Isaac D. Fletcher. Letter to Mrs. Henry Hornblower. May 1, 1899 [see Ref. Sterling and Salinger 1966, p. 68], relates that Carolus-Durand [sic] admired this painting.
Ethel Birnstingl and Alice Pollard. Corot. London, 1904, p. 172, call it "Ramasseuse de fagôts, Ville d'Avray".
Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 3, pp. 276–77, no. 2097, ill., calls it "Ville-d'Avray—Rive boisée de l'étang avec une femme ramassant un fagot" and dates it 1871–74.
Maurice Hamel. Corot et son œuvre. Paris, 1905, vol. 2, pl. 87, calls it "Ramasseuse de fagots".
Eliot Clark. "The Fletcher Collection at the Metropolitan Museum: The Landscapes." Art World and Arts & Decoration 9 (August 1918), p. 209, calls it "Ville d'Avray".
"The Mr. and Mrs. Isaac D. Fletcher Collection." Metropolitan Museum of Art Bulletin 13 (March 1918), p. 60, notes the similarity of its subject and date to "Ville-d'Avray" (MMA 87.15.141).
François Fosca. Corot, 1796–1875. Paris, 1930, pl. 93, calls it "Ramasseuse de fagots".
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, pp. 68–69, ill., call it "Woman Gathering Faggots at Ville d'Avray" and comment that it "is remarkable for its precise drawing and solid painting".
George Heard Hamilton. 19th and 20th Century Art: Painting, Sculpture, Architecture. New York, , pp. 85, 134, colorpl. 10, as "Ville d'Avray, Wooded Bank of the Pool, with a Woman Gathering Faggots"; asserts that "the whole design has a Classic serenity without any ostensibly Classic elements".
Gary Tinterow et al. Capolavori impressionisti dei musei americani. Exh. cat., Museo di Capodimonte, Naples. Milan, 1987, pp. 32–33, ill. (color).
Geneviève Matheron. Corot à Ville-d'Avray. Exh. cat., Musée de Ville-d'Avray. Ville-d'Avray, 1987, pl. 12, as "Rive boisée de l'étang avec une fagotière".
Fronia E. Wissman. "Corot's Salon Paintings: Sources from French Classicism to Contemporary Theater Design." PhD diss., Yale University, 1989, vol. 1, pp. 194–95, no. 119, mentions it as an example of Corot's paintings in which "mood became the most important ingredient".
Gary Tinterow in Treasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century. Exh. cat., Yokohama Museum of Art. [Tokyo?], 1989, p. 133, no. 80, ill. (color), dates it about 1870–71.
Kathryn Galitz in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 210–12, no. 39, ill. (color, overall and detail) [Catalan ed., Barcelona, 2006, pp. 116–17, no. 31, ill. (color)], notes that it may have been influenced by Corot's study of photography.
Kathryn Galitz in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 39, 231, no. 36, ill. (color and black and white).