Bishop Burton Parochial Church Council, Kingston-upon-Hull;
By whom sold, London, Sotheby's, April 19, 1967, lot 11 (as B. di Giovanni);
There purchased by Mr. Betts, London;
Anonymous sale ("Property of a Private Family Collection🧸"), New York, Sotheby's, January 25, 2001,ജ lot 61.

Brussels, Galerie Robert Finck, Collection de tableaux anciens de XVe au XVlle siècle, 1972, no. 3

E. Fahy, Some Followers of Domenico Ghirlandaio, 1976, p. 161, no. 81, reproduced fig. 30 (as by Bartolommeo di Giovanni)

The arched panel is flat and cradled for support. Overall the painting is in good condition. To the naked eye the picture presents a strong image and has retained good coloration and paint quality, especially given its age. Under UV, some scattered retouches are visible. Some of these are spread among the Baptists red/pink robe. A couple are in the face of the virgin and just above her halo. There appears to be a varnish applied to the body of the Virgin, which under UV fluoresces a bit differently than other parts of the composition, but it is not thick or discolored. Overall, the picture appears to be in good state. In an arch carved and painted giltwood frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Although he previously published it as late work of Bartolommeo di Giovanni, Everett Fahy (see Literature) now considers the present lot to be by an artist working in the studio of the Master of the Fiesole Epiphany. An article by Nicoletta Pons concerning an altarpiece by Bartolommeo di Giovanni (painted 1488/99) has now clarified the artist's late career.¹  Many of the works formally listed as late works by him, such as an Adoration formerly with M. Roy Fisher Fine Arts, New York² are now considered to be by the Master of the Fiesole Epiphany, who was a student of Cosimo Rosselli ꦫand latᩚᩚᩚᩚᩚᩚ⁤⁤⁤⁤ᩚ⁤⁤⁤⁤ᩚ⁤⁤⁤⁤ᩚ𒀱ᩚᩚᩚer worked with Jacopo del Sallaio. The present lot continues in the manner of the Master of the Fiesole Epiphany, but after recent first hand examination Everett Fahy believes it to be by an as yet unknown hand working in the artists' studio.

1.  See Paragone, 41, January-March 1990, pp. 115-128.
2.  See Fahy, op.cit., reproduced. pp. 45.