Liber Veritatis; or A Collection of Prints, after the Original Designs of Claude Le Lorrain . . . Executed by Richard Earlom . . . Vol. 2, Boydell ed. London, –1819, p. 3, no. 109, ill. (Earlom's 1775 engraving after Claude's drawing), calls our picture "A Herdsman and a Woman on an Ass, Passing a River with Cattle"; lists it as painted for Lyons and later in the collections of M. de Merval, Sir Joshua Reynolds, and "now" Lord Farnborough.
Sir Abraham Hume, Baronet. Catalogue of Sir Abraham Hume's Collection of Pictures. 1820–29, National Art Library, Great Britain, MSL/1345/1940, p. 76 [see Refs. Broun 1977–78 and 1987], notes that it has been "more than once engraved under the name of the Waders" and that "the sky and distance are touched with infinite truth and spirit: the beauty of the composition in some degree owing to none of the groups of trees being carried to the top of the picture, which always gives a crowded and confined look".
John Smith. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters. Vol. 8, London, 1837, pp. 248–49, no. 109.
Léon de Laborde. "Notes manuscrites de Claude Gellé, dit Le Lorrain: Extraites du recueil de ses dessins." Archives de l'art français: Recueil de documents inédits relatifs à l'histoire des arts en France Ed. Ph. de Chennevières. 1 (1851–52), p. 449, no. 109.
Mme Mark Pattison [Lady Dilke] J. Rouam. Claude Lorrain, sa vie et ses oeuvres d'après des documents inédits. Paris, 1884, p. 216, no. 109, precisely records the manuscript note on the Liber Veritatis drawing but cites incorrect dimensions for this picture (97 x 72 cm).
Owen J. Dullea. Claude Gellée le Lorrain. London, 1887, p. 110, no. 109, calls it "Landscape: A Ford".
Maurice W. Brockwell in A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt., visconde de Monserrate. Ed. Sir Herbert Frederick Cook. Vol. 3, London, 1915, p. 60, no. 442, ill., as "Large Landscape: Sunset".
Theodore Rousseau Jr. "A Landscape by Claude Lorrain." Metropolitan Museum of Art Bulletin 5 (June 1947), pp. 245–51, ill., claims that it belonged to Julius Angerstein, erroneously identifying it with no. 84 in Sir Joshua Reynolds's sale; notes that the companion recorded with our painting in the 1768 de Merval sale, a sunset with herdsmen driving cattle across a river (Liber Veritatis 103 [now Timken Art Gallery, San Diego]), was executed for Avignon, not Lyon, and believes that Claude's Flight into Egypt in Dresden [Gemäldegalerie], recorded in Liber Veritatis 110 and like ours made for a collector in Lyons, was the original companion to our picture; dates our picture about 1647, the date of the Dresden Flight, and supposes that it was with the Dresden landscape in Cardinal Mazarin's collection; identifies a drawing with a herdsman driving goats and cows (Louvre, RF 4578), two small landscape drawings (British Museum) and one of a farmhouse on a hilltop (Uffizi) as possibly related to it; believes the figures here were painted by Claude himself
George Isarlo. Les arts (April 1949), p. 8, no. 109 [see Ref. Sterling 1955], mentions some of the collections in which our painting appeared.
Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV–XVIII Centuries. Cambridge, Mass., 1955, pp. 83–85, ill., dates this picture about 1647 or 1648 and erroneously identifies it with lot 84 in Reynolds's sale; considers it rash to assume that it was a pendant to the Dresden Flight into Egypt, observing that although they are the same size and may both have been commissioned by a collector in Lyons, they have been paired with other works by Claude in the past; ascribes the figures to the artist himself; mentions a drawing by Gaspard Dughet recently acquired by the MMA that was apparently copied from Claude's Liber Veritatis drawing recording our picture.
Marcel Röthlisberger. "Les pendants dans l'oeuvre de Claude Lorrain." Gazette des beaux-arts, 6th ser., 51 (April 1958), pp. 219, 228 n. 17, mentions this picture and the Dresden Flight into Egypt in a discussion of pendants in the work of Claude, calling them "les deux paysages idylliques pour Parasson"; observes that in their "contrastes équilibrés" they serve as a fine complement to each other.
Marcel Röthlisberger. Claude Lorrain: The Paintings. New Haven, 1961, vol. 1, pp. 272–74, 276; vol. 2, fig. 190, sees illegible traces of a signature at the bottom and suggests this picture was painted in 1647; rejects its identification with the landscape that appeared as no. 84 in Reynolds's sale and considers it possible that our picture and the Dresden Flight into Egypt were pendants: "size, inner proportions, and pastoral mode correspond, atmosphere and composition contrast"; notes, on the other hand, that "their pastoral characteristics are more alike than in other pairs of Claude" and the Dresden picture "belonged separately" to Mazarin in 1653; observes further that the Claude cited as no. 1287 in Mazarin's 1661 inventory [the Dresden picture was no. 1289], measuring 116.5 x 149 cm with the frame and described as a landscape with "anticquailles"—or ruins—and cows and figures crossing a river, is not likely to be our picture, which has no ruins.
Marcel Roethlisberger. Claude Lorrain: The Drawings. Berkeley, 1968, vol. 1, pp. 245–46, 281, dates our picture 1646–47 and publishes related drawings (vol. 2, pls. 628, 631, 739): two drawings of a herdsman with goats and cattle (Louvre, Paris, RF 26,702 and RF 4,578) and Liber Veritatis 109; firmly states that our painting is the pendant to the landscape in Dresden and that it was, presumably, like the latter, done for M. Parasson.
Doretta Cecchi in L'opera completa di Claude Lorrain. Milan, 1975, p. 108, no. 174, ill. p. 108 and colorpl. 26, as probably the pendant to the Dresden picture.
Francis Broun. Letters to Lucy Oakley. 1977–78, traces the history of our painting from the collection of Sir Joshua Reynolds to that of Lord Farnborough, noting that our picture did not appear in Reynolds's sale but was bequeathed by him to his friend Abraham Hume; suggests that it was one of the two landscapes by Claude shown at Ralph's Exhibition in 1791.
Michael Kitson. Claude Lorrain: Liber Veritatis. London, 1978, p. 119, publishes the related drawing Liber Veritatis 109, noting that it corresponds exactly with our picture, although its composition is more compressed at the left; believes LV 109 is "almost certainly" the pendant to LV 110 [which records the Dresden picture], observing that the two drawings themselves are very similar in style and technique and the compositions of the paintings are also of the same basic type.
Claude Lorrain (1600–1682): An Exhibition of Paintings and Drawings, Partly from Private Collections, to Mark the Artist's Tercentenary. Exh. cat., Thomas Agnew & Sons, Ltd. London, 1982, p. 49.
Pierre Rosenberg. France in the Golden Age: Seventeenth-century French Paintings in American Collections. Exh. cat., The Metropolitan Museum of Art. 1982, p. 360, no. 3, ill. [French ed., La peinture française du XVIIe siècle dans les collection américaines, Paris, 1982].
Marcel Roethlisberger. Im Licht von Claude Lorrain: Landschaftsmalerei aus drei Jahrhunderten. Exh. cat., Haus der Kunst München. Munich, 1983, pp. 164, 207, 286.
Christopher Wright. The French Painters of the Seventeenth Century. Boston, 1985, p. 163.
Francis Broun. "Sir Joshua Reynolds' Collection of Paintings." PhD diss., Princeton University, 1987, vol. 2, pp. 192–93, 195–98, pl. 52.
Nicholas Penny. The Sixteenth Century Italian Paintings. Vol. 2, Venice 1540–1600. London, 2008, pp. 458, 460.
Richard Rand. "'Landscape with Erminia' and Claude's Paintings from Nature." Studying Nature: Oil Sketches from the Thaw Collection. Ed. Jennifer Tonkovich. New York, 2011, pp. 48, 62 n. 8, fig. 38 (color).
Peter Barnet and Wendy A. Stein in Earth, Sea, and Sky: Nature in Western Art; Masterpieces from The Metropolitan Museum of Art. Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2012, p. 42, ill. pp. 36, 43 (color).
Keith Christiansen in Earth, Sea, and Sky: Nature in Western Art; Masterpieces from The Metropolitan Museum of Art. Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2012, p. 206, no. 1, ill. [Chinese ed., Hefei Shi, 2013, pp. 4–5, no. 1, ill. (color)].
Asher Ethan Miller. "The Path of Nature: French Paintings from the Wheelock Whitney Collection, 1785–1850." Metropolitan Museum of Art Bulletin 70 (Winter 2013), p. 11, fig. 8 (color).