U
DYS 44 art galeery london



REGGIA DI CASERTA SPECIAL EXHIBITION

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Elisabetta Sirani

Elisabetta Sirani

(Bologna, 1638-1665)
Oil on canvas, 109 x 149.5 cm
Berenice Cutting her Hair Bibliography:

Guercino. Poesia e sentimento nella pittura del '600, exh. catalogue, curated by D. Mahon, M. Pulini, V. Sgarbi, Rome, 2003-2004, Novara 2003, pp. 234-235; A. Modesti, Elisabetta Sirani: una virtuosa del Seicento bolognese, Bologna 2004, pp. 252-253; B. Bohn, The construction of artistic reputation in Seicento Bologna: Guido Reni and the Sirani, in "Renaissance Studies", 2011, n. 25, 4, pp. 511-537; M. Pulini, Le terre della pittura tra Marche e Romagna, Cesena, Galleria Comunale d’Arte, 25 June - 28 August 2011, Santa Lucia (Cesena), 2011, p. 25; A. Modesti, Elisabetta Sirani 'Virtuosa’. Woman's Cultural Production in Early Modern Bologna, in "Late medieval and Early Modern Bologna", Brepols 2014, n. 22, pp. 151-152 e p. 390; D. Dotti, Donne nell’arte da Tiziano a Boldini, Milan 2020, pp. 54-55

“Donne nell’Arte da Tiziano a Boldini”, Palazzo Martinengo Brescia - 22 January 2022 to 12 June 2022
Giovanni Francesco Barbieri, called Il Guercino

Giovanni Francesco Barbieri, called Il Guercino

(Cento, c.1591 – Bologna, 1666)
Oil on canvas, 199 x 97 cm
The Persian Sybil Expertise: Nicholas Turner (2017)
Artemisia: Wrouw & Macht – Rijksmuseum, Twenthe – 26 September 2021 – 23 January 2022.
Roman Artist from the First Quarter of the 18th Century

Roman Artist from the First Quarter of the 18th Century

First Quarter of the 18th Century
Carved wooden panel with miniature portraits and wax ovals, 125 x 107 cm
Commemorative Panel of Papal Portraits

Bibliography: Papi in posa, catalogue of the exhibition curated by M. E. Tittoni, F. Buranelli, F. Petrucci (Roma, 2004)

Papi in Posa, Palazzo Braschi; I Papi della Memoria - Castel Sant’Angelo June/ December 2012
Antiveduto Gramatica

Antiveduto Gramatica

(Siena, 1571 – Rome, 1626)
Oil on canvas, 142.5 x 197.5 cm
David Returning Triumphant with the Head of Goliath Prestigious Provenance Bibliography: Santi and C. Strinati (eds), Roma e Siena: Echi e opera. Raffaello e Caravaggio al centro di un rapporto millenario, exh. cat., Siena 2005, pp. 412–13
Artemisia: Wrouw & Macht – Rijksmuseum, Twenthe – 26 September 2021 – 23 January 2022; Siena, Palazzo Squarcialupi, Roma e Siena: Echi e opera. Raffaello e Caravaggio al Centro di un Rapporto Millenario, November 2005 – February 2006.
Giovanni Battista Gaulli, also called Baciccio

Giovanni Battista Gaulli, also called Baciccio

(Genoa, 1639 – Rome, 1709)
Oil on canvas, 87 x 66 cm
Portrait of Eleonora Boncompagni Borghese Bibliography: Petrucci, Un inedito ritratto di dama del Baciccio, in «Accademia degli Sfaccendati. Atti», 3, 1997, no. 3, p. 39-43; Petrucci, Dieter Graf, M. Fagiolo dell’Arco (curated by), Il Baciccio: Giovan Battista Gaulli, 1639-1709, Milano 1999, p. 88 e 117-118, no. 14, p. 342, no. 116; Petrucci, Ferdinand Voet, detto Ferdinando de’ Ritratti, Roma 2005, p. 79-80, image no. 70; Idem, Bernini pittore: dal disegno al ‘meraviglioso composto’, Roma 2006, p. 293; Idem, Pittura di ritratto a Roma. Il Seicento, Roma 2007, II, p. 318, III, p. 589, image no. 278; Idem, Baciccio, Giovan Battista Gaulli, Roma 2009, p. 426-427, no. A61; Petrucci in Da Artemisia a Hackert. La collezione di un antiquario, exh. catalogue, Reggia di Caserta, Foligno 2019, cat. 23 pp. 48-49
Ariccia, Palazzo Chigi, Giovan Battista Gaulli, Il Baciccio, 11th December 1999 – 12th March 2000, no. 14
Mattia Preti

Mattia Preti

(Taverna, 1613 – La Valletta, 1699)
Oil on canvas, 97 x 78 cm
Christ Crowned with Thorns Expertise: Nicola Spinosa (oral communication), Riccardo Lattuada (2019)
Ecce Homo. L’incontro tra il divino e l’umano per una diversa antropologia, Villa d’Este, Tivoli, 1 aprile-6 settembre 2020
Salvator Rosa

Salvator Rosa

(Naples, 1615 – Rome, 1673)
Oil on canvas, 128 x 102 cm
Executioner with the Head of the Baptist Bibliography: Spinosa in Salvator Rosa tra mito e magia, mostra e catalogo a cura di autori vari, Napoli 2008, pp. 248-249, n. 87; Spinosa in Da Artemisia a Hackert. La collezione di un antiquario, cat. della mostra, Reggia di Caserta, Foligno 2019, cat. 11 pp. 22-23

Artemisia: Wrouw & Macht – Rijksmuseum, Twenthe – 26 September 2021 – 23 January 2022
Artemisia Gentileschi

Artemisia Gentileschi

(Rome, 1593 – Naples, 1653)
Oil on canvas, 185.2 x 145.4 cm
Bathsheba at her Bath c. 1636-1638 Expertise: Riccardo Lattuada (2015) Bibliography: Nicolaci, catalogue entry, 41, in Artemisia Gentileschi: Storia di una passione, R. Contini and F. Solinas (eds.), exh. cat. Palazzo Reale, Milan 2011-2012, p. 228; Nicolaci, catalogue entry 52, in Artemisia, 1593-1654, R. P. Ciardi, R. Contini and F. Solinas (eds.), exh. Cat. Fondation Dina Vierny - Musée Maillol, Paris 2012, pp. 184-185; Spinosa, Grazia e tenerezza in posa: Bernardo Cavallino e il suo tempo 1616-1656 (Rome, 2013), p. 403, ill. A3.a. Lattuada, Unknown paintings by Artemisia in Naples, and new points regarding her daily life and “Bottega’, in Artemisa Gentileschi in a changing light, curated by S. Baker, London – Turnhout, 2015, pp. 203 – 205, fig. 34-39
Artemisia: Wrouw & Macht – Rijksmuseum, Twenthe – 26 September 2021 – 23 January 2022; Artemisia Gentileschi: Storia di una passione, Palazzo Reale, Milan, 22 September 2011 – 29 January 2012, curated by Roberto Contini and Francesco Solinas; Artemisia, 1593-1654; Fondation Dina Vierny - Musée Maillol, Paris, 14 March - 15 July 2012, curated by R. P. Ciardi, R. Contini and F. Solinas.
Giovanni Paolo Panini

Giovanni Paolo Panini

(Piacenza, 1691 – Rome, 1765)
Oil on canvas, 218.5 x 263.5 cm
The Consecration of Cardinal Rezzonico in the church of SS. Apostoli, Rome, 19 March 1743 Bibliography: Stato attivo e passivo dell’eredità del fu K.R. e Proc.r Ludovico Rezzonico. Inventario delli quadri, 2 January 1786, Archivio di Stato di Venezia. Giudici di Petizion. Inventarj B.481/7, E. Noè, 'Rezzonicorum cineres. Ricerche sulla collezione Rezzonico', in Rivista dell'Istituto nazionale di archeologia e storia dell'arte, 3, 1980, p. 257 (as hanging in 'secondo Portico ove abita il Fabis’); Moschini, 'Un'Opera Inedita di Gian Paolo Panini', in Bollettino d'Arte, VIII, April 1929, pp. 460-64, reproduced fig. 1; Fermi, 'Fortune e infortuni recenti di G. P. Pannini', in Bollettino Storico Piacentino,1931, f. 2, p. 64; Arisi, Gian Paolo Panini, Piacenza 1961, pp. 174-75; Arisi, Giovanni Paolo Panini, 1691-1765,exh. cat., Milan 1993, p. 160; Mattiti, 'La cerimonia di consacrazione del Cardinal Rezzonico nella chiesa dei Santi Apostoli', in Strenna dei Romanisti, April 1997, pp. 327-42; Mattiti, La Festa a Roma, exh. cat., Rome 1997, cat. no. A27, reproduced p. 222; R. Marshall, ‘G. P. Panini, “The Consecration of Monsignor Giuseppe Pozzobonelli as Archibishop of Milan in the Church of SS. Ambrogio e Carlo al Corso”, Como, Museo Civico’, in The Triumph of the Baroque: Architecture in Europe 1600-1750, H. Millon (ed.), exh. cat., Milan 1999, p. 595  
Rome, Palazzo Venezia, La Festa a Roma, 23 May - 15 September 1997, no. A27
Bernardo Bellotto

Bernardo Bellotto

(Venezia, 1720 - Dresda, 1780)
Oil on canvas, 48.3 x 79.9 cm
View of Karlskirche, Vienna Prestigious Provenance Bibliography: Tietze, Alt-Wien in Wort und Bild vom Ausgang des Mittelalters bis zum Ende des XVIII Jahrhunderts, Vienna 1926, illustrato pl. 104; H.A. Fritzsche, Bernardo Bellotto genannt Canaletto, Burg bei Magdeburg 1936, p. 115, no. VG 114 (menzionato incorrettamente come il Kaunitz Palace in Vienna); Trost, Canaletto's Viennese views, pp. 19 and 23, no. 9, illustrato fig. 9; Aurenhammer, in Johann Bernhard Fischer von Erlach,exh. cat. Vienna, Graz and Salzburg 1956p. 169, o. 53, illustrato fig. 12; Sedlmayer, in Johann Bernhard Fischer von Erlach, Vienna e Monaco, 1956, p. 134, illustrato fig. 165; Kozakiewicz, 'An almost unknown painter, Lorenzo Bellotto, son of Bernardo and a series of Bellottian views of Rome', in Venice and Poland in the centuries from the XVII to the XIX, Venice and Rome 1965, p. 98, illustrato fig. 61; Heinz, in Bernardo Bellotto gennant Canaletto, exh. cat. Vienna 1965, p. 59, n. 46; Haberstock, Hundert Bilder aus der Galerie Haberstock Berlin,Munich 1967, n. 67, illustrato; Kozakiewicz, Bernardo Bellotto, London 1972, vol. I, pp. 114 and 127, vol. II, pp. 198, and 200–01, no. 258, illustrato fig. 258; M.J. Knofler, Das Theresianische Wien. Der Alltag in den Bildern Canalettos, Vienna, Cologne and Graz 1979, p. 22, illustrato fig. 3; Rizzi, ‘Promenades bellottiane per Vienna e dintorni’, in Ateneo Veneto, vol. CLXXIX, 1992, pp. 274–75; Rizzi, Bernardo Bellotto. Dresda Vienna Monaco1747–1766,Venice 1996, p. 104, no. 86 (detail reproduced); Seipel (ed.), Bernardo Bellotto gennant Canaletto. Europäische veduten,exh. cat. Vienna 2005, p. 111, under no. 17, illustrato fig. 1 Exhibitions: Munich, Galerie Caspari, Italian painting, Venetians of the 16th–18th century, 1930, no. 4; Munich, Technische Hochschule, Architekturausstellung der Bayerisches Staatsgemäldesammlungen München, Settembre–Ottobre 1954; Dusseldorf, Kunstmuseum, in prestito dal 1966
Bernardo Bellotto, Royal Castle, Warsaw. September 2022 - January 2023
Guido Cagnacci

Guido Cagnacci

(Sant’Arcangelo di Romagna, 1601 – Vienna, 1663)
Oil on canvas, 118.2 x 95.3 cm
Allegory of Life Expertise: Gianni Papi (2019) Bibliography: G. Pasini, Guido Cagnacci, Rimini, 1986, pp. 255-259, no. 55, illustrated; Papi in Da Artemisia a Hackert. La collezione di un antiquario, exh. catalogue, Reggia di Caserta, Foligno 2019, cat. 36 pp. 78-79; P. Cristofari in Tempo Barocco, curated by F. Cappelletti and G. Gennari Santori, pp. 112-113
"Tempo Barocco", by F. Cappelletti and F. G. Santori, Palazzo Barberini, Roma, 15 May – 3 October 2021
Gaspar van Wittel, called Vanvitelli

Gaspar van Wittel, called Vanvitelli

(Amersfoort, 1652/1653 - Rome, 1736)
Gouache on paper, 23 x 19 cm
Naples, the Seiano Cave

Signed ‘G:V:/W:/MDCCXIX/ROMA’, to the right, on the rocks above the wall

Bibliography: Donatone, La Real Fabbrica di maioliche di Carlo di Borbone a Caserta, 1973, fig. 12: Maestro van Wittel. Dutch Master of the Italian cityscape, curated by J. Rozemond, Amersfoort 2019, cat. 75
Maestro van Wittel. Dutch Master of the Italian cityscape, exh. Amersfoort, Kunsthal Kale, 25 gennaio-5 maggio 2019
Gaspar van Wittel, called Vanvitelli

Gaspar van Wittel, called Vanvitelli

(Amersfoort, 1652/1653 - Rome, 1736)
Oil on canvas, 80 x 120 cm
View of the Old Aniene Waterfall, Tivoli
Signed at the bottom G. V. W
Bibliography: Briganti, Gaspar van Wittel e l'origine della veduta settecentesca, Rome 1966, p. 228 fig. 153
Maestro van Wittel. Dutch Master of the Italian cityscape, exh. Amersfoort, Kunsthal Kale, 25 gennaio-5 maggio 2019
Gaspar van Wittel, called Vanvitelli

Gaspar van Wittel, called Vanvitelli

(Amersfoort, 1652/3 - Rome, 1736)
Oil on canvas 75.7 x 174.8 cm
Naples, A View of the Riviera di Chiaia Prestigious Provenance Bibliography: Beddington, "Exhibition review: Gaspare Vanvitelli", in Apollo, CLVII, no. 495, May 2003, p. 53.
Maestro van Wittel. Dutch Master of the Italian cityscape, exh. Amersfoort, Kunsthal Kale, 25 gennaio-5 maggio 2019