Sir Francis Cook, 1st Bt. (1817-1901), Doughtly House, by 1900 and thence by descent to Sir Francis Cook, 4th Bt. (1907-78), until at least 1932;
Raphael Rosenberg by 1965 (according to Witt Library mount);
With T. Agnew & Sons, London from whom purchased by the father of the present owner in the early 1960s.

London, The New House Gallery, Exhibition of Pictures by Masters of the Flemish & British Schools, 1899-1900, cat. no. 10, as 'Attributed to Gheeraert David'.

Mr Weale, Revue de l'Art Chrêtien, 1900, p. 225 as 'd'un contemporain de Gerard David, qui a fréquemment répeté la même composition en variant les accéssoires';
J. Kronig, Catalogue of the Pictures at Doughty House. Dutch & Flemish Schools, vol. II, 1914, cat. no. 463;
Abridged Catalogue of the Pictures at Doughty House, Richmond Surrey in the collection of Sir Herbert Cook, Bart, 1932, p. 29, cat. no. 463, as Isenbrandt when hanging in The Lobby;
M.J. Friedlander, Die Niederlandische Malerie, 1933, vol.XI, p. 138, no. 196, where listed as Isenbrandt;
M.J. Friedlander, Early Netherlandish Painting, vol.XI, Leyden 1974, p. 90, cat. no. 196, as previously in the collection of Sir H. Cook, present location unknown, and where listed as Isenbrandt.

The oak support is flat and cradled on the reverse. There is a restored vertical split at the right that runs to the left of the angel and to the right of the Virgin's cloak, and a restored surface split at the left. The surface is slightly uneven and the Virgin's blue undergarment has disintergrated somewhat, as is usual with such pigments from this date. There are fairly numerous retouchings throughout the face, hand and Christchild, although much of this intervention seems somewhat unnecessary as the original paint surface seems pretty well preserved underneath. There is further restortion along the split, t thumbprint sized areas at the extrme right and some small scattered retocuhings in the red cloak. The landscape is mostly untouched. Overall the painting is in fair condition but it would certainly benefit from the removal of the superfluous restoration and a light clean. Sold with a later plain wood frame, in good 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 composition loosely derives from Gerard David's Madonna and Child with Music Making Angels of which two versions are known, one in the Louvre, Paris and another in the Philadelphia Museum of Art.¹

Both the panels by David are more elaborate than the present painting, which was once attributed to David when in the Cook collection.  In the former the Virgin is seated in an ornate throne attended by two full length angels and the Christ Child is seated upright reading.  Here the composit🥀ion has been modified and the resultant image is more personal and tender.  The figures of the Madonna and Child are larger than the attendant angels who recede into the bac♐kground, the ornate throne is absent and Christ is no longer seated upright but painted in a more informal pose leaning over to pick grapes from the bunch offered by the angel on the left.

1. See H.J. Van Miegroet, Gerard David, Antwerp 1989, pp. 280,281, 305, nos. 9 and 40.