Po🌄ssibly painted in England for King Charles I (1600–1649), late 1630s, ꦯwhere it remained until the late eighteenth century;

With Herman Shickman, New York;

By whom offered, Lo🐟ndon, Sotheby’s, 9 July 1975, lot 45 (as Giovanni Francesco Guerrieri), unsold;

Munich, Hampel Fine Art Auctions, 6 December 2018, lot 598 (initially as 17^th-century painter of the school of Caravaggio, ꦡits attribution amended online prior to the sale to Gentileschi), for 104,000 euros;

Where acquired by the present owner.

Possibly M. Pilkington, The Gentleman’s and Connoisseur’s Dictionary of Painters…, London 1798, p. 256;

Possibly H. Walpole, Anecdotes of Painting in England with Some Account of the Principal Artists…, London 1826–28, vol. II, 1826, p. 269;

G. Papi, ‘Un “Davide e Golia” di Artemisia Gentileschi’, in Nuovi Studi, 1, 1996, pp. 157–60,🍨 reproduced fig. 273 (as Artemi🦄sia Gentileschi);

R. Ward Bissell, Artemisia Gentileschi and the Authority of Art, University Park, Pennsylvania 1999, pp. 313–14, no.𒊎 X-8 (as Roman circle of Vouet, about ⛎1620);

R. Contini, ‘Ritagli giustinianei’, in Caravaggio e i Giustiniani. Toccar con mano una collezione del Seicentoཧ, S. Danesi Squarzina (ed.), exh. cat., Rome and Berlin 2001, p. 66 (as perhaps the painting recorded in the Giustiniani inventory);

F. Solinas, in Artemisia: la musa Clio e gli anni napoletani, R. Contini and F. Solinas (eds), exh. cat., Palazzo Blu, Pisa 2013, p. 48, under no. 4 (as an autograph repetition of the painting seen in Naples by Joachim von Sandrart; ‘la meno vibrante e più ferma derivazione’ [‘🥃the less vibrant and more still derivation’]);

R. Lattuada, in Artemisia Gentileschi in a Changing Light, S. Barker (ed.), Turnhout 2017, pp. 193 and 213–14 n. 6 (as a version with variants, citing Papi 1996 and Bissell 1999; ‘it is hard to judge the attribution on the basisꦏ of the old black and white photo’);

G. Papi, with T.D. Chaplin and S. Gillespie, ‘A ‘David and Goliath’ by Artemisia Gentileschi rediscovered’, The Burlington Magazine, vol. 1🦂62, no. 1404, March 2020, pp. 188–95, reproduced pp. 189, 191, 193, 194 and 195, figs 1, 5, 9–16 and 21–23 (as Artemisia Gentileschi, late 1630s);

L. Treves, in Artemisia, exh. cat., London 2020, p. 233 n. 32 (pointing out Bissell's error in calling it a cop♐y);  

S. Barker, Artemisia Gentileschi, Getty Publications, 2022, pp. 101 and 133 n. 21, reproduced in colour p. 104, fig. 60 (as Artemisia Gentileschi, c. 1639);

M.C. Terzaghi, in Artemisia, Héroïne de l'art, P. Cavazzini, M.C. Terzaghi and P. Curie (eds), exh. cat., Paris 2025, under no. 14, p. 189 n. 63 (as another full-length version of David and Goli🐽ath).&nbs♍p;