A. Dubuisson. Richard Parkes Bonington: His Life and Work. London, 1924, p. 182, states that no. 5 in the 1830 Coutan sale [probably this picture] was "bought subsequently by Mr. Reitlinger for £325".
A. Dubuisson. Bonington. Paris, 1927, p. 110, states that the "Paysage" from the 1830 Coutan sale [probably this picture], bought by an Englishman for £325, then passed into the Reitlinger collection.
Andrew Shirley. Bonington. London, 1940, p. 47 n. 1, pl. 12, as Roadside Halt, in a private collection; dates it 1819 in the caption, but in the text reads the date on the work as 1820; remarks that from a photograph he believes it to be authentic.
Francis Neilson. Letter. January 14, 1946, states that he bought it from William Permain in King Street, London.
Marion Spencer. R. P. Bonington: 1802–1828. Exh. cat., Castle Museum and Art Gallery. Nottingham, 1965, p. 34, no. 254, accepts the attribution to Bonington, reads the date as 1826, and provides extensive information about the provenance.
George Heard Hamilton. Letter to Margaretta Salinger. December 30, 1969, notes that Spencer rejects Williamstown's "Lane to the Village" while observing that it bears some relation to our painting.
John Ingamells. Letter to Dean Walker. December 11, 1979, felt some reservations about "the composition which, with its confined view, recalled native English picturesque—certainly affected by Bonington—rather than the expansive landscapes of the master".
Malcolm Cormack. Bonington. Oxford, 1989, p. 105, colorpl. 84, reads the inscribed date as "182[6?]" while dating it about 1825–26 in the caption; calls it "clear in light and brilliant in handling".
Patrick Noon. Richard Parkes Bonington: 'On the Pleasure of Painting'. Exh. cat., Yale Center for British Art, Yale University. New Haven, 1991, pp. 42–43, 190–92, no. 78, ill. (color) [French ed., Richard Parkes Bonington: "Du plaisir de peindre," Paris, 1992, pp. 42, 190–92, no. 78, ill. (color)], dates it 1826, remarking on "its purely personal reflections on nature".
Patrick Noon. Richard Parkes Bonington: The Complete Paintings. New Haven, 2008, pp. 250–51, no. 201, ill. (color), observes that the poplars in this picture are employed as part of a dual-perspective system; posits that it is from virtually the same moment as "Cottage and Pond," which he dates to ca. 1825–26 (Fitzwilliam Museum, Cambridge).
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 266–67, no. 128, ill. (color).