The painting derives in all probability from a lost prototype by Rogier van der Weyden (circa 1399/1400-1464), which is known to us through several compositions. Within this group of paintings the most comparable composition to the present lot is the Madonna and Child with red carnations in the Museum of Fine Arts, Ghent (34,9 x 23,6 cm.). This version is also the closest in style to Rogier van der Weyden and is considered to be executed by an artist in his immediate circle.
As in the version in Ghent, the present composition emphasises the close relationship between mother and child in creating an intimate atmosphere typical for the style of Rogier van der Weyden. The picture still appears to be in its original frame.