Max Silberberg was the painting's first confirmed owner. Since he was a commited founder of culture in Wrocław, he reached an agreement in 1920 with the Silesian Museum of Fine Arts, for which the painting was donated afterwards. However it was supposed to remain in Max Silberberg's possession and only after the collector's and his wife's death the museum was in the right to an „immediate interception“. For that reason even posteriorly the painting could be confirmed in Silberberg's possession.
Within the national socialistic tensions the contract with the museum was renounced. Since 1939 the regular sequestration of Jewish property was commenced. At the same time the painting by Carl Schuch was transferred to the museum, although Mr and Mrs Silberberg hadn't been dislodged yet and stayed in Wrocław till October 1941.
In June 1942 the painting was sheltered in a repository of Kamieniec Ząbkowicki (Kamenz in German). As the war ended, it remained under protection of the new Polish government who devolved it in 1946 to the National Museum in Warsaw.
Karl Scheffler, Die Sammlung Max Silberberg, In: „Kunst und Künstler“, 30 (1931), p. 16
Malarstwo Europejskie. Katalog zbiorów, II, Warszawa 1967, p. 103
Malarstwo niemieckie w XIX w. Obrazy ze zbiorów polskich, Muzeum Narodowe w Warszawie, ed. by Iwona Danielewicz, Agnieszka Ciska, Warszawa 2005, p. 109
- Dr. Hans-Joachim Hinz