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Marking: Arms (on thirteen banners atop turrets, on bosses of vaulting above Joshua and David): azure, semé of fleurs-de-lis gold, within a border engrailed gules [Arms of Jean duc de Berry];(on banner next to end turret at right of tapestry): bendy of six, azure and gold [Arms of Burgundy];(on shield at right of figure): argent, a dragon vert [Arms of Joshua];(on shield at right of figure): azure, a harp gold [Arms of David]
Rorimer, James J., and Margaret B. Freeman.

The Artist: The great history painter and portraitist Jacques Louis David studied with Joseph Marie Vien and then, in 1766, entered the school of the Académie Royale de Peinture et de Sculpture
B[onnefoy]. de B[ouyon].

From the north nave of the former Carmelite church at Boppard-am-Rhein in Rheinland-Pflaz (Rhein-Hunsrück-Kreis), near Koblenz, Germany; Count Hermann Pückler, Muskau (from 1818) ; [ Frédéric Spitzer Austrian, Paris (from at least 1875-1893)] ; his posthumous sale, Chevallier & Mannheim, Paris (April 17–June 16, 1893, nos
New York: The Metropolitan Museum of Art, 1983. no. 29, p. 372.

Inscription: [on black band against background] PADRE MIO SIENO SALVI CHOSTORO PEQUALI TU / VOLESTI CHIO PATISSI PASSIONE (My Father, let those be saved for whom you wished me to suffer the Passion); DOLCIXIMO FIGLIUOLO PELLAC: / TE CHIO TIDIE ABBI MIA DI CHOSTORO (Dearest Son, because of the milk that I gave you, have mercy on them)
Florence: Giovanni Cirri, 1887. pt. 1: p. 241, pt. 2: p. 151. Poggi, Giovanni.

Paris, [1835], p. 11. P. Delaperrière. "Beaux-Arts: Salon de 1835."

London: B. T. Batsford, Ltd., 1931. pl. XXVIII.

the artist’s brother, Theo van Gogh, Paris (1889–d. 1891; sent to him by the artist on September 28, 1889); his widow, Johanna van Gogh-Bonger, Amsterdam, in trust for their son, Vincent Willem van Gogh (1891–95; consigned by June 1895 to Lucien Moline (Galerie Laffitte), Paris; sold with six other paintings for fl
–B. de La Faille. "Vincent van Gogh."

Paris: Henri Laurens, 1929. p. 326. Rorimer, James J.

The daughter of an army sergeant, Hendrickje Stoffels advanced in Rembrandt’s household from servant (by 1649) to mistress, presumed model, and common-law wife, as well as stepmother to the artist’s son Titus (1641–1668) and mother of his daughter Cornelia (1654–1685)
Stuttgart, 1904, p. 262, ill. p. 219. Wilhelm R. Valentiner.

This picture was painted in 1653 for the Sicilian nobleman Don Antonio Ruffo (1610/11–1678) and sent from Amsterdam to his palace in Messina during the summer of 1654. Ruffo was an avid collector; at his death he had 364 paintings, including a work by Van Dyck, Saint Rosalie Interceding for the Plague-stricken of Palermo, now also in The Met (Spiegel Historiael 4 (September 1969), p. 456, fig. 9. B[ob]. Haak.