E.T. Cook and Alexander Wedderburn (eds.), Library Edition: The Works of John Ruskin: Volume I: Early Prose Writings 1834–1843, London 1903, pp.233, 244.
E.T. Cook and Alexander Wedderburn (eds.), Library Edition: The Works of John Ruskin: Volume XIII: Turner: The Harbours of England; Catalogues and Notes, London 1904, pp.380–1.
E.T. Cook and Alexander Wedderburn (eds.), Library Edition: The Works of John Ruskin: Volume XXI: The Ruskin Art Collection at Oxford, London 1906, p.214, as ‘Nameless composition with stone pines’.
A.J. Finberg, A Complete Inventory of the Drawings in the Turner Bequest, London 1909, vol.II, p.899, as ‘Italian composition’.
Andrew Wilton, The Life and Work of J.M.W. Turner, Fribourg 1979, p.439 no.1170, reproduced.
Cecilia Powell, ‘Turner’s vignettes and the making of Rogers’s “Italy” ’, Turner Studies, vol.3, no.1, Summer 1983, pp.8, 10.
Cecilia Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp.288, 292, 520 notes 68 and 80.
Jan Piggott, Turner’s Vignettes, exhibition catalogue, Tate Gallery, London 1993, p.96.
Richard P. Townsend, Andrew Wilton, David Blayney Brown and others, J.M.W. Turner: “That Greatest of Landscape Painters”: Watercolors from London Museums, exhibition catalogue, Philbrook Museum of Art, Tulsa 1998, no.27, pp.126–7, p.8 reproduced (colour).
Ian Warrell (ed.), Franklin Kelly and others, J.M.W. Turner, exhibition catalogue, National Gallery of Art, Washington 2007, p.146, reproduced fig.30 (colour).