The back of the Metropolitan panel bears the partial remains of the label of its maker, Malaine, the text of which may be completed by means of the label found on the back of a comparable painting by Bertin that is also dated 1803, Landscape with Figures (oil on wood, 12 1/4 x 10 5/8 in. [30.9 x 26.8 cm], State Pushkin Museum of Fine Arts, Moscow, inv. 4682): [A la palette flamande / Malaine, Peinture, ci-devant / Faubourg Martin] / TIENT Magasin de Panneaux de [toutes] / grandeurs, Toiles imprimées sur chassis à / clefs, Couleurs lavées, broyées et à ve[ssie,] / Papiers et Tafetas peints, et généralem[ent] / tout ce qui concerne la Palette. / Il demeure Rue des Fossés St.-G[ermain] / l’Auxerrois, No. 225. A P[aris.] / Nota. Il envoie dans les Depa[rtements.] For missing text indicated here by brackets, see Irina Kuznetsova and Elena Sharnova, State Pushkin Museum of Fine Arts: France, 16th–First Half 19th Century, Painting Collection, Moscow, 2005, pp. 286–87, no. 275.
The back of the panel is also inscribed indistinctly in black crayon(?): F[r...?] P[...?] / AE / RA. The first line of the foregoing was subsequently reinforced by another hand in black paint, but perhaps not accurately: Fa.a Prāl. Between the second and third lines, a scrap of paper is inscribed in pencil: Mr Elmore, RA. These clues are evidence that the painting formed part of the collection of the British painter Alfred Elmore, R. A. (1815–1881). Although Elmore studied in Paris in the 1830s, it has not been established whether this is relevant to his ownership of this picture. It was not included in the portion of his paintings collection that was dispersed with the estate of his son-in-law, Lindsay Hammond (Robinson, Fisher & Harding, London, April 6, 1933).