The twelve works in the ‘Böhler series’ are probably identical to a series which was in Genoa in the eighteenth century;
the Palazzo of Giambattista Serra, Genoa;
seen there by Ratti in 1766 (Ratti, 1766, vol. I, p. 230) and in 1780 (‘Dodici mezze figure in tavola d’Appostoli, opera bellissime d’Antonio Vandik’; Ratti 1780, p. 152);
Princess Cellamare, Naples, 1914;
bought from her collection by the art dealer Julius Böhler, Munich, 1914;
Bernhard von Back, Szegedin;
given on loan by him to the Museum of Fine Arts, Budapest, 1928;
with Karl Haberstock, Berlin;
acquired by the Museum, 1931.

On the ‘Böhler series’:

Cust 1900, p. 233 under no. 9 (as a set seen by Ratti in Genoa);
Oldenbourg 1914-5, pp. 225, 227-8, 230-231;
Bode 1923, p. 338;
Rosenbaum 1928a, pp. 37-44;
Glück 1931, pp. 37-43;
Glück 1933, pp. 290 ff;
Ottawa 1980a, pp. 38-49;
Roland 1983, pp. 23-36:
Roland 1984, pp. 211-23;
Lammertse 2002, pp. 145-6;
Merle du Bourg/Besta 2021, pp. 84-91.

On the painting:

Glück 1931, p. 41-right;
Vey 1959b, p. 92;
Kunsthistorisches Museum 1963, p. 48, no. 137;
Kunsthistorisches Museum 1973, p. 59;
Ottawa 1980a, p. 277;
Urbach 1983, p. 8;
Roland 1983, p. 9;
Roland 1984, pp. 217-20;
Larsen 1988, II, no. 173;
Kunsthistorisches Museum 1991, p. 52;
Barnes et al. 2004, p. 72, no. I.56 (N. De Poorter);
Madrid 2012-3, pp. 44, 200, no. 41, 203, 209, 210, 211;
Davies 2021a, p. 53, p. 62, n. 22;
Davies 2022c, pp. 72-89.

The width includes two narrow strips of wood, 10 and 8 mm respectively, glued along the edges of the panel