Baronet Wombell, London (according to the J.M. Heberle catalogue entry);
Grazioso Enea Lanfranconi, (1850 - 1895), Bratislava, Slovakia;
By whose Executors sold, Cologne, J.M. Heberle, October 21, 1895, lot 80 for '600' to 'Wells' (as by Cornelis Holsteyn, according to Hofstede de Groot);
Eugen Boross, until 1927;
The Metropolitan Museum of Art, New York, inv. no. 27.146, from 1927 - 1983;
By whom sold, New York, Christie's, June 10, 1983, lot 159.

1893 Catalogue of the Lanfranconi Collection, cat. no. 52 (as by Cornelis Cornelisz. van Haarlem).

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This large canvas has been lined using wax as an adhesive. The paint layer is not particularly well stabilized by the lining and the cracking is visibly raised throughout. There has been some half-hearted retouching but essentially, this picture requires a complete reexamination of the conservation in order to be presentable. There seems to have been some fairly broad vandalism over time and there are visible 'X' marks and damages to many of the figures, nonetheless the quality throughout is quite respectable. The paint layer is not unduly worn through the figures and the right conservation, if embarked upon, would produce quite good results. One should be well informed that the condition is quite uneven throughout and a good deal of retouching will be required.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The female figure reclining on white drapery at right seems to have been inspired by the female figure in the far right foreground of Titian's The Bacchanal of circa 1520, Prado Museum, Madrid, inv. no. 418.  Danckerts repeated this figure in a number of other paintings, such as Cimon and Iphigenia, dated 1648 (private collection, Berlin) and Diana and her Nymphs, sold Vienna, Dorotheum, March 24, 1999, lot 453. 
Although of Italian origin, Grazioso Enea Lanfranconi was one of the most acclaimed and important collectors of art in 19th century Slovakia.  From 1867 until his untimely death in 1895, he used his palaces at Bratislava, or Pressburg in German, to display his impressive trove of prints, books, maps, and paintings, which included one hundred and sixteen Dutch and Flemish works.¹

1. I. Ciulisova, Paintings of the 16th Century Netherlandish Masters in Slovak Art Collections, Bratislava 2006, p. 17 -18.