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Perhaps purchased by (A. Betts) at an unidentified sale prior to 14 February 1930.[1] (M. Knoedler & Co.), New York, who sold it 1930 to Andrew W. Mellon, Pittsburgh and Washington, who gave it to his daughter, Ailsa Mellon Bruce, New York, by 1937; by bequest to NGA, 1970.

European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 144, repro.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 140, repro.
Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 68-69, repro. 69.
Technical Summary

The support is a wood-pulp composition board composed of compressed layers. The
ground is white, very thinly applied. The painting is executed in thin paint
blended wet into wet. The painting is in good condition. The paint surface is
not abraded, and there are few retouchings except in small paint losses below
and to the left of the sitter's right eye. The thin, slightly pigmented varnish
has not discolored.