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, pp.215, 373, 611 no.70, as ‘Venice, from Fusina’.
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.II, p.1020, CCCXVI 25, as ‘Venice from Fusina. Exhibited Drawings, No.70, N.G.’.
J[ohn] E[rnest] Phythian, Turner, London , pp.104–5.
A.J. Finberg, In Venice with Turner, London 1930, p.174, as ‘From Fusina’, 1835 or 1840.
Martin Butlin, Turner Watercolours, London 1962, pp.6, 11, p.56 no.19, as ‘Venice from Fusina (?)’, pl.19 (colour).
Lawrence Gowing, Turner: Imagination and Reality, exhibition catalogue, Museum of Modern Art, New York 1966, reproduced in colour p.17, p.62 no.73, as ‘Sunset, Returning from Torcello’, ?1835.
Lindsay Stainton in Stainton and Richard S. Schneiderman, J.M.W. Turner Watercolors from the British Museum, exhibition catalogue, Georgia Museum of Art, University of Georgia, Athens 1982, p.69 no.68, as ‘Venice: Sunset’, 1840, reproduced.
Lindsay Stainton, Turner’s Venice, London 1985, pp.26, 63 no.83, as ‘Venice from Fusina (?)’, ?1840, pl.83 (colour).
Ian Warrell, Through Switzerland with Turner: Ruskin’s First Selection from the Turner Bequest, exhibition catalogue, Tate Gallery, London 1995, pp.115–16 no.70, as ‘Venice (Venice: Looking across the Lagoon)’, 1840, reproduced in colour.
Michael Lloyd, Andrew Wilton, Evelyn Joll and others, Turner, exhibition catalogue, National Gallery of Australia, Canberra 1996, reproduced in colour p.149, p.234 no.81, as ‘Venice: Looking across the Lagoon’, 1840, reproduced in colour.
Turner 1775 1851, Découvrons l’art, Paris 1996, pl.33 (colour), as ‘Venise, vue de Fusina’, ?1840.
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, fig.27 (colour), as ‘Venice, Looking across the Lagoon’, 1840.
Sam Smiles, J.M.W. Turner, British Artists, London 2000, p.10, fig.4 (colour), as ‘Venice: Looking across the Lagoon’, 1840.
Bronwyn Ormsby, with Joyce H. Townsend, Brian Singer and John Dean, ‘Blake’s Use of Tempera in Context’, in Joyce H. Townsend (ed.), Robin Hamlyn and others, William Blake: The Painter at Work, London 2003, p.144.
Ian Warrell in Warrell, David Laven, Jan Morris and others, Turner and Venice, exhibition catalogue, Tate Britain, London 2003, pp.235–6, 259, 273 no.174, as ‘Looking across the Lagoon at Sunset’, c.1840, fig.259 (colour).
Sarah Taft in Katharine Lochnan, Luce Abélès, John House and others, TurnerWhistlerMonet, exhibition catalogue, Art Gallery of Ontario, Toronto 2004, p.216 no.91, as ‘Venice: Looking across the Lagoon at Sunset’, 1840, reproduced in colour.
David Blayney Brown, Turner Watercolours, exhibition catalogue, Tate Britain, London 2007, reproduced in colour p.112, as ‘Venice: Looking across the Lagoon at Sunset’, 1840, and front cover (detail).
Leo Costello, J.M.W. Turner and the Subject of History, Farnham and Burlington 2012, pp.167, 168, pl.22 (colour), as ‘Venice: Looking across the Lagoon at sunset’, 1840.
David Blayney Brown, Turner: Opere della Tate, exhibition catalogue, Chiostro del Bramante, Rome 2018, reproduced in colour p.127 no.75, as ‘Venezia, veduta della laguna al tramonto’, 1840, and front cover (detail).
Andrés Duprat and David Blayney Brown, J.M.W. Turner. Acuarelas: Tate Collection, exhibition catalogue, Museo Nacional de Bellas Artes, Buenos Aires 2018, reproduced in colour pp. (detail) and 115, p.130, as ‘Venice: Looking across the Lagoon at Sunset’, 1840.