- 5 -
tion, to the wrong artists and that art museum curators knowl-
edgeable about both museum and privately-owned art collections
were qualified to determine the artists of such drawings.
Around the early 1980's, based on a visual comparison of the
drawing in question with drawings properly attributed to Anselmi,
petitioner became convinced that Anselmi had not sketched that
drawing; the curator of Italian drawings at the National Gallery
(curator of Italian drawings) became interested in the drawing in
question; that curator advised petitioner that she was fairly
certain that the drawing in question was attributable to a
follower of Correggio, who worked, as did Correggio, in Parma,
Italy, during the 16th century; petitioner lent that drawing to
the National Gallery; and the curator of Italian drawings con-
ducted research on it and attributed it to a follower of
Correggio named Franco Parmagianino (Parmagianino).
For some undisclosed period of time after the drawing in
question was attributed to Parmagianino, the curator of Italian
drawings caused the drawing in question to receive international
exposure by having it displayed in art exhibits at the National
Gallery and in Parma, Italy. During that period, that drawing
also received international exposure through newspaper articles
about it in the United States and Italy and photographs of it in
museum art catalogues.
During 1988 or 1989, Christie's Auction House in New York
City (Christie's) advised petitioner that the drawing in question
Page: Previous 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 Next
Last modified: May 25, 2011