John W. Mollett. The Painters of Barbizon: Millet, Rousseau, Diaz, Corot, Daubigny, Dupré. London, 1895, p. 113, includes it in a list of Daubigny's principal paintings, places it in the collection of M. H. Vever, Paris, and erroneously notes that it was in the Salon of 1861.
B[ryson]. B[urroughs]. "Modern Paintings in the Altman Bequest." Metropolitan Museum of Art Bulletin 9 (December 1914), p. 253.
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. 96–97, ill., call this one of Daubigny's best works.
Madeleine Fidell-Beaufort and Janine Bailly-Herzberg. Daubigny. Paris, 1975, pp. 148–49, no. 77, ill.
Robert Hellebranth. Charles-François Daubigny, 1817–1878. Morges, Switzerland, 1976, p. 94, no. 264, ill., calls it "Les Bords de l'Oise".
Andrew McDonald Watson. "James Duncan of Benmore, the First Owner of Renoir's 'Bay of Naples (Morning)'." Metropolitan Museum Journal 43 (2008), pp. 195, 198–99 n. 9, fig. 4, notes that Ref. Hellebranth 1976 lists this painting as nos. 264 and 285.
Andrew Watson. "James Duncan of Benmore: A Remarkable Victorian Collector." Journal of the Scottish Society for Art History 14 (2009–10), pp. 42, 47, 49 n. 35, fig. 3, identifies it as one of eleven works lent by Duncan to Exh. Glasgow 1878.
Andrew M. Watson. James Duncan: An Enlightened Victorian. Edinburgh, 2010, pp. 50, 66, 77, ill. p. 48.