Commissioned by Abraham Anthonisz Recht (1588-1664), Amsterdam;{According to an entry in Johannes Wtenbogaert’s appointment book dated 13 April 1633: 'Wtgeschildert van Rembrant, voor Abr Anthonissen'; Tideman 1903, p. 127; Strauss et al. 1979, p. 99, doc. no. 1633/2.} estate inventory of his house in the Diemermeer, Watergraafsmeer, 20 October 1664, in the parlor ('1 contrefeijtsel van Johannes Uyttenbogaert f 40.-');{Strauss et al. 1979, p. 531, doc. no. 1664/2; Dudok van Heel 1994, p. 343.} …; collection Conte Girolamo Manfrin (1742-1802), Palazzo Manfrin, Venice;{Wax seal and label on the reverse of the painting.} first mentioned in the Manfrin collection, 1806;{Von der Recke 1819, p. 200.} by descent to Marchesa Bortolina Manfrin Plattis;{Coll. cat. Manfrin Plattis 1851: 'In Stanza segnata D: [no.] 23. Rembrandt. Ritratto con colare bianco'. The number D 23 is recorded on one of the labels on the reverse.} from whom, 8,000 Napoléons, with 14 other paintings, to Alexander Barker (?-1873), London, 1856;{Robertson 1978, p. 316.} by whom probably sold to Baron Mayer Amschel de Rothschild (1818-74), Mentmore Towers, Buckinghamshire, before 1860;{According to an 1883 catalogue of the paintings at Mentmore towers, the painting was acquired before 1860; see the catalogue for the sale, [section Neil Archibald Primrose, 7th Earl of Rosebery], London (Sotheby's), 8 July 1992, no. 86.} his daughter, Hannah Primrose (1851-90), Countess of Rosebery, Mentmore Towers, Buckinghamshire; her husband, Archibald Primrose (1847-1929), 5th Earl of Rosebery, Mentmore Towers, Buckinghamshire; his son, Harry Meyer Archibald Primrose (1882-1974), 6th Earl of Rosebery, Mentmore Towers, Buckinghamshire; his son, Neil Archibald Primrose (1929-), 7th Earl of Rosebery, Mentmore Towers, Buckinghamshire and from 1977 Dalmeny House, near Edinburgh; sale [section Neil Archibald Primrose, 7th Earl of Rosebery], London (Sotheby's), 8 July 1992, no. 86, £ 4,180,000, to the dealers Otto Naumann and Dr Alfred Bader; from whom purchased by the museum, with support from the Vereniging Rembrandt, the Prins Bernhard Fonds, the Stichting VSB Fonds, the Rijksmuseum-Stichting, the State of the Netherlands, and numerous individuals and companies, December 1992
