Jeremy Strick in In the Light of Italy: Corot and Early Open-air Painting. Exh. cat., National Gallery of Art. Washington, 1996, p. 115, no. 3, ill. (color), asserts that the inscription is probably not by the artist himself and ascribes it to Dunouy based on comparisons with similar works; mentions that Dunouy was in Italy in the 1780s but is uncertain whether this was painted then or on a later visit to Naples.
Xavier Bray in A Brush with Nature: The Gere Collection of Landscape Oil Sketches. Exh. cat., National Gallery. London, 1999, p. 84, under no. 27 [rev. ed., 2003].
Emilia Calbi in Paysages d'Italie: Les peintres du plein air (1780–1830). Ed. Anna Ottani Cavina. Exh. cat., Galeries Nationales du Grand Palais. Paris, 2001, p. , states that this is a study for a painting in the royal palace of Portici, Naples (now Palazzo Reale, Naples, inv. 328/1874).
Yukitaka Kohari in Plein-Air Painting in Europe, 1780–1850. Exh. cat., Shizuoka Prefectural Museum of Art. Shizuoka, 2004, p. 50, no. 12, ill. (color), observes that the round tower in the center resembles the Castel Nuovo, near the Palazzo Reale; agrees with Strick's [Ref. 1996] suggestion that it was painted during Dunouy's stay in Italy during the 1780s.
Emilie Beck Saiello. Napoli e la Francia: I Pittori di paesaggio da Vernet a Valenciennes. Rome, 2010, pp. 126, 128, fig. 92 (color), calls it "Veduta del Palazzo Reale e del porto di Napoli"; states that it corresponds to the artist's early style, characterized by formal solutions also adopted by Thomas Jones in the 1780s.
Asher Ethan Miller. "The Path of Nature: French Paintings from the Wheelock Whitney Collection, 1785–1850." Metropolitan Museum of Art Bulletin 70 (Winter 2013), pp. 15, 45, fig. 13 (color).