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Bernhard Berenson, The Venetian Painters of the Renaissance with an Index to their Works, Third ed. (New York, 1903), p. 109.
Algernon Graves, A Century of Loan Exhibitions 1813-1912, Vol. 1 (New York, 1913), pp. 452, 454.
Antonio Morassi, “Conclusioni su Antonio e Francesco Guardi,” Emporium 64 (1951), pp. 297, 214, fig. 17.
“Recent Accessions: From Two European Theaters for Two American Galleries,” Art Digest 26, no. 13 (1952), p. 10.
“Recent Purchases and Gifts,” Art Institute of Chicago Quarterly 46 (1952), p. 71.
Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago, 1956), p. 27.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” Miscellanea Bibliothecae Hertzianae 16 (1961), p. 518.
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 207-208.
Rodolfo Pallucchini, Francesco Guardi (Lisbon, 1966), p. 17.
Rodolfo Pallucchini, “La Pittura Veneta del Settecento alla Mostra Itinerante di Chicago-Minneapolis-Toledo,” Arte Veneta 24 (1970), p. 290.
“Where Lemon Trees Blossom,” Apollo 92 (1970), pp. 172, 176, fig. 12.
Antonio Morassi, Guardi: Antonio e Francesco Guardi (Venice, 1973), vol. 1, pp. 230, 243, no. 464, vol. II, no. 469.
Luigina Rossi Bortolatto, L’opera completa di Francesco Guardi (Milan, 1974), p. 87, no. 273.
Antonio Morassi, Guardi: Tutti I disegni di Antonio, Francesco e Giacomo Guardi (Venice, 1975), p. 141.
Janice J. Feldstein and Maureen Smith, eds., The Art Institute of Chicago: 100 Masterpieces (Chicago, 1978), no. 33.
John D. Morse, Old Master Paintings in North America (New York, 1979), p. 160.
Antonio Morassi, Guardi: I disegni (Venice, 1984), p. 141.
Sergio Bettini et al., Arte in Veneto (Milan, 1987), pp. 408-9.
Christopher Wright, The World’s Master Paintings: From the Early Renaissance to the Present Day, vol. II (London, 1992), p. 672.
Ateneo Veneto, Premio Pietro Torta per il Restauro di Venezia (Venice, 1995), pp. 23-25, ill.
Giovanna Nepi Sciré, Giandomenico Romanelli, and William L. Barcham, Splendori del Settecento Veneziano (Milan, 1995), p. 326.
Francis Russell, “Guardi and the English Tourist,” Burlington Magazine 138 (1996), p. 7.
Timothy Llewellyn, “Qualche Veduta della Laguna,” in I Guardi: Vedute, capricci, feste, disegni e «quadri turcheschi», edited by Alessandro Bettagno (Venice, 2002), pp. 33-34, fig. 31.
Mario Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto, 2nd edition (Venice, 2002), p. VI.
Maria Elisa Avagnina, Margaret Binotto, and Giovanni Carlo Federico Villa, Pinacoteca civica di Vicenza: Dipinti del XVII e XVIII secolo (Venice, 2004), p. 475.
London, British Institution, Pictures by Italian, Spanish, Flemish, Dutch, French and English Masters with which the Proprietors have Favoured the Institution, 1840, no. 129.
London, Royal Academy of Art, Exhibition of Works by the Old Masters and by Deceased Masters of the British School; including a Special Selection from the Works of Paul Falconer Poole, R.A., 1884, no. 158.
London, New Gallery, Exhibition of Venetian Art, 1894-5, no. 264.
Detroit, Institute of Arts, September 30 – November 2, 1952 and Indianapolis, John Herron Institute of Arts, November 15 – December 31, 1952, Venice 1700-1800, no. 23.
Buffalo, Albright Art Gallery, Painters’ Painters, April 16 – June 2, 1954, no. 11.
Kansas City, Missouri, Mozart Memorial, January – February, 1956, no cat.
Champaign, University of Illinois, Venetian Villas, November 1956, no cat.
Art Institute of Chicago, September 19 – November 8, 1970, Minneapolis, Institute of Arts, December 3, 1970 - January 10, 1971, and Toledo, Museum of Art, February 7 – March 21, 1971, Painting in Italy in the Eighteenth Century, no. 22.
Venice, Fondazione Giorgio Cini Instituto di Storia dell’Arte, Franceso Guardi: Vedute, Capricci, Feste, August 28-November 28, 1993, cat. 30.
S(amuel) C(harles) Weston, Esq, London by 1840 [according to Graves 1913, p. 452]; by descent to his son, Alexander Anderdon Weston, Esq., London, died 1901 [according to Venice 1993, no. 30, pp. 106-7]; his widow Isabella Frances Weston, died 1922; sold by order of the Trustees of Isabella Frances Weston, Christie’s, London, October 21, 1949, no. 31, to Koetser for £7,200 pounds [according to annotated catalogue at the Ryerson Library, Art Institute of Chicago]; Koetser Gallery, New York; sold to the Art Institute in 1951.
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