Antonio Morassi. Guardi: Antonio e Francesco Guardi. Venice, , vol. 1, pp. 402, 410, no. 536, as a pendant to MMA 1982.60.14 (no. 485); calls it a late work of beautiful luminosity; notes the resemblance to a work in a private collection, Geneva (no. 532).
Luigina Rossi Bortolatto. L'opera completa di Francesco Guardi. Milan, 1974, pp. 107, 114, no. 414.
Keith Christiansen in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 48–50, no. 15, ill., states that it is difficult to determine the role of Guardi's workshop in the production of such minor paintings as this one and its pendant; in addition to the related work in Geneva, mentions another formerly with Silvano Lodi in Munich, stating that all three paintings are based on a drawing similar to one in the Musée Départemental des Vosges, Epinal, and adding that several gondolas in the three pictures are repeated in a drawing attributed to Guardi in the Musée du Petit Palais, Paris; suggests that the ex Lodi painting (on paper laid down on wood) may be the prime version.