?[art market, Berlin, by 1927–at least 1928]; private collection, Berlin (in 1933); [Galerie Sanct Lucas, Vienna, until 1938; exchanged with Neuman]; Baron Karl Neuman (Charles Neuman de Végvár), Vienna, later Greenwich, Conn. (1938–d. 1959; seized in Paris by the Nazis, held at Alt Aussee [1267/2] and at Munich collecting point , returned to France October 30, 1946; restituted); his widow, Mrs. Charles (Edith) Neuman de Végvár, Greenwich (1959–63)
[New York?]. Best & Co. November 18–29, 1963, no catalogue?
Staten Island Community College. October 9–12, 1969, no catalogue?
Cremona. Museo Civico and Santa Maria della Pietà, Vecchio Ospedale. "I Campi e la cultura artistica cremonese del Cinquecento," April 27–July 27, 1985, no. 1.15.8.
A[dolfo]. Venturi. Storia dell'arte italiana. Vol. 9, part 6, La pittura del Cinquecento. Milan, 1933, p. 917, fig. 565, as in a private collection, Berlin; notes a relation to the work of Campi's student Sofonisba Anguissola and to Moroni.
[Claus Virch]. Paintings in the Collection of Charles and Edith Neuman de Végvár. [New York], , p. 4.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 41, 531, 609.
Robert Miller inI Campi e la cultura artistica cremonese del Cinquecento. Exh. cat., Museo Civico, Cremona Santa Maria della Pietà, Vecchio Ospedale. Milan, 1985, pp. 161–62, no. 1.15.8, ill., compares the composition to a type created by Titian.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, North Italian School. New York, 1986, p. 7, pl. 72, date it after 1556, perhaps to the late 1560s based on the costume; relate it in style to the work of Sofonisba Anguissola.
Old Master Paintings. Sotheby's, New York. January 11, 1990, unpaginated, under no. 32.
Angela Ghirardi. "Per Bernardino Campi ritrattista." Quaderni di Palazzo Te, n.s., 1 (1994), pp. 79–80, fig. 3, calls it one of three portraits securely attributed to Campi.
Nicholas Penny. The Sixteenth Century Italian Paintings. Vol. 1, Paintings from Bergamo, Brescia and Cremona. London, 2004, p. 32.
Renaissance. Christie's, New York. January 28, 2015, p. 100, under no. 130.
This picture has been flattened by lining. The surface, with the exception of the embroidered areas and the scarf, is also disfigured by abrasion; this is particularly noticeable in the light areas, the flesh, and the bodice. [from Zeri and Gardner 1986]
Artist: Bernardino Campi (Italian, Cremona 1522–1591 Reggio Emilia)Date: 1522–91Medium: Black chalk, highlighted with white, on blue-gray paper. Squared in black chalkAccession: 61.158.1On view in:Not on view