Canberra, National Gallery of Australia, 28 March - 16 June 2002; Melbourne, Melbourne Museum, 7 July- 5 October 2002, Titian to Tiepolo, Three Centuries of Italian Art, nos. 94 and 95;
Turin, Palazzo Stupinigi, Da Tiziano a Caravaggio a Tiepolo: capolavori da tre secoli di arte italiana, 17 November 2002 - 16 February 2003, nos. 68 and 69.

F. Pedrocco, in G. Algranti (ed.), Titian to Tiepolo, Three Centuries of Italian Art, exh. cat., Florence 2002, p. 240, cat. nos. 94 and 95, reproduced in colour p. 241;
F. Pedrocco, in V. Sgarbi (ed.), Da Tiziano a Caravaggio a Tiepolo, Florence 2002, pp. 176-77, cats. nos. 68 and 69, reproduced in colour.

The paintings are slightly greener in tone than the catalogue illustrations suggest. The paintings are on parchment, which has been laid onto canvas. The paint surfaces are dirty and rather abraded in the brown tones and sky and a pronounced craquelure runs throughout both works. Some scattered retouchings to the sky, particularly in the former work are apparent to the naked eye due to discolouration, as are retouchings to the rock formation at the centre of the former work. Inspection under UV light confirms fairly extensive scattered spot retouchings to the sky, and a handful of scattered spot retouchings to the foreground. Aside from the aforementioned examples, UV light reveals a concentrated area of retouching to the centre of the former work's right hand margin, measuring approximately 5 by 4 cm. and possibly in response to an old damage. Further old retouching work to the paintings may be masked by the reflective varnish covering the works, particularly in the foreground. Offered in gilt wood frames in good condition.
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Although unknown to Annalisa Scarpa Sonino at the time of her monograph on the artist, Pedrocco (under Literature, 2002) assigns this pair of paintings to Ricci's mature phase; that is, after he had returned from England.