The sitter, by inheritance to his son;(1) Nicolaas Pietersz. Tjarck (1635–1696), by inheritance to his son; Pietrus Adrianus Tiarck Waltha (1697–1745), Leiden, by inheritance to his daughter; Maria Jacoba Johanna Tiarck Waltha (1727–1802), Luik and Brussels, by inheritance to her son; Karel Jacob Peter Ignace (Carolus Jacobus Petrus Ignatius), (1753–1799), graaf van Oultremont-Wégimont, by inheritance to his son; Emile Charles Désiré Antoine Joseph (1787–1851), graaf van Oultremont-Warfusée-Wégimont, by inheritance to his son; Théodore Emile Antoine Joseph (1815–1868), graaf van Oultremont-Warfusée-Wégimont, Brussels, by inheritance to his son; Eugène Emile Joseph Antoine (1844– 1889), graaf van Oultremont-WarfuséeWégimont, Brussels (sale, Paris, Hôtel Drouot, 27 June 1889, lot 3, sold to); [Arnold and Tripp, Paris]. Sir William Cuthbert Quilter (d. 1911), 1st Bart., Bawdsey Manor, Suffolk, England, by inheritance to; Eustace Cuthbert Quilter (d. 1934), Belstead House, Ipswich, Suffolk, England, bequeathed 1934 to;(2) Ronald Eustace Cuthbert Quilter, Belstead House, Ipswich, Suffolk, England, sold 1937 through; [Knoedler & Co., London, sold 1937 to]; Sir Harry Oakes (d. 1943), 1st Bart., Nassau, Bahamas, bequeathed 1943 to; Lady Eunice Myrtle McIntyre Oakes, Nassau, Bahamas, sold/consigned ca. 1951 to; [Knoedler & Co., New York and London, sold 20 Dec. 1951 to];(3) private collection, Houston. Anonymous (sale, London, Christie’s, 29 June 1973, lot 104, bought in, sold 1973–74 to); [Colnaghi Gallery, London, sold 1974 to]; LACMA.
(1) The painting probably stayed in the possession of Marie Larp after her marriage in 1648 to Leonard Bosveld and eventually passed to her only son, Nicolaas, after her death in 1675.
(2) Duveen Records, Box 249, files 1 and 17, Getty Research Institute. Duveen saw the painting at the 1929 Dutch exhibition in London when it belonged to Sir Cuthbert Quilter and pursued the painting through at least 1935.
(3) Duveen Records, Box 249, file 17, Getty Research Institute telegram dated 20 December 1951, from Edward Fowles to Brockwell, New York (both Duveen employees), notes that the painting belonged to Knoedler, who sold it to someone in Houston and that it was expected to go to the museum there. It is possible that the reference to Knoedler’s ownership and sale may have been old and actually referred to Lady Oakes. See also Brockwell letter, 15 December 1951.
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