Follower of Raffaello Sanzio, called Raphael

From the collection of the Duke of Braschi, Rome;
Probably Sir William Drake;
Thence by inheritance to his wife, Mrs. E.K. Hornsby-Drake, 42 Belgrave Square, London SW1;
From whose collection sold (By Order of the Executors of Mrs. E.K. Hornsby-Drake, deceased, and mostly inherited from the late Sir William Drake, F.S.A.), London, Christie's, 11 March 1932, lot 86 (as 'After Raphael', by Bartolommeo da Bagnacavallo) where acquired by a member of the late owner's family for £21.

The single panel has a slight convex bow which is stabilised by two horizontal battens.The paint surface is generally secure and under a dirty varnish. There are scattered superficial hairline cracks. The varnish renders inspection under UV light unsatisfactory. However, scattered retouchings are visible to the naked eye. Offered glazed and in a wood and plaster frame in fair condition.
"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."

The main part of the composition dervies from a painting executed by Raphael and his workshop, known as 'La Perla', in the Museo del Prado, Madrid, inv. 301 (see J.M. zur Capellen, Raphael, vol. II, Postfach 2005, pp. 183-89, cat. no. 64, reproduced in colour p. 61). The compositions differ in some details, namely the omission of Saint Joseph in the upper left background. In his place the artist has inserted the architectural ruins that appear in the landscape background in the upper left of the 'Madonna della Quercia', also by Raphael and his workshop, in the Museo del Prado, Madrid, inv. 303 (see Zur Capellen, op. cit., pp. 190-94, cat. no. 65, reproduced in colour p. 63). Both originals were executed in 1518-19 and it may be that the author of the present panel knew them at first hand, for the colour scheme closely follows that found in 'La Perla'.