The Grand Canal, Venice

• 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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