The support consists of four joined horizontal planks which have warped to become converse. The reverse of the panel is covered with a coarse fiber backing and is supported by two vertical wood strips. Two of the horizontal join marks are visible to the naked eye on the paint surface, about one third of the way down the panel and three-quarters of the way down the panel. Indentations and raised areas caused by the hardware joining the panels are also visible, particularly two in the upper right quadrant near the angel's right wing. The shape of the panel has caused it to separate from the frame at top and bottom, revealing a gap. The paint surface is largely stable, with a small area of flaking along the top join line at upper right. A repaired vertical scratch running from the angel's left arm to the red cape is visible to the naked eye. Under UV inspection, repairs along the panel join lines are visible, as well as scattered retouching throughout, with areas of repair in the sky at center right, in the cloud at top center, and concentrated retouching in the folds of the angel's robe and throughout the figure of the devil. No retouching is visible in the landscape. Offered in a painted marble gilt wood 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.

The Valencian painter known as the Master of Borbotó, after the altarpiece he painted for the church in that parish, probably trained with the Master of Artés and worked in the orbit of the Master of Perea and Rodrigo Osona I and II. Although artists in this group are often confused for one another, the Master of Borbotó seems to have drawn more inspiration than his contemporaries from the Roman Renaissance, which can be discerned in the landscape in the present painting. The Archangel Michael weighs the souls of a sinner and a faithful person, while stomping barefooted on Satan, who appears as a two-faced demon. The large panel may have belonged to a Last Judgment composition, a favorite subject of this circle of artists. We are grateful to Dr. José Gómez for attributing the present work to the Master of Borbotó.