Leonardo da Vinci, how many Paintings did he paint

 

New World Record in Auction

Leonardo da Vinci, Salvator Mundi (Savior of the World), c.1500, oil on a wood panel, 26 x 18 ½ inches
Leonardo da Vinci,Title  ” Salvator Mundi  (Savior of the World)”

Sold in auction  for usd 450m  15th of Nov 2017 Christies New York

one of history’s greatest and most renowned artists, sold for $450,312,500 / £342,182,751 (including buyer’s premium), becoming the most expensive painting ever sold at auction.

 

Leonardo di ser Piero da Vinci April 15, 1452 Vinci, Republic of Florence(present-day Italy)

Died May 2, 1519 (aged 67) Amboise, Kingdom of France

Experts on Leonardo da Vinci are  often not in agreement, on authenticity of several Leonardo da Vinci paintings and drawings.

 

Following Paintings by Leonardo da Vinci – arranged by estimated year of finishing.

Leonardo_Da_Vinci_-_Annunciazione

1 )   Title The Annunciation

Date 1472–75 Medium oil on panel Dimensions 98 × 217 cm (38.6 × 85.4 in) Current location Uffizi Gallery is a museum in Florence, Italy. It is one of the oldest and most famous art museums of the Western world.

Generally accepted Generally thought to be the earliest extant work by Leonardo. The work was traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphart, accepted by Bode, Lubke, Muller-Walde,Berenson, Clark, Goldscheider and others
Leonardo da Vinci was young when he created this painting he worked as a pupil in the studio of Andrea del Verrocchio.

Da-Vinci-The_Baptism_Christ_Florence_Uffizi

Andrea del Verrocchio (1436–1488)& Leonardo da Vinci (1452–1519)

2 )  Title The Baptism of Christ

Date c. 1475 Medium oil on panel Dimensions 177 × 151 cm (69.7 × 59.4 in) Current location

Uffizi Gallery (Priceless  – not for sale)

Leonardo_da_Vinci_Madonna_of_the_Carnation

Leonardo da Vinci (1452–1519)

3  )   Title Madonna of the Carnation

Date 1478 Medium oil on panel Dimensions 42 × 67 cm (16.5 × 26.4 in) Current location Alte Pinakothek Munich – Germany (Priceless  – not for sale) Generally accepted as an original 

 

 

Leonardo da Vinci, Portrait of Ginevra de' Benci, 1474-78, Oil on wood, 38,8 x 36,7 cm, National Gallery of Art, Washington.

Leonardo da Vinci,

4 )  Title “Portrait of Ginevra de’ Benci”

1474-78, Oil on wood, 38,8 x 36,7 cm, National Gallery of Art, Washington. (Priceless  – not for sale)

Generally accepted as an original

Leonardo_da_Vinci_Benois_Madonna

5 ) Title “Benois Madonna”

Description Mary and her child are naturally engrossed in their game, and their gazes make them appear lifelike to a degree that can be found in no contemporary Italian painting of the Madonna. Leonardo achieved this quality by means of nature studies. In 1478, he noted that he was working on two Madonnas. The Benois Madonna can be dated to that period. The painting has in its present condition been overpainted in some places and has lost some of the paint layer. The painting was also called the Madonna Benois because of the family who owned it. This canvas demonstrates the newly developed method of chiaroscuro – a lighting/shading technique that made the figures appear three dimensional. It entered the Hermitage in 1914. Date c. 1478 Medium English: oil on canvas (originally panel) Dimensions 49.5 × 31.8 cm (19.5 × 12.5 in) Current location Hermitage Museum sankt Petersburg -Russia  (Priceless  – not for sale)

Generally accepted as an original

Leonardo_da_Vinci_-_Adorazione_dei_Magi_-_Google_Art_Project-Priceless

6 )  Title  “The Adoration of the Magi”

Date from 1480 until 1482 Medium oil and tempera on panel

Dimensions Height: 243 cm (95.7 in). Width: 246 cm (96.9 in).

Current location Uffizi Gallery – Florence-Italy (Priceless  – not for sale)

Universally accepted as an original

Leonardo,_san_girolamo

7 )  Title  ” St Jerome “

Date circa 1480 Medium oil on panel

Dimensions Height: 103 cm (40.6 in). Width: 75 cm (29.5 in).

Current location Pinacoteca Vaticana, Vatican, Rome (Priceless  – not for sale)

Universally accepted as an original

Leonardo_da_Vinci_-_Portrait_of_a_Musician

8  )  Title  ” Portrait of a Musician ” (unfinished)

Tempera and oil on walnut  panel 45 × 32 cm

Milan, Pinacoteca Ambrosiana -Italy (Priceless  – not for sale)

Universally accepted as an original

 

 

Leonardo_da_Vinci_attributed_-_Madonna_Litta

Leonardo da Vinci (1452–1519)

9  )  Title  ” Madonna Litta “

Date circa 1490 Medium oil on panel transferred to canvas

Dimensions Height: 42 cm (16.5 in). Width: 33 cm (13 in).

Current location Hermitage Museum

Object history Litta Family 1865: acquired by Alexander II of Russia

(Priceless  – not for sale) 

 

 

 

Leonardo_da_Vinci_-_Madonata_v_peshterata

10 )  Title “Virgin of the Rocks (Louvre version)”

Date between 1483 and 1486

Medium Français : Bois transposé sur toile en 1806 par Hacquin

Dimensions Height: 199 cm (78.3 in). Width: 122 cm (48 in).

Current location Louvre Museum -Paris-France

(Priceless  – not for sale)

Universally accepted as an original

 

 

Leonardo_da_Vinci_-_Virgin_of_the_Rocks_London

11  )  Title “Virgin of the Rocks (London version) “

Oil on parqueted poplar panel 189.5 × 120 cm, 74.6 × 47.25

London, National Gallery-London-England

(Priceless  – not for sale) Universally accepted as an original

 

 

Portrait of Cecilia Gallerani (Lady with the Ermine), about 1488

Leonardo da Vinci,

12 )  Title ” Lady with an Ermine “

1489-90, oil on wood panel

Location Czartoryski Museum, Cracow, Poland

According to Rescuing Da Vinci by Robert Edsel, this portrait of Cecilia Gallerani, the mistress of Leonardo’s longtime employer the Duke of Milan, was stolen by the Nazis from the Czartoryski collection in Cracow in 1939. Lady with an Ermine, as it is popularly known, was “shared” by Hermann Goering and Hans Frank, then Governor General of occupied Poland.  It was the sole responsibility of a specially appointed SS officer to transport the priceless da Vinci back and forth between the two top Nazi officials.  Frank was in possession of it when the Allies captured him after the war’s end, and the work of art was returned to Cracow where it resides today in the Czartoryski Museum.

(Priceless  – not for sale)

Universally accepted as an original

 

ferroni-da-vinci

13 )  Title” La belle Ferronière”

c. 1490 Oil on panel, 63 x 45 cm
Musée du Louvre, Paris -France
(Priceless – not for sale)

Generally accepted as an original

Artist Leonardo da Vinci or his Milanese circle Year 1490–1496 Type Oil on wood

Dimensions 62 cm × 44 cm (24 in × 17 in) Location The Louvre, Paris

La Belle Ferronniere is one of  five Leonardo paintings in the collection of the Musee du Louvre in Paris.The portrait will form part of the first batch of about 300 works sent on loan from more than a dozen cultural institutions in France to supplement the new permanent collection of Louvre Abu Dhabi when it opens in December 2015

 

 

Da_Vinci_Vitruve_Luc_Viatour

14  )  Title  ” Vitruvian Man “

Date c. 1492 Medium drawing pen, ink and wash on paper

Current location Accademia of Venice

Universally  accepted as an original

 

 

La_Bella_Principess-Da-Vinci

 

15 ) Title :Portrait of a Young Fiancée

also called La Bella Principessa (English: “The Beautiful Princess”)

Leonardo da Vinci, Year 1495-6 Type Trois crayons (black, red and white chalk), heightened with pen and ink on vellum, laid on oak panel Subject Bianca Sforza Dimensions 33 cm × 23.9 cm (13 in × 9.4 in) Expertise: Marin Kemp disputed by Jacques Franck, the Da Vinci consultant at UCLA The current owner purchased the portrait in 2007.Privat collection.

 

The-Last-Supper-_Da_Vinci_5

16  )  Title English:  “The Last supper”

Français : La Cène Magyar: Utolsó vacsora Italiano: Il cenacolo  Polski: Ostatnia Wieczerza Русский: Тайная вечеря Date 1495-1498.(Priceless  – not for sale)

Universally accepted as an original

 

 

Leonardo da Vinci, Salvator Mundi (Savior of the World), c.1500, oil on a wood panel, 26 x 18 ½ inches
Leonardo da Vinci,

Title  ” Salvator Mundi  (Savior of the World)”

Sold in auction usd 450m

Nov 2017 Christies New York

c.1500, oil on a wood panel, 26 x 18 ½ inches.

Private collection

In France, Leonardo da Vinci painted the subject, Jesus Christ, for Louis XII of France between 1506 and 1513. The recently authenticated work was once owned by Charles I of England and recorded in his art collection in 1649 before being auctioned by the son of the Duke of Buckingham and Normanbyin 1763. It next appeared in 1900, damaged from previous restoration attempts and its authorship unclear, when it was purchased by a British collector, Sir Frederick Cook. Cook’s descendants sold it at auction in 1958 for £45. The painting was rediscovered, acquired by a US consortium of art dealers in 2005, and authenticated as by Leonardo.

NOT Universally accepted as an original

 

Leonardo_da_Vinci_-_Virgin_and_Child_with_Ss_Anne_and_John_the_Baptist

17 ) Title “The Virgin and Child with Saint Anne and Saint John the Baptist”

Description Cartoon for a painting, drawing on paper

Date between circa 1499 and circa 1500

Dimensions 141.5 x 104.6 cm

Current location National Gallery

 

 

Madonna_of_the_Yarnwinder

Leonardo da Vinci.

18  )  Title :  ” Madonna of the Yarnwinder “

1501. Oil on wood.

Private collection, United States

Attributed to Leonardo da Vinci and another artist

 

-

Title : “Madonna of Laroque”

is an oil painting on a poplar board (48 cm / 59 cm)

created between 1502-1503. It represents the Child and his mother next to John the Baptist.

This painting could be by Leonardo da Vinci

Mona_Lisa,_by_Leonardo_da_Vinci

19  )  Title : ” The Mona Lisa”

(or La Joconde, La Gioconda).

Object type Painting Date between circa 1503 and circa 1505

Medium oil on panel

Dimensions Height: 77 cm (30.3 in). Width: 53 cm (20.9 in).

Current location : Louvre Museum -Paris -France

(Priceless  – not for sale)

Universally accepted as an original

 

 

Da-Vinci-Madonna_Child_Anne _Young_St_John

Madonna and Child with St Anne and the Young St John
1507-08
Charcoal with white chalk heightening on paper, 141,5 x 106 cm
National Gallery, London

(Priceless  – not for sale)

Da-vinci-Female-head_La_Scapigliata

 

21 ) Title : “Female head” (La Scapigliata)

c. 1508 Oil on panel, 27 x 21 cm

Galleria Nazionale, Parma -Italy

(Priceless – not for sale)

Generally accepted as an original

 

leonardo-da-vinci-the-virgin-and-child-with-st-anne-c-1510-oil-on-wood

Title “The Virgin and Child with St Anne”

c. 1510, Oil on wood

Title French: La Vierge, l’Enfant Jésus et sainte Anne The Virgin and Child with St. Anne

Medium oil on poplar wood

Current location Louvre Museum

Da-Vinci-St_John_Wilderness_Bacchus

Title : “St John in the Wilderness (Bacchus)”
1510-15
Oil on panel transferred to canvas, 177 x 115 cm
Musée du Louvre, Paris

Saint John the Baptist, 1513-1515 Oil on wood 69 × 57 in 175.3 × 144.8 cm Source: Wikimedia Commons / Public Domain Musée du Louvre, Paris

Title : “St. John the Baptist”

Oil on walnut panel 69 × 57 cm, 27.2 × 22.4 in Paris, Louvre

Generally accepted “Anonimo Gaddiano” wrote that Leonardo painted a St. John. This is generally considered Leonardo’s last masterpiece.Ask me about other versions.

self-portrait-LeonardodaVinci

Title “Self Portrait”

Leonardo da Vinci

A dozen of scientists and David Bershad, an art history professor at St. Mary’s University College, agree. The image of a man with blue eyes, long greying hair and a moustache appears to be a self-portrait of the renowned Renaissance artist, inventor and thinker.

 

The painting is a portrait of Isabella d’Este (1474 – 1539), marquess of Mantua, who was one of the leading women of the Italian Renaissance.

DAVINCI_Isabella dEste

 

Isabella d’Este by Leonardo da Vinci (The painting appears to be a completed, painted version of a pencil sketch drawn by Leonardo da Vinci in Mantua in the Lombardy region of northern Italy in 1499 > right ) Size  61cm x 46.5cm portrait.

When Leonardo da Vinci was in Mantua in 1499, Isabella asked him to paint her portrait. A famous sketch, which was the preparatory phase to the painting, is exhibited at the Louvre in Paris. It is one of Leonardo’s finest head-and-shoulders portraits and the only known drawing for which Da Vinci used various colored pigments.

Based on the existence of this preliminary sketch, art historians thought until recently that the painting probably had existed, but that it went missing or was destroyed.

So, the recent authentication of the ‘new’ Da Vinci painting is a major discovery. The materials used to paint the portrait have been reliably authenticated with carbonio-14. The test, positive at 95,4%, revealed that the portrait dates from a time period running from the 1450s to the early 1600s. The major expert in authenticating disputed works by Da Vinci, professor Carlo Pedretti – interviewed by the Italian newspaper Corriere della Sera – also confirmed that the painting is by the hand of Leonardo, not excluding the possibility, however, that some details may have been added by one of his pupils. A common thing at that time.

Even more striking is the preparation of the canvas, which is identical to the technique described by Da Vinci in his Treatise ‘On Painting’. In this work the painter describes in detail not only how to prepare canvas for painting, but also how to paint on it. So, the argument that the painting can not be attributed to Da Vinci precisely because it was painted on canvas, does not hold.

While it is true that the only four – thus far known – female portraits by Leonardo da Vinci were all painted on wood panels (the Lady with the Ermine and La belle ferronnière on walnut, while the Mona Lisa and Ginevra de’ Benci were painted on poplar), the artist developed his technique of working on canvas already during his early apprenticeship in Verrocchio’s studio in the 1470s. So, long before he painted any of the four portraits. According to the Mona Lisa Foundation an earlier version of ‘Mona Lisa’ was also painted on hand-woven canvas, “a material with which Leonardo had significant experience before 1500″. A description of Da Vinci’s technique by Giorgio Vasari confirms that the master indeed painted on canvas. Moreover, the Court Painter for Isabella d’Este at the time when Da Vinci visited the marquess, was a great exponent of painting on canvas, which might have influenced Da Vinci in the choice of this medium.

The painting measures 61 by 46.5 cm (24 by 18 inches) and corresponds trait by trait to the original sketch. It depicts a perfectly linear profile of the marquess, a choice of pose that is striking for that time

Owner Italian Family “Private” found in a private collection of 400 works.Located in Switzerland in a bank vault.

Carlo Pedretti –confirmed that the painting is by the hand of Leonardo, not excluding the possibility, however, that some details may have been added by one of his pupils. A common thing at that time.“I can immediately recognise da Vinci’s handiwork, particularly in the woman’s face.”Pedretti  wrote In a letter to the owners, he was convinced Leonardo had painted the face, while two assistants were responsible for a palm leaf the subject is holding.

 

Leonardo  da  Vinci  /Salai:  “Il  Volto  della  Vergine”  (Head  of  the  Virgin)  (1508- 1510)

Leonardo  da  Vinci  /Salai:  “Il  Volto  della  Vergine”  (Head  of  the  Virgin)  (1508- 1510)

 

Leonardo da Vinci "Mary Magdalene"

Mary Magdalene as bare breasted, wearing a red robe and holding a transparent veil over her belly. A stunningly beautiful painting called Mary Magdalene which the world-class art historian suspects may have been painted by Leonardo da Vinci together with one of his pupilsThe painting, measuring 58 cm by 45 cm, was believed to have been painted in 1515, four years before the master died.

The expertise is  by Carlo Pedretti there are no 2nd expertise yet.
Monna Vanna
Is not a nude Mona Lisa, but a nude woman figure with the head of one of LdV students called Salai

Monna Vanna Is not a nude Mona Lisa, but a nude woman figure with the head of one of LdV student

Owner “Private”

Verdict painted by Andrea Salai or the master himself.

A nude version of the Mona Lisa is being shown in Milan. The naked portrait – titled the Monna Vanna, and complete with the model’s famous enigmatic smile – was painted in 1515 by Leonardo da Vinci’s pupil, Andrea Salai. Art historians say that it was not only inspired by Leonardo, but is almost certainly based on a lost original by the artist himself.

Prof. Flavio Caroli, curator of the Milan exhibition, says: “I am convinced that the portrait was painted by Salai from an idea by Leonardo, who was having fun with the famous image he had created ten years before.”

Prof. David Brown, Curator of Italian Renaissance Painting at the National Gallery of Art in Washington, D.C., added that the original naked Mona Lisa probably forms the “missing link” in a whole series of erotic portraits of men and women by Leonardo and his followers.

The copy of the Mona Lisa is a painting of the same subject as Leonardo da Vinci’s famous Mona Lisa (which is held by the Louvre Museum, Paris). The copy painting has been displayed in the Museo del Prado in Madrid (Spain) since 1819,but was considered for decades a worthless copy. However, after its restoration in 2012, the Prado’s Mona Lisa was claimed to be the earliest replica of Leonardo’s masterpiece.

Although there are dozens of surviving replicas of Mona Lisa from the 16th and 17th centuries, the Prado’s Mona Lisa is said to be, scientifically, the version with the most historical value.

 

Leonardo, who most historians believe was bisexual, is also said to have taken a liking to Salai. Salai entered Leonardo’s studio as a “street urchin” at the age of ten and soon became his assistant. Carlo Pedretti, a leading Italian da Vinci expert, says that Leonardo’s original naked Mona, and its later imitators.

 


Speciale in Italiano

Leonardo a Londra di euronews-it

Here are some of  todays most well know LdV experts.

Martin Kemp, professor emeritus of the history of art at Trinity College, Oxford

https://www.youtube.com/watch?v=D3qpw7gej3M

Carlo Pedretti professor at UCLA

David Bershad, an art history professor at St. Mary’s University College

 Jacques Franck, the Da Vinci consultant at UCLA

Leonardo paintings known to be lost

Leda and the Swan, a provocative nude, was probably destroyed by a shocked religious member of the French royal family. The Battle of Anghiari was covered or destroyed at the behest of the Medici.

Salvator Mundi, is described in 17th century documents but long thought to have vanished.

Please contact me regarding Leonardo da Vinci paintings for sale.

Best Regards

Stefan Katafai
President@Agent4Stars.com
+34 637 97 37 42
http://www.Agent4stars.com

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