Ursprung
Probably Pieter Fouquet Gallery, Amsterdam; Pierre-Louis Randon de Boisset, Paris, until 1776; his sale, Paris, 27 February-25 March 1777 (Lugt 2652), no. 118 (for 15,000 francs to Le Brun for Radix Sainte-Foix); Claude-Pierre-Maximilien Radix Sainte-Foix, Paris, 1777; possibly Louis de Noailles, Maréchal de France, Paris; Joseph Duruey, Paris, 1791-1794; his sale, Paris, 21 June 1797 (Lugt 5625), no. 7 (for 7,400 francs to Robit); François-Antoine Robit, Paris, 1797-1801; his sale, Paris, 6 December 1800 (Lugt 6161), no. 77 and again offered for sale at second Robit sale, Paris, 11-18 May 1801 (Lugt 6259), no. 78 (for 9,020 francs to Séguin); Armand Séguin, Paris, 1801; Ferdinand d’Artois, Duc de Berry, Paris; his widow, Marie-Caroline-Ferdinande-Louise de Bourbon, Duchesse de Berry, Paris; offered for sale in London, Christie’s, 1834 (cf. Lugt 13608a), no. 33, unsold and incorporated in the Berry sale, Paris, 4-6 April 1837 (Lugt 14643), no. 18 (for 32,655 francs to Demidoff); Anatole Demidoff, San Donato, 1837-1868; his sale, 18 April 1868 (Lugt 30437), no. 9 (for 104,000 francs to Mannheim for the 4th Marquess of Hertford); Richard Seymour-Conway, 4th Marquess of Hertford, Paris, 1868-1870; by inheritance to his illegitimate son, Richard Wallace, Paris, 1870 (inventory 1871, no. 359; exhibited at the Bethnal Green Museum, London, 24 June 1872-April 1875, no. 173; subsequently exhibited as part of The Wallace Collection, Hertford House, London); his widow, Amélie-Julie-Charlotte Castelnau, Lady Wallace, Hertford House, London, 1890; acquired by Alfred de Rothschild, London, in exchange for another painting by Isack van Ostade (London, The Wallace Collection, inv. no. P 73), after 1890 and before 1898; by inheritance to his illegitimate daughter, Almira, Countess of Carnarvon, 1918; Knoedler Gallery, New York (inv. no. 15881), with Colnaghi Gallery, London and Arthur Ruck Gallery, London, March 1924; sold to Jan Kleykamp of Kleykamp Gallery, The Hague, October 1925 (sold to the Mauritshuis for 35,000 guilders); acquired with the support of the Rembrandt Association and private individuals, 1925