C. H. Collins Baker. British Painting. London, 1933, p. 277, as Stoke by Nayland.
Carlos Peacock. John Constable: the Man and his Work. Greenwich, Conn., 1965, pl. 33.
Robert Hoozee. L'opera completa di Constable. Milan, 1979, p. 100, no. 140, ill., dates the picture about 1811, associating it with the oil sketches in the Tate and the Victoria and Albert.
Leslie Parris. The Tate Gallery Constable Collection: A Catalogue. London, 1981, pp. 60, 64 n. 4, fig. 6, gives a full account of this and the related sketches, the drawings, principally in the Louvre, and the painting in Chicago.
Graham Reynolds. Constable's England. Exh. cat., The Metropolitan Museum of Art. New York, 1983, pp. 24, 164–66, no. 59, ill. (color), dates it 1810, describes the circumstances under which it was probably painted.
Malcolm Cormack. Constable. Cambridge, 1986, p. 68, pl. 62, dates it about 1810 and finds the handling loose, rather than, as in the 1811 Flatford sketches, nervous and broken.
Leslie Parris. John Constable & David Lucas. Exh. cat., Salander-O'Reilly Galleries. New York, 1993, pp. 94–95, no. 79, ill. (color), reproduces a related mezzotint proof [no. 80] of the scene by David Lucas which Constable had marked to "show that he wanted a rainbow added over the church tower [and] more lights in the trees at the right".
Graham Reynolds. The Early Paintings and Drawings of John Constable. New Haven, 1996, vol. 1, p. 163, no. 11.45; vol. 2, colorpl. 928.
Anne Lyles in Constable's Oil Sketches, 1809–29: The Maria Bicknell Years. Ed. Hermine Chivian-Cobb. Exh. cat., Salander-O'Reilly Galleries. New York, 2007, pp. 45–46, 149, no. 5, ill. (color), dates it 1811; calls Constable's sketches from this period, including this picture, "private works" not intended for exhibition as well as "a potential repertoire of motifs for further consultation or elaboration in the studio".
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 237–39, no. 115, ill. (color).