George A. Simonson. Francesco Guardi, 1712–1793. London, 1904, p. 90, as in the collection of Mr. S. Neumann, London.
J[ames]. Byam Shaw. "Guardi at the Royal Academy." Burlington Magazine 97 (January 1955), p. 15, calls it a smaller variant of the picture at Waddesdon Manor, Hertfordshire, and dates it slightly later than that work, perhaps about 1765; also mentions a third much smaller version, formerly at the museum in Strasbourg, destroyed during World War II.
Francis Watson. "Venetian Paintings at the Royal Academy 1954–55." Arte veneta 9 (1955), p. 259, dates this work and the version formerly in Strasbourg a little later than the picture at Waddesdon Manor.
Antonio Morassi. "Novità su Francesco Guardi." Arte veneta 13–14 (1959–60), p. 164, fig. 219, calls it a masterpiece of Guardi's middle period, dating it between 1755 and 1760.
Claus Virch. The Adele and Arthur Lehman Collection. New York, 1965, pp. 52, 55, ill. pp. 53 (color), 55 (detail), notes that it must date from 1755 or later, since that is the date that the third story of the clock tower in the Piazza San Marco was added; mentions three more versions of the composition: Captain H. E. Rimington-Wilson, London; formerly George A. Hearn, New York; and Isabella Stewart Gardner Museum, Boston; suggests that the MMA painting may have had a pendant showing the view from San Giorgio Maggiore to Santa Maria della Salute, as does the Waddesdon Manor picture and as did the Strasbourg painting.
Theodore Rousseau in "Ninety-fifth Annual Report of the Trustees, for the Fiscal Year 1965–1966." Metropolitan Museum of Art Bulletin 25 (October 1966), p. 77, ill. p. 61, dates it about 1760.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 96, 493, 609.
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. 32–33, pl. 35, date it to the early 1760s.
Antonio Morassi. Guardi: Antonio e Francesco Guardi. Venice, [1973?], vol. 1, pp. 239–40, 384, no. 392; vol. 2, fig. 416, mistakenly states that it was formerly in the collection of Robert Lehman.
Luigina Rossi Bortolatto. L'opera completa di Francesco Guardi. Milan, 1974, p. 99, no. 165, ill.
Michelangelo Muraro. "Giacomo Guardi." Colóquio, 2nd ser., 16 (December 1974), p. 18, includes it with a group of paintings that he identifies as late works by Giacomo Guardi.
Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 83, ill.
Dario Succi in Guardi: metamorfosi dell'immagine. Exh. cat., Castello di Gorizia. Venice, 1987, p. 65, fig. 54.
Ewoud Mijnlieff in Painters of Venice: The Story of the Venetian 'Veduta'. Exh. cat., Rijksmuseum. Amsterdam, 1990, pp. 219–20, 225–26, no. 40, ill. pp. 219 (black and white) and 247 (color).
Boudewijn Bakker in Painters of Venice: The Story of the Venetian "Veduta". Exh. cat., Rijksmuseum. Amsterdam, 1990, p. 111, under no. 10.
Dario Succi. Francesco Guardi: itinerario dell'avventura artistica. [Milan], 1993, p. 49, fig. 47, dates it 1768–70.
Amanda Bradley et al. in Venice: Canaletto and His Rivals. Exh. cat., National Gallery. London, 2010, pp. 162, 165, 187, no. 55, colorpl. 55, date it about 1765–67.
Canaletto Guardi: Les deux maîtres de Venise. Ed. Bozena Anna Kowalczyk. Exh. cat., Musée Jacquemart-André. Brussels, 2012, pp. 36–37 n. 37, fig. 8 (color).
Charles Beddington in Francesco Guardi, 1712–1793. Ed. Alberto Craievich and Filippo Pedrocco. Exh. cat., Museo Correr, Venice. Milan, 2012, p. 133, no. 40, ill. on cover and pp. 115–17, 133 (color, overall and details).
F[rancis]. R[ussell]. in Old Master & British Paintings: Evening Sale. Christie's, London. July 8, 2014, p. 68, dates it after 1770, along with other versions of the subject in the Musée Camondo, Paris, the Isabella Stewart Gardner Museum, Boston, and three in the Gulbenkian Foundation, Lisbon.