Inventory of the collection of the Earl of Bessborough. May 1826 [see Ref. Chong 1992], records it in the drawing room of the earl's Roehampton house.
John Smith. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters. 5, London, 1834, p. 306, no. 76, as "A Landscape, and cattle, &c."; records it as in the Bessborough collection in 1801.
Illustrated Catalogue of 100 Paintings of Old Masters . . . belonging to the Sedelmeyer Gallery. Paris, 1894, pp. 8–9, no. 5, ill., as "Pastoral Scene".
Cornelis Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 2, London, 1909, p. 78, no. 238a, p. 102, no. 331.
Wilhelm R. Valentiner. The Hudson-Fulton Celebration: Catalogue of an Exhibition Held in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1909, vol. 1, pp. xxxiv, 8, no. 7, ill. opp. p. 8, calls it an early work and dates it about 1640–50.
Joseph Breck. "L'art hollandais à l'exposition Hudson-Fulton à New York." L'art flamand & hollandais 13, no. 2 (1910), p. 61 [published in Dutch in Onze Kunst 17 (February 1910), p. 47].
Bryson Burroughs. "The Collis P. Huntington Collection Comes to the Museum." Metropolitan Museum of Art Bulletin 20 (June 1925), p. 142, ill. p. 146.
H[arry]. B. Wehle. "Notes on Paintings in the Huntington Collection." Metropolitan Museum of Art Bulletin 20 (July 1925), p. 180.
Jerrold Holmes. "The Cuyps in America." Art in America 18 (June 1930), p. 182, no. 7.
A. J. Barnouw. Dutch Paintings: A Picture Book. New York, 1944, pl. 23, dates it about 1640–45.
Stephen Reiss. Letter to Elizabeth Gardner. May 4, 1952, judging from a photograph, attributes it to Cuyp's father, Jacob Gerritsz. Cuyp.
Stephen Reiss. Aelbert Cuyp. Boston, 1975, pp. 9, 86–87, 96, 207, no. 51, ill., attributes it to the Cuyp studio and dates it 1640–45; finds features in the painting characteristic of the work of Aelbert's father, Jacob Gerritsz. Cuyp; notes that the background landscape in this work and in two other landscapes (R52, private collection, The Netherlands; R61, John G. Johnson Collection, Philadelphia Museum of Art) is based on a drawing in the Rijksprentenkabinet, Rijksmuseum, Amsterdam.
J. G. van Gelder in Aelbert Cuyp en zijn familie, "schilders te Dordrecht": Gerrit Gerritsz. Cuyp, Jacob Gerritsz. Cuyp, Benjamin Gerritsz. Cuyp, Aelbert Cuyp. Exh. cat., Dordrechts Museum. Dordrecht, 1977, p. 128 n. 1, under no. 48, repeats [see Ref. Reiss 1975] that the background landscape at left is based on a drawing by Aelbert Cuyp of about 1641–43 in the Rijksprentenkabinet, Rijksmuseum, Amsterdam.
Yonna Yapou. "A Picture from Aelbert Cuyp's Transitional Phase." Burlington Magazine 123 (March 1981), pp. 160, 163 n. 15.
Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 191, remarks that it "is sometimes thought to be a collaboration between Albert and his father, Jacob Gerritsz.".
Frederik J. Duparc. Landscape in Perspective: Drawings by Rembrandt and His Contemporaries. Exh. cat., Arthur M. Sackler Museum. Cambridge, Mass., 1988, p. 88, fig. 1, under no. 21.
Walter Liedtke. "Dutch Paintings in America: The Collectors and Their Ideals." Great Dutch Paintings from America. Exh. cat., Mauritshuis, The Hague. Zwolle, The Netherlands, 1990, p. 37.
Alan Chong. "Aelbert Cuyp and the Meanings of Landscape." PhD diss., New York University, 1992, pp. 65, 179, 256, 297–98, no. 46.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 137–40, 152, no. 31, colorpl. 31; vol. 2, p. 857 n. 16, dates it about 1643–44.