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, no.329, pp.379, 624, as ‘Campagna. Warm sunset. Inestimable’ and ‘Roman campagna’.
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.556, as ‘Roman campagna: Sunset. Water colour. Exhibited Drawings, No.329, N.G.’.
D[ugald] S[utherland] MacColl, National Gallery, Millbank: Catalogue: Turner Collection, London 1920, p.86.
Thomas Ashby, Turner’s Visions of Rome, London and New York 1925, p.28, reproduced in colour pl.23 opposite p.26, as ‘Roman campagna: Sunset’.
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, no.18, pp.10, 17, reproduced p., as ‘The Roman campagna Sunset’.
Luke Herrmann, Turner: Watercolours Lent by the British Museum, exhibition catalogue, Musée Provisoire d’Art Moderne, Brussels 1970, no.15, pp.7, 17, as ‘La Campagne Romaine’.
Martin Butlin, Andrew Wilton and John Gage, Turner 1775–1851, exhibition catalogue, Royal Academy, London 1974, no.228, pp.88 under no. 218, reproduced in colour, p.36, as ‘A View over the Roman campagna with a low Sun’.
Gerald Wilkinson, The Sketches of Turner, R.A. 1802–20: Genius of the Romantic, London 1974, reproduced in colour (dust jacket).
John Sillevis, Nini Jonker and Hripsimé Visser, Turner 1775–1851, exhibition catalogue, Haags Gemeentemuseum, The Hague 1978, no.28, p.62, reproduced, as ‘Gezicht op de Campagna bij Rome, Zonsopgang’.
John Gage, Exposicion del gran pintor ingles, William Turner: Oleos y acuarelas: Collecciones de la Tate Gallery, British Museum y otros museos ingleses, exhibition catalogue, Museo de Arte Moderno, Mexico City 1979, no.BM 26, reproduced p.29, as ‘Vista de la campiña romana a la salida del sol’.
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Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, p.426, as ‘View from Monte Testaccio (see Ashby, 1925, plate 23)’.
Gerald Wilkinson, Turner’s Colour Sketches 1820–34, London 1975, p.18.
Andrew Wilton, Turner Abroad: France; Italy; Germany; Switzerland, London 1982, p.42, reproduced in colour pl.33, as ‘View across the Campagna with a low sun’.
Maurice Davies, Turner as Professor: The Artist and Linear Perspective, exhibition catalogue, Tate Gallery, London 1992, no.85, pp.67, 100, reproduced p.68, as ‘View across the Campagna with a Low Sun’.
David B[layney] Brown, Yasuhide Shimbata and Hideko Numata, J.M.W. Turner 1775–1851: A Tate Gallery Collection Exhibition, exhibition catalogue, Yokohama Museum of Art 1997, no.40, pp.35, 90, reproduced in colour, as ‘The Roman campagna, Sunset’.
David Blayney Brown, Klaus Albrecht Schröder, Evelyn Benesch and others, Joseph Mallord William Turner, exhibition catalogue, Bank Austria Kunstforum, Vienna 1997, no.48, pp.32, 202, reproduced in colour and detail p., as ‘The Roman campagna, Sunset’.
David Blayney Brown, Turner in the Tate Collection, London 2002, p.112, reproduced p.113 pl.68.
Christopher Baker and James Hamilton, Turner és Itália, exhibition catalogue, Szépmuvészeti Múzeum, Budapest 2009, p.54, reproduced p.53, fig.55.