Anonymous sale ("Property from an English Private Collection"), London, Sotheby's, 10 April 2003, lot 18, for £42,000;
Whence acquired by the present owners.

Madrid, Galería Caylus, Pintura Gótica y del Renacimiento, 17 February - 31 March 2006, no. 12.

P. Silva Maroto, "Obras para la devoción privada en Castilla a fines del siglo XV. El Maestro de Osma". "In Sapinenta Libertas. Escritos en Homenaje al Profesor. Alfonso E. Pérez Sánchez". Madrid 2007, p. 137-147, reproduced fig. 5.

The painting is less red than the catalogue illustration suggests. The single vertical panel has a bow of 1 cm. The paint surface is under a very slightly yellowed varnish but otherwise appears to the naked eye to be clean and in fair condition, with some retouchings to the left cheek and nose of the Virgin. Inspection under UV light confirms the aforementioend retouchings and reveals a web of strengthenings scattered along the craquelure throughout. Some areas of more concentrated retouching occurrs in the Madonna's face, hands, chest and in the Child. Some of these have arguably been applied more liberally than necessary. Offered in a carved wooden frame with some knocks but structurally sound.
"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 Master of Osma trained in Burgos, within the circle of Diego de la Cruz. His sobriquet derives from a series of works painted for the Cathedral of Burgo de Osma, in the province of Soria, four of which remain in the museum today. He was active within Burgos, Valladolid and Soria during the last quarter of the 15th Century and specialised in devotional images, such as the present work, painted in the Hispano-Flemish tradition.