Neri di Bicci

Acquired by the father of the present owner during the 1950s;
Thence by inheritance.

In overall good condition. The panel is formed of a thick, single plank and is uncradled and very slightly bowed. The paint surface is dirty and there are a number of small losses (visible in the catalogue illustration), mainly in the angel's robes and in the background. Other areas of loss have been retouched, such as the hem of the angel's robe and girdle. Inspection under ultraviolet light reveals small strengthenings in the folds of the angel's robe and in the background around the figure on the left-hand side. The gold is still largely well-preserved.
"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 is a relatively early work by Neri di Bicci, datable on stylistic grounds to the 1450s or 60s. The distinctive figure types, still reminiscent of the work of his father Bicci di Lorenzo, can be compared closely to those in the artist’s painting of Saint Felicitas and her Seven Sons, in the Chiesa di Santa Felicità in Florence.¹

Another treatment of the subject was sold New York, Sotheby's, 28 January 2010, lot 235.

We are grateful to Professore Andrea de Marchi for endorsing the attribution to Neri di Bicci, on the basis of a photograph, and for pointing out that this is a relatively early work.

1. See B. Berenson, Italian Pictures of the Renaissance, Florentine School, vol. II, London 1963, reproduced figure 918.