Probably, Casa Marsigli, Via di San Mamolo, Bologna, in the second half of the eighteenth–century;
Robert Scholz-Forni, Hamburg, by 1935;
By descent within the family of the present owner for three generations.

Wiesbaden, Nassauisches Landesmuseum, Italienische Malerei des 17. und 18. Jahrhunderts, May – June 1935, no. 53 (as Lodovico Carracci).

M. Oretti, manuscript no. Ms.B. 104, Biblioteca Comunale, Bologna, written in the second half of the eighteenth century (as manner of or school of Ludovico Carracci, in Casa Marsigli, Bologna);
A. von Schneider, Aus Der Sammlung Robert Scholz-Forni, Hamburg 1937, p. 38, cat. no. 6 (as Lodovico Carracci); 
H. Bodmer, Lodovico Carracci, Burg 1939, pp. 85–86, reproduced fig. 76 (as Ludovico Carracci);
M. Goering, 'Die Sammlung Scholz–Forni', in Pantheon, May 1940, no. 5, p. 118 (as Lodovico Carracci);
E. Calbi and D. Scaglietti Kelescian, Marcello Oretti e il Patrimonio Artistico Privato Bolognese, Bologna 1984, p. 69 (as manner of or school of Ludovico Carracci);
G. Faigenbaum, Lodovico Carracci: A study of his later career and a catalogue of his paintings, Princeton 1984, p. 232, cat. no. 24, reproduced fig. 31 (as Lodovico Carracci);
A. Vannugli, 'Ludovico Carracci: un'Erminia ritrovata e un riesame delle committenze romane', in Storia dell'Arte, 1987, no. 59, p. 54 (as Ludovico Carracci);
A. Brogi, 'Lorenzo Garbieri: Un "incamminato" fra romanzo sacro e romanzo nero', in Paragone, May 1989, p. 9, and footnotes 22 and 23, pp. 22–23, reproduced fig. 13 (as Lorenzo Garbieri);
E. Negro, M. Pirondini, La Scuola dei Carracci, Dall'Accademia alla Bottega di Ludovico, Modena 1994, p. 178 (as Lorenzo Garbieri);
A. Brogi, Ludovico Carracci, Bologna 2001, p. 273, cat. no. R52 (as Lorenzo Garbieri).

The following condition report is provided by Hamish Dewar who is an external specialist and not an employee of Sotheby's: The canvas appears unlined. The paint surface has an uneven varnish layer. There is a pattern of very fine craquelure throughout and a few tiny paint losses. Inspection under ultra-violet light shows an opaque and discoloured varnish layer and scattered spots and lines of retouching and strengthening throughout the composition. Overall the painting is in good condition. The work is framed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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Long identified as the work of Ludovico Carracci, this painting was first re-attributed to Lorenzo Garbieri by Alessandro Brogi in 1989. Garbieri worked in the studio of Ludovico Carracci in Bologna, and due to the stylistic similarities between the two painters' work, attributions have often been confused. In his 1989 article in Paragone Brogi draws stylistic parallels between this painting and others by Garbieri, namely The Fall of Simon Magus and The Stoning of Saint Stephen, both dated by Brogi to around 1605–06, and with Garbieri's Saint Charles Interceding for the Cessation of the Plague in the Chruch of San Paolo, Bologna, that Brogi dates to the second decade of the Seicento, and as such suggests this period as a possible date of execution for the present work.¹

In Oretti's documentation of Bolognese collections, executed in the second half of the eighteenth century, he lists in the collection in Casa Marsigli, a painting of this subject in the manner of, or school of Ludovico Carracci.²

1. Brogi 1989, p. 9. For colour reproductions of The Fall of Simon Magus (Naples, Pinacoteca Nazionale di Capodimonte) and The Stoning of Saint Stephen (Bologna, Pinacoteca Nazionale) see Negro and Pirondini 1994, p. 181, fig. 227 and p. 182, fig. 228.
2. Calbi and Scaglietti Kelescian 184, p. 69.