Niccolò Betti

The large panel supports are flat and stable and secured to the reverse by two horizontal battens. To the naked eye the paint surface appears slightly dirty but in good condition, with the bright colours still vibrant. Inspection under ultraviolet light reveals some localised scattered retouchings throughout, but no more than would be expected for a panel of this size.Offered in a later plain wooden frame in fair condition with minor knocks.
"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."

After training in Florence with Michele Tosini, Betti was called to help with the decoration of Francesco de' Medici's studiolo in Palazzo Vecchio where his signed Sack of Corinth forms part of the series of the element of Fire. That work shows the unmistakeable influence of both Giovanni Battista Naldini and Francesco Morandini, known as il Poppi while his later paintings point to close knowledge of the works of Francesco Brina. The soft drapery and pastle colours of the present work are comparable to two of Betti's altarpieces, a Madonna and Child Enthroned with Saints in the church of Santa Maria delle Grazie, and an Adoration of the Shepherds in Sant'Agnese, both in Montepulciano, near Siena.