A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.II, p.1027, CCCXVIII 17, as ‘The Murder. [On back,] – “21.”’.
A.J. Finberg, In Venice with Turner, London 1930, p.176, as ‘The Murder’, probably 1835.
Exhibition of Turner Watercolours for the Huntingdon [sic] Art Gallery, exhibition catalogue, Huntington Art Gallery, San Marino, California 1952, p.4, as ‘Venice: Murder Scene (from Othello)’, c.1837–41.
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, p.21 no.55, as ‘Venice, Interior of a Bedroom’, 1835.
Lawrence Gowing, Turner: Imagination and Reality, exhibition catalogue, Museum of Modern Art, New York 1966, p.62 no.76, as ‘Murder Scene, Venice’, ?1835, reproduced p.63.
Andrew Wilton in Martin Butlin, Wilton and John Gage, Turner 1775–1851, exhibition catalogue, Royal Academy, London 1974, pp.125 under no.448, 157 under no.565.
Andrew Wilton, Turner in the British Museum: Drawings and Watercolours, exhibition catalogue, Department of Prints and Drawings, British Museum, London 1975, p.146 no.249, as ‘Venice: A scene at the play’, 1840.
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Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp.324, 529 note 107.
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, pp.153, 207 note 83.
Ian Warrell in Warrell, David Laven, Jan Morris and others, Turner and Venice, exhibition catalogue, Tate Britain, London 2003, pp.133, 138, 259, 272 no.128, as ‘Reclining Nude on a Bed’, 1840, fig.137 (colour) (Warrell 2003a).
Ian Warrell, ‘Exploring the “Dark Side”: Ruskin and the Problem of Turner’s Erotica’, with ‘A Checklist of Erotic Sketches in the Turner Bequest’, British Art Journal, vol.4, no.1, Spring 2003, pp.26, 27 pl.40 (colour), as ‘A nude lying on a bed (also known as ‘The Murder’), c.1833 or 1840 (Warrell 2003b).
Olivier Meslay, Turner: L’Incendie de la peinture, Découvertes Gallimard Arts, [Paris] 2004, reproduced in colour p.113, p.155, as ‘Nu allongé sur un lit’, c.1840.
Olivier Meslay, J.M.W. Turner: The Man Who Set Painting on Fire, trans. Ruth Sharman, London 2005, reproduced in colour p.113, p.154, as ‘Reclining Nude on a Bed’, c.1840.
Ian Warrell, Cecilia Powell and David Laven, Turner i Venècia, exhibition catalogue, Fundació ”la Caixa”, Barcelona 2005, p.111 no.40, as ‘Nu ajagut en un llit’, 1840, reproduced in colour.
Leo Costello, J.M.W. Turner and the Subject of History, Farnham and Burlington 2012, p.176, pl.24 (colour), as ‘Reclining Nude on a Bed’, c.1840.
Ian Warrell, Turner’s Secret Sketches, London 2012, p.135, reproduced in colour, p.144, as ‘Reclining Nude on a Bed’, c.1840.
Emma Chambers and Justin Paton, Nude: Art from the Tate Collection, exhibition catalogue, Art Gallery of New South Wales, Sydney 2016, reproduced in colour p.144, p.215, as ‘Reclining nude on a bed’, c.1840.
Alain Jaubert, J.M.W. Turner: Les Carnets secrets, Paris 2016, pl.226 (colour), as ‘Nu allongé sur un lit’, c.1840.