Bernhard Kerber. "Giuseppe Bartolomeo Chiari." Art Bulletin 50 (March 1968), p. 80, as discovered in a private collection in Florence in 1960 by A. M. Clark [but see ex. coll.].
Anthony M. Clark in Painting in Italy in the Eighteenth Century: Rococo to Romanticism. Exh. cat., Art Institute of Chicago. Chicago, 1970, p. 190, refers to it as a "Chiari-like" Maratti, a variant of Maratti's Bathsheba in the Liechtenstein collection; locates it in the Modestini collection, New York.
John T. Spike. Italian Baroque Paintings from New York Private Collections. Exh. cat., Art Museum, Princeton University. Princeton, 1980, pp. 6, 43–45, no. 14, ill., dates it to the last decade of the 17th century and gives it to Chiari, noting that Manuela Mena first made this attribution; observes that the composition derives from and reverses that of Maratti's painting of the subject in the Liechtenstein Gallery, which he believes is contemporaneous with our depiction; notes that an early study for our painting (fig. 7) is in the National Gallery of Scotland.
Steffi Röttgen in Guido Reni und Europa: Ruhm und Nachruhm. Exh. cat., Schirn Kunsthalle Frankfurt. Frankfurt, 1988, pp. 606–7, no. D30, ill. (color), states that it derives from Carlo Maratti's painting of the subject made for the Prince of Liechtenstein in 1693.
Old Master Pictures. Christie's, London. April 9, 1990, p. 105, note that this painting is a variant of a Bathsheba by Carlo Maratti (lot no. 66A), one of a pair of ovals made for the Marchese Niccolò Pallavicini and in an English collection from 1758; suggest that Chiari may also have been involved in the execution of the ovals.
Keith Christiansen in "Recent Acquisitions, A Selection: 1993–1994." Metropolitan Museum of Art Bulletin 52 (Fall 1994), pp. 34–35, ill. (color).
Mario Modestini. Letter to Andrea Bayer. February 7, 1994, comments on the painting's physical state and provenance.
Christopher M. S. Johns in Art in Rome in the Eighteenth Century. Exh. cat., Philadelphia Museum of Art. Philadelphia, 2000, p. 346, no. 198, ill. [dropped from exhibition], dates it about 1700; finds Chiari's interpretation of the subject "remarkably different from Maratti's prototype," observing that our passive admiration of Bathsheba's beauty replaces the sense of "dire moral consequences" in the earlier work; believes our composition is based on an engraving.