A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.535, CLXXXI 6, as ‘Venice: Punta della Salute’.
A.J. Finberg, In Venice with Turner, London 1930, pp.23, 168, as The Dogana with shipping’.
Kenneth Clark, Michel Florisoone, Geoffrey Grigson and others, The Romantic Movement: Fifth Exhibition to Celebrate the Tenth Anniversary of the Council of Europe, exhibition catalogue, Tate Gallery and Arts Council Gallery, London 1959, p.264 under no.443.
Luke Herrmann, Turner: Watercolours Lent by the British Museum, exhibition catalogue, Musée Provisoire d’Art Moderne, Brussels 1970, p.7, p. no.10, as ‘La Dogana et Zitelle: lever de soleil, Venise’.
John Gage, Turner and Watercolour: An Exhibition of Watercolours Lent from the Turner Bequest at the British Museum, exhibition catalogue, Herbert Art Gallery & Museum, Coventry 1974, pp.25, 45 no.17, as ‘Venice: Punta della Salute’, reproduced p.25.
Andrew Wilton, Turner in the British Museum: Drawings and Watercolours, exhibition catalogue, Department of Prints and Drawings, British Museum, London 1975, p.52 no.58, as ‘CLXXI–6’, ‘Venice: The Zitelle and the Dogana, sunrise’.
Jean Selz, Turner, Naefels 1977, reproduced in colour p.79, as ‘Venice: Punta della Salute’.
Andrew Wilton, J.M.W. Turner: His Life and Work, Fribourg 1979, p.142.
Andrew Wilton, Turner Abroad: France; Italy; Germany; Switzerland, London 1982, pp.40–1 no.28, as ‘Venice: the Dogana from the Hotel Europa’, pl.28 (colour).
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Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp.43, 448 note 76.
Lindsay Stainton, Turner’s Venice, London 1985, pp.33, 42 no.3, as ‘The Punta della Salute, with the Zitelle in the distance: morning’, pl.3 (colour).
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, pp.16, 201 note 44.
Ian Warrell, J.M.W. Turner 1775–1851: Impressions de Gran Bretanya i el Continent Europeu / Impresiones de Gran Bretaña y el Continente Europeo, exhibition catalogue, Centre Cultural de la Fundació la Caixa, Barcelona 1993, p.114 no.30, reproduced in colour p.115, p.292, as ‘Venice: The Punta della Salute, with the Zitelle in the distance’.
Ian Warrell, J.M.W. Turner 1775–1851: Aquarelles et Dessins du Legs Turner: Collection de la Tate Gallery, Londres / Watercolours and Drawings from the Turner Bequest: Collection from the Tate Gallery, London, exhibition catalogue, Palais des Beaux-Arts de Charleroi 1994, p.116 no.30, as ‘Venice: The Punta della Salute, with the Zitelle in the distance’, reproduced in colour p..
Andrew Wilton, Venise: Aquarelles de Turner, Paris 1995, reproduced in colour p.56 (detail), as ‘Lueurs du matin sur la pointe de Santa Maria della Salute, à l’arrière-plan le Zitelle’.
Eric Shanes, Turner’s Watercolour Explorations 1810–1842, exhibition catalogue, Tate Gallery, London 1997, pp.20, 36–7 no.5, as ‘The Punta della Salute, with the Zitelle in the Distance: Morning’, reproduced in colour.
Ian Warrell, David Laven, Jan Morris and others, Turner and Venice, exhibition catalogue, Tate Britain, London 2003, pp.12, 16, 88, 271 no.85, as ‘The Punta della Dogana, with the Zitelle in the Distance’, fig.75 (colour).
Ian Warrell, Cecilia Powell and David Laven, Turner i Venècia, exhibition catalogue, Fundació la Caixa, Barcelona 2005, p.86 no.20, as ‘La punta de la Dogana, amb al Zitelle al lluny’, reproduced in colour.
Andrew Wilton, Turner in his Time, revised ed., London 2006, reproduced in colour p.116, as ‘Venice: looking east towards San Pietro di Castello – Early Morning’.
Ian Warrell, ‘The Approach of Night: Turner and La Serenissima’ in Martin Schwander, Bozena Anna Kowalczyk, Warrell and others, Venice: From Canaletto and Turner to Monet, exhibition catalogue, Fondation Beyeler, Riehen 2008, pp.57, 67 note 1.
Inés Richter-Musso, Kathrin Baumstark and others, Venedig: Stadt der Künstler, exhibition catalogue, Bucerius Kunst Forum, Hamburg 2016, p.157 no. 71, reproduced in colour, as ‘Venedig: Die Punta della Dogana, mit der Zitelle im Hintergrund (Venice: The Punta della Dogana, with the Zitelle in the Distance’.