Some figurative evidence of the success of Antonello da Messina during the nineteenth and the early twentieth centuries are presented here, to complement our previous publication in the catalogue of the great exhibition on the Messina painter, edited by Mauro Lucco, at the Scuderie del Quirinale in 2006. They are in particular: a painting by Giuseppe Rillosi (Bergamo, 1811–1884) representing Giovanni Bellini having his portrait painted by Antonello, commissioned by the countess Noli Marenzi in 1857 for her residence in Bergamo; a Self-portrait by Antonello da Messina, work of a nineteenth-century forger, whose photo was found by Simone Facchinetti in the photo library of the Berenson Foundation; a Portrait of Antonello da Messina in his Studio dated 1924, by the painter Giovanbattista De Zardo (Calalzo di Cadore, 1857 – Messina, 1926); and a full-length bronze relief representing Antonello by the sculptor Antonio Bonfiglio (Messina, 1895–1995), executed in the 1950s, that decorates, together with other reliefs of Messina jurists, scientists and artists, the atrium of the Chamber of Commerce of Messina.