Polycrates' Crucifixion

1. Bonaventura Argenti (died 1697), Rome; by descent to Argenti’s heirs, Rome 1697 to 1698 [“Due quardri da Quattro palmi in circa, con due Historie di Policrate cornice dorata di Salvator Rosa, Scudi “Two pictures, each about four palms across, with two histories of Policrates framed in gold by Salvator Rosa, 250 Scudi; Giuseppe Ghezzi, “Quadri delle case de Prencipi in Roma,” 1686–1717, MS. 93, Palazzo Braschi, Rome, c. 283; published by Meroni 1978, p. 89 and de Marchi 1987, pp. 384, 392–93]; consigned for sale to Giuseppe Ghezzi, Rome, about 1698 [see Ghezzi 1686–1717 cited above]. Probably 2nd Earl of Warwick, (Warwick Castle) by 1801 [auction of June 1, 1801 at Christie’s, bought in, see Fredericksen and Zeri 1972]. Schaeffer Galleries, New York, 1942 [see New York 1942, no. 30]. A. F. Mondschein, New York by 1942; sold to the Art Institute, 1942.

Recorded by Art Institute of Chicago.

• New York, Schaeffer Galleries, Gem of Baroque Painting, 1942, no. 30.
• New York, Durlacher Brothers, A Loan Exhibition of Paintings by Salvator Rosa 1615–1673, 1948, no. 2.
• Montreal, Museum of Fine Arts, Six Centuries of Landscape, 1952, no. 27 (ill.).
• Newark, New Jersey, The Newark Museum, Old Masters from American Collections, 1955–56, no. 7.
• Wellesley, Massachusetts, Wellesley College Museum, Salvator Rosa in America, 1979, no. 12, ill.
• London, Dulwich Picture Gallery, Salvator Rosa, 1615-1673: Bandits, Wilderness and Magic; Fort Worth, Kimbell Museum of Art, December 12, 2010-March 27, 2011 [Fort Worth only].

• Lady Morgan, The Life and Times of Salvator Rosa, London, 1824, vol. 2, p. 368.
• Frederick A. Sweet, “Two Canvases by Salvator Rosa, “ Bulletin of the Art Institute of Chicago 36 (1942), p. 100–01 (ill.).
• “Report for the Year 1942,” Bulletin of the Art Institute of Chicago 37 (March 1943), pt. 3, pp. 7, 157, ill. p. 138.
• Sol A. Davidson, “Twin Rosa Canvases Acquired by Chicago,” The Art Digest 17 (February 15, 1943), p. 15.
• The Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago, Chicago, 1945, p. 29.
• The Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago, Chicago, 1948, p. 26.
• The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961) p. 403.
• Luigi Salerno, Salvator Rosa, Milan, 1963, pp. 52, 112–13, pl. 20.
• A[lfred] M[oir], Art In Italy, 1600–1700, exh. cat., pp. 141–142, under no. 157.
• Richard William Wallace, “The Figure Paintings of Salvator Rosa,” Ph. D. diss., Princeton University, 1965, (Ann Arbor, University Microfilms), pp. 80, 82–89, 108–109, 157, fig. 49.
• Richard William Wallace, “Salvator Rosa’s ‘Death of Atilius Regulus’,” Burlington Magazine 109 (1967), p. 396.
• Richard William Wallace, “Salvator Rosa’s ‘Justice Appearing to the Peasants,’” Journal of the Warburg and Courtauld Institute 30 (1967), p. 432.

The Fall of the Giants

Art Institute of Chicago

Two warriors, one seated asleep on a foreground rock, from Figurine series

Art Institute of Chicago

A warrior sits on a block and gestures; two figure are behind him, from Figurine series

Art Institute of Chicago

Saint William of Maleval

Art Institute of Chicago

A Warrior in Full Armor in a Grotto

Art Institute of Chicago

Polycrates and the Fisherman

Art Institute of Chicago

Death of Atilius Regulus

Art Institute of Chicago

The Genius of Salvator Rosa

Art Institute of Chicago

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