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Investigating the Authenticity and Attribution of Paintings and Drawings believed to be by or Attributed to;

Leonardo di ser Piero da Vinci

Known as Leonardo da Vinci

Leonardeschi - Studio and Workshop

(Italy, France, 1452 - 1519)

 Considered to be one of the greatest painters of all time, Leonardo da Vinci was trained under the renowned Italian painter Andrea del Verrocchio in Florence, becoming a studio boy at 14 years of age and his atelier apprentice at 17.

There is no need to create a biography of da Vinci here, he is renown for his Mona Lisa and the Last Supper and others have eloquently recorded his life, but barely 20 paintings by da Vinci are known to have survived and the words disputed and challenged appear regularly with many da Vinci attributions.

 You may think it a little odd, far fetched even, that in today's world, drawings and paintings believed to be by the Venetian grand master Leonardo da Vinci are brought to our attention for scrutiny and the investigation of their legitimacy, or indeed the accuracy of a previous attribution to Leonardo, but indeed they do.

It's hardly surprising when the painting Salvator Mundi, dated to about 1500 and once presumed lost and unrivalled in value, was sold for a world record $450.3 million at a Christie's in New York in 2017. The highest price ever paid for a work of art.

 There are many disputed paintings also attributed to da Vinci and an even longer list of mislaid or destroyed works.

 Only two years ago we were engaged at the heart of a major investigation into a 'newly discovered' yet controversial portrait that was being offered for sale as an original da Vinci to prospective clients in western Europe.

Suffice as to say, the provenance was manufactured, its expertise well paid for and its presentation, shall we say...dubious....

 Today, facsimile reproductions of the drawings of da Vinci are a serious problem and are often confused with the real thing.

Seemingly the older they are, the more convincing they become.

Leonardo's last painting is Saint John the Baptist,

an oil on wood, completed in about 1515. Louvre

After Leonardo da Vinci "St. John the Baptist"
Oil on canvas Unsold

After Leonardo da Vinci
The Last Supper. Oil on panel Sold for $1,250

Attributed to Leonardo Da Vinci. Drawing. Ink/Paper. With Possible Initial/Monogram in lower right portionof image. $14,750.00

 Leonardo da Vinci’s Madonna of the Yarnwinder is depicted above, but the attribution to Leonardo still remains somewhat controversial. The Lansdowne Madonna 1501 and the Buccleuch Madonna are both oil on panel. Novella’s first-hand account of Da Vinci from the time, confirms that studio assistants and apprentices were copying from da Vinci with da Vinci himself adding to parts of the newly painted compositions.

Head study of a young man. Red and black chalk. Probably a Florentine artist who was under the strong influence of Leonardo. It may be the study of an angel or St. Johannes.
Inscribed "L. da Vinci" in the lower left.

Auctioned as Leonardo da Vinci (Follower) E20,000.00

After Leonardo da Vinci HEAD OF CHRIST, Chalk heightened with white on thin paper, laid down to a later paper support; bears signature “Leonardo da Vinci” in sepia ink lower left.
Possibly a drawing by one of the Nazarene School artists, which centered around Johann Friedrich Overbeck, Franz Pforr, Ludwig Vogel and Johann Konrad Hottinger in Rome during

the 1810’s. Estimate $1,000-$1,500 -

Realised: $540 CDN

 We are international fine art consultants specializing in conducting full investigations into the authenticity of works of art created by all artists, in all categories, from all regions and historical eras.

 Confidentially serving both private individuals and corporate clients from around the world for over 45 years, we can assist and advise you in all fine art related matters, particularly issues of authenticity, legitimacy and attribution of old and modern master works of art. Including the works of Leonardo Da Vinci and his studio and circle, or paintings or works of art that you are unsure about.

Authentication:  Conducting and directing comprehensive investigations and in depth research, with a view to establishing a correct, full and formally recognized certification of a work of art. One absolutely upheld by the appropriate, legally acknowledged and internationally sanctioned authority, body or expert on that given artist.

Directing detailed and complicated inquiries with multilingual, international academic research and any forensic applications.

 Attribution:  Identifying and confirming the identity of a previously anonymous artist, studio or workshop from which a work of art most likely originated. Including the re-examination and investigation of a previous attribution which may be incorrect, or the scrutiny of an attribution that has been formally questioned or doubted.

 Confirmation:  Undertaking research and investigations into the legitimacy of the provenance, history and prior ownership of a work of art and establishing its own accuracy.

 Scrutiny:  Identifying fake works of art and forgeries, including any false supportive accompanying documentation and determining works of art which may be studio or later copies, or previous incorrect attributions.

 Prosecution:  Investigating alleged art fraud and forgery and assisting and advising those who are , or may be considering litigating or prosecuting the fact. This includes legal professionals and private clients.

 Attention:  Conducting all fine art related due diligence and duty of care inquiries. Including safe prepurchase or sale related audits and assisting clients in consolidating a well balanced future family distribution.

 Appraisal: Valuations, quality and condition reports.

Step one in the Art Authentication and Attribution process.

The Pre-Authentication Assessment

 Before you begin any art authenticity, legitimacy, or any artist attribution investigation, it is more than wise to have an impartial preliminary assessment of the viability of the project conducted first. One made to independently and rationally balance any negative issues there may be against the positive elements. Treat it as your safety net.

 We will be happy to professionally undertake that study for you as a primary safety net, based upon good quality images that you supply and all the known facts regarding its acquisition, the history and provenance of the work as is known to you.

You will then have a far better understanding of the prospects and pitfalls that could lie ahead.

See our FAQ's for details of the process

CONTACT US

We will respond to you promptly.

  Avant d'entreprendre une enquête sur l'authenticité d'une œuvre d'art ou l'attribution d'un artiste, il est plus que prudent de procéder à une évaluation impartiale de sa faisabilité. Ceci est fait pour équilibrer indépendamment tous les problèmes négatifs qui peuvent exister contre le positif.

Nous serons heureux d'entreprendre cette étude d'une manière professionnelle pour vous que nous considérons comme votre principal filet de sécurité.
Il sera basé sur les images que vous fournissez et tous les faits connus concernant votre acquisition, son passé et la provenance de l'œuvre telle que vous la connaissez.
Vous aurez alors une meilleure compréhension des perspectives et des difficultés éventuelles à venir, avant de prendre une décision.

  Antes de embarcarse en cualquier investigación de autenticidad artística o atribución de artista, es más que prudente realizar primero una evaluación imparcial de su viabilidad. Esto se hace para equilibrar independientemente cualquier problema negativo que pueda haber contra el positivo.

Nos complace emprender profesionalmente ese estudio para usted, que consideramos su red de seguridad. Se basará en las imágenes que usted suministre y todos los hechos conocidos con respecto a su adquisición, historia pasada y procedencia del trabajo tal como lo conoce.

Entonces tendrá una mejor comprensión.

ABOUT AUCTION HOUSE DESCRIPTORS

 It is important to understand the auction terms used in any published descriptor and be cautious of works that may be painted in the style of the artist or even copies of his works which bear a signature. In this case Leonardo.

Leonardo Da Vinci ; Given the first name/s and surname of the artist. In their opinion it is the genuine authentic item, painted by the artist.

Leonardo Da Vinci ; Described as “Attributed to ….” That in their opinion it is 'probably' a work by the artist, at least in part.

Leonardo Da Vinci ; “Studio of ….” or “Workshop of” or "atelier" In their opinion it is a work executed in the studio or workshop of the artist. Possibly by an apprentice or pupil under the principal artists supervision.

Leonardo Da Vinci ; “Circle of ….” In their opinion it is a work of the period of the artist and showing his influence, or closely associated with the artist but not necessarily by his pupil.

Leonardo Da Vinci ; In the “Style of ….” or “Follower of ….” In their opinion it is a work of art executed in the artist’s style, but not necessarily by a pupil. But it may be contemporary, or nearly contemporary.

Leonardo Da Vinci ; “Manner of ….” In their opinion it's a work in the style of the artist but of a later date and definitely not by the artist.

Leonardo Da Vinci ; “After ….” In their opinion it is a copy (made at any date) of an authentic and original work by the artist.

Leonardo Da Vinci ; “Signed…”, “Dated….” or “Inscribed” In their opinion the work has been signed/dated/or inscribed by that specific artist. The addition of a question mark indicates an element of doubt.

Leonardo Da Vinci ; "With signature ….”, “With date ….” or “With inscription….” or “Bears signature/date/inscription” Then in their opinion the signature / date / or inscription is spurious, forged or has been added by someone else other than the artist.

We can assist and advise you in all fine art related matters.

LIST: Works of Art by Leonardo da Vinci:

The Annunciation – 1473-4 Oil and tempera on poplar pane. Leonardo da Vinci his earliest extant work by Leonardo.

The Baptism of Christ 1476
Oil and tempera on poplar panel. Verrocchio and Leonardo

Madonna of the Carnation
Tempera and oil on poplar panel. generally accepted as attributed to Leonardo da Vinci, but has some overpainting possibly by a Flemish artist.

Ginevra de' Benci
Oil and tempera on poplar panel. Controvertially attributed to Leonardo da Vinci until recent times.

Benois Madonna
Oil on wood panel, transferred to canvas. Da Vinci

The Adoration of the Magi (unfinished)
Oil (underpainting) on wood panel. Controvertial again as scientific analysis showed that the paint post dated da Vinci.

Saint Jerome in the Wilderness (unfinished)
Tempera and oil on walnut panel. Universally accepted as being by da Vinci.

Madonna Litta
Tempera and oil on poplar panel. Disagreemant among da Vinci experts, some believing it to be by a da Vinci pupil.

Virgin of the Rocks
(Louvre version) Oil on wood panel, transferred to canvas, agreed to be attributed to Leonardo da Vinci and the earler version of two paintings.

Portrait of a Musician (unfinished)
Tempera and oil on walnut panel. Generally accepted to be by da Vinci.

Lady with an Ermine
Oil on walnut panel. Subject to wide disagreement, but now generally accepted as a Leonardo da Vinci.

Virgin of the Rocks
(London version) Oil on parqueted poplar panel. Widely accepted as attributed to Leonardo with some additional work by other artists from the da Vinci Studio.

The Last Supper
Tempera on gesso, pitch and mastic, a mural Convent of Santa Maria delle Grazie, Milan By Da Vinci.

La belle ferronnière
Oil on walnut panel. Generally accepted to be da Vinci.

Sala delle Asse
Tempera on plaster. Universally accepted. Two fragments of Leonardo’s decorative scheme for this room decorated by Leonardo da Vinci, dating from about 1498 and located in the Castello Sforzesco in Milan.

The Virgin and Child with Saint Anne and Saint John the Baptist
Charcoal, black and white chalk on tinted paper, mounted on canvas. Universally accepted to be by da Vinci.

Portrait of Isabella d'Este
Black and red chalk, yellow pastel chalk on paper. Universally accepted to be by Leonardo da Vinci.

Madonna of the Yarnwinder
(The Buccleuch Madonna)
Oil on walnut panel. Da Vinci and another artist?

The Madonna of the Yarnwinder II (The Lansdowne Madonna)
Oil on wood panel (transferred to canvas and later re-laid on panel) Though to be Da Vinci.

Virgin and Child with Saint Anne
Oil on wood panel. Universally accepted to be by Leonardo da Vinci.

Mona Lisa
Oil on cottonwood (poplar) panel.Universally accepted to be by Leonardo da Vinci.

Salvator Mundi
Oil on wood panel. Disputed attribution by Leonardo specialists with some believing the work was painted primarily by Leonardo da Vinci's assistant, Bernardino Luini.

Head of a Woman
(La Scapigliata)
Earth, amber and white lead on wood panel. Generally accepted to be by Leonardo da Vinci.

Saint John the Baptist
Oil on walnut panel. Generally accepted to be by Leonardo da Vinci.

Leonardeschi
This term is associated with the large number of artists, studio apprentices, students, pupils, assistants, or artists directly under the influence of Leonardo da Vinci.

Leonardo da Vinci had many important pupils during his life, Gian Giacomo Caprotti de Oreno, known as Salai and Francesco Melzi. Also Giampietrino, Bernardino Luini, Francesco Napoletano, Andrea Solario and Marco d'Oggiono.

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