B[ryson]. B[urroughs]. "Recent Accessions and Notes." Metropolitan Museum of Art Bulletin 7 (April 1912), p. 76, ill. p. 79, as "The Mouth of the Scheldt," formerly in the Labouchere and Griffith collections.
Bryson Burroughs. Catalogue of Paintings. 1st ed. New York, 1914, p. 37, as signed "J V Cappel—(le?)".
C[ornelis]. Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 7, London, 1923, p. 170, no. 45.
W. R. Valentiner. "Jan van de Cappelle." Art Quarterly 4 (1941), pp. 281–82, fig. 8, compares it with a closely related composition by Simon de Vlieger (Kunsthistorisches Museum, Vienna).
Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 16, as signed and, erroneously, dated "7?".
Claus Virch. Letter to Wolfgang Stechow. August 6, 1962, observes that under a microscope and raking light, Cappelle's signature is visible but there appears to be no trace of a date; suggests that there never was a date.
Margarita Russell. Jan van de Cappelle, 1624/6–1679. Leigh-on-Sea, 1975, pp. 27, 67, 89, no. 45, fig. 18, calls it compositionally close to but a weak echo of a picture in the National Gallery, London; states that it is "signed lower right: J V Cappelle 167(1 or 5)," and records another version known only from a photo in the Frick Art Reference Library.
Denys Sutton. "Robert Langton Douglas, Part III, XIV: Agent for the Metropolitan Museum." Apollo 109 (June 1979), p. 423, fig. 19.
Denys Sutton. "Robert Langton Douglas, Part II, XIII: A Lawyer from Philadelphia." Apollo 109 (May 1979), p. 393.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 191.
Jan Kelch in Praise of Ships and the Sea: The Dutch Marine Painters of the 17th Century. Exh. cat., Museum Boijmans Van Beuningen. Rotterdam, 1996, p. 300 n. 3, under no. 65 [German ed., 1996], as "probably not authentic".
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 120–23, no. 26, colorpl. 26, as an authentic work of about 1660.