Anna Maria Ebeling (1767–1812), by inheritance to her husband; Paul Iwan Hogguer (1760–1816),(1) Amsterdam (sale, Amsterdam, P. van der Schley, 18 Aug. 1817, lots 23, 22, sold for 621 and 834 florins to); J. Hulswit.(2) Sir Charles Bagot (1781–1843), London (sale, London, Christie’s, 18 June 1836, lots 51, 52, sold for £157.10 to); [Seguier for];(3) Henry Petty-Fitzmaurice (1780–1863), 3rd Marquess of Lansdowne, Bowood House, Wiltshire, by inheritance to; Henry Petty-Fitzmaurice (1816–1866), 4th Marquess of Lansdowne, Bowood House, Wiltshire; by inheritance to; Henry Charles Keith Petty-Fitzmaurice (1845–1927), 5th Marquess of Lansdowne, Bowood House, Wiltshire, until at least 1876.(4) [Thos Agnew and Sons, London, sold to]; [Charles Sedelmeyer, Paris]. Rodolphe Kann (1845–1905),(5) Paris, by 1883, sold 1907 as part of the Kann collection to; [Duveen Brothers, Paris and London]; Walter von Pannwitz (1856–1920), Berlin and De Hartekamp, Heemstede, the Netherlands, by inheritance to his second wife;(6) Catalina von Pannwitz (1876–1959), De Hartekamp, Heemstede, the Netherlands, sold separately 1962 to Sidney James van den Bergh (1898– 1977), Wassenaar, sold 1973 through; [G. Cramer, The Hague, to]; Mr. and Mrs. Edward William Carter, Los Angeles, given 2003 to; LACMA. 

Footnotes

(1) According to the Getty Provenance Index, Sales Catalogs Database, although sold under Paul Hogguer’s name, the collection of paintings, drawings, prints, sculpture, coins, medals, etc., was formed by his first wife, Anna Maria Ebeling (1767–1812), a student of drawing. Paul Hogguer, whose family was originally from Switzerland, was a banker and served as the first director of the Nederlandsche Bank in Amsterdam, 1814–16. He also held various civic positions, including sheriff and burgomaster. 

(2) According to documentation in the Getty Provenance Index, Sales Catalogs Database. 

(3) The Getty Provenance Index, Sales Catalogs Database notes that the buyer of the paintings at the 1836 sale was either Lord Seguier or Lord Lansdowne. Smith 1829–42, vol. 9 (Supplement, 1842), says that the buyer was Seguier, who can probably be identified as William Seguier (1772–1843), an art dealer and painter. He was the first superintendent of the British Institution (1805–43), surveyor of the King’s/Queen’s Pictures, and first keeper of the National Gallery (1824–43). 

(4) Jameson 1844, pp. 315–16, nos. 71, 72, and Waagen 1854, vol. 3, p. 161, nos. 2, 3, note that the paintings are in the Lansdowne Collection. 

(5) Between 1880 and his death in 1905, Rodolphe Kann assembled an important collection, which he displayed in a gallery that connected his house in Paris with the adjoining house of his brother, Maurice Kann. Rodolphe Kann was primarily interested in collecting paintings by the grand Dutch masters, Rembrandt, Frans Hals, and Hobbema. Among the prizes in his collection were Johannes Vermeer’s Girl Asleep at a Table and Rembrandt’s Aristotle, both now in the collection of the Metropolitan Museum of Art, New York. See A. Walsh 1996, with additional bibliography.

 (6) The German aristocrat Walter Sigismund Emil Adolf von Pannwitz was the private lawyer to Kaiser Wilhelm II. After World War I, when the kaiser and his family went into exile in Holland, Pannwitz and his second wife, Catalina, whom he had married in 1908, followed. Pannwitz sold his first collection in Munich in 1905 (Helbing, 24–25 Oct. 1905). Between 1910 and 1920, with the advice of Wilhelm von Bode and Max J. Friedländer, Pannwitz assembled a large art collection that included Italian, French, German, and Dutch paintings from the fifteenth through the seventeenth century, as well as bronzes and ceramics. Following her husband’s death in 1920, Catalina von Pannwitz settled in the Dutch country estate De Hartekamp in Heemstede, where the collection resided until 1940. Born in Rostock, Germany, in 1876, Catalina Carolina Friedericke Georgine Roth was from a wealthy Jewish family with vast landholdings in Argentina, which granted her Argentinean citizenship in 1918. In 1940, with the help of F. Gutmann, she sold five paintings (not including these two) to Hermann Göring. In return, Göring arranged for her to receive an exit visa to travel to Switzerland and protected her large estate and collection, the latter of which was stored during the war in a bunker with works from the Rijksmuseum. Following the war, Catalina von Pannwitz returned to her estate in the Netherlands and notified the Netherlands Art Property Foundation (Stichting Nederlands Kunstbezit), The Hague, in writing that she had no interest in the return of the paintings that she had sold to the Nazis. Friedländer and Von Falke 1925–26, and Venema 1986, pp. 290–91, 581.