Probably acquired by Johann Babtist Count Brandis (1751 - 1812) or brought into the Brandis family by his wife Josepha Countess von Trauttmansdorff (1760 - 1826);
Thence by descent.

The original panel appears to consist of a single vertical panel, which has been extended on all sides. The extension joins are visible to the front of the painting. The reverse has been cradled but the structure is not/no longer attached to the panel. There is a vertical split in the support upper centre, extending approximately 10cm. in from the upper edge, which has been previously restored and has resulted in some paint loss. The joins between the original panel and the extension are visible on the surface of the painting due to some unevenness and discoloured retouchings applied along them. Some scattered discoloured retouchings are also visible to the flesh tones within the painting as well as to some old restored damages, the most notable of which are on Christ's left hand shoulder measuring 6 by 1 cm., upper right, measuring 5 cm. and to an old restored vertical curved crack measuring approximately. 25cm. and running across the centre of the painting. A fine craquelure runs throughout the painting and there are signs of old flaking along the upper stretch of the painting and along the aforementioned joins. There are small scattered spots of paint loss to the right hand join and lower stretch of the painting, below the feet of Christ and St. John, as well as to the right of the Madonna's head. The paint surface is otherwise in good condition, with much of the detail, especially the hair and features of the depicted figures remaining well-preserved. Inspection under UV light is impeded by the reflective varnish which covers the work but does confirm the aforementioned retouchings. Aside from these, very little of the central figure group is affected. Offered in a stained wood and parcel gilt 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."

Two further versions of this composition are known; one was sold New York, Christie's, 23 January 2004, lot 32 (as by Lucas Cranach the Elder),¹ while the other was sold at Fischer, Lucerne in 1954 (as from the circle of Cranach the Elder). Based on a transparency, Ludwig Meyer believes the present work to be Cranach the Elder's primary version of this composition and considers the ex-Christie's version, in which the veil has been removed from the infant Christ, as secondary. Conversely, Dr. Werner Schade, also on the basis of a transparency, believes the present work to have been executed by a close follower of Cranach from the Tirol, such as Hans Wertinger. On the basis of amateur photographs, Dieter Koepplin believes it to be a probable workshop version.

1. When the ex-Christie's picture was sold, before the present work had come to light, both Dr. Schade and Ludwig Meyer believed it to have been painted by Cranach the Elder, the former circa 1530, the latter circa 1517. Dieter Koepplin favoured an attribution to Cranach the Younger, with possible assistance from his brother Hans.