Follower of Francisco de Goya

Possibly Don Javier Goya;
Possibly Infanta D. Sebastian Gabriel de Bourbon y Braganza;
Possibly Infanta Christina de Bourbon;
Possibly J. Stchoukine, Paris;
Possibly his sale, Paris, Hôtel Drouot, 19 June 1908, lot 41 (as one of a group of ten small paintings attributed to Goya);
There possibly acquired by Ignacio Zuloaga;
With Don Juan Lafora, Madrid;
Private collection; 
From whom acquired by the present owner in 2005.

Munich, Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, July-October 2007, no. 65 (as Goya);
Zaragoza, Museo de Zaragoza, Goya y el mundo moderno, December 2008-March 2009, no. 150 (as Goya); 
Frankfurt am Main, Städel Museum, Dark Romanticism: From Goya to Max Ernst, September 2012-January 2013, no. 7 (as Goya).

Possibly C. de la Vinaza, Goya, Su Tiempo, su Vida, sus Obras, Madrid 1887, p. 275, no. IV (as Goya);
Possibly V. von Loga, Francisco de Goya, Berlin 1921, p. 182 , no. 69-70 (as Goya);
Possibly A. L. Mayer, Francisco de Goya, London 1924, p. 142, no. 77 (as Goya);
J. Lafora, “Goya: Estudio biografico critico” in Arte Español, vol. IX, 1928, p. 368, reproduced plate VI, fig. 31 (as Goya);
X. Desparmet Fitz-Gerald, L'oeuvre peint de Goya, Paris 1928-1950, p. 262, no. 237, reproduced plate 185 (as Goya);
J. Gudiol, Goya 1746-1828, Barcelona 1971, vol. I, p. 324, no. 603, reproduced vol. IV, p. 790, fig. 957 (as Goya);
P. Gassier & J. Wilson, The Life and Complete Work of Francisco Goya, New York 1981, p. 264, no. 938, reproduced (as Goya);
R. de Angelis, Tout L’oeuvre peint de Goya, Milan 1974, p. 541, no. 561, reproduced (as Goya);
X. de Salas, Goya, Milan 1978, p. 195, no. 489, reproduced (as Goya). 

The canvas is unlined but remains flat and stable. The paint surface is somewhat dirty beneath a slightly yellowed varnish but has retained a good impasto and appears in good condition. The canvas weave is visible beneath the surface. Inspection under UV is impeded by a milky varnish. There appears to be possible retouching to a surface crack in the thicker white impasto at the center of the background though it is very difficult to read. Offered in a carved gilt wood frame.
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.
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This is one of a series of small paintings related to Goya's etchings of The Disasters of War.  As Gassier and Wilson note, the entire group requires further examination (see literature).