with Julius Weitzner, New York, from whom acquired in 1950 by the University of Kansas Museum of Art; Sotheby's, New York, 6 June 1985, lot 97, as "Attributed to Giovanni Battista Rossi".
with Paul Ganz, New York, from whom acquired by Everett Fahy.
Please note the additional literature for this lot, which is the painted source for an engraving published in 1724 with the inscription “Fran.s Solimene pinx.” A version of the present work on copper, also by Solimena, was formerly in the collection of Sir Denis Mahon and is now at the Fitzwilliam Museum, Cambridge. Several other copies and versions of lesser quality are also known (see G. Finaldi, loc. cit.).
B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, 1972, p. 52, as Giuseppe Bartolomeo Chiari.
A.M. Clark, Studies in Roman eighteenth-century painting, Washington, D.C., 1981, p. 8, n. 5, as Sebastiano Conca.
N. Spinosa, Pittura napoletana del Settecento, Naples,1988, no. 13.
G. Finaldi and M. Kitson et al., Discovering the Italian Baroque: The Denis Mahon Collection, London, 1997, p. 160, under no. 76 (entry by G. Finaldi).
Bernard Baron, 1724.
Property from the Collection of Everett Fahy
K. Berger, 'A picture by Sebastien Bourdon' in The Register of the Museum of Art of the University of Kansas, June 1951, no. 1, fig. 1, as Sebastien Bourdon.
P. Rosenberg, 'Quelques tableaux inédits du dix-septième siècle français', Art de France : revue annuelle de l'art ancien et moderne, Paris, IV, 1964, p. 299, as attributed to Giuseppe Bartolomeo Chiari.