"La curiosité . . .la vente Bergaud." Bulletin de la vie artistique (March 15, 1920), p. 227, ill.
Gaston Poulain. "De Courbet à Chagall chez M. et Mme Fernand Bouisson." La Renaissance de l'art français 13 (December 1930), pp. 343–46, ill.
John Rewald. The History of Impressionism. New York, 1946, p. 274, ill., erroneously dates it about 1873.
François Daulte. Alfred Sisley: Catalogue raisonné de l'œuvre peint. Lausanne, 1959, p. 24, no. 37, ill. opp. p. 16, fig. 37.
Theodore Rousseau in "Ninety-fifth Annual Report of the Trustees, for the Fiscal Year 1964–1965." Metropolitan Museum of Art Bulletin 24 (October 1965), pp. 55–56, ill.
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. 119–20, ill.
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. 416, no. 568.
Charles S. Moffett in Impressionism: A Centenary Exhibition. Exh. cat., The Metropolitan Museum of Art. New York, 1974, pp. 201–4, no. 41, ill. (color, overall and detail) [French ed., "Centenaire de l'impressionnisme", Paris, 1974], remarks that in this painting "the clear progression into space conflicts with the flattening effect of the clear bright sky".
Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 81, ill.
Raymond Cogniat. The Century of the Impressionists. New York, 1978, p. 69, ill. color, calls it "The Bridge at Argenteuil".
Albert Kostenevich. Western European Painting in the Hermitage: 19th–20th Centuries. Leningrad [St. Petersburg], 1987, p. 292, under no. 81, ill., states that Sisley painted three landscapes at Villeneuve-la-Garenne in the summer of 1872, and that the two houses depicted at the right edge of this work also appear on the left-hand part of the version in the Hermitage (Daulte 1959, no. 40).
Robert L. Herbert. Impressionism: Art, Leisure, and Parisian Society. New Haven, 1988, pp. 226–27, 229, 243, colorpls. 227–28 (overall and detail).
Anne Distel. Impressionism: The First Collectors. New York, 1990, pp. 87, 89.
John Leighton. "Alfred Sisley: 'Adroit, delicate, but . . .'?" Apollo 136 (November 1992), pp. 335–36.
Albert Kostenevich in Morozov and Shchukin—The Russian Collectors: Monet to Picasso. Ed. Georg W. Költzsch. Exh. cat., Museum Folkwang Essen. Cologne, 1993, p. 377.
Joel Isaacson in Impressionists in Winter: Effets de neige. Exh. cat., Phillips Collection. Washington, 1998, p. 70, fig. 10.
Dominique Brachlianoff in Alfred Sisley: Poète de l'impressionnisme. Exh. cat., Musée des Beaux-Arts, Lyons. Paris, 2002, pp. 113, 364.
Frances Fowle in Alfred Sisley: Poète de l'impressionnisme. Exh. cat., Musée des Beaux-Arts, Lyons. Paris, 2002, pp. 122, 124, 367, no. 9, ill. p. 123 and on cover (color detail).
Richard R. Brettell and Stephen F. Eisenman. Nineteenth-Century Art in the Norton Simon Museum. Ed. Sara Campbell. Vol. 1, New Haven, 2006, p. 290, fig. 78a.
Kathryn Galitz 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. 116–17, 257–58, no. 81, ill. (overall and detail, color and black and white).
Kathryn Galitz in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 132, 306–7, no. 121, ill. (color and black and white).
John Zarobell in Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market. Ed. Sylvie Patry. Exh. cat., Musée du Luxembourg, Paris. London, 2015, p. 88, fig. 59 (color) [French ed., "Paul Durand-Ruel: le Pari de l'Impressionnisme," Paris, 2014, fig. 44 (color)].
Christopher Riopelle in Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market. Ed. Sylvie Patry. Exh. cat., Musée du Luxembourg, Paris. London, 2015, p. 270, no. 89, ill. (color) [French ed., "Paul Durand-Ruel: le Pari de l'Impressionnisme," Paris, 2014, p. 189, no. 96, ill. (color)], notes that Durand-Ruel must have thought highly of it since he had it engraved to be included in an unrealized album of prints after the most beautiful paintings in the gallery's stock.