Girolamo Colombo, Milan;
Anonymous sale, Texas, Heritage Auctions, 9 November 2006, lot 24057 (as Giacomo Ceruti);
Where acquired by the present collector. 

The canvas has been lined and is stable. The painting overall appears to be in very good condition, with a thin layer of paint and beautiful impasto remaining in details like the bird charm, the edges of the folios, and in the skin and wrinkles of the face. The paint layer on the face is particularly well-preserved, though there are scattered retouchings in his right cheek and just to the right of the shadow of his nose on his left cheek, in the darker area. All of the retouchinds flouresce under UV light but were done very carefully and cannot be seen by the naked eye. There are also some minimal areas of inpainting around his right eye and in his hair. Scattered, tiny retouchings appear in the plain white area of the folios and in some of the shadows around the hands, though these are all minimal and cannot be seen with the naked eye. The background is well-preserved with only a few areas of retouching, mostly on the edges. The painting is ready to hang and looks impressive in its current condition. Offered in a carved giltwood and painted frame.
"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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The attribution of this empathetic, detailed portrait of a peddler, or colporteur, has as yet eluded scholars.  The style and subject matter relate to the work of Georges de la Tour as well as the Le Nain brothers and their followers, such as Jean Michelin, placing the portrait in the Northeast of France in the latter half of the seventeenth century. 

A further indication to the authorship is in the pamphlet held by the peddler, which is clearly a Bibliothèque Bleue de Troyes.  These small publications, cheaply produced and printed on low-quality paper stock, comprised of texts ranging from the religious and political to the comedic, including lighthearted literature and songbooks. Jean and Nicolas Oudot started the publishing scheme in Troyes in 1602 and it was soon popularized in other areas of Northeast France, spread through sales by nomadic colporteurs, such as the one depicted here.