La Strega (The Witch)

signed, on the sheet to the right of the figure: ‘SR’

with Galleria Altomani, Milan, by March 2003

Private collection, Europe

Acquired from the above by the present owner

Turin, Palazzina di Caccia di Stupinigi, Il Male: Esercizi di Pittura Crudele, 25 February – 26 June 2005

New York, David Zwirner, Endless Enigma: Eight Centuries of Fantastic Art, 12 September–­27 October 2018

Isabella de Stefano Giannuzzi Savelli, in Il Male: Esercizi di Pittura Crudele, Vittorio Sgarbi ed., Turin, 2006, exh. cat., no. 100, reproduced p. 162.

Franco Moro, Viaggio nel Seicento Toscano: Dipinti e disegni inediti, Mantova, 2006, pp. 197-98, reproduced fig. 10.

Umberto Eco, On Ugliness, Alastair McEwen, trans., Milan, 2007, pp. 212-13, reproduced p. 213.

Caterina Volpi, Salvator Rosa (1615-1673), ‘Pittore Famoso’, Rome, 2014, pp. 163, 167, 477, no. 158, reproduced fig. 138.

Dawn Ades, Olivier Berggruen, Nicholas Hall, and J. Patrice Marandel, Endless Enigma: Eight Centuries of Fantastic Art, New York, 2018, exh. cat., p. 186, reproduced pp. 184, 187.

Hannah Segrave, ‘Defining the Rosian Witch: Envy, Witchcraft, and Artistic Competition’, in Conjuring Genius: Salvator Rosa and the Dark Arts of Witchcraft, Newark, 2022, PhD diss., pp. 106-60, cat. no. X, reproduced fig. 3.1.

Hannah Segrave, ‘Salvator Rosa’s La Strega (1647-1650): The Witch’s Body’, in Magic: A Companion, Oxford and New York, 2022, pp. 217-25, reproduced fig. 35.