Portrait of a Lady

Gaetan Ostoya, Les Anciens Maîtres et leurs oeuvres à Florence (Florence, 1884), p. 294.

Don Gaspar Méndez de Haro y Guzmán, Marqués del Carpio y Helice, viceroy of Naples (died 1687), Naples [his monogram, DGH. / li67 surmounted by a crown (initials in ligature), is painted on the reverse of the painting

Leticia de Frutos, El Templo de la Fama: Alegoría del Marqués del Carpio (Madrid, 2009), p. 698, ill., 735 n. 111.

Alessandra Anselmi, “Il VII Marchese del Carpio da Roma a Napoli,” Paragone no. 683 (2007), p. 106.

Chicago, Bonwit Teller, 1952, no. cat.

Frederick A. Sweet, “Portrait of a Lady by Veronese,” Bulletin of The Art Institute of Chicago 41 (1947), pp. 2–4, cover ill.

given to the Art Institute, 1946.

The H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art (Portland, Maine, 1931), p. 495.

sold in her sale, American Art Association, New York, April 10, 1930, no. 104 (ill.), for $800, to Metropolitan Gallery, New York [price according to annotated sale catalogue in the Ryerson Library, Art Institute

sold by them to Albert Harnish, 1910 [according to Civai 1990]. Mrs. Henry Osborne Havemeyer (died 1929)

Marcus B. Burke, Collections of Paintings in Madrid, 1601–1755 (Los Angeles, 1997), pp. 816, 828 n. 6.

New York, Metropolitan Museum of Art, The Splendid Legacy: The Havemeyer Collection, March 27–June 20, 1993, no. 278.

Christopher Lloyd, Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 80–82, ill.

buyer given in annotated sale catalogue at Knoedler, New York, according to a letter from Melissa De Medeiros to Mary Kuzniar dated April 14, 1991 in curatorial file]. Sold American Art Association, New York, 6 May 1937, lot 98, for $150 to Chester Dale

Alessandra Civai, Dipinti e sculture in Casa Martelli: Storia di una collezione patrizia fiorentina dal Quattrocento all’Ottocento (Florence, 1990), pp. 64, 71, 113, 118, 138, fig. 28.

Florentine creditors of Don Gaspar de Haro y Guzmán, by 1704, from whom presumably acquired by the Martelli family, Florence, inventories of 1712, 1771, and 1802–13 [see Civai 1990]

see Civai 1990, pp. 62–64]

by descent to the brothers Niccolò, Carlo, and Ugolino Martelli, Florence [according to Civai 1990 who documents the painting in Martelli possession through an old photograph]

his estate, 1687–1704, [Civai 1990 suggests that the painting is the “ritratto di donna veneziana palmi 6 e 4 di Paol Veroniese” recorded in the 1692 inventory of Guzmán’s collection as no. 328]

Frances Weitzenhoffer, The Havemeyers: Impressionism Comes to America (New York, 1986), p. 256.

Terisio Pignatti, Veronese (Venice, 1976), vol. 1, p. 175, no. A48; vol. 2, fig. 761.

Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 69, 531, 571.

Guido Piovene and Remigio Marini, L’opera completa del Veronese, Classici dell’arte 20 (Milan, 1968), p. 132, no. 321, ill.