A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.520 as ‘Do. [Buildings on hill.] “The first bit of Claude” (probably distant view of Loreto).’.
Lawrence Gowing, Turner: Imagination and Reality, exhibition catalogue, Museum of Modern Art, New York 1966, p.16.
Graham Reynolds, Turner, London 1969, p.110.
Werner Haftmann, Andrew Wilton, Henning Bock and others, J.M.W. Turner: Gemälde Aquarelle, exhibition catalogue, Nationalgalerie Staatliche Museen Preußischer Kulturbesitz, Berlin 1972, p.119.
A. [‘Fred’] H.G. Bachrach, Turner and Rotterdam: 1817 – 1825 – 1841, Netherlands [circa 1974], p.18 note 14.
Gerald Wilkinson, Turner Sketches 1789–1820, London 1977, p..
Evelyn Joll and Martin Butlin, L’opera completa di Turner 1793–1829, Classici dell’arte, Milan 1982, pp.5,  under no.331.
Michael Kitson, ‘Turner and Claude’, Turner Studies, vol.2, no.2, Winter 1983, p.11 note 45.
Andrew Wilton, Turner Abroad: France; Italy; Germany; Switzerland, London 1982, p.25.
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984, p.185 under no.331.
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Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp.94 note 118, 96, 407, reproduced pl.26, as ‘Osimo from the road from Ancona, with the towers of the Palazzo Comunale and cathedral’.
Jack Lindsay, Turner: The Man and His Art, London 1985, p.96.
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, p., reproduced plate 23, as ‘The first bit of Claude’.
Andrew Wilton, Turner in his Time, London 1987, p.122.
Jeremy Robinson, The Light Eternal: A Study of J.M.W. Turner, Kidderminster 1989, p.37.
Kathleen Nicholson, Turner’s Classical Landscapes: Myth and Meaning, Princeton 1990, p.245.
James Hamilton, Turner: A Life, London 1997, p.148.
Peter Galassi, Corot in Italy: Open-air Painting and the Classical-Lanscape Tradition, New Haven and London 1991, p.84.
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, p.7.
Ian Warrell, Blandine Chavanne and Michael Kitson, Turner et le Lorrain, exhibition catalogue, Musée des beaux-arts, Nancy 2002, no.40, pp.94 reproduced, 191, as ‘ “The first bit of Claude”; a view of Osimo on the road from Ancona (with views of Loreto and Campocavallo on the left-hand page)’.
Christopher Wynne, J.M.W. Turner (Lifelines), Munich, London and New York 2004, p.34.
Andrew Wilton, Turner in his Time, revised ed., London 2006, p.114.
Nicola Moorby, ‘Un tesoro italiano: i taccuini di Turner’, in James Hamilton, Nicola Moorby, Christopher Baker and others, Turner e l’Italia, exhibition catalogue, Palazzo dei Diamanti, Ferrara 2008, pp.100, 105 note 13.
Nicola Moorby, ‘An Italian Treasury: Turner’s sketchbooks’, in James Hamilton, Nicola Moorby, Christopher Baker and others, Turner & Italy, exhibition catalogue, National Galleries of Scotland, Edinburgh 2009, pp.113, 154 note 14.