Thomas Hastings. Etchings, from the Works of Ric. Wilson with Some Memoirs of His Life, &c. London, 1825, p. 18, ill. [unnumbered pl. 17], "The Original is in the Possession of Lady Ford. abt 81. by [?]5 [i]n Etched by. T. Hastings / 1820".
Adrian Bury. Richard Wilson R.A.: The Grand Classic. Leigh-on-Sea, 1947, p. 68.
Brinsley Ford. "The Dartmouth Collection of Drawings by Richard Wilson." Burlington Magazine 90 (December 1948), p. 345, connects this painting—"of a similar composition"—with one of the finished drawings [fig. 6] evidently commissioned from Wilson by William Legge, second earl of Dartmouth, when the latter visited Rome (the drawing is signed and dated 1754; numbered 15 and labeled Capucins at Gensano on the mount; and numbered 57 on the reverse).
W. G. Constable. Letter to Josephine L. Allen. October 25, 1949, believes that the picture "belonged to Benjamin Booth and descended to the Ford family".
W. G. Constable. Letter to Elizabeth E. Gardner. November 21, 1949, identifies a red wax seal on the reverse as that of M (Marianne) Ford, Booth's daughter, and connects the sketch with three references in Booth's papers which suggest that the painting had been owned previously by William Locke and (?Francis) Parsons.
Brinsley Ford. The Drawings of Richard Wilson. London, 1951, p. 61.
W. G. Constable. Richard Wilson. Cambridge, Mass., 1953, pp. 35–36, 41, 82, 110–11, 125, 208–9, 278, 298, pl. 95a, describes the painting, which "must have been made in Italy," as "so close to" the Dartmouth drawing [pl. 95b] "that it is difficult to believe" it was not "taken direct" from the drawing; observes that Wilson was attracted to the Alban Hills and particularly to Lake Nemi; identifies William Parsons, the comedian and friend of Wilson, as a probable previous owner and notes that the picture may have been lot 537 in the 1891 Cavendish-Bentinck sale.
W. G. Constable. "Richard Wilson: Some Pentimenti." Burlington Magazine 96 (May 1954), p. 147, no. 6, lists among "Unrecorded versions by Wilson of known paintings," as number 6, "Lake Nemi from near Gensano" (Marquis of Lansdowne, Bowood; cat., 1897, no. 190; 16 1/2 x 22 1/2 in.), calling it similar in design to the Metropolitan Museum painting, of replica quality, and taken from the road above the lake.
Ann Clements in An Italian Sketchbook by Richard Wilson R A. London, 1968, vol. 2, p. 29, fig. 26, and see vol. 1, folio 6r [sketch inscribed "Gensano / from the Capuchini"], identifies the site as Palazzo Cesarini, Genzano, from the Capuchin Monastery, relating the two drawings and the painting.
Malcolm Cormack et al. "Selection II: British Watercolors and Drawings from the Museum's Collection." Bulletin of Rhode Island School of Design 58 (April 1972), p. 233.
Brinsley Ford. Letter to Dean Walker. August 18, 1979, notes that a version, from a recently formed Welsh collection and measuring 16 1/2 x 20 1/2 in., was with Dudley Tooth, Bruton Street, in December 1955.
David H. Solkin. Richard Wilson: The Landscape of Reaction. Exh. cat., Tate Gallery. London, 1982, p. 171, dates the painting to the 1760s.
Katharine Baetjer. British Paintings in The Metropolitan Museum of Art, 1575–1875. New York, 2009, pp. 57–59, no. 25, ill. (color).
Richard Wilson and the British Arcadia. Exh. cat., Richard L. Feigen & Co. New York, 2010, unpaginated, no. 6, ill. (color).
Peter Barnet and Wendy A. Stein in Earth, Sea, and Sky: Nature in Western Art; Masterpieces from The Metropolitan Museum of Art. Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2012, ill. pp. 36–37, 45 (color).
Keith Christiansen in Earth, Sea, and Sky: Nature in Western Art; Masterpieces from The Metropolitan Museum of Art. Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2012, p. 207, no. 3, ill. [Chinese ed., Hefei Shi, 2013, pp. 8–9, no. 3, ill. (color)].
Jason M. Kelly in Richard Wilson and the Transformation of European Landscape Painting. Exh. cat., Yale Center for British Art. New Haven, 2014, p. 49, fig. 42 (color).
Paul Spencer-Longhurst in Richard Wilson and the Transformation of European Landscape Painting. Exh. cat., Yale Center for British Art. New Haven, 2014, pp. 239–40, no. 47, ill. (color).