museums and institutions:
Attributed works:
1. The painting illustrated in Fig.3, before conservation treatment
and prior to structural treatment to remove non-original additions.
Attributed works:
10. Infra-red reflectography of Fig.1, showing former non-original
canvas extension.
Attributed works:
11. Detail of Fig.10, showing a pinnacle or water-jet and possible part
of a wall.
Attributed works:
12. Detail of Fig.10, showing a scroll-like form above the satyr’s head.
Attributed works:
13. Birth of St John the Baptist, by Artemisia Gentileschi. c.1635.
Oil on canvas, 184 by 258 cm. (© NPL - DeA Picture Library;
G. Dagli Orti; Bridgeman Images; Museo del Prado, Madrid).
Attributed works:
14. David and Goliath, by Orazio Gentileschi. c.1610–12. Oil on canvas,
173 by 142 cm. (Palazzo Spada, Rome; Bridgeman Images).
Attributed works:
15–17: Details of Fig.8 outlined in orange, overlaid with the corresponding
lines in green from Fig.3 in three positions: (Fig.15) showing the match
around the shoulder and back with the orange dots following where the
Royal Collection pentiment lines up with Susanna’s back in the Burghley
House painting; (Fig.16) shifted to show the match of the shoulder, arm
and hand; and (Fig.17) lining up the Royal Collection knee tracing over
the visible pentiment (shown with green dashed lines) of Susanna’s knee
in the Burghley House painting.
Attributed works:
18. Detail of Fig.19 outlined in blue overlaid with a tracing in orange
from Fig.3.
Attributed works:
19. St Catherine of Alexandria, by Artemisia Gentileschi. c.1627–30?.
Oil on canvas, 90 by 75.4 cm. (Nationalmuseum, Stockholm;
photograph © Christie’s Images; Bridgeman Images).
Attributed works:
2. Self-portrait as the Allegory of Painting, by Artemisia Gentileschi.
c.1638–39?. Oil on canvas, 96.8 by 75.2 cm. (© His Majesty King Charles
III, 2023; Royal Collection Trust).
Attributed works:
20. Detail of Fig.13, showing the midwife outlined in green, overlaid
with an inverted tracing in orange of the right-hand elder in Fig.3.
Attributed works:
21. Detail of Fig.3, showing Susanna’s raised foot with pentiment and
early drawing line visible in the white drapery.
Attributed works:
22. Bathsheba at her bath, attributed to Artemisia Gentileschi. c.1640–
45. Oil on canvas, 288 by 228 cm. (Private collection).
Attributed works:
23. Detail of a design for a painted vertical panel with grotesque
ornament, by Inigo Jones, showing Henrietta Maria’s cipher. 1630s.
Pen, ink and wash on paper. (Ashmolean Museum, Oxford).
Attributed works:
24. Design for a chimneypiece and overmantel for the Queen’s House,
Greenwich, by Inigo Jones. c.1637. Pen, ink and wash on paper, 19.3 by
29.5 cm. (Royal Institute of British Architects, London).
Attributed works:
25. Detail of Fig.10, showing carbon-based markings to denote
positioning.
Attributed works:
26. X-radiograph of Fig.7, showing the hooded reserve left for the
elders (showing dark) against the sky, similar in technique and
handling to the early reserve left for the elders and visible in Fig.9.
Attributed works:
27. X-radiograph of Fig.14, showing the broad sweeping contour
around the shoulder to lay in David’s form and echoing in style and
technique the preliminary placing of Susanna’s outline as seen in Fig.9.
Attributed works:
28. Detail of Fig.13, showing the grid-like craquelure resulting from the
relatively open weave of the canvas substrate.
Attributed works:
29. Detail of Fig.3, showing the wider craquelure resulting from the
finer-woven canvas.
Attributed works:
3. Susanna and the elders, by Artemisia Gentileschi. 1638–39. Oil
on canvas, 188.9 by 143.2 cm. (after structural treatment to remove
non-original additions). (© His Majesty King Charles III, 2023; Royal
Collection Trust).
Attributed works:
30. Paint cross section of Fig.3, from the area to the right of Susanna’s
lower foot.
Attributed works:
31. Paint cross section of Fig.3, taken from the right edge in the elder’s
green brocade .
Attributed works:
32. Paint cross section of Fig.3, from the left side of the sky; the warm
red preparatory layer is absent from this sample but it shows the
lower pale brown preliminary layer that was used under much of the
sky area, followed by a bright blue layer containing indigo and lead
white. The discoloured smalt layer lies above this.
Attributed works:
33. Paint cross section of Fig.3, from the sky area above the elder’s head.
Attributed works:
34. Paint cross section of Fig.3, taken from a shadow area of Susanna’s
hip with some reflected light, showing the thick preparatory layer
containing red ochre, followed by the darker brown underpaint for
the flesh tones, and finally the bright, densely encrusted aggregates
of lead-tin-antinomy yellow near the top.
Attributed works:
4. Detail of the reverse of Fig.3, showing ‘CR’ brand.
Attributed works:
5. The Queen’s Bedchamber, Kensington Palace, by Richard Cattermole.
c.1818. Watercolour and bodycolour on paper, 20.2 by 26.3 cm. (© His
Majesty King Charles III, 2023; Royal Collection Trust).
Attributed works:
6. Photograph of the painting illustrated in Fig.3, from the inventory
‘Pictures in the Royal Collections’, by Richard Redgrave (29th May
1862). (© His Majesty King Charles III, 2023; Royal Library, Royal
Collection Trust).
Attributed works:
7. Susanna and the elders, by Artemisia Gentileschi. 1610. Oil on canvas,
170 by 119 cm. (Schloss Weissenstein, Pommersfelden; Scala, Florence).
Attributed works:
8. Susanna and the elders, by Artemisia Gentileschi. 1622. Oil on canvas,
162.5 by 121.9 cm. (Burghley House, Stamford; Bridgeman Images).
Attributed works:
9. X-radiography of Fig.3.
