Remi van Haanen [1812-1894], Vienna, by 1873.[1] (Mssrs. Lawrie & Co., London, by March 1898);[2] (Bourgeois Frères, Paris), in 1898; (Leo Nardus [1868-1955], Suresnes, France, and New York); sold 1898 to Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania;[3] inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park; gift 1942 to NGA. [1] Remi van Haanen was a Dutch painter who was active in Vienna after he moved to Austria in 1837. He lent the painting to an exhibition in Vienna in 1873. The painting is also cited as being owned by Van Haanen by Wilhelm von Bode, _Studien zur Geschichte der holländischen Malerei_, Braunschweig, 1883: 89. [2] Cornelis Hofstede de Groot, _A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century..._, 8 vols., trans. and ed. by Edward G. Hawke, London, 1907-1927, 3(1910): 89, no. 311. [3] The 1898 date for Bourgeois and Nardus is according to notes by Edith Standen, Widener’s secretary for art, in NGA curatorial files. Stephen Bourgeois of Bourgeois Frères was Nardus’ father-in-law. The Widener files and _Catalogue of Paintings Forming the Collection of P. A.B. Widener, Ashbourne, near Philadelphia_, 2 vols., Paris, 1885–1900: 2:207, list the previous owner as Roo van Westmaas, Woortman, Holland, but no supporting evidence has been found for this name, and there is no town of Woortman in the Netherlands. In fact, Hofstede de Groot (or one of his German assistants) annotated a copy of his own work on Hals with a note indicating that Nardus had provided a purely ficticious provenance for the painting: “…die in Katalog angegebene Provenienz aus Sammulungen, die nie exisistiert haben, berucht auf intümlicher von Nardus” (handwritten note, Handexemplaren Hofstede de Groot, Frans Hals #311, Rijksbureau voor kunsthistorische documentatie, The Hague; found and kindly shared with NGA by Jonathan Lopez, per his letter of 24 April 2006 and e-mail of 1 May 2006, in NGA curatorial files.