Attributed to Rodrigo de Villandrando

The canvas has been recently relined. The paint surface is stable and in good condition. The craquelure in the face has been infilled and there is overpaintingin the boy's hat (which may or may not be a later addition altogether - needs a clean to find out). There are scattered old and more recent restrengthenings to the details in the dress. There are a few scattered restorations in the dark background, and repair of a small damage in the upper right. There has been a an area of overpainting in the upper left corner. Held in a heavy gilt frame, with punchwork and mouldings.
"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."

Two full-length versions by Villandrando, both from 1619, are in Madrid: one in the Prado where the sitter is shown with the dwarf Soplillo, the other in the Monasterio de la Encarnación (see M. Kusche, Juan Pantoja de la Cruz y sus seguidores, Madrid 2007, reproduced p. 367, fig. 294, and p. 368, fig. 295, respectively).