965, pp. 50–51, ill., disagrees with Broulhiet [see Ref. 1938], finding that there is "no more than a general, generic similiarity [sic]" between the MMA painting and the Louvre drawing Broulhiet mentions as the inspiration for it.
Seymour Slive. Letter to John Walsh. February 15, 1971, judging from a photograph, writes that it "stands a very good chance of being an early original" by Ruisdael.
Wolfgang Stechow. Salomon van Ruysdael: Eine Einführung in seine Kunst. 2nd, rev., expanded ed. Berlin, 1975, p. 58.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 191, suggests that it may be by Jacob Salomonsz van Ruysdael.
Walter Liedtke. "Dutch and Flemish Paintings from the Hermitage: Some Notes to an Exhibition Catalogue, with Special Attention to Rembrandt, Van Dyck and Jordaens." Oud-Holland 103, no. 3 (1989), pp. 160, 168 nn. 41–42, fig. 9, compares it to Ruisdael's "Small House in a Grove" (Hermitage, St. Petersburg), also signed and dated 1646, finding that the two works "are entirely consistent in execution".
Walter Liedtke et al. in Jacob van Ruisdael: Die Revolution der Landschaft. Exh. cat., Hamburger Kunsthalle. Zwolle, The Netherlands, 2002, pp. 31, 64–65, 86, no. 8, ill. (color).
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, p. 500; vol. 2, pp. 786–90, no. 179, colorpl. 179.