Anonymous sale ('Property from a Private Estate'), New York, Christie's, 6^th June 2012, lot 7, for $98,000.

The panel is formed of a single, uncradled plank, which is slightly bowed, and the frame has been constructed to allow for this. The paint surface and gilding appear clean, and there are no major damages visible to the naked eye. In raking light it is just possible to discern a faint, slightly diagonal line of tenting in the paint surface, lower left approx. 10 cm. long, which is entirely stable. There is also an area of retouching visible in raking light in the Madonna’s robe, centre left, 1 x 2 cm. Inspection under ultraviolet light confirms this area, and reveals a line of retouching along the lower margin, and further small retouchings scattered throughout the figures’ flesh tones and robes. None of these are distracting, and the painting is ready to hang without need for further intervention.
"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."

This jewel-like painting is by Jacobello del Fiore, one of the leading artists working in Venice during the early 15th century. The picture can be dated circa 1420 and is painted in the late international gothic style which is characterised by an overall elegance and refinement. The simplicity of the composition contrasts with the high degree of detail seen in the punchwork and tooling to the halos and Christ Child's cloak, as well as the fine gold tracery to the outline and decoration of the Madonna's mantle. The distinctive facial type of the Madonna can be compared directly to Jacobello's altarpiece of the Madonna of Mercy with Saints John the Baptist and John the Evangelist, signed and dated 1436, today in the Accademia, Venice.¹ Both works reveal an artist looking back to the Byzantine tradition yet influenced by painters of the late international gothic period, including Gentile da Fabriano, with whom Jacobello is known to have collaborated on the decoration of the Sala del Maggior Consiglio in the Doge's Palace, Venice.

At the time of the 2012 sale (see under provenance) the attribution to Jacobello del Fiore was endorsed by Everett Fahy, who proposed a date of circa 1420.<sup>2

1</sup> See B. Berenson, Italian Pictures of the Renaissance, Venetian School, London 1957, vol. I, reproduced fig. 35.

² Information according to Christie's 2012 sale catalogue entry.