Portrait of a Man with a Hebrew Tablet

?Canossa collection, Palazzo Canossa, Mantua (by 1673; inv., May 25, 1673, as "Un ritrato in tella con cornice sudetta d'incerto detto di mano del Campi pittore"); Canossa collection, Palazzo Canossa, Verona (by 1755; inv., September 3–12, 1755, as "Un ritratto uomo con tavola indicante lettere ebraiche con cornice ad intaglio grezza"); by descent to contessa Guarientina Guarienti di Canossa, Palazzo Canossa (until about 2000; sold to art dealer); [art dealer, Italy, from about 2000; sold to Moretti]; [Moretti Fine Art, London, by 2010; sale, Sotheby's, New York, January 27, 2011, no. 126, bought in; sold to Baratti]; [Giorgio Baratti Antiquario, Milan, before 2018]; [Robert Simon Fine Art, by 2018–2024; sold to The Met]

Inventory of Palazzo Canossa. May 25, 1673, unnumbered [Archivio di Stato, Mantua; published in "Lettere e altri documenti..." 1976], as "un ritrato in tella con cornice sudetta d'incerto detto di mano del Campi pittore" (possibly this work).

Inventory of Casa Canossa. September 3–12, 1755, unnumbered [Archivio di Stato, Verona, b. 2450; published in Guzzo 2004, p. 417], as "Un ritratto uomo con tavola indicante lettere ebraiche con cornice ad intaglio grezza" in the first room of the ground floor apartment facing the courtyard.

Lettere e altri documenti intorno alla storia della pittura: Raccolte di quadri a Mantova nel Sei-Settecento, Galleria Gonzaga del ramo principale, Galleria Gonzaga del ramo de Vescovado, Galleria Canossa. Monzambano, 1976, p. 92, publishes the 1673 inventory of Palazzo Canossa.

Enrico Maria Guzzo. "Per la storia del collezionismo a Verona: Nuovi documenti." Studi Storici Luigi Simeoni 54 (2004), p. 417, publishes the 1755 inventory of Casa Canossa.

Alessandro Cassin and Robert Simon. "The Enigma of a Rare Jewish Sixteenth-Century Portrait from Cremona." Printed Matter (July 10, 2016), ill. (color) [https://primolevicenter.org/printed-matter/the-enigma/], Cassin provides context about Jewish life in sixteenth-century Cremona; Simon notes that "the prominent presence of one in a secular portrait is unusual, if not unique" and suggests that the inscription must have had "great personal significance to the sitter and there can be little doubt that he was a member of one of the Jewish Communities in Northern Italy, most likely Cremona".