LONDON.- An export bar has been placed on a painting by Italian master, Sandro Botticelli, which is at risk of leaving the UK.

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Botticelli was one of the leading Florentine painters of the second half of the fifteenth century and one of the most recognisable names in art history. Botticelli became well-known for his mythological and religious paintings, often with a focus on beauty and harmony. His most famous works include The Birth of Venus and Primavera.

Valued at more than £10.2 million (£9,960,000 + £272,000 VAT) the painting depicts an image of the Virgin Mary enthroned with the Christ Child and is believed to have been painted in the 1470s, early in Botticelli’s career. If saved by a cultural institution, the painting would represent a significant addition to the body of work by Botticelli in UK collections. Very few early Botticelli’s remain in the UK and it would provide a richer and more detailed understanding of his work and the development of Florentine painting in the later fifteenth century.


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The Virgin and Child Enthroned exemplifies Botticelli’s ability to combine radiant humanity and powerful spirituality. The shape and angle of the Virgin’s face bear similarities to the central Venus in Botticelli’s celebrated Primavera, painted in the late 1470s or early 1480s.

The artist has also given exceptional attention to the Virgin’s features, with the light catching her upper eyelids, the tip of her nose and the cupid’s bow of her lips.
Arts Minister, Sir Chris Bryant said: This painting is a perfect example of Botticelli’s genius and a unique part of history.

I hope that a UK gallery is able to save this work so that it can be enjoyed by the public for generations to come.

Christopher Baker, Committee member: Dating from the early 1470s, this affecting devotional work, demonstrates the sophistication of Botticelli’s painting early in his career in Florence. Probably intended to inspire private prayer in a domestic setting, it is an image that has a wider resonance as it delicately explores the power of maternal love.

The cult of, or enthusiasm for Botticelli, of which it formed a part, had grown during the Victorian era and the painting arrived in Britain in 1904; it was acquired by Lady Wantage and entered the renowned Lloyd collection.

Further research on the placement of Botticelli’s work in his career and the organisation of his workshop, as well as links with the wider context of Florentine Renaissance art would all be of enormous benefit. In view of these intriguing possibilities every effort should be made to try and secure this beguiling painting for a British collection.


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