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BOTTICELLI, SANDRO Florence (ca. ) 1445 - (before) 1510 - and workshop Madonna with Child, St. John the Baptist and an Angel. Tempera/ oil on poplar wood. Parqueted. Diameter ca. 87,5 cm. Carved and gilded frame (19th century). Provenance: - 1826. Presumably auction, estate Dominique Vivant Denon (former director Museum Napoleon), auctioned as "Botticelli" on May 2, 1826 at Commissaire-Priseur Masson for 265 franc - Before 1925 in the collection Nardus/ van Buuren as Botticelli - 1925. Auction Mak van Waay, Amsterdam, auction May 26-27, 1925, lot 9, as Botticelli - not sold - After that again in the collection Arnold van Buuren/Haarlem - In 1940 listed by the Deutsche Revisions- und Treuhand-Aktiengesellschaft (German Revision and Trustee Stock Company), branch office The Hague, in the "Preliminary Report Enemy Property", status September 10, 1940, number 11, deployment III "Compilation of the paintings etc. - Collection van Buuren/ Nardus, sent in by Arnold van Buuren, Haarlem" under Pos 4 "Madonna with Child and Two Saints", attributed to Botticelli - August 1942. Parts of the collection Nardus/ van Buuren were confiscated and transferred to the so-called "Nazi Bank" Lippmann, Rosenthal & Co, 45-55 Sarphatistraat, Amsterdam, this painting being among that - 1943. Auction Lempertz on June 2, 1943, lot 7, as School Sandro Botticelli, sold for Reichsmark 19,000. Presumably brought in directly from the bank Lippmann, Rosenthal & Co together with at least 25 other paintings (see LIPPMANNlijst v. BUUREN and account Lempertz No. 244 dated June 22, 1943) - Since then in Rhenish private property Literature: - Auction catalogue Masson, "Feu M. Le Baron V. Denon", auction May 2, 1826, presumably Lot 13 - Auction catalogue Mak van Waay, Amsterdam, 1925. Tableaux anciens Antiquités-Collections Arnold van Buuren "T Loover", Naarden, Vente Publique les 26 - 27 Mai 1925, lot 9 - Auction catalogue Lempertz, Cologne, 1943. "Math. Lempertz'sche Kunstversteigerung" 420, June 2/3, 1943, lot 7 - Gabriele Mandel, in Carlo Bo, L'Opera completa del Botticell, Milano 1967, p. 99 in cat. 93. General literature: - Doetsch, Ingeborg Eugenia: Die "Madonna mit dem Granatapfel" von Sandro Botticelli (1487). Der Einfluss des Dante Alighieri und Nikolaus von Kues auf die Florentiner und die Rezeption bei Sandro Botticelli. Cologne 1992; - Zöllner, Frank: Sandro Botticelli, Munich 2005; - Schumacher, Andreas (ed.): Botticelli. Ausstellungskatalog Städel-Museum, Frankfurt/Main 2009/2010. Technological examinations - Technological examination by Dipl.-Rest. Rüdiger Beck, Leipzig, March 2013. I.a. infrared examination, X-rays, dendrochronological examination, pigment analysis, examination under ultraviolet light; - Pigment analysis from the Microanalytic Laboratory of Prof Dr. Jägers/ Dr. Jägers, Bornheim, February 2012; - Microscopic examination Prof Dr. Hans Portsteffen from the University of Applied Science, Cologne, Institute for Restoration and Conservation Science, February 2012. Assessment: - Prof. Dr. Gaudenz Freuler, University of Zurich, July 2013; - Ingeborg Eugenia Doetsch, Cologne, September 2014. From the middle of the 15th century onwards the tradition of the round picture, the so-called tondi, was widespread. They entered into bourgeoise houses and palazzi of wealthy patricians and princes and were primarily used for private devotion. One of the most famous is probably Michelangelo's Tondo Doni, which he had fashioned on the occasion of Angolo Doni's wedding (Florence 1506-1508) and which can today be admired at the Uffizi. The here presented round picture shows in its compostion centrally the Virgin Mother with the Child, flanked by a young St. John the Baptist on the right and an equally young angel on the left as assistance figures. While the background with the red-green canopy and the balustrade or bench in the front are given rather stereotyped, the spectator's look directly concentrates on the touching, very close relationship between the Madonna and her child. She holds the - seemingly elevated from all earthly severity - child in her arms, lovingly cheek to cheek. This motif of the "tender touch of the cheek" is likely to have been introduced to the Florentine art at least since Donatello. Via Fra Filippo Lippi and his son Filippino it entered the oeuvre of Sandro Botticelli and his workshop. The exceptionally high-quality execution of the left, yellow-clad figure of the angel gives rise to the assumption that Botticelli was, with regard to composition and pentimenti of the figure, as well as to the execution of the yellow garment, himself the executive painter. Gaudenz Freuler writes in comparison with two other angel figures of the same basic composition (i.a. Bob Jones University Art Museum, Greenville) in his assessment: "...This painting, too, is among those produced serially in Botticelli's workshop. Within the genesis of the tondo it becomes, however, clear, that this figure - undoubtedly the most beautiful in the picture - is not calked, as various pentimenti, like the IR shot (13) brought to light, are clear evidence that a searching and at the same time creating artist was at work here. The deviation of the final execution from the underdrawing refers chiefly to the angel's right hand, his eyebrows and the position of his right eye, which were probably quickly given up in favor of the current version. If a searching artist was at work here, we can assume that our angel stands at the beginning of the here compared three angels, painted after the same model. This fact is revealing of the authorship of the angel, especially as there seem to be worlds between the execution of the angel's dress, the angel's face itself and the realisation of the other figures. This fact is revealing of the authorship of the angel, especially as there seem to lie worlds between the angel's dress, the angel's face itself and the realisation of the other figures. In other words, for this figure, which draws its inspiration from other pictures of Botticelli with a similar topic, for instance from the outermost angel from the Madonna del Magnificat in the Uffizi (1) painted in the early 1480s, a direct contribution of Botticelli seems evident - at least for the conception visible from the underdrawing. Our angel stands therefore not merely chronologically but also with regard to its artistic quality in the frist place of the three here listed angels after our model..." And concluding: "...Despite the serial production of such tondi in Botticelli's workshop the round picture here present belongs to the qualitative high-ranked workshop products from its maturing time around 1483-85. With such paintings Botticelli's workshop could accomodate the demand of the upper Florentine bourgeoise class who desired such paintings for the rooms of their palazzi. Aesthetics and specifically incorporated elements should stimulate their pious devotion, which is clearly referred to in the book with the text from the Magnificat held by the angel, a passage from the bible that, as is described in said book in our picture, was understood as Canticum Beate Virginis. This hymn honoring the Virgin belonged to the evening vesper, whcih is why it can be assumed that our round picture decorated the bedchamber of a rich Florentine bourgeoise house and should encourage the evening Praise of the Virgin Mother of the Magnificat." Mrs Ingeborg Eugenia Doetsch, who in her study mainly looks at ikonography and imagery of the tondo compared to other tondi in Botticelli's oeuvre, states among other things: "Compared to paintings of Botticelli in the Galleria degli Uffizi in Florence, that we visited as recently as July 2014, the angel as well as the Blessed Mother with her Child in the tondo from Rhenish private ownership could, in our view, have developed under guidance and possible contribution of Sandro Botticelli. As close-ups show the partially subtle "botticelli-esque" brushwork, the pigments in their range, charisma, density, arrangement and glazes to and with each other, as well as the "lustre" of this painting have, despite some skinning, great affinity to some Botticelli-like, picturesque executions of his works." And further Mrs Doetsch states: "...If a cartoon from the workshop of Sandro Botticelli has been used as a basis for the painting presented here , we could argue that the tondo employs a symbolism that is probably attributable to Botticelli himself." The comprehensive scientific-technological examination by Rüdiger Beck in Leipzig proves the unquestionable perception that the panel must date from the direct surrounding of Botticelli: "The further reports and findings, as for instance poplar wood as an image carrier, the territorially confined and time-specific two-layered plaster grounding, the classic structure of the painting in terms of painting technique using traditional pigments and binders, the for the time typical flowing of the brush lines, as well as the natural aging processes and their appearance, are indicative that the painting originated in Tuscany, presumably Florence, during the Italian Renaissance in the late 15th century." Please take the complete assessment and study texts from the online version of the catalogue (www.van-ham.com). The alienator and the community of heirs of Leonardus Salomon Nardus have come to a mutual agreement regarding potential restitution claims. On the part of the Nardus family no claims concerning this work are being made. We would like to thank Nicholas Randall for his kind support and meditation concerning the provenance research. Dossier_Botticelli_EXPERTISE_DOETSCH Dossier_Botticelli_EXPERTISE_FREULER