A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.II, p.1018, CCCXVI 5, as ‘View from a top room: Venice (?)’.
A.J. Finberg, In Venice with Turner, London 1930, p.173, as ‘View from the Hotel Europa’, 1840.
John Gage, Colour in Turner: Poetry and Truth, London 1969, pp.19, 226 note 12.
Andrew Wilton, Turner in the British Museum: Drawings and Watercolours, exhibition catalogue, Department of Prints and Drawings, British Museum, London 1975, p.137 under no.225.
Lindsay Stainton, Turner’s Venice, London 1985, p.61 under no.74.
Ian Warrell in Warrell, David Laven, Jan Morris and others, Turner and Venice, exhibition catalogue, Tate Britain, London 2003, pp.138, 259.
Johan Holten ed., Room Service: Vom Hotel in der Kunst und Künstlern im Hotel / On the Hotel in the Arts and Artists in the Hotel, exhibition catalogue, Staatliche Kunsthalle Baden-Baden 2014, reproduced in colour p.140, as ‘Venice: View across the rooftops from Hotel Europa’, 1840
The Turner scholar C.F. Bell annotated Finberg’s 1909 Inventory entry (‘View from a top room: Venice (?)’), crossing out the question mark and adding ‘“Juliet & her nurse”’. This is a reference to the painting Juliet and her Nurse, exhibited at the Royal Academy in 1836 (private collection; engraved in 1842 as ‘St Mark’s Place, Venice’: Tate impression T05188), with its view eastwards from high above the Piazza San Marco (St Mark’s Square). Numerous watercolours (often night scenes) now associated with Turner’s 1840 stay in Venice were formerly considered likely preparatory studies and consequently dated prior to the painting; see the Introduction to the present tour..