Follower of Quinten Massys

Edward George Fitzalan-Howard, 1st Baron of Glossop (1818-1883);
Thence by direct family descent.

Bolton, Lancashire, Bolton Museum and Art Gallery, Bolton Art Patrons Exhibition, 1-27 September 1967, no. 2, as 'School of Mabuse.'

"The following condition report has been provided by Henry Gentle, an independent restorer who is not an employee of Sotheby's. The oak panel has a vertical join, right of centre. The panel is in good condition, having no damage or distortion, and the join is sound. The paint layer is stable although there is some minor instability to the Madonna’s neck and along the join. Beneath the discoloured and degraded varnish can be seen one or two small retouchings; to the background, the apple on the ledge and where reduction of the dark cracquelure has been deemed necessary. Overall, the painting is in good original and untouched condition, a tonal improvement would be gained by removal of the varnish. Offered in a part ebonised, part gilt wood frame with some losses."
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

The composition is known in a number of versions, all of which are of differing degrees of quality and all of which appear to be by different hands. Hitherto unpublished, this is amongst the most accomplished of the versions. Although none are now considered autograph works, several of these versions have variously been attributed to Massys in the past; E. Voigtländer, in 1922, and Max J. Friedländer, in 1929, attributed to him the version in Oslo, National Gallery,¹ although Friedländer later rescinded his support, grouping it stylistically with the version in Basel, Burckhardt-Bachofen collection², which he considered possibly by the Master of the Mansi Magdalene. The majority of the versions, as here, include the ledge laid with cherries and other fruit, although several, including those in Lisbon and sold in these Rooms in 2007,⁴ omit the ledge. Other versions variously include the figure of St. Joseph and a landscape or window in the background. The design was also used by Jan Gossaert, for example in his Holy Family in Houston, Museum of Fine Arts.⁵

1. See A. de Bosque, Quentin Metsys, Brussels 1975, pp. 138-9, reproduced p. 300, fig. 141.
2. Idem, p. 137, reproduced p. 299, fig. 139.
3. Idem, p. 139, reproduced p. 301, fig. 144.
4. Anonymous sale ('Property from a Private Collection'), London, Sotheby's 6 December 2007, lot 130.
5. Inv. no. 59-27; see M.J. Friedländer, Early Netherlandish Painting, vol. VIII, Leiden/Brussels 1972, p. 96, no. 42, reproduced plate 38.