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 1420.2
1 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.
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