Thomas B. Drummond - Page 5

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          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           

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