George A. Simonson. Francesco Guardi, 1712–1793. London, 1904, p. 98, mentions it as in the collection of Lord Castletown, along with a second picture depicting the Piazzetta, signed F. G.
George A. Simonson. "An Early Guardi." Burlington Magazine 25 (August 1914), p. 267, calls it a work of Guardi's artistic maturity.
H[arry]. B. W[ehle]. "Paintings Lent from the Harkness Collection." Metropolitan Museum of Art Bulletin 28 (January 1933), p. 12.
"Illustrations of Outstanding Harkness Gifts." Metropolitan Museum of Art Bulletin 10 (October 1951), ill. p. 69.
"List of Gifts and Bequests of Mr. and Mrs. Harkness." Metropolitan Museum of Art Bulletin 10 (October 1951), p. 85.
Antonio Morassi. "Una mostra del Settecento veneziano a Detroit." Arte veneta 7 (1953), p. 61, dates it to the early 1750s and compares it with the version in the National Gallery, London.
Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), ill. p. 40.
Rodolfo Pallucchini. "Note alla mostra dei Guardi." Arte veneta 19 (1965), p. 230, dates it about 1760.
Maurizio Bonicatti. "Il problema dei rapporti fra Domenico e Giovanbattista Tiepolo." Celebrazioni tiepolesche: atti del Congresso internazionale di studi sul Tiepolo con un'appendice sulla mostra. [Milan], , p. 32, fig. 20 (detail), calls the figure in the lower right corner a self-portrait.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 96, 493, 608.
Antonio Morassi. Guardi: Antonio e Francesco Guardi. Venice, [1973?], vol. 1, p. 370, no. 317; vol. 2, figs. 343–44 (overall and detail), states that a copy was sold at Weinmüller, Munich, March 15, 1967, no. 1403, as by Guardi.
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. 31–32, pl. 34, date it to the 1750s and state that "the composition is undoubtedly based on one or more prototypes by Canaletto"; mention the version in the National Gallery, London, and another in the Accademia Carrara, Bergamo; note that the present location of the pendant from the Castletown collection is unknown.
Luigina Rossi Bortolatto. L'opera completa di Francesco Guardi. Milan, 1974, pp. 93–94, no. 77, ill.
Deborah Krohn et al. in From El Greco to Cézanne: Masterpieces of European Painting from the National Gallery of Art, Washington, and The Metropolitan Museum of Art, New York. Exh. cat., National Gallery Alexandros Soutzos Museum. Athens, 1992, p. 308, no. 33, ill. (color, overall and detail) [catalogue section unpaginated].