Probably acquired by Daniel Finch, 2nd Earl of Nottingham (1647-1730), Burghley-on-the-Hill, who was secretary of State under William III and Mary from 1689 to 1694;
Thence by descent at Burghley-on-the-Hill until sold by Major James Hanbury, London, Christie's, 20 June 1947, lot 100, where bought by Hazlitt, Gooden & Fox for 42 Guineas;
Sir Harold Harmsworth;
By whose executors sold, London, Christie's, 8 May 1953, lot 127 where purchased by Leggatt for 78 Guineas;
Anonymous sale, London, Sotheby's, 13 November 1991, lot 27.

The following condition report is provided by Hamish Dewar Ltd who are external specialists and not employees of Sotheby's: Structural Condition: The canvas has been lined and is securely attached to a keyed wooden stretcher with one vertical and one horizontal cross baton. This is providing a secure and stable structural support. Paint surface: The paint surface has a slightly uneven and degraded varnish layer. There is also evidence of surface dirt. The paint surface is stable. There are very faint diagonal stretcher bar lines visible in the upper left and right of the composition which are historic. There is a fine pattern of craquelure throughout the paint surface, this is not visually distracting. Inspection under ultra violet light shows an opaque and discoloured varnish layer, particularly in the background and in the foreground. The skin tones and costume appear to have been selectively cleaned in the past. Inspection under ultra violet light also shows a small number of retouchings, the most significant of which are: 1) Thin vertical lines and small spots on the forehead, nose and cheek of Queen Mary, 2) thin horizontal lines and small spots of retouching on the chest of Queen Mary, 3) an area of yellow fluorescence on the right sleeve of the Queen which measures approximately 7 x 4.5 cm, this area appears to be an earlier stage of retouching, and other small spots and lines in this area. 4) There is a larger area above the cape of the Queen near the left vertical framing edge measuring approximately 7 x 11 cm, and 5) small scattered spots and lines of retouching in the fold of the drapery in the lower part of the composition. There are other scattered retouchings. There may be other retouchings beneath the opaque and discoloured varnish layers which are not visible under ultra-violet light. It is worth noting that the retouchings visible on the face and figure of the Queen are minimal and appear to have been carefully applied. Summary: The painting would therefore appear to be in very good and stable condition and would benefit from surface cleaning and revarnishing if 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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."