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.
- Old Master Italian Paintings, Prints and Drawings, Yellowstone Art Center, Billings, Montana, 1991, color repro. in brochure.
- Extended loan for use by Secretary Mike Espy, U.S. Department of Agriculture, Washington, D.C., 1993-1994.
- Officina Veneziani. Maestri e Botteghe nella Venezia del Settecento, Centro Culturale Sant'Agostino, Cremona, 2002, no. 26, repro., as Attributed to Antonio Joli and Gaspare Diziani.
- Canaletto: Venezia e i suoi splendori, Casa dei Carraresi, Treviso, 2008-2009, no. 59, repro.
- From La Serenissima to the Eternal City: The Grand Tour in 18th Century Venice and Rome, The Mitchell Gallery, St. John's College, Annapolis, 2010, no catalogue.
- Venice: Canaletto and His Rivals, The National Gallery, London; National Gallery of Art, Washington, D.C., 2010-2011, no. 34, repro., as The Bacino di San Marco and the Molo with the Formal Entrance of the Apostolic Nuncio Monsignor Giovanni Francesco Stoppani, 17 April 1741.
- Brinton, Selwyn. Venice Past and Present. London, 1925: repro. 47, as by Canaletto.
- Constable, William George. Canaletto: Giovanni Antonio Canal, 1697-1768. 2 vols. Oxford, 1962: 2:346, no. 358 (rejects all connection to Canaletto or his school).
- Pignatti, Terisio. Disegni veneti del settecento nel Museo Correr di Venezia. Exh. cat. Fondazione Giorgio Cini, Venice, 1964: 64, as tentatively attributed to Antonio Stom.
- Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 22, as by Follower of Canaletto.
- 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, 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, 2:371, no. 358 (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:108-109, II:pl. 74, as possibly by Follower of Canaletto
- 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. 82.
- 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. 337.
The support is a plain-weave, loosely woven fabric identical to that of the companion painting. This canvas was also prepared with a red-brown ground visible at the edges and through abrasion of the paint layer. A white underlayer was used to prepare the architecture and sky. Unlike the companion piece, no underdrawing can be detected using infrared reflectography, nor are incised lines apparent in the architecture. The sky was painted first, then the successive layers of architecture, and finally the sea and gondolas. As in the companion painting, 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, and the "crawling" effect visible in the other painting is less evident here.
The tacking margins have been removed, but strong cusping is present around all four sides. There is abrasion throughout as well as losses. 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. It was examined in 1991.