Pietro Gradenigo. Journal entry. April 25, 1764 [published in "Notizie d'arte tratte dai notatori e dagli annali del N. H. Pietro Gradenigo," ed. Lina Livan, Venice, 1942, p. 106], writes that Guardi is exhibiting two paintings, one of which may be this picture, in the Piazza San Marco, and that the works were commissioned by an Englishman.
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, pp. 6, 16, 81, 93, no. 171, ill. opp. p. 14, describes the viewpoint as from behind the Fondaco dei Tedeschi; states that it is impossible to identify the two works exhibited by Guardi in the Piazza San Marco in 1764, described by Gradenigo [see Ref. Gradenigo 1764]; mentions a painting with a similar view in the museum at Strasbourg.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 275, calls it a pendant to "Santa Maria della Salute" (MMA, 71.120) and notes that "both paintings appear to be comparatively early works".
James Byam Shaw. The Drawings of Francesco Guardi. London, 1951, pp. 20, 60, states that it could be one of the works exhibited by Guardi in 1764 (see Gradenigo 1764); identifies drawings in the Musée Bonnat, Bayonne, and the Kupferstichkabinett, Berlin, as parts of the same study for this picture.
Edoardo Arslan. Letter. April 21, 1952, rejects the attribution to Guardi and dates it to the first half of the nineteenth century, calling it close to Ippolito Caffi.
Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 231, no. 132, colorpl. 132.
Vittorio Moschini. Francesco Guardi. Milan, 1952, p. 18, sees a close relationship to the work of Canaletto.
European Masters of the Eighteenth Century. Exh. cat., Royal Academy of Arts. London, 1954, pp. 27–28, under no. 50, mentions it as a version of the larger painting in the Iveagh collection, and agrees with Byam Shaw [see Ref. 1951] that either one may be one of the two pictures exhibited by Guardi in 1764.
J[ames]. Byam Shaw. "Guardi at the Royal Academy." Burlington Magazine 97 (January 1955), p. 15 n. 5, mentions another version included in the Greve sale, Lepke, Berlin, October 12–13, 1909; believes that, because of its larger size, the Iveagh picture is more likely to have been the one exhibited by Guardi in 1764 in the Piazza San Marco.
Rodolfo Pallucchini. "Note alla mostra dei Guardi." Arte veneta 19 (1965), p. 231, calls it a replica and the version in the Iveagh collection the original referred to by Gradenigo [see Ref. 1764].
Pietro Zampetti. Mostra dei Guardi. Exh. cat., Palazzo Grassi. Venice, 1965, p. 174, no. 88, ill., calls it possibly one of the two works mentioned by Gradenigo [see Ref. 1764], but believes that it is more probably a replica.
J. G. Links. "A Missing Canaletto Found." Burlington Magazine 109 (July 1967), p. 406, fig. 30.
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. 233–34, 413, no. 554; vol. 2, fig. 530, dates it about 1760–65.
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. 28–29, pl. 26, call it an early work and note that the composition is close to paintings by Canaletto, especially a work in the Pillow collection, Montreal; believe that the Iveagh picture, which they call a repetition, is probably the work referred to by Gradenigo [see Ref. 1764].
Michelangelo Muraro. "Giacomo Guardi." Colóquio, 2nd ser., 16 (December 1974), pp. 8–9, 17, figs. 13, 14 (detail), calls it the prototype of a group of pictures that he assigns to Giacomo Guardi, with foreground figures by Francesco.
Luigina Rossi Bortolatto. L'opera completa di Francesco Guardi. Milan, 1974, pp. 103–4, no. 233, ill.
Dario Succi. Francesco Guardi: itinerario dell'avventura artistica. [Milan], 1993, p. 48, fig. 43 (color), believes that the Iveagh painting was the version exhibited by Guardi in 1764.
Francesca del Torre in Francesco Guardi: vedute, capricci, feste. Exh. cat., Isola di San Giorgio Maggiore, Venice. Milan, 1993, p. 110, under no. 32.
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. 145, ill. p. 218 and fig. 23.
Everett Fahy in The Wrightsman Pictures. New York, 2005, p. 64, fig. 1, states that Guardi painted this picture from a window on the first floor of the palazzo Bollani-Erizzo.
Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 12, 58–61, no. 9, ill. (color, overall and detail) [Catalan ed., Barcelona, 2006, pp. 15, 40–41, no. 7, ill. (color)].
Katharine Baetjer in Canaletto: Venezia e i suoi splendori. Exh. cat., Casa dei Carraresi, Treviso. Venice, 2008, pp. 284–85, no. 76, ill. p. 222 (color).
Bozena Anna Kowalczyk in Venice: From Canaletto and Turner to Monet. Exh. cat., Fondation Beyeler. Basel, 2008, pp. 34, 37 n. 43.
Dario Succi in Canaletto: Venezia e i suoi splendori. Exh. cat., Casa dei Carraresi, Treviso. Venice, 2008, p. 213, believes that the painting in the Iveagh collection was the one exhibited by Guardi in 1764, and calls the MMA version a replica.
F[rancis]. R[ussell]. in Old Master & British Paintings: Evening Sale.July 8, 2014, p. 70, dates this work and its pendant (71.120) 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.