Notes 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 Ref. Zeri and Gardner 1986]
Provenance ?[art market, Berlin, by 1927–at least 1928]; private collection, Berlin (in 1933); [Galerie Sanct Lucas, Vienna, until 1938; exchanged with private collection, Vienna]; private collection, Vienna, and later Greenwich, Conn. (1938–63; seized in Paris by the Nazis, held at Alt Aussee [1267/2] and at Munich collecting point [1468], returned to France October 30, 1946; restituted; given by owner to MMA)
Exhibition History [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.
References A[dolfo]. Venturi. "La pittura del Cinquecento." Storia dell'arte italiana . part 6, 9, 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.Paintings in the Collection of Charles and Edith Neuman de Végvár . [New York], [1970], p. 4.Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections . Cambridge, Mass., 1972, pp. 41, 531, 609.in I 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.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.Quaderni di Palazzo Te , n.s., 1 (1994), pp. 79–80, fig. 3, calls it one of three portraits securely attributed to Campi.The Sixteenth Century Italian Paintings . 1, London, 2004, p. 32.
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