Notice sur la collection J.-B. Faure suivie du catalogue des tableaux formant cette collection. Paris, 1902, p. 42, no. 85.
Ludovic Rodo Pissarro and Lionello Venturi. Camille Pissarro, son art—son œuvre. reprint ed. 1989. Paris, 1939, vol. 1, pp. 40, 116, no. 260; vol. 2, pl. 52, no. 260.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 16–17, ill., compare it to "Jallais Hill, Pontoise" ( MMA 51.30.2).
Anthea Callen. "Jean-Baptiste Faure, 1830–1914: A Study of a Patron and Collector of the Impressionists and their Contemporaries." Master's thesis, University of Leicester, 1971, p. 393, no. 521, gives early provenance information and erroneously gives its current owner as Mrs. Arthur K. Salomon.
Anne Schirrmeister. Camille Pissarro. New York, 1982, p. 11, colorpl. 3.
Christopher Lloyd in Retrospective Camille Pissarro. Exh. cat., Isetan Museum of Art. [Tokyo], 1984, pp. 131, 133, under nos. 23, 33.
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 86–87, ill. (color), notes that "although the painting has the appearance of a spontaneously conceived plein-air work, examination reveals a carefully constructed composition for which there were probably several preliminary drawings and studies"; remarks that the landscape is seen as a place in which peasants live and work.
Joachim Pissarro. Camille Pissarro. New York, 1993, p. 111, fig. 104 (color).
Ruth Berson, ed. "Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol. 2, p. 43, no. II-202, ill. p. 62, suggests it was no. 202 in the second Impressionist exhibition of 1876 [see Ref. Snollaerts 2005].
Bent Lantow. "Pissarro contre la A104." Vivre en Val-d'Oise 50 (June–August 1998), p. 25, ill., states that it depicts the same site as "Le Chou près de Pontoise" of 1878 (PV 446) and "Paysage près de Pontoise, la route d'Auvers," of about 1879 (private collection; PV 504); agrees with Ref. Lloyd 1984 that this work and "Paysage près de Pontoise, la route d'Auvers" depict the same house, now destroyed; maps the locations of these and related paintings along the roads in Pontoise.
Terence Maloon in Camille Pissarro. Exh. cat., Art Gallery of New South Wales. Sydney, 2005, pp. 20, 25, 99, 249, no. 22, colorpl. 22, ill. on front and back covers (color details), observes that green was not used extensively in landscape painting before the Impressionists and that it "must have seemed less pleasantly tranquil and more confronting to contemporary viewers because of the unsparing use of green—green being the colour of non-ideality, the colour of realism".
Terence Maloon and Claire Durand-Ruel Snollaerts in Camille Pissarro. Exh. cat., Art Gallery of New South Wales. Sydney, 2005, p. 235, state that it was shown at the 2nd Impressionist exhibition of 1876.
Sebastian Smee. "The Impressionist's Impressionist." Weekend Australian (November 26–27, 2005), p. R18.
Claire Durand-Ruel Snollaerts in Joachim Pissarro and Claire Durand-Ruel Snollaerts. Pissarro: Critical Catalogue of Paintings. Milan, 2005, vol. 1, pp. 373–74, 384, 390, 396, 411; vol. 2, pp. 271, 338, 367, 408, 430, 461, no. 354, ill. (color); vol. 3, pp. 953, 956, revises the identification of the site found in Ref. Pissarro and Venturi 1939, stating that it is a view of the côte du Valhermeil at Auvers-sur-Oise from the Pontoise road; lists other paintings of the same site.
Susan Alyson Stein 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. 73, 245–46, no. 49, ill. (color and black and white).
Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 87, 291, no. 81, ill. (color and black and white).
Richard Kendall. "'Dans un cafe', 'Zigzags' and Five Recovered Impressionist Drawings." Burlington Magazine 151 (May 2009), p. 308 n. 22.