Artemisia Gentileschi

Please note the painting has been requested for the forthcoming exhibition organized by Professor Giuseppe Porzio and Dottor Antonio Ernesto Denunzio, Artemisia Gentileschi a Napoli, to be held in the Gallerie d’Italia, Naples, December 2022- March 2023. Please refer to the online catalogue for the most updated cataloging.

Probably Luigi Romeo, Barone di San Luigi, Naples, before 1642 (with its pendant depicting David and Bathsheba);
Private collection, France, by 1990s;
By whom anonymously sold ("Property of a Gentleman"), London, Sotheby’s, 6 December 1995, lot 53 (as Artemisia Gentileschi);
There acquired.

B. De Dominici, Vite de'pittori, scultori, ed architetti napoletani, vol. III, Rome 1742, pp. 198-9;
E. Brunetti, Situazione di Viviano Codazzi, Florence 1956 pp. 59-60, note 28;
Colnaghi, exhibition catalogue, London 1963, under cat. no. 25, reproduced plate 14;
"Notable Works of Art now on the Market", in The Burlington Magazine, vol. CV (June 1963), supplement III, opposite p. 292 (as the unlocated pendant to the Columbus David and Bathsheba);
G.L. Briganti, L. Trezzani, and L. Laureati, "Viviano Codazzi", in Pittori Bergamaschi dal XIII al XIX secolo, Il Seicento, vol. I, 1983, p. 706, cat. no. 161, under missing works (as a collaborative work with the figures by Artemisia, the architecture by Codazzi, and the landscape by Micco Spadaro);
N. Spinosa, La pittura napoletana del '600, Naples 1984, reproduced plate 424 and in color plate VII (as a collaborative work between Artemisia, Codazzi, and Gargiulo);
M.D. Garrard, Artemisia Gentileschi, 1989, 516, note 212, (as the untraced pendant to the Columbus David and Bathsheba);
R. Contini, in Artemisia, exhibition catalogue, Florence 1991, pp. 113, 179 (as difficult but probably Artemisia with Codazzi and Gargiulo);
D. Ryley Marshall, Viviano & Niccolo Codazzi & Baroque Architectural Fantasy, Milan 1993, pp. 153-155, cat. no. VC56 (as a collaborative work between Artemisia, Viviano Codazzi, and Gargiulo, datable to either shortly before 1638 or circa 1641);
G. Sestieri in Sestieri and B. Dapra, Domenico Gargiulo detto Micco Spadaro, paesaggista e ‘cronista’ napoletano, Milan 1994, pp. 3, 92, cat. no. 23 (as a collaborative work between Artemisia, Codazzi, and Gargiulo);
G. Pagliarulo, “Artemisia: La Betsabea di Gosford House,” in Nuovi Studi vol. I (1996), p. 154;
R.W. Bissell, Artemisia Gentileschi and the Authority of Art, University Park 1999, pp. 85, 266-67, cat. no. 38 (as a collaborative work with the figure of Susanna and prime responsibility for the composition by Artemisia, the Elders possibly by Cavallino, and the architecture and background by Gargiulo after a design by Codazzi, and as datable to 1637/8 and the pendant to the Columbus David and Bathsheba);
R. Lattuada, in Orazio and Artemisia Gentileschi, K. Christiansen and J.W. Mann (eds.), exhibition catalogue, New York 2001, pp. 384-385, 390-391 notes 54-57 (as a collaborative work with the figure of Susanna by Artemisia, the Elders by Cavallino, and the architecture and  background by Gargiulo after a design by Codazzi and as pendant to the Columbus David and Bathsheba);
J.W. Mann, in Orazio and Artemisia Gentileschi, K. Christiansen and J.W. Mann (eds.), exhibition catalogue, New York 2001, p. 417 under cat. no. 80, reproduced p. 414, fig. 144 (as difficult to attribute to Artemisia and more likely Cavallino);
L. Treves (ed.), Artemisia, exhibition catalogue, London 2020, pp. 214, 216, under cat. no. 33, 235 note 4 (as a collaborative work with Codazzi and Gargiulo, and as pendant to the Columbus David and Bathsheba).