? the estate of the sculptor, Prague, 1626;{Possible patrons are Karl von Liechtenstein (1569-1627) for his palace in Prague, but due to his death in 1627 never delivered; or Hans de Witte (1583-1630); or sold from De Vries’s estate (1627) per the orders of Adriaen de Vries’s heirs to a member of the Colonna von Fels family. See F. Scholten, ‘Bacchant, 1626, BK-2015-2’, _European Sculpture in the Rijksmuseum_, online coll. cat. Amsterdam 2022; also F. Scholten, _The Bacchant and Other Late Works by Adriaen de Vries_, Amsterdam 2016, pp. 26-44.} …; Ferdinand Joseph Reichsgraf von Tattenbach (1659-1712) and his wife Margaretha Leopoldine Gräfin Colonna von Fels (b. 1667), Schloss Sankt Martin, Sankt Martin im Innkreis, first recorded in c. 1720;{The statue does not appear in Michael Wening’s (1645-1718) engraving of the castle in the _Historico-topographica descriptio Bavariae. Das ist: Beschreibung, deß Churfürsten- und Hertzogthums Ober- und Nidern Bayrn_, vol. 2 (Das Rennt-ambt Burgkhausen), Munich 1721, p. 21. This print bears the alliance coat of arms of Von Tattenbach and Colonna. For Wening, see also G. Stetter, _Michael Wening, Leben und Werk des Kupferstechers und Topographen_, Munich 1964, pp. 34-41. Wening’s drawings in the Burghausen Rentamt, which includes Schloss Sankt Martin, were made shortly after April 1698, see ibid., p. 38. In two other engravings of the castle dating from the same period (both of which are based on Wening’s engraving), however, do in fact show the statue. The first is an engraving made before 1726, showing the castle before the fire and De Vries’s statue standing in the inner courtyard, see Christie’s catalogue (as c. 1700). The engraving bears the alliance coat of arms of Tattenbach-Colonna and as such must be dated to the period prior to the death of Leopoldine Colonna von Fels (date of death unknown). Print held in the possession of the Arco-Zinneberg family. The second is a print bearing the coat of arms of Maximilian Franz von Rheinstein und Tattenbach and his wife, Maria Charlotte Felicitas von Törring-Jettenbach. This print shows the situation after 1726, with the rebuilt castle as it looked after the fire of that same year. The print is drawn and engraved by one ‘Puchholtzer’ (inscription on print), possibly Carl Joseph Puchholber, to be dated before 1762, the year in which both Count Maximilian and his wife died (see <a href= "https://www.rijksmuseum.nl/nl/collectie/RP-P-2015-31/">RP-P-2015-31</a>). See F. Scholten, _The Bacchant and Other Late Works by Adriaen de Vries_, Amsterdam 2016 and F. Scholten, ‘The Amsterdam Ivories of Francis van Bossuit (1635-1692): Reception and Transformation in the Eighteenth Century’, in C. van Eck (ed.), _Idols and Museum Pieces: The Nature of Sculpture, its Historiography and Exhibition History, 1640-1880_, Berlin/Boston/Paris 2017, pp. 35-47, esp. figs. 28, 31. For the castle’s history, see N. Grabherr, _Burgen und Schlösser in Oberösterreich: Ein Leitfaden für Burgenwanderer und Heimatfreunde_, Linz 1976.} with the castle to Maximilian Franz Reichsgraf von Tattenbach und Rheinstein (1687-1762); After the death of his first wife, Sophia Charlotte, Gräfin von Limburg-Gehmen (1689-1714), Maximilian Franz married Maria Charlotte Felicitas von Törring-Jettenbach (1697-1762), whose parents were Maximilian Cajetan Graf von Törring-Seefeld (1670-1752) and Maria Adelheid Felicitas Angelelli-Neri, Markgräfin von Canossa (1672-1737).} with the castle to Joseph Ferdinand Reichsgraf von Tattenbach und Rheinstein, Graf zu Valley (1723-1802);{Joseph Ferdinand was also Kurfürstlicher Wirklicher Geheimer Rat und Kämmerer (Elector’s Real Privy Councilor and Chamberlain), Munich. He died childless, with the castle then inherited by a member of the so-called _Wolf’schen Linie der Tattenbachs_ (Wolf’s line of the Tattenbachs).} with the castle to Heinrich Christian Joseph Ignaz Reichsgraf von Tattenbach (1765-1821);{Heinrich Christian was _Kurbayerischen Kämmerer_ (Bavarian Chamberlain). He died childless, leaving his possessions to his nephew, Johann Maximilian Graf von und zu Arco auf Valley.} with the castle to his nephew Johann Maximilian Graf von und zu Arco auf Valley, Herr zu Sankt Martin (1806-1875) and his wife Anna Margareta Maria Juliana Pelina Contessa Marescalchi (1813-1885);{The couple had one daughter, Maria Anna Ludmilla Euphrosina von und zu Arco auf Valley (1841-1923), later Baroness Acton of Aldenham, who married John Emerich Edward Dalberg-Acton, 1st Baron Acton of Aldenham.} with the castle to Maximilian Graf von Arco auf Valley (1849-1911) and his wife Emmy Freiin von Oppenheim (1869-1957); with the castle to Ferdinand Maria Graf von Arco auf Valley (1893-1968) and his wife Gertrud Wallenberg (1895-1983); with the castle to his adoptive son, Ulrich Philipp Graf von und zu Arco-Zinneberg (1917-1980) and his wife Maria Theresia von Preysing-Lichtenegg-Moos (1922-2003);{Graf Ulrich Philipp was the adoptive son of Ferdinand Graf von Arco auf Valley. He married Maria Theresia von Preysing-Lichtenegg-Moos, the widow of his brother, Ludwig (who died in 1942 as a German soldier). Maria had one son from her first marriage, Rupprecht (b. 1941), while her marriage to Ulrich Philipp produced two children, Ludwig (1944-1944) and Riprand (b. 1955).} with the castle to her son Rupprecht Graf von und zu Arco-Zinneberg (b. 1941) and his half-brother Riprand Graf von und zu Arco-Zinneberg (b. 1955),{Graf Riprand married Maria Beatrix, Archduchess of Austria, in 1980. The couple has six children: Anna Theresa Marie (b. 1981), Margherita (b. 1983), Olympia (b. 1988), Maximiliana (b. 1990), Marie-Gabrielle (b. 1992) and Giogiana (b. 1997).} until 2010;{After removal of the statue a copy of the _Bacchant_ was cast in 2011 and subsequently erected in the place where the original had stood, i.e. surmounting the column in the inner courtyard of Schloss Sankt Martin.} sale New York (Christie’s), 11 December 2014, no. 10, $ 24.275.000, to the museum with the support of the Vereniging Rembrandt (in part thanks to the Prins Bernhard Cultuurfonds), the Stichting Nationaal Fonds Kunstbezit, the BankGiro Loterij, the Rijksmuseum Fonds, the VSBfonds, the Mondriaan Fonds, the Frits en Phine Verhaaff Fonds, the Stichting Beaulieu et Beaux Arts, the Marjon Ornstein Fonds, the Elles Nansink Fonds, the Familie Verbeek Fonds, Henri and Winnie Wientjes, the Rijksmuseum International Circle and anonymous donors

Bibliography and list of abbreviations for the provenance (pdf)