³⁄₄ in. (1.9 cm.) long

Thomas Howard, 21st Earl of Arundel (1586-1646), Arundel House, London; thence by continuous descent to Jane Bickerton Howard (1643-1693), Arundel House, London.
Henry Mordant, 2nd Earl of Peterborough (1621-1697), Drayton House, Northamptonshire, acquired from the above, circa 1690; thence by continuous descent to her great-niece, Mary Beauclerk (1743-1812), 1762.
George Spencer, 4th Duke of Marlborough (1739-1817), Blenheim Palace, Oxfordshire, acquired from the above, circa 1765; thence by continuous descent to John Winston Spencer-Churchill, 7th Duke of Marlborough (1822-1883), Blenheim Palace, Oxfordshire.
The Marlborough Gems: Being a Collection of Works in Cameo and Intaglio Formed by George, Third Duke of Marlborough, Christie's, London, 28 June-1 July 1875, lot 173.
David Bromilow (1809-1898), Bitteswell Hall, Leicestershire, acquired from the above; thence by descent to his daughter, Julia Harriet Mary Jary, Bitteswell Hall, Leicestershire, 1898.
The Marlborough Gems: A Collection of Works in Cameo and Intaglio Formed by George, Third Duke of Marlborough, Purchased by the Late David Bromilow, Esq., of Bitteswell Hall, Lutterworth, the Property of Mrs. Jary, Christie's, London, 26-29 June 1899, lot 173.
Ready, acquired from the above (according to auctioneer's book).
Henry Oppenheimer (1859-1932), London.
Catalogue of the Collection of Egyptian, Greek & Roman Antiquities, Cameos and Intaglios Formed by the Late Henry Oppenheimer, Esq., F.S.A., Christie's, London, 22-23 July 1936, lot 194.
Santamaria, acquired from the above (according to auctioneer's book).
Giorgio Sangiorgi (1886-1965), Rome, acquired and brought to Switzerland by 1965; thence by descent to the current owner.

18th century manuscript of the Arundel Collection, no. A 51.
A. Fountaine, The Arundel Cabinet, London, 1731, p. 2, no. 51.
T. Worlidge, A Select Collection of Drawings from Curious Antique Gems; most of them in the possession of the Nobility and Gentry of this Kingdom; etched after the Manner of Rembrandt, vol. 2, London, 1768, pl. 86.
J. Bryant, Gemmarum antiquarum delectus, ex præstantioribus desumptus, quæ in dactyliothecis ducis Marlburiensis conservantur, Choix de pierres antiques gravées du Duc de Marlborough, vol. 1, London, 1780, no. 36.
R.E. Raspe and J. Tassie, A descriptive catalogue of a general collection of ancient and modern engraved gems, cameos as well as intaglios, taken from the most celebrated cabinets in Europe, vol. 1, London, 1791, p. 169, no. 2342.
F. Bartolozzi and G.B. Cipriani, One Hundred and Eight Plates of Antique Gems Engraved by Francesco Bartolozzi, London, 19th century, no. 36.
T. Cades, Descrizione di una Collezione di 8121 impronte in Stucca posseduta in Roma da Tommaso Cades, Incisore in gemme, cavate accuratamente dalle più celebre gemme incise conosciute che esistino nei principali Musei e Collezioni particolari di Europa, divisa in due parti…, Rome, 1836, vol. 7, classe I, L, no. 34.
N. Story-Maskelyne, The Marlborough Gems: Being a Collection of Works in Cameo and Intaglio Formed by George, Third Duke of Marlborough, London, 1870, p. 29, no. 173.
S. Reinach, Pierres gravées des collections Marlborough et d'Orléans, Paris, 1895, p. 115, no. 36, pl. 111.
J. Kagan and O. Neverov, "Lorenz Natter's Museum Britannicum: Gem Collecting in mid-Eighteenth Century England," Apollo, September 1984, p. 168, figs. 9.7a-b.
J. Boardman, et al., The Marlborough Gems, Formerly at Blenheim Palace, Oxfordshire, London, 2009, p. 85, no. 133.
J. Boardman and C. Wagner, Masterpieces in Miniature: Engraved Gems from Prehistory to the Present, London, 2018, p. 203, no. 189.
Beazley Archive Gem Database no. 7.I.L.34 (impression).