Possibly Cardinal Gianfrancesco Stopani [d. 1774], Rome; by inheritance to Marchese Schiuchinelli, Cremona; Giuseppe Castagna and Felice Ponzio, 1836. Lady Mary Baillie of Polkemmet, née Stewart [d. 1910]; Admiral Johnston Stewart of Polkemmet, perhaps nephew of preceding; (Christie, Manson & Woods, London, 21 June 1912, no. 140); bought by C. H. Thrift for (Arthur Tooth and Sons, 1912); sold 14 July 1925 to Viscount Gabriel Chabert. (Arnold Seligmann, London), early 1930s; sold to Barbara Hutton; gift 1945 to NGA.
- Extended loan for use by Secretary Clayton Yeutter, U.S. Department of Agriculture, Washington, D.C., 1989-1991.
- Old Master Italian Paintings, Prints and Drawings, Yellowstone Art Center, Billings, Montana, 1991, mentioned in brochure.
- Il Mondo di Giacomo Casanova: Un Veneziano in Europa 1725-1798 [The World of Giacomo Casanova: A Venetian in Europe 1725-1798], Museo del Settecento Veneziano - Ca'Rezzonico, Venice, 1998-1999, no. 7, repro., as by Antonio Joli and Gaspare Diziani.
- Officina Veneziani. Maestri e Botteghe nella Venezia del Settecento, Centro Culturale Sant'Agostino, Cremona, 2002, no. 27, repro., as Attributed to Antonio Joli and Gaspare Diziani.
- Canaletto: Venezia e i suoi splendori, Casa dei Carraresi, Treviso, 2008-2009, no. 60, repro.
- Venice: Canaletto and His Rivals, The National Gallery, London; National Gallery of Art, Washington, D.C., 2010-2011, no. 35, repro., as The Courtyard of the Doge's Palace with the Apostolic Nuncio Monsignor Giovanni Francesco Stoppani and Senators in Procession, 17 April 1741 (shown only in Washington).
- Brinton, Selwyn. Venice Past and Present. London, 1925: repro. 48, as by Canaletto.
- Constable, William George. Canaletto: Giovanni Antonio Canal, 1697-1768. 2 vols. Oxford, 1962: 2:216, no. 83a (rejects all connection to Canaletto or his school).
- European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 15, repro.
- Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 43, as School of Canaletto.
- Pignatti, Terisio. "La gondola del legato papale nella pittura veneziana del settecento." Arte Illustrata 48 (1972): 156-157, fig. 1, as Circle of Marieschi.
- European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 54, repro., as by Follower of Canaletto.
- Constable and Links 1976, 2:224-225, no. 83a (rejects all connection to Canaletto or his school).
- Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: I:108, II:pl. 74, as Follower of Canaletto, with reservations.
- European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 74, repro., as by Follower of Canaletto.
- Succi, Dario. "Que la fête continue: ospiti illustri e feste straordinarie nelle vedute da Carlevarijs a Guardi." In Luca Carlevarijs e la veduta veneziana del Settecento. Exh. cat. Palazzo della Ragione, Padua, 1994: 59, 81-85, color repro. 83.
- De Grazia, Diane, and Eric Garberson, with Edgar Peters Bowron, Peter M. Lukehart, and Mitchell Merling. Italian Paintings of the Seventeenth and Eighteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 334-340, repro. 336.
The support is a plain-weave, loosely woven fabric prepared with a red-brown ground visible at the edges and through abrasion of the paint layer. A white underlayer was used beneath the architecture and sky. Infrared reflectography reveals fine, precise underdrawing for the perspective and architectural details, probably executed with the aid of a straightedge. Incised lines were also used in the architecture. The sky was painted first and then the successive layers of architecture. The figures were added over the already completed background. The paint was applied quickly wet-into-wet and is moderately thick throughout. Glazes were added for detail.
The tacking margins have been removed, but strong cusping is present around all four sides. There is abrasion throughout as well as losses. Several losses are concentrated in a 40 x 40 cm area at the right. Traction crackle is present especially in the dark glazes. The varnish is discolored with markedly discolored patches in the sky. The painting, which was lined at an unknown date, has not been treated since acquisition.