Anthony Ashley-Cooper, 7th Earl of Shaftesbury. Diary entry. 1869 [see letter of July 23, 1973 in archive file], in a list of the collection of paintings at St. Giles House, includes two separate entries reading "View in Venice by Guardi - bought in Venice by 5th Earl," possibly these two pendants.
Henry James. "The Metropolitan Museum's '1871 Purchase'." Atlantic Monthly (June 1872) [reprinted in John L. Sweeney, ed., "The Painter's Eye," London, 1956, p. 65].
F[ritz von]. Harck. "Berichte und Mittheilungen aus Sammlungen und Museen, über staatliche Kunstpflege und Restaurationen, neue Funde: Aus amerikanischen Galerien." Repertorium für Kunstwissenschaft 11 (1888), p. 73.
B[ernard]. Berenson. "Les peintures italiennes de New-York et de Boston." Gazette des beaux-arts, 3rd ser., 15 (March 1896), p. 199, mentions two excellent paintings by Guardi in the Museum's collection.
Bernhard Berenson. The Venetian Painters of the Renaissance. 3rd ed. New York, 1897, p. 102.
George A. Simonson. Francesco Guardi, 1712–1793. London, 1904, p. 93, no. 170.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 275, ill., calls it a pendant to "The Grand Canal above the Rialto" (MMA, 71.119) and notes that both pictures are early works.
J[ames]. Byam Shaw. "Guardi at the Royal Academy." Burlington Magazine 97 (January 1955), p. 15 n. 5.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 96, 493, 605.
Antonio Morassi. Guardi: Antonio e Francesco Guardi. Venice, [1973?], vol. 1, pp. 243, 398, no. 465; vol. 2, fig. 471, dates it to Guardi's mature period.
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, p. 29, pl. 27, call it an early work and note that this is not the subject usually chosen by Guardi as pendants to his various versions of the Grand Canal above the Rialto.
Luigina Rossi Bortolatto. L'opera completa di Francesco Guardi. Milan, 1974, pp. 101–2, no. 210, ill., dates it to Guardi's early maturity.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 9, 18, 353, fig. 21 (color).
Katharine Baetjer. "Buying Pictures for New York: The Founding Purchase of 1871." Metropolitan Museum Journal 39 (2004), pp. 173, 182, 218, 244–45, appendix 1A no. 146, ill. p. 218 and fig. 24.
Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, p. 58 [Catalan ed., Barcelona, 2006, p. 40].
Katharine Baetjer in Canaletto: Venezia e i suoi splendori. Exh. cat., Casa dei Carraresi, Treviso. Venice, 2008, p. 284.
F[rancis]. R[ussell]. in Old Master & British Paintings: Evening Sale.July 8, 2014, p. 70, dates this work and its pendant (71.119) about 1782–84; identifies the two works as the smaller of two pairs of views of Venice included in an undated catalogue of pictures in the Shaftesbury collection at St. Giles, where they are valued at £30.