Anonymous sale, New York, Christie's, 4 October 1996, lot 33 (as Corrado Giaquinto);
Anonymous sale, London, Christie's South Kensington, 11 July 2008, lot 196 (as Antonio González Velázquez);
Anonymous sale, Rome, Minerva Auctions, 23 May 2017, lot 39 (as Corrado Giaquinto).

The canvas has an old and stable lining and the paint surface has a clear and even varnish. There are no major damages visible to the naked eye. Inspection under UV light reveals only minor scattered retouchings scattered throughout. Offered in a gilt wood frame in good condition.
"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."

An interpretation, with some small differences in composition, after Giaquinto's altarpiece in the Museo Nazionale, Lisbon, Portugal.¹ 1. See M. d'Orsi, Corrado Giaquinto, Rome 1958, p. 118, fig. 146.