L[éon]. Roger-Milès. Les artistes célèbres. Vol. 32, Corot. Paris, , p. 84, as "Étude de chênes, à Fontainebleau"; dates it 1830.
André Michel. Notes sur l'art moderne (peinture). Paris, 1896, p. 18, dates it 1833 and identifies the site as Fontainebleau; states that two years later Corot used this sketch for "Hagar in the Wilderness" (MMA 38.64).
Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 2, pp. 98–99, no. 278, ill.; vol. 4, p. 286, calls it "Fontainebleau—Chênes noir du Bas-Bréau" and dates it 1830–35.
Alfred Robaut. Documents sur Corot. [about 1905], vol. 2, p. 10 [Bibliothèque Nationale de France, Cabinet des Estampes], mentions an apocryphal signature at the lower left [removed by an unknown private restorer in the summer of 1979]; identifies the forest as Bas Bréau, not far from "la reine blanche"
Charles S. Moffett and Anne Wagner in The Metropolitan Museum of Art: Notable Acquisitions, 1979–1980. New York, 1980, p. 43, ill., date it summer 1832 or 1833 while Corot lived in Chailly; note that the Bas-Bréau section of the forest of Fontainebleau is famous for its oak trees; remark that the use of this sketch for "Hagar in the Wilderness" (MMA 38.64) provides a contrast in method and execution between a study from nature and a studio work intended for exhibition.
Peter Galassi in Claude to Corot: The Development of Landscape Painting in France. Ed. Alan Wintermute. Exh. cat., Colnaghi. New York, 1990, p. 246, fig. 17, dates it 1830–34 and comments that the use of this study in "Hagar in the Wilderness" (MMA 38.64) demonstrates that "open-air painting was not isolated from the grand ambitions of the studio".
Peter Galassi. Corot in Italy: Open-Air Painting and the Classical-Landscape Tradition. New Haven, 1991, p. 81, pl. 95.
Vincent Pomarède in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, pp. 90–91 no. 35, ill. (color) [French ed., "Corot 1796–1875," Paris, 1996, p. 138, no. 35, ill. p. 139 (color)], calls it one of the most vigorous and precise studies Corot made at Fontainebleau.
Michael Pantazzi in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, p. 156, fig. 71 [French ed., "Corot 1796–1875," Paris, 1996, p. 208, ill. p. 197].
Manuel Jover and Vincent Pomarède. "Camille Corot." Beaux Arts [special exhibition issue for "Corot 1796–1875"] (1996), fig. 48 (color).
Vincent Pomarède. "Corot." Connaissance des arts [special exhibition issue for "Corot, 1796–1875"] (1996), p. 32.
Susan Greenberg. "Reforming 'Paysage Historique': Corot and the Generation of 1830." Art History 27 (June 2004), p. 422, fig. 3.10, comments that although Corot copied this sketch for "Hagar in the Wilderness" (MMA 38.64), "the oak is not idealized or absorbed into the landscape or any organizing system of perspective—it is placed there, and the process ends".
Katherine Rothkopf. Pissarro: Creating the Impressionist Landscape. Exh. cat., Baltimore Museum of Art. London, 2006, pp. 45, 66 n. 6, fig. 1 (color), calls it typical of Corot's oil sketches that might have influenced Pissarro.
Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 26, 193, no. 7, ill. (color and black and white).
Vincent Pomarède in Corot: Souvenirs et variations. Exh. cat., National Museum of Western Art. Tokyo, 2008, pp. 23, 252, fig. 16.
Dorit Schäfer in Camille Corot: Natur und Traum. Exh. cat., Staatliche Kunsthalle Karlsruhe. Heidelberg, 2012, pp. 101–2 n. 15, 464, no. 46, ill. p. 109 (color).