(Manet sale, Paris, 4 February 1884, no. 9, withdrawn). (Camentron, Paris); possibly from whom purchased 1897 by (Durand-Ruel, New York and Paris);[1] sold 27 January 1906 through (Adrien-Aurélien Hébrard [1865-1937], Paris) to Alexandre Berthier, 4th Prince de Wagram [1883-1918], Paris.[2] P.R. Pearson, Paris, by 1912. (Galerie Arnot, Vienna); purchased 1913 by Österreichische Staatsgalerie (now Österreichische Galerie Belvedere), Vienna; released 1923 in exchange for two other paintings, possibly to (Galérie Barbazanges, Paris);[2] (Hodebert, Paris).[3] Acquired 1930 in Germany by (Galerie Étienne Bignou, Paris) for (Alex Reid & Lefèvre, London);[4] sold 1930 to Chester Dale [1883-1962], New York; bequest 1963 to NGA. [1] In 1904 Durand-Ruel lent the painting to an exhibition in Dublin organized by the collector Hugh Lane (1875-1915), who established that city's Municipal Gallery of Modern Art in 1908. Sarah Herring, Assistant Curator of 19th Century Paintings, National Gallery, London, first brought the 1904 exhibition to the NGA's attention (letter to Philip Conisbee, 11 February 2002, in NGA curatorial files). Dr. Philip McEvansoneya, Head of the Department of the History of Art and Architecture at Trinity College, Dublin, kindly provided references to reviews of the exhibition, and suggested that Lane may have considered purchasing the painting, as the collector did buy several other works lent by Durand-Ruel (e-mail, 8 June 2006, and letter, 20 July 2006, in NGA curatorial files). [2] On the sale to Wagram, see Léa Saint-Raymond, “Coulisses et Ficelles du Métier: Dans les Pas du Prince de Wagram,” in Alice Ensabella, et al., _Histoire des galeries d’art en France du XIXe au XXIe siècle_, Paris: 2024: 136, 145; as well as Saint-Raymond and Hadrien Viraben, “The virtual collection of Alexandre Berthier, Prince of Wagram,” _Nineteenth-Century Art Worldwide_ vol.19, no 2 (Summer 2020), online at https://doi.org/10.29411/ncaw.2020.19.2.4. For a dataset documenting the prince's collection see Saint-Raymond and Viraben, "Alexandre Berthier, the 4th Prince de Wagram: documentation on his collection (1904-1917)", 2019, https://doi.org/10.7910/DVN/TIFXCH, Harvard Dataverse, V1 [3] In several publications during the 20th century (1919, 1925, and 1960), the painting is referred to as being owned by the "Musée de Vienne, Autriche" and "the Vienna Gallery." An inquiry to the Kunsthistorisches Museum in Vienna was made in 2007, but no records concerning the painting were found. However, Karl Schütz, director of the KHM, suggested the painting had probably been instead at the Belvedere Museum, previously called the Österreichische Galerie; see e-mail from Elke Oberthaler of the KHM, 31 August 2007, in NGA curatorial files. This was confirmed by Monika Mayer, of the Österreichische Galerie Belvedere, who kindly provided details of the 1923 transaction (see her e-mail, 12 December 2007, in NGA curatorial files). The two paintings for which the Manet was exchanged were _Marietta_ by Jean-Baptiste-Camille Corot and _Badende_ by Auguste Renoir. [3] Hodebert was the successor to the Galerie Barbarzanges, which had been located on the property of fashion designer Paul Poiret. Poiret went bankrupt in early 1923 and lost the property; it is likely that the gallery changed hands at that time. [4] Correspondence between Bignou and Reid & Lefèvre dated April-September 1930 (Lefèvre archives, Hyman Kreitman Research Centre, Tate Britain, London, TGA 2002/11, Box 218). The painting was possibly acquired through the Galerie Matthiesen in Berlin, where it was exhibited in 1928.