Mlle A. Kums. Catalogue de la collection de tableaux anciens et modernes et des objets d'arts et antiquités. Antwerp, 1891, p. 21, no. 130, as "La Sortie de l'étable," by Paul Potter.
Cornelis Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 4, London, 1912, pp. 627–28, no. 91, as "Cows in a Meadow: A Cow Being Milked," by Paulus Potter; suggests that the tower recalls that of the castle of Binkhorst near The Hague; describes it as a "good picture of the late period".
Guy Pène du Bois. "Famous American Collections: The Collection of Mr. Michael Friedsam." Arts and Decoration 7 (June 1917), p. 402, ill. p. 401 (hanging on wall), as by Potter.
Wilhelm R. Valentiner in The Michael Friedsam Collection. [completed 1928], p. 17, as by Potter.
"Friedsam Bequest to be Exhibited Next November." Art News 30 (January 2, 1932), p. 13, as "a good picture of the late period of Paul Potter".
Bryson Burroughs and Harry B. Wehle. "The Michael Friedsam Collection: Paintings." Metropolitan Museum of Art Bulletin 27, section 2 (November 1932), p. 49, no. 86, as by Potter.
J. W. Niemeijer. "Varia Topografica." Oud-Holland 77 (1962), p. 63, fig. 3, attributes it to Anthonie van Borssum and states that it depicts a country house in Soest near Utrecht, basing his argument on two drawings of the same house (one of these drawings is signed and is now in the Morgan Library, New York; the other is in the Amsterdams Historisch Museum).
Egbert Haverkamp-Begemann and Anne-Marie S. Logan in Rembrandt After Three Hundred Years. Exh. cat., Art Institute of Chicago. [Chicago], 1969, p. 185, under no. 159, mention it in connection with Borssum's drawing of the same house (Amsterdams Historisch Museum).
E. Bénézit. Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs. new ed. Paris, 1976, vol. 8, p. 450, lists price fetched at 1898 Kums sale as Fr 26,000.
Werner Sumowski. Drawings of the Rembrandt School. 2, New York, 1979, p. 730, under no. 343, mentions it in connection with the drawing of the same house by Borssum (as in the Stedelijk Museum, Amsterdam).
Ben Broos. "Rembrandt en tekenaars uit zijn omgeving." Oude tekeningen in het bezit van de Gemeentemusea van Amsterdam waaronder de collectie Fodor. 3, Amsterdam, 1981, p. 109, under no. 28, identifies the building not as a country house in Soest, near Utrecht [see Ref. Niemeijer 1962], but as a different country house, Toutenburg, in Maartensdijk, also near Utrecht.
40 Niederländische Zeichnungen: Landschaften und Bildstudien. Exh. cat., C. G. Boerner. Düsseldorf, 1982, p. 38, under no. 28, follows Broos' [see Ref. 1981] identification of the site.
Werner Sumowski. "J. A. Backer–A. van Dijck." Gemälde der Rembrandt-Schüler. 1, Landau/Pfalz, 1983–[94?], p. 429, no. 200, ill. p. 445.
Felice Stampfle in Twentieth Report to the Fellows of the Pierpont Morgan Library, 1981–1983. New York, 1984, pp. 224–25.
Wolfgang Schulz. Aert van der Neer. Doornspijk, The Netherlands, 2002, p. 43, as "Landscape with castle Soest"; cites it as an example of Borssum imitating other artists.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 84–86, no. 20, colorpl. 20, dates it about 1650–55.
Esmée Quodbach. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 38, 45, 68, fig. 48 (Friedsam house photograph).