The Church of Santa Maria della Salute, Venice

• Rodolfo Pallucchini, “Dipinti Veneziani a Chicago, Detroit, Toledo e Hartford,” in Arte Veneta 1 (1947), pp. 146-48, fig. 133.
• Rodolfo Pallucchini, La pittura veneziana del Settecento, pt. 2 (Bologna: Casa Editrice Prof. Riccardo Pàtron, 1951), p. 208.
• Daniel Catton Rich, “In a Minor Key,” Art Institute of Chicago Quarterly 47, 2 (1953), p. 33 (ill.).
• Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1956), p. 27.
• Antonio Morassi, “Circa gli esordi del vedutismo di Francesco Guardi con qualche cenno sul Marieschi,” in Studies in the History of Art: Dedicated to William E. Suida on his eightieth birthday (London: Phaidon Press for the Samuel H. Kress Foundation, 1959), pp. 338-344.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 294.
• Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich: A. Schroll, 1961), p. 518.
• Rodolfo Pallucchini, “A proposito della mostra Bergamasca del Marieschi,” in Arte Veneta 20 (1966), p. 319, fig. 377.
• Mercedes Precerutti-Garberi, “Michele Marieschi ed i ‘capricci’ del castello Sforzesco di Milano” in Pantheon 26 (1968), pp. 42, 44, fig. 10.
• Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge: Harvard University Press, 1972), p. 120.
• Ludovico Mucchi and Alberto Bertuzzi, Nella profondità dei dipinti: la radiografia nell’indagine pittorica (Milan: Electa Editrice, 1983), pp. 112, 169, 173, no. M5.
• Mario Manzelli, “Proposta per l’identificazione di Michele Marieschi e del suo alter-ego Francesco Albotto,” in Arte Veneta 41 (1987), p. 114, no. M9.
• Dario Succi, Michiel Marieschi: Venezia in scena, exh. cat. (Milan: Galleria Lorenzelli, 1987), pp. 76-7, under no. 16.
• Ralph Toledano, Michele Marieschi. L’opera completa (Milan: Arnoldo Mondadori, 1988), p. 87, no. V.14.1 (ill.); 2nd ed. (Milan: Arnoldo Mondadori, 1995), p. 84, no. V.19.a (ill.).
• Dario Succi, Marieschi: tra Canaletto e Guardi, exh. cat. (Gorizia: Castello di Gorizia, 1989), pp. 194, 197, fig. 238.
• Mario Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto (Venice: ASDE Associazione Dirigenza Enel, 1991), pp. 30, 54, no. M.11.2 (ill.); 2nd ed. (Venice: Studio LT2, 2002), pp. 38, 58, 62, 81, no. M.11.02, fig. 10.
• Rodolfo Pallucchini, La pittura nel Veneto. Il Settecento, vol. 2 (Milan: Electa, 1996), pp. 305, 309, no. 461 (ill.).
• Federico Montecuccoli degli Erri and Filippo Pedrocco, Michele Marieschi: la vita, l’ambiente, l’opera (Milan: Bocca Editori, 1999), p. 390, no. 162 (ill.).
• Roberto Contini, The Thyssen-Bornemisza Collection: Seventeenth and Eighteenth Century Italian Painting (London: Philip Wilson Publishers, 2002), pp. 329, 330, under no. 73, fig. 2.
• Filippo Pedrocco, Visions of Venice: Paintings of the 18th Century (London: Tauris Parke, 2002), pp. 164, 168 (ill.).

• Toronto, Art Gallery of Toronto, Canaletto: A retrospective exhibition of the work of Canaletto, October 16-November 15, 1964; Ottawa, National Gallery of Canada, December 4, 1964-January 10, 1965; Montreal Museum of Fine Arts, January 29-February 28, 1965, no. 132.
• Allentown, Pa., Allentown Art Museum, Circle of Canaletto, February 20-March 21, 1971, no. 34.
• Williamstown, Mass., Sterling and Francine Clark Art Institute, February 3-April 1, 1973, no cat.

Probably Sir William Pilkington, 8th Bt. (died 1850), Butterton Hall and Chevet Hall, Wakefield, Yorkshire, from about 1846 [according to letter from Edward Speelman to Daniel Rich, dated May 8, 1946; copy in curatorial file]; by descent in the Pilkington family to Sir Arthur William Milborne-Swinnerton-Pilkington, 13th Bt. (died 1952), Chevet Hall, Wakefield, Yorkshire [according to letter cited above]; sold to Edward Speelman, London, by May 1946 [according to letter cited above, the painting may have had a pendant, now untraced, since a photograph of “A Regatta on the Grand Canal” in the curatorial file is labeled “22 x 33 ½ inches; offer for £1800 – 15 Sept. 1950 by Ed. Speelman Ltd.” and “pendant picture by Marieschi”]; sold to the Art Institute, 1946.