The National Gallery Immunity from Seizure

Immunity from Seizure

THE

NATIONAL

GALLERY

IMMUNITY

FROM SEIZURE Visions of Paradise: Botticini’s Palmieri Altarpiece

04 Nov 2015 - 28 Mar 2016

The National Gallery, London, Trafalgar Square, London, WC2N 5D

Immunity from Seizure

IMMUNITY FROM SEIZURE

Visions of Paradise: Botticini’s Palmieri Altarpiece

04 Nov 2015 - 28 Mar 2016

The National Gallery, London, Trafalgar Square, London, WC2N 5DN

The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK.

The conditions are:

The object is usually kept outside the UK

It is not owned by a person resident in the UK

Its import does not contravene any import regulations

It is brought to the UK for public display in a temporary exhibition at a museum or gallery

The borrowing museum or gallery is approved under the Act

The borrowing museum has published information about the object

For further enquiries, please contact [email protected]

Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Visions of Paradise: Botticini (working title).

Immunity from Seizure

Visions of Paradise: Botticini’s Palmieri Altarpiece

04 Nov 2015 - 28 Mar 2016

Protection under the Act is sought for the objects listed below:

Matteo Palmieri (1406 - 1475)

X8865 La città di vita Place of manufacture: Italy Vellum manuscript Object dimensions: 43 × 30.5 × 8.5 cm Biblioteca Medicea Laurenziana, Florence

Lender's name and address Biblioteca Laurenziana di Firenze Piazza San Lorenzo 9 Florence 50123 Italy

Provenance: Arte dei Giudici e Notai, Florence; Biblioteca Medicea Laurenziana, Florence after 1557.

The provenance for this painting was derived from the publications listed below.

Publication and Exhibition History: Venturi 1994, cat. 38, p. 144

Note that the manuscript has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945.

Immunity from Seizure

Francesco Botticini (about 1446 - 1497)

X8866 The Virgin adoring the Christ Child about 1470-5 Place of manufacture: Italy Tempera on wood Object dimensions: 105 cm diameter Collezione Credito Bergamasco – Gruppo Banco Popolare

Lender's name and address Credito Bergamasco Bergamo Italy

Provenance: Private Collection, Turin (?); Gilberto Algranti, Milan, aquired from Algranti by the Credito Bergamasco, Bergamo, 1977.

The provenance for this painting was derived from the publications listed below.

Publication and Exhibition History: Agranti 1971, no pagination, Kiel, 1971, p. 345 and 347, Vertova 1971, pp.425-428, Padoa Rizzo 1976, 9, Venturini 1992, 245, Venturini 1994, cat.36, p. 136, Zambrano 1996, p. 10 and Bartoli 1996, pp. 16-19.

Note that this painting has an incomplete history of ownership from the beginning of the year 1933 to the end of the year 1945. The Fondazione Zeri database indicates that The Virgin adoring the Christ Child was in a private collection in Turin prior to its exhibition by Gilberto Algranti in Milan, see:(http://catalogo.fondazionezeri.unibo.it/scheda.jsp?decorator=layout_S2&apply=true&tipo_sched a=OA&id=15859#nogo,accessed 6/8/15). However no archival evidence has been found to support this. There is no active search for the painting on the Art Loss Register and they have issued a full certificate for it.

Immunity from Seizure

Francesco Botticini (about 1446 - 1497)

X8868 The Virgin adoring the Christ Child About 1475-80 Place of manufacture: Italy Tempera on wood Object dimensions: 88 × 57 cm Galleria Giorgio Franchetti alla Ca' d'Oro, Venice

Lender's name and address Galleria G. Franchetti alla Ca' d'Oro Cannaregio 3932 Venice 30126 Italy

Accession Number cat.d.84

Provenance: Probably commissioned by the Ridolfi family on the occasion of the marriage of Simone di Jacopo Ridolfi and Marietta di Matteo Strozzi, 1487; Giorgio Franchetti, Venice; given to the Ca d’Oro, Venice, in 1916, by Giorgio Franchetti.

The provenance for this painting was derived from the publications listed below.

Publication and Exhibition History: Padoa Rizzo 1971, p.454, Padoa Rizzo 1976, p.9, Valcanover 1986, p.40, Venturi 1994, cat. 75, pp.83, 126.

Note that the drawing has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945.

Immunity from Seizure

Alesso Baldovinetti (about 1426 - 1499)

X8872 A Seated Saint Reading from a Book late 15th century Place of manufacture: Italy Brush and brown ink, brown wash, heightened with white, pricked for transfer Object dimensions: 26.1 × 16.2 cm Lent by The Metropolitan of Art, Robert Lehman Collection, 1975 (1975.1.409)

Lender's name and address The Metropolitan Museum of Art 1000 Fifth Avenue New York 100280-0198 USA

Accession Number 1975.1.409

Provenance: Nicholas Lanier (1558-1666), London (Lugt 2885); Padre Sebastiano Resta, Rome (1635-1714) (?); Conrad Martin Metz, London; Henry Oppenheimer (1859-1932), London; Oppenheimer sale 1936, lot 38; purchased from this sale by Robert Lehman, New York, 1936.

The provenance of A Seated Saint Reading from a Book was taken from: http://www.metmuseum.org/collection/the-collection-online/search/459470?=&imgno=0&tabname=objec t-information.

Note that the painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945.

Immunity from Seizure

Giovanni di Paolo (active by 1417; died 1482)

X8873 Paradise 1445 Place of manufacture: Italy Tempera and gold on canvas, transferred from wood Object dimensions: 47 × 40.6 cm Lent by The Metropolitan Museum of Art, Rogers Fund, 1906 (06.1046)

Lender's name and address The Metropolitan Museum of Art 1000 Fifth Avenue New York 100280-0198 USA

Accession Number 06.1046

Provenance: Dominican chapel, church of San Domenico, Siena (1445–about 1525/49); Guelfi chapel, San Domenico (about 1525/49–1628); refectory of the convent of San Domenico (from about 1628); the Palmieri Nuti brothers, Siena (by 1904–6); [Böhler, Munich, 1906]; [Georges Brauer, Florence, 1906]; purchased from Brauer by The Metropolitan Museum of Art, New York, 1906.

The provenance for this painting was derived from the publications listed below and its listing on The Metropolitan Museum of Art website: http://www.metmuseum.org/toah/works-of-art/06.1046

Publication and Exhibition History: Siena 1904, cat. 1545 Ricci 1904, fig. 76, p.72, Mason-Perkins 1904, p. 149, Pératé. 1904, p. 16, Toesca. 1904, p. 305, Douglas 1904, p. 55, Coletti 1906, p. 109, Fry 1906, p. 165, Jacobsen 1908, plate XV, p. 44, Berenson 1909, p. 178, Colasanti 1909, pp. 88–89, Venturi. 1911, fig. 280.p. 501, Bernath1912, pp. 72–73, Crowe and Cavalcaselle 1914, p. 178, Breck 1914, pp. 177, 185–86, Douglas 1914, vol. 2, p. 363, Dami 1915, Weigelt 1921, vol. 14, p. 135, Mason Perkins 1921, p. 46, Rossi 1921, p. 149, Hutton 1925, p. 58, van Marle1927, fig. 272, p. 419, Venturi 1931, pl. CXXIX, no foliation, Berenson 1932, p. 246, Edgell 1932, fig. 314, p. 220, Gengaro 1932, p. 31, Venturi 1933, pl. 157, no foliation, Brandi 1933, p. 85, Brandi 1934, pp. 462–64, 467, Berenson 1936, p. 212, King 1936, cat. 22, p. 226 , Pope-Hennessy 1937, pp. 17–23, 39, 49, Wehle 1940, pp. 89–90, Brandi 1941, pp. 317–18, 334, Brandi. 1947, pp. 34–36, 55–56, 76 n. 47, Pope-Hennessy. 1947, pls. 26, 27, pp. 12, 26–27, Davenport 1948, no. 716, ill. p. 256, p. 255, Brandi 1949, pp. 102, 260, Pope-Hennessy 1952, p. 195, New York 1953, cat.72, Bottari 1956, fig. 327 (detail), p. 250, Salvini and Traverso 1960, pp. 97–99, Berenson 1968, vol. 1, pp. 177–78, Fredericksen and Zeri 1972, pp. 90, 546, 605, New York 1973, cat. 4, Szabó 1975, p. 48, Laclotte and Mognetti 1976, unpaginated, under no. 89, Torriti 1977, p. 323, Sutton 1979, fig. 45. p. 315, Sutton 1979, pp. 384, 386, Zeri and Gardner 1980, pl.39, pp. 20–21, Hibbard 1980, fig.400, pp. 226, 232,Spalding 1980, pl. 32, p. 97, Pope-Hennessy 1984, p. 234, Bähr 1987, cat.27, p. 366, Laclotte and Mognetti 1987, p. 109, under

Immunity from Seizure no. 89, New York 1988, cat. 32b, Pope-Hennessy 1988, figs. 18, 68, pp. 14, 17, 46, Ladis 1995, p. 81, fig. 37, Rowlands 1996, pp. 100, 105, Bähr 2002, figs. 4, 28, pp. 74–75, 82, 92, 96–97, 101, 104, 110, 112–13, Boskovits 2003, cat. 31, pp. 324, 331, Valeri 2004, p. 276, Laclotte and Moench 2005, cat.103, p. 112, Rosenberg 2006, p. 32, 231, Siena 2010, cat.16b.

Note that the painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945.

Immunity from Seizure

Antonio Rossellino (1427 - 1479)

X8864 Matteo Palmieri 1468 Place of manufacture: Italy Marble Object dimensions: 54 × 60 × 30 cm Museo Nazionale del Bargello, Florence

Lender's name and address Museo Nazionale del Bargello via del Proconsolo 4 Florence 50122 Italy

Provenance: With the owners’ of Palmieri’s house, Florence until 1832; acquired from the Ganucci sisters by the Museo Nazionale, Florence, 14th February 1832.

The provenance for this sculpture was derived from the publications listed below.

Publication and Exhibition History: Planiscig 1942, cat.65, p.56, Florence 1898, cat no. 160, p.411, Rossi 1932.

Note that the sculpture has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945.

Immunity from Seizure

Francesco Botticini (about 1446 - 1497)

X8867 Tobias and the Archangel Raphael about 1480 Place of manufacture: Italy Tempera on wood Object dimensions: 54 × 40 cm Accademia Carrara, Bergamo

Lender's name and address Pinacoteca dell'Accademia Carrara Piazza Carrara 82a Bergamo 24100 Italy

Accession Number Inv.930-1891

Provenance: Jacolli; Giovanni Costabili, Ferrara; Giovanni Morelli, Milan; given to the Pinacoteca dell’Accademia Carrara as a bequest from Morelli, in 1891.

The provenance for this painting was derived from the publications listed below and with assistance from the Accademia Carrara, Bergamo.

Publication and Exhibition History: Bode 1882, p.248; Durrieu 1883, p.188, Frizzoni 1892, p.14, Berenson 1900, p.108, Kühnel 1906, pp.53-54; Mesnil 1906, pp.15,18, Frizzoni 1907, p.198, Berenson 1909, p.118, Frizzoni 1912, p.115, Bacci 1924-25, p.338, Berenson 1936, p.92, Berenson 1963, I, p.39, Passavant 1969, p.204, Padoa Rizzo 1971, p.454, Padoa Rizzo 1976, p.8, Zeri-Rossi 1986, pp.80-2, Petrucci 1987, p.591, Adorno 1991, p.116, Venturini 1994, cat. 46, p.118;

Note that the painting has a complete history of ownership from the beginning of the year 1933 to the end of the year 1945.