Castle Allono, Ostergotland;
Anonymous sale, Stockholm, Stockholms Auktionsverk, 1 June 2006, lot 2437, where acquired by the present owner.

Svenska slott och herresaten vid 1900-talets borjan, Ostergotland, Stockholm 1909, p. 161.

"The following condition report has been provided by Sarah Walden, an independent restorer who is not an employee of Sotheby's. This painting has a recent strong lining and stretcher, and has also recently been restored. The quite radical cleaning has nevertheless left some older retouching, especially in the upper sky with some also down the central sky beside the arm of the angel. This is slightly yellowed and within the angel's further arm the shadows also retain some darkened older retouching bordering the edges of the shadows. The foliage of the central tree has other patches of dark older retouching, and smaller darkened touches can be seen along the edges of the central bank and the hillside topped by a tree in the middle distance. More recent retouching is fairly widespread across the sky, where there must have been flaking. The flesh painting, particularly in Hagar's chest and hands, has many minor small touches, mainly cosmetic with some along the craquelure, although her fine head is rather less affected. The beautiful angel is in particularly good condition, apart from the retouching on the arm mentioned above, with purple drapery also unscathed and intact. Hagar's red drapery has had all the deeper shadows strengthened in the folds. There is one brief old knock in the white drapery at the lower right corner and a rather wider old damage in the central dark rock behind Hagar's arm. While the sky and blue distance have fairly extensive retouching, and the central background and figure of Ishmael is quite worn and faint, the figures remain generally rather well preserved, with the angel in especially fine condition. This report was not done under laboratory conditions."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

This painting was almost certainly conceived as a pair with the following lot, and the two works have thus remained together throughout their existence. This, however, is not the only instance of Lippi pairing a Hagar and the Angel with a Sacrifice of Isaac; see, for example, the pair of upright canvases in the Museo Diocesano, San Miniato al Tedesco.¹ A third treatment of Hagar and the Angel has been cut up into two separate canvases, both of which are now in the Museo Bardini, Florence.²

There is a preparatory drawing (fig. 1) for the figure of Hagar in Rome, Gabinetto Nazionale delle Stampe, and published by Chiara d'Afflito in her 2002 monograph on Lippi.³  Although the present work was unknown to her when preparinﷺg the monograph, D'Afflito does hypothesise that the drawing is 𒈔possibly a sketch for a figure of Hagar in a lost work, a hypothesis that, with the re-emergence of the present work, can now be validated. 

1. d'Afflito, under Literature, pp. 210-11, nos. 39-40, both reproduced.
2. Idem, p. 204, no. 33, reproduced.
3. Inv. no. F.C. 125909; see Literature, p. 336, no. 4, reproduced.