As Friedländer noted, the composition connects with the Virgin and Child by Dieric Bouts in the National Gallery, London. There the Child's hands are differently placed, and He is seated at a casement against a red velvet cloth of gold beside a window with a view of a town beyond. The composition recurs in the ex-Sigmaringen picture in the Metropolitan Museum of Art, New York; Friedländer's revised view concerning the status of this was not adopted by Nicole Veronée-Verhaegen in her 1968 edition of Friedländer, where it is described as a 'close replica'. Noting that Winkler's 1923 attribution to Simon Marmion had not won support, Dirk de Vos, in a report dated 29 July 1986 (available to the purchaser), describes the present picture as a work by a Flemish follower of Dieric Bouts working circa 1475-1480. It would appear to be at least on a par with the Metropolitan picture - and Sprinson de Jesus (loc. cit.) refers to the present work as a 'second replica' - which has recently been regarded as 'Probably made in Bouts's workshop after his death' (which took place in 1475) (idem.).