Inventario di tutti l'Effetti tanto in Roma Stato Ecclesiastico, e Regno trovati in Essere doppo la Morte della Ch: me: dell'Ecc. Sig.re D. Filippo Colonna defonto li 6 Nov.re 1714. December 15, 1714–February 26, 1716, f. 262, no.  [Archivio Colonna, Subiaco; III Q B 29; published in Safarik 1996; Getty no. I-77], as "Due quadri in rame dj misura dj mezza testa per alto rapp.ti due paesi in uno vi è l'Angelo, e Tobia, e l'altro con Giacobbe [sic] a Roveto originali del Domenichino con sue cornici simili alle sud.e spett.j come sopra" [with "Landscape with Tobias Laying Hold of the Fish"; National Gallery, London].
Pietro Rossini. Il mercurio errante delle grandezze di Roma, tanto antiche, che moderne. 2nd ed. Rome, 1750, vol. 1, p. 70 [first ed., 1693, p. 48], mentions two landscapes by Domenichino in the Palazzo Colonna which must be the MMA and London paintings.
Catalogo dei quadri, e pitture esistenti nel Palazzo dell'eccellentissima Casa Colonna in Roma. Rome, 1783, p. 69, no. 558, with the London painting, as "Due Quadri in Rame di palmi 2 per alto rappresentanti, uno l'Angelo con Tobia, l'altro Mosè col Roveto=Domenico Zampieri detto il Dominichino".
Friedrich Wilhelm Basilius von Ramdohr. Ueber Mahlerei und Bildhauerarbeit in Rom fuer Liebhaber des Schoenen in der Kunst. Leipzig, 1787, vol. 2, p. 109 [repr. 1971], lists two small landscapes by Domenichino in the ninth room of the Palazzo Colonna.
[Gustav Friedrich] Waagen. Treasures of Art in Great Britain. London, 1854, vol. 2, p. 101, lists it in the collection of Lord Ashburton, London.
Gian Carlo Cavalli in L'ideale classico del seicento in Italia e la pittura di paesaggio. Exh. cat., Palazzo dell'Archiginnasio. Bologna, 1962, pp. 105–6, confuses this picture with the version in Rotterdam, proposing a date for it between 1612 and 1615.
Evelina Borea. Domenichino. Milan, 1965, p. 173, notes that either the picture seen by Waagen in the Ashburton collection or the Rotterdam version could be work recorded in the Colonna collection.
Denis Mahon. Letter to Everett Fahy. September 21, 1970, identifies it as unquestionably the pendant in the Colonna collection to the "Landscape with Tobias" (now National Gallery, London), and calls the Rotterdam version a copy.
Michael Levey. The Seventeenth and Eighteenth Century Italian Schools. London, 1971, pp. 92–93 nn. 6–8, observes that this picture was paired with the Tobias in the Colonna collection, and that the two paintings share a date of origin, about 1617–18, but need not necessarily have been painted as pendants.
Richard E. Spear. Letter to Everett Fahy. March 10, 1972, favors a date of about 1610–12 for this picture and the one in London.
Everett Fahy in The Wrightsman Collection. Vol. 5, Paintings, Drawings. [New York], 1973, pp. 73–81, no. 9, ill. p. 75 (color), figs. 1–3 (details), concludes that this picture and the Tobias were conceived as a pair, though there is no obvious iconographic link; dates them about 1616, and describes other versions and copies.
A. Pigler. Barockthemen: Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts. 2nd ed. [first ed. 1956]. Budapest, 1974, vol. 1, p. 98.
R. A. Cecil. "The Wrightsman Collection." Burlington Magazine 118 (July 1976), p. 518.
Dean Walker in The Metropolitan Museum of Art: Notable Acquisitions, 1975–1979. New York, 1979, pp. 49–50, ill.
Le Choix d'un amateur éclairé. Exh. cat., Institut Néerlandais. Paris, 1979, p. 98.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 294, 296, fig. 533 (color).
Richard E. Spear. "A forgotten landscape painter: Giovanni Battista Viola." Burlington Magazine 122 (May 1980), p. 305.
A Dealer's Record: Agnew's, 1967–81. London, 1981, ill. p. 40.
Richard E. Spear. Domenichino. New Haven, 1982, vol. 1, pp. 172–74, no. 39; vol. 2, pl. 138.
Clovis Whitfield. "Les Paysages du Dominiquin et de Viola." Monuments et mémoires 69 (1988), p. 98, fig. 32, agrees with Spear (1972) that the MMA and London pictures probably date to about 1610–12.
Richard E. Spear. "Domenichino Addenda." Burlington Magazine 131 (January 1989), p. 15, nos. 38–39, observes that a 1714 inventory of the Colonna collection provides the earliest identification of the MMA and London pictures by their subjects; calls the two paintings pendants
Richard E. Spear in Domenichino, 1581–1641. Exh. cat., Palazzo Venezia, Rome. Milan, 1996, p. 408, under no. 19, suggests a thematic link between the two pendants: the virginity of Tobias's wife, Sarah, and the burning bush that is not consumed both prefigure the virgin birth of Christ.
Eduard A. Safarik. Collezione dei dipinti Colonna: inventari 1611–1795. Munich, 1996, p. 628, notes that one example of this catalogue has handwritten annotations indicating the most important works that left the collection beginning in 1798, including this one.
Willemien de Bruin in Italian Paintings from the Seventeenth and Eighteenth Centuries in Dutch Public Collections. Ed. Bernard Aikema et al. Florence, 1997, p. 64.
Everett Fahy in The Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, pp. 38–42, no. 10, ill. (color).
Keith Christiansen. "Going for Baroque: Bringing 17th-Century Masters to the Met." Metropolitan Museum of Art Bulletin 62 (Winter 2005), p. 14, fig. 9 (color).
Keith Christiansen in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008. New York, 2009, p. 37.
Patrizia Cavazzini in Nature et idéal: le paysage à Rome, 1600–1650. Exh. cat., Grand Palais, Galeries nationales. Paris, 2011, p. 48, states that this work provided the compositional prototype for Claude Lorrain's "Discovery of Moses" (Prado, Madrid) of 1639–40.
Stéphane Loire in Nature et idéal: le paysage à Rome, 1600–1650. Exh. cat., Grand Palais, Galeries nationales. Paris, 2011, p. 126, under no. 19.