The collection of Consul Erik and Mrs. Lisa Brodin, Stockholm.
The collection of Cavalry captain Olof Brodin, Stockholm.
Thence by descent to the present owner.

Zornmuseet, Mora, Sweden, "Anders Zorn 1860-1960. Minnesutställning", 18 February - 15 August 1960, no. 32 (under the title "Kaikroddare, Konstantinopel").
Nationalmuseum, Stockholm, "Anders Zorn 1860-1960. Minnesutställning", 2 September - 23 October 1960, no. 2.
Zornmuseet, Mora, Sweden, "Zornmuseet 50 år", 10 June - 20 August 1989, no. 23 (under the title "Kaikroddare").
The foundation Modums Blaafarvevaerk, Åmot, Norway, "Anders Zorn 1860 - 1920", 12 May - 30 September 1990, cat no 24 (illustrated full page in colour in the catalogue, page 53, under the title "Kaikroddare").
Prins Eugens Waldemarsudde, Stockholm, "Anders Zorn. Till ögats fröjd och nationens förgyllning", 15 September -11 December 1994, no. 13.
Göteborgs Konstmuseum, Gothenburg, Sweden, "Anders Zorn. Till ögats fröjd och nationens förgyllning", 26 December 1994 - 26 March 1995, no. 13.
Zornmuseet, Mora, Sweden, "Zorn och Orienten", 15 May - 20 September 2000.

Ernst Malmberg, ”Larsson-Liljefors-Zorn. En återblick”, 1919, mentioned p. 90.
Ernst Malmberg, 'Brodinska hemmet. Villagatan 6, Stockholm', article in (Ed.) Albin Roosval, "Svenska hem i ord och bilder", 1935, mentioned p. 225 and illustrated in interior photo p. 223.
"Konst i svenska hem", N:o 6, catalogued and illustrated p. 305 under collection 491: "Ryttmästare Olof Brodin, Bragevägen 2, Stockholm" (under the title "Kaikroddare på Bosporen").
Gerda Boëthius, "ZORN. Tecknaren. Målaren. Etsaren. Skulptören", 1949, mentioned p. 204 and catalogued under year 1886, p. 541.
Gerda Boëthius, "Anders Zorn. An international Swedish artist. His life and work", 1954, mentioned p. 29 (under the title "Caïque Oarsman").
Anders Zorn, "Självbiografiska anteckningar", edited by Hans Henrik Brummer, 1982, mentioned p. 182.
Hans Henrik Brummer, "ZORNMCMLXXXIX", 1989, mentioned p. 85 and illustrated full page in colour, p. 82 (under the title "Kaikroddare").
Hans Henrik Brummer, "Till ögats fröjd och nationens förgyllning - Anders Zorn", 1994, mentioned and illustrated half page in colour, p. 105 and listed in the catalogue p. 336.
Birgitta Sandström, "Zorn och Orienten", 2000, illustrated half page in colour, p. 13.
Anders Zorn, "Självbiografiska anteckningar", Edited and published by Birgitta Sandström, 2004, illustrated full page in colour, p. 70.
Johan Cederlund, Hans Henrik Brummer, Per Hedström and James A. Ganz, "Anders Zorn. Sweden's Master Painter", 2013, compare "Caique Oarsman" (watercolour, 35.5 x 50.5 cm, dated Constantinopel jan 1886, Zornmuseet, Mora), illustrated in colour, full spread, pp. 118-119.

Anders Zorn, born in Mora in 1860, showed artistic talent from a young age. In 1875, he traveled to Stockholm and became a student at the then Slöjdskolan (now Tekniska högskolan) in Stockholm, and shortly after, he joined the Royal Academy of Fine Arts. Initially, Zorn had aspirations of becoming a sculptor, but soon watercolor painting took over, becoming his primary medium until 1887. At the student exhibition in 1880, Zorn had his breakthrough with the watercolor painting "I sorg." The following year, he gained international acclaim as a portrait painter. His watercolor painting reached its pinnacle during this period, and his most famous work from this time is "Vårt dagliga bröd” from 1886. Shortly thereafter, Zorn transitioned to oil painting, which was met with immediate success. Zorn's reputation mainly rested on his portrait art, and he portrayed many notable figures, including presidents. For instance, he created an etching of Theodore Roosevelt. His etchings significantly contributed to his success. In the late 1880s, Zorn began working in the genre that would increasingly become his trademark: nude figures in outdoor settings. He had long been fascinated by the movement of water and the reflections of light on its surface. Now, he added the complexity of placing a model near or in the water, aiming to depict a synthesis between nature and humanity. In 1896, Zorn and his wife moved back to Sweden and settled in Zorngården in Mora. This move sparked a renewed interest in his homeland, which would be reflected in his future paintings. Among the artist's scenes from the Mora region, portraying its local customs and ancient traditions, "Midsommardansen" holds the highest value according to Zorn himself. Today, the painting can be found at the National Museum.

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