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, no.599, pp.299, frame no.110, drawing no.230, 636, as ‘Rome. Arches of Constantine and Titus’.
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.563, as ‘Arches of Constantine and Titus. Mixed pure and body colour. 599, N.G.’.
D[ugald] S[utherland] MacColl, National Gallery, Millbank: Catalogue: Turner Collection, London 1920, p.88.
Thomas Ashby, Turner’s Visions of Rome, London and New York 1925, p.27, reproduced in colour between pp.22–3 pl.19, as ‘Arches of Constantine and Titus’.
Camille Mauclair, Turner, London and Toronto [William Heinemann] 1939; ‘translated from the French by Eveline Byam Shaw’, reproduced in colour, p.41, as ‘Arches of Constantine and Titus’.
Edward Croft-Murray, Turner Watercolors from The British Museum: A Loan Exhibition Circulated by the Smithsonian Institution, exhibition catalogue, National Gallery of Art, Washington DC 1963, no.20, pp.10, 17, as ‘Rome, the Arch of Constantine, and the Arch of Titus in the Distance’.
Martin Butlin, Andrew Wilton and John Gage, Turner 1775–1851, exhibition catalogue, Royal Academy, London 1974, no.220, p.88, reproduced [p.87], as ‘Rome: the Forum, with the Arches of Constantine and Titus’.
John Sillevis, Nini Jonker and Hripsimé Visser, Turner 1775–1851, exhibition catalogue, Haags Gemeentemuseum, The Hague 1978, no.30, p.64 reproduced, as ‘Rome, Het Forum, de bogen van Constantijn en Titus’.
John Gage, Exposicion del gran pintor ingles, William Turner: Oleos y acuarelas: Collecciones de la Tate Gallery, British Museum y otros museos ingleses, exhibition catalogue, Museo de Arte Moderno, Mexico City 1979, no.BM 27, reproduced p.31, as ‘Roma, El Foro, con el Arco de Constantino y el de Tito’.
John Gage and Ana T. de Gradowska, Oleos y acuarelas de Joseph Mallord William Turner, exhibition catalogue, Museo de Bellas Artes, Caracas, Venezuela 1979, no.BM 28, as ‘Roma, el Foro, con los Arcos de Constantino y Tito’.
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Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, p.122, reproduced pl.66, as ‘The Arches of Constantine and Titus, the Meta Sudans and the Temple of Venus and Rome’.
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, p.49, reproduced p.27 colour pl.3, as ‘The Arches of Constantine and Titus, the Meta Sudans and the Temple of Venus and Rome’.
Diane Perkins, The Third Decade: Turner Watercolours 1810–1820, exhibition catalogue, Tate Gallery, London 1990, no.37 reproduced, as ‘Rome: The Arches of Constantine and Titus’.
Joyce H. Townsend, ‘Turner Research Project: Information on Painting Materials via Standard Imaging Techniques’, Journal of Photographic Science, vol.40, 1992, p.64, Table 3 [incorrectly as oil on prepared paper].
William L. Pressly, ‘On Classic Ground: James Barry’s “Memorials” of the Italian Landscape’, in Record of the Art Museum, Princeton University, vol.54, no.2, 1995, pp.18–19, fig.6.
Michael Liversidge and Catherine Edwards, Imagining Rome: British Artists and Rome in the Nineteenth Century, exhibition catalogue, City Museum and Art Gallery, Bristol 1996, pp.73–4 no.3, reproduced, as ‘Rome. The Arches of Constantine and Titus, the Meta Sudans, and the Temple of Venus and Roma’.
Ian Warrell, Blandine Chavanne and Michael Kitson, Turner et le Lorrain, exhibition catalogue, Musée des beaux-arts, Nancy 2002, pp.36, 106, 182, 192 under no.48 and no.49, reproduced in colour pp.106–7, as ‘Rome: les arcs de Constantine et de Titus, le Meta Sudans et le temple de Vénus à Rome / Rome: the Arches of Constantine and Titus, the Meta Sudans and the Temple of Venus and Rome’.
David Blayney Brown, Turner Watercolours, exhibition catalogue, Tate Britain, London 2007, p.61, reproduced in colour, as ‘Rome: Arches of Constantine and Titus’.