Hellmuth Allwill Fritzsche. Bernardo Bellotto gennant Canaletto. Burg b[ei]. M[agdeburg]., 1936, pp. 27, 106, 132, no. VG 22, connects this painting with a drawing in the Hessisches Landesmuseum, Darmstadt, inscribed "Copia dela Vedutta di Vaver e Cannonica del Sig. Bernardo Belotto detto il Canaletto per il Illmo Sig. Conte Simonetta l'anno 1744"; states that the picture and its pendant (formerly in the Crespi collection, Milan; now private collection, Rome) were painted in 1744 for Count Antonio Simonetta.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 273–74, ill.
Louise Burroughs. "View of Vaprio d'Adda by Bellotto." Metropolitan Museum of Art Bulletin 35 (February 1940), pp. 32–34, ill.
Stanislaw Lorentz and Stefan Kozakiewicz. Bellotto a Varsavia. Venice, 1955, pp. 55, 64 n. 6, p.65.
Stanislaw Lorentz and Stefan Kozakiewicz. Bernardo Bellotto 1720–1780. Exh. cat., Walker Art Gallery. Liverpool, 1957, p. 25, under no. 30.
Rodolfo Pallucchini. La pittura veneziana del Settecento. Venice, 1960, p. 223, pl. 580.
Rodolfo Pallucchini. Vedute del Bellotto. Milan, 1961, p. 10, and mentioned under no. 3.
Stefan Kozakiewicz in Bernardo Bellotto gennant Canaletto in Dresden und Warschau. Exh. cat., Albertinum. Dresden, 1963, pp. 70–71, under no. 70.
Pietro Zampetti. Letter to Theodore Rousseau. January 23, 1968, suggests that the figures in the foreground are by another hand.
Stefan Kozakiewicz. Bernardo Bellotto. Greenwich, Conn., 1972, vol. 1, pp. 41–42; vol. 2, pp. 59–60, no. 83, ill., suggests that the foreground figures, which are absent from the Darmstadt drawing and "painted in a style which bears no resemblance to Bellotto's," may be later additions by the painter Giovanni Battista Crossato, possibly portraits of members of Count Simonetta's family; adds that the tree to the extreme right of the composition, which does not correspond to the tree in Bellotto's drawing, is probably by the same later hand
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 24, 493, 607.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 11–12, pl. 10.
Ettore Camesasca. L'opera completa del Bellotto. Milan, 1974, p. 93, no. 48, ill.
Mariolina Olivari in Bernardo Bellotto: Verona e le città europee. Ed. Sergio Marinelli. Exh. cat., Museo di Castelvecchio, Verona. Milan, 1990, pp. 76–80, 84, no. 13, ill. (color, overall and detail), discusses Simonetta as a patron, and his ties to Vaprio d'Adda.
Sergio Marinelli in Bernardo Bellotto: Verona e le città europee. Ed. Sergio Marinelli. Exh. cat., Museo di Castelvecchio, Verona. Milan, 1990, p. 40.
Sergio Marinelli. "Aggiornamenti su Bellotto." Arte veneta 44 (1993), p. 84.
Bozena Anna Kowalczkyk Trupiano in Splendori del Settecento veneziano. Ed. Giovanna Nepi Sciré and Giandomenico Romanelli. Exh. cat., Ca' Rezzonico, Venice. Milan, 1995, pp. 301, 310–11, no. 76, ill. (color), states that the foreground figures are clearly by another hand; notes that a third depiction of the site is known through a drawing in the Warsaw museum and two paintings (sale, Christie's, London, November 30, 1970, no. 100; sale, Christie's, London, December 13, 1991, no. 100 or 101); lists conte Melzi d'Eril as a former owner.
Mariolina Olivari in La Milano del Giovin Signore: Le arti nel Settecento di Parini. Ed. Fernando Mazzocca and Alessandro Morandotti. Exh. cat., Museo di Milano at Palazzo Morando. Milan, 1999, pp. 217–18, no. 2, ill. p. 50 (color), describes the picture as the most "archaic" of Bellotto's five views of Vaprio; recognizes a second hand in the painting of the figures, the tree at right, and a portion of the sky
Charles Beddington in Bernardo Bellotto and the Capitals of Europe. Ed. Edgar Peters Bowron. Exh. cat., Museum of Fine Arts, Houston. New Haven, 2001, p. 24, observes that while the inscriptions on the Darmstadt drawings describe each as a "copy" after a painting, the drawings themselves have the appearance of being preparatory
Bozena Anna Kowalczyk in Canaletto e Bellotto: l'arte della veduta. Ed. Bozena Anna Kowalczyk. Exh. cat., Palazzo Bricherasio, Turin. Cinisello Balsamo (Milan), 2008, pp. 156, 162–63, 166, 168, no. 59, ill. (color), calls the drawing in Darmstadt a preparatory work.