John Udny (1727–1800), Venice and Livorno;

By whom sold to Catherine II, known as Catherine the Great of Russia (1729–1796), Saint P💎etersburg, by 1779;

By whom donated to the Hermitage Museum, Saint Petersburg (as listed in Labensky 1797, under Literature);

From where transfer🥂red to the Rumyantsev Museum, Saint Petersburg, by 1862;

From where transferred to the Moscow Public and Rumyan♊tsev Museum, Moscow, by 1908;

From where probably sold via the State Museum Fund, Moscow, c. 1925–26;

Where probably acquired by Vidkun (1887–1945) and Maria Quisling (1900–1980), Oslo;¹

From her Estate sold (‘Property from the Est😼ate of the Late Maria Quisling sold by order of the Oslo Inner Missionary Society for the Benefit of the Poor of Oslo’), London, Sotheby's, 28 January 1981, lot 64, for £920 (as 'Rosso');

Where acquired by a private collector,𝐆 Osl♔o and London;

From whom acquired by a private collector, Oslo;

From whose✨ Estate acquired by the present owner in 2005.

F.I. Labensky, Catalogue of Paintings kept in the Imperial Gallery, the Tauride and Marble Palaces, compiled […] with the participation of F.I. Labensky, 3 vols, Saint Petersburg 1797, Hermita🧸ge Archives, Fund I, inv. VI-A, delo 87 (as attributed to Andrea del Sarto);

Inventory of Paintings and Ceilings in the Care of the II Department of the Imperial Hermitage, Saint Petersburg 1859, Hermitage Archives, Fund 4, inv. XI-B, delo 1, no. 2282 (as Rosso Fiorentino);

G. Waagen, List of paintings prepared for the Rumyantsev Museum🙈, MS, 1862, Hermitage Archive, no. 150 (as Rosso Fiorentino);

Moscow Public and Rumyantsev Museums: Picture gallery catalogue, Moscow 1908, p. 71, no. 667 (as an old copy);

F. Goldschmidt, Pontormo, Rosso und Bronzino. Ein Versuch zur Geschichte der Raumdarstellung, Leipzig 1911, p. 51 (as Rosso Fiorentino);

A. Venturi, Storia dell’Arte Italiana, vol. IX, no. 5, Milan 1932, p. 231 (as🐻 Rosso Fiorentino);

D. Franklin, Rosso in Italy: The Italian Career of Rosso Fiorentino, New Haven and London 1994, pp. 117–19, reproduce💙d pl. 85 (as ?copy);

H. Bock et al. (eds), Gemäldegalerie Berlin: Gesamtverzeichnis, Ber💦lin 1996, p. 105 (as an apparently superior version of the copy in the ꦐGemäldegalerie, Berlin);

E.A. Carroll, Rosso Fiorentino (1494–1540): Paintings, Drawings, Prints, and Architecture, digitised catalogue, 2012, under no. RP.3, rep♋roduced fig. RP.3, Norway (as of somewhat higher quality than the picture i🌠n Berlin);

C. Falciani, ‘"Lo Spagnuolo non aveva avuto la grazia di andare alla Sala”: Berruguete e Rosso fra Cascina e Anghiari’, in Norma e capriccio. Spagnoli in Italia agli esordi della “maniera moderna”, T. Mozzati and A. Natali (eds), exh. cat., Florence 20𓆏13, pp. 64, 66 and 71, n. 8, reproduced fig. 4 (as Rosso Fiorentino);

E. Capretti, in Pontormo and Rosso Fiorentino: Diverging Paths of Mannerism, C. Falciani and A. Natali (eds), exh. cat., Florence 2014, p. 44, under no. I.2.3. (as recently attributeℱd to Rosso Fiorentino by Carlo Falciani).

Saint Petersburg, The Hermitage, Imperial Gallery, on long-term exhibꦅition from at least 1797 to 1862 (as attributed to Andrea del Sarto in 1797; as Rosso Fiorentino by 1859);

Saint P♒etersburg, Rumyantsev Museum, by 1862 (as Rosso Fior♈entino);

Moscow, Moscow Public and Rumyantsev Museum, by 1908 (ꦑas an old copy).