The Church of Santa Maria della Salute, Venice

copy in curatorial file]

Filippo Pedrocco, Visions of Venice: Paintings of the 18th Century (London: Tauris Parke, 2002), pp. 164, 168 (ill.).

Roberto Contini, The Thyssen-Bornemisza Collection: Seventeenth and Eighteenth Century Italian Painting (London: Philip Wilson Publishers, 2002), pp. 329, 330, under no. 73, fig. 2.

Antonio Morassi, “Circa gli esordi del vedutismo di Francesco Guardi con qualche cenno sul Marieschi,” in Studies in the History of Art: Dedicated to William E. Suida on his eightieth birthday (London: Phaidon Press for the Samuel H. Kress Foundation, 1959), pp. 338-344.

Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1956), p. 27.

Daniel Catton Rich, “In a Minor Key,” Art Institute of Chicago Quarterly 47, 2 (1953), p. 33 (ill.).

by descent in the Pilkington family to Sir Arthur William Milborne-Swinnerton-Pilkington, 13th Bt. (died 1952), Chevet Hall, Wakefield, Yorkshire [according to letter cited above]

Rodolfo Pallucchini, La pittura veneziana del Settecento, pt. 2 (Bologna: Casa Editrice Prof. Riccardo Pàtron, 1951), p. 208.

offer for £1800 – 15 Sept. 1950 by Ed. Speelman Ltd.” and “pendant picture by Marieschi”]

Rodolfo Pallucchini, “Dipinti Veneziani a Chicago, Detroit, Toledo e Hartford,” in Arte Veneta 1 (1947), pp. 146-48, fig. 133.

Probably Sir William Pilkington, 8th Bt. (died 1850), Butterton Hall and Chevet Hall, Wakefield, Yorkshire, from about 1846 [according to letter from Edward Speelman to Daniel Rich, dated May 8, 1946

sold to Edward Speelman, London, by May 1946 [according to letter cited above, the painting may have had a pendant, now untraced, since a photograph of “A Regatta on the Grand Canal” in the curatorial file is labeled “22 x 33 ½ inches

sold to the Art Institute, 1946.

Federico Montecuccoli degli Erri and Filippo Pedrocco, Michele Marieschi: la vita, l’ambiente, l’opera (Milan: Bocca Editori, 1999), p. 390, no. 162 (ill.).

Rodolfo Pallucchini, La pittura nel Veneto. Il Settecento, vol. 2 (Milan: Electa, 1996), pp. 305, 309, no. 461 (ill.).

Mario Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto (Venice: ASDE Associazione Dirigenza Enel, 1991), pp. 30, 54, no. M.11.2 (ill.); 2nd ed. (Venice: Studio LT2, 2002), pp. 38, 58, 62, 81, no. M.11.02, fig. 10.

Dario Succi, Marieschi: tra Canaletto e Guardi, exh. cat. (Gorizia: Castello di Gorizia, 1989), pp. 194, 197, fig. 238.

Ralph Toledano, Michele Marieschi. L’opera completa (Milan: Arnoldo Mondadori, 1988), p. 87, no. V.14.1 (ill.); 2nd ed. (Milan: Arnoldo Mondadori, 1995), p. 84, no. V.19.a (ill.).

Mario Manzelli, “Proposta per l’identificazione di Michele Marieschi e del suo alter-ego Francesco Albotto,” in Arte Veneta 41 (1987), p. 114, no. M9.

Dario Succi, Michiel Marieschi: Venezia in scena, exh. cat. (Milan: Galleria Lorenzelli, 1987), pp. 76-7, under no. 16.

Ludovico Mucchi and Alberto Bertuzzi, Nella profondità dei dipinti: la radiografia nell’indagine pittorica (Milan: Electa Editrice, 1983), pp. 112, 169, 173, no. M5.

Williamstown, Mass., Sterling and Francine Clark Art Institute, February 3-April 1, 1973, no cat.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge: Harvard University Press, 1972), p. 120.

Allentown, Pa., Allentown Art Museum, Circle of Canaletto, February 20-March 21, 1971, no. 34.

Mercedes Precerutti-Garberi, “Michele Marieschi ed i ‘capricci’ del castello Sforzesco di Milano” in Pantheon 26 (1968), pp. 42, 44, fig. 10.

Rodolfo Pallucchini, “A proposito della mostra Bergamasca del Marieschi,” in Arte Veneta 20 (1966), p. 319, fig. 377.

Toronto, Art Gallery of Toronto, Canaletto: A retrospective exhibition of the work of Canaletto, October 16-November 15, 1964; Ottawa, National Gallery of Canada, December 4, 1964-January 10, 1965; Montreal Museum of Fine Arts, January 29-February 28, 1965, no. 132.

Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich: A. Schroll, 1961), p. 518.