The present composition derives from a painting by Bernardino Luini at the Uffizzi Gallery in Forence, Italy.

Probably, Beltrami collection, Milan;
With Jacob M. Heimann, New York;
From whom acquired by Anne R. and Amy Putnam, San Diego;
By whom gifted to the Fine Arts Gallery, San Diego, 1946 (inv. no. 1946:73).

Vancouver, Vancouver Art Gallery, Italian Renaissance, 17 November - 13 December 1953, no. 44.

J. G. Andrews, A Catalogue of European paintings, 1300-1870, San Diego 1947, pp. 41-42 (as Luini);
A. Ottina della Chiesa, Bernardo Luini, Novara 1956, p. 135, cat. no. 233 (as a copy);
The Fine Arts Gallery of San Diego Catalogue, San Diego 1960, p. 65 (as Luini);
B. Berenson, Italian Pictures of the Renaissance: Central Italian and North Italian Schools, London 1968, vol. I, p. 234 (as a copy after Luini);
B. Frederickson and F. Zeri, Census of Pre-Nineteenth Century Italian Paintings, Cambridge, MA, 1972, pp. 114, 417, 531 (as circle of Luini);
P. Trutty-Coohill, Studies in the School of Leonardo da Vinci: Paintings in Public Collections in the United States with a Chronology of the Activity of Leonardo and his Pupils and Catalogue of Auction Sales, Ph.D. thesis, Penn State University 1982, p. 222, reproduced fig. 38 (as attributed to Luini);
J. Marciari, Italian, Spanish, and French Paintings before 1850 in the San Diego Museum of Art, San Diego 2015, p. 317, cat. no. A2, reproduced (as follower of Luini, unknown date).

The canvas presents well overall and has been relined and is stable. There is subtle craqueleure throughout the work, though it is not distracting. The varnish appears somewhat milky and uneven under ultra violet light. There is some retouching in the craqueleure pattern on the forehead and along the collarbone, though it is not noticeable to the naked eye. There is some abrasion overall however many details have been nicely preserved, particularly in the costume, and some of the highlights in the hair are still intact. Offered in an elaborately carved gilt and painted frame.
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This composition derives from a detail in a painting by Bernardino Luini in Uffizzi Gallery, Florence (inv. no. 1454).¹ 1. See C. Gulli, in Bernardino Luini e i suoi figli, Milan 2014, pp. 263-266, cat. no. 57, reproduced p. 265.