center left at top of bas relief: .TINELLI.
Lodovico Widmann [1611-1674], Venice. Private collection, probably in Germany (as by Murillo); discovered 1922 by (August Mayer, Munich) and sold the same year to Samuel L. Fuller [d. 1963], New York (as by Tinelli); gift 1946 to NGA.
- Baroque Portraiture in Italy: Works from North American Collections, The John and Mable Ringling Museum of Art, Sarasota; Wadsworth Atheneum, Hartford, 1984-1985, no. 73, 188, repro. (cat. by John Spike).
- Mayer, August. "Un ritratto sconosciuto di Tiberio Tinelli." Bollettino d'Arte 17 (1924): 470.
- Fiocco, Giuseppe. Venetian Painting of the Seicento and Settecento. Florence and Paris, 1929: 29.
- Moschetti, Andrea. "Three Portraits by Tiberio Tinelli." The Burlington Magazine 72 (1938): 69, fig. c.
- Pallucchini, Rodolfo. "Contributi alla pittura veneziana del settecento." Arte Veneta 16 (1962): 127-128, fig. 141.
- Ridolfi, Carlo. Le meraviglie dell'arte. Venice, 1656. Edited by Detlev von Hadeln. Rome, 1964: 2:280.
- Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 127, as Count Lodovico Vidmano.
- European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 114, repro., as Count Lodovico Vidmano.
- Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972: 198.
- European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 340, repro., as Count Lodovico Vidmano.
- Fletcher, Jennifer. "Marco Boschini and Paolo del Sera: Collectors and Connoisseurs of Venice." Apollo 110 (1979): 424, fig. 7.
- Potterton, Homan. Venetian Seventeenth-Century Painting. Exh. cat. National Gallery, London, 1979: 26, fig. 14.
- Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: I:458-460, II:pl. 328.
- Rösch-Widmann, Eva. I Widmann: le vicende di una famiglia veneziana dal cinquecento all' ottocento. Venice, 1980: 10, 25.
- Pallucchini, Rodolfo. La pittura veneziana del seicento. 2 vols. Milan, 1981: 1:107-108, 2:fig. 286-287.
- Levey, Santina. Lace. A History. London, 1983: 24, fig. 138.
- European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 391, repro., as Count Lodovico Vidmano.
- Magani, Fabrizio. Il collezionismo e la commitenza artistica della famiglia Widmann, patrizi veneziani, dal Seicento all'Ottocento. Memorie dell’Istituto Veneto di Scienze, Lettere ed Arti, vol. 41. Venice, 1989: 23-24.
- Safarik, Eduard, and Gabriello Milantoni. "La pittura del seicento a Venezia." In La Pittura in Italia: Il Seicento. Milan, 1989: 163, fig. 211.
- De Grazia, Diane, and Eric Garberson, with Edgar Peters Bowron, Peter M. Lukehart, and Mitchell Merling. Italian Paintings of the Seventeenth and Eighteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 318-321, color repro. 319.
The support consists of three lengths of fabric, all of the same coarse twill-weave, sewn together with a horizontal seam 55 cm from the bottom of the painting and a vertical seam 23 cm from the left edge. The thin ground layer is red, which was allowed to remain visible throughout, especially at the bottom. The sky was painted over an off-white underlayer. The paint was applied in layers with strong evidence of brushwork and is generally thin, especially in the sky where it has the appearance of a wash. Impasto is evident only in the whites.
Losses and abrasion are scattered throughout, especially in the dark areas at the bottom. The signature, applied over already abraded paint, is not original. The varnish is moderately discolored. The painting was relined, discolored varnish was removed, and the painting was restored in 1946-1947, probably by Francis Sullivan or Stephen Pichetto.