The Duques de Medinaceli;
Thence by descent to their second son, the Duque de Tarifa;
Thence by descent to Antonio Medina, the Conde de Campo Rey (according to a label on the reverse);
Thence by descent to a Spanish private collector;
By whom sold, London, Sotheby's, December 8, 2004, lot 5, where acquired by the present collector.

The following condition report has been provided by Simon Parkes of Simon Parkes Art Conservation, Inc. 502 East 74th St. New York, NY 212-734-3920, simonparkes@msn.com , an independent restorer who is not an employee of Sotheby's. This panel is generally in very good state. The panel is unreinforced on the reverse. The frame is very beautiful. The paint layer has been cleaned, varnished and retouched. The retouches exist on the extreme right edge situated to the right of the sleeping figure, around this figure and in his white gown. There are a few other retouches around the soldiers and in the upper left. Apart from these there are very few retouches and the paint layer is unabraded and very well preserved. This picture should be hung as is.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This painting is stylistically very close to the works of the Master of the St. Lucy Legend💜; an artist active in Bruges during the last quarter of the 15th century, and it may be that the author of this panel was active in his workshop or immediate circle.

The topographical view of the city of Bruges in the left background of the painting, although incongruous with the subject represented, allows us to date the painting fairly accurately to the mid-1490s. The artist has painted the prominent spire of the church of Notre Dame and, immediately to the left of it, the belfry which was completed by the end of 1487. In 1493 a fire ravaged the uppermost parts of the belfry, destroying the roof and spire but sparing the stone octagon. It was not repaired until 1499, with the addition of a new stone balustrade and an image of the lion of Flanders formed of hammered copper. The fire of 1493 provides a terminus post quem for the execution of this panel as the building is shown with its original roof and spire missing,🍬 but before the additions of 1499.