A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.II, p.1027, CCCXVIII 19, as ‘Evening. [On back,] – “25.”’.
A.J. Finberg, In Venice with Turner, London 1930, p.176, as ‘The Dogana; evening’, probably 1835.
Lindsay Stainton, Turner’s Venice, London 1985, p.47 no.16, as ‘TB CCXVIII-19’ (sic), ‘The Dogana from the steps of the Hotel Europa’, ?1833, pl.16 (colour).
Exhibition of Turner Watercolours for the Huntingdon [sic] Art Gallery, exhibition catalogue, Huntington Art Gallery, San Marino, California 1952, p.4, as ‘Venice: Evening from the Steps of the Europa Hotel (?)’, c.1837–41.
Ian Warrell in Warrell, David Laven, Jan Morris and others, Turner and Venice, exhibition catalogue, Tate Britain, London 2003, pp.132, 264 note 12, 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.8, as ‘The Dogana from the Steps of the Hotel Europa’, 1833
Finberg’s 1909 Inventory listed this work as simply ‘Evening’; in 1930 he revised the entry to identify ‘The Dogana; evening’. Meanwhile, he annotated his own copy of the Inventory: ‘Prby. Dogana from S. Maria Zobenigo (d. brown of bldgs. On left, sky dark pink & blue)’. The Turner scholar C.F. Bell marked his own copy: ‘From the steps of the Europa’. In the dim light of what is perhaps moonlight rather than dusk, the familiar porch of the Dogana is on the right to the south across the entrance of the Grand Canal, framing a much-compressed view south-east over the Bacino; on the left the waterfront runs east-north-east towards the Molo; there is no indication of the island and church of San Giorgio Maggiore across the water in the gloom.