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Leonardo's Lost Princess: One Man's Quest to Authenticate an Unknown Portrait by Leonardo Da Vinci
How an oddly attributed $19,000 picture proved to be a $100 million work by Leonardo da Vinci—a true art-world detective story In late 2010, art collector Peter Silverman revealed that a ""German, early 19th century"" portrait he had bought for $19,000 was, in fact, a previously unknown drawing by Leonardo da Vinci—an exquisite depiction of Bianca Sforza, rendered 500 years ago. In Leonardo's Lost Princess , Silverman gives a riveting first-person account of how his initial suspicions of the portrait's provenance were confirmed repeatedly by scientists and art experts. He describes the path to authentication, fraught with opposition and controversy. The twists and turns of this fascinating, decade-long quest lead from art history to cutting-edge science, and from a New York art gallery to Paris, Milan, Zurich, and ultimately a Warsaw library where the final, convincing evidence that the portrait was indeed by da Vinci was found. Unearthing the secrets almost lost to history, the book is ideal reading for art lovers and anyone interested in an astounding case of ""whodunit.""
280 pages, Hardcover
First published February 1, 2010
13 people are currently reading
231 people want to read
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Displaying 1 - 22 of 22 reviews
February 20, 2022
Made my 'Almost Favorite' list, surprising for a non-fiction, this is my kind of thing. Read a historical fiction book about establishing the provenance of a supposed Leonardo attribution, and decided to read the real thing. If you don't have time to read it you can find a very good production on Nova. Search 2012 Leonardo's Last Princess and it should get you there; if not, try 'Lumiere Technology'.
June 5, 2012
Peter Silverman's likely Leonardo, "La Bella Principessa" is beautiful. And, it appears, she is likely a real da Vinci. Her story is interesting--and the book would be perfect if that was all it centered upon. It's only real issue was the author's self-important tone and his often petty, self-righteous interjections.
I won't pretend that I know more about art than Silverman, or his many experts. I'm a baby student; I'll go with many of the experts right now, and maybe form my own opinions down the road. Assuming that "La Bella" is a Leonardo, she is the most remarkable part of this tale. From her inception as a portrait of Bianca Sforza--ah, Sforzas, how I love you--to the cutting-edge technology that unveiled her identity, I was riveted. I also enjoyed the little details telling me HOW art historians authenticate works--the book's pictures and close-ups were welcome in this regard.
However, Silverman's part of the story drags. He just doesn't come off as likable. In fact, he seems shocked at times that people would be wary of his claims. Um, sir--it doesn't matter if Mina Gregori identified the drawing as a Leonardo. Leonardo da Vinci's don't just materialize out of nowhere. Of course the "art world" is suspicious!
The weird thing is, though Silverman refers to the drawing as "priceless" his storytelling often comes off as a sales' technique. He calls the painting "his lady", which is pretty annoying in itself, and puts down several people through the course of the book, most of all the woman who owned the drawing before he did. He name drops and mentions sordid little details here and there. It's all very gossipy and not worthy of the Leonardo he apparently owns. I kept on wanting him to stop whining and just do what he had to do.
Oh, and then he goes on to tell me stories I can't possibly believe--such as one involving a plane passenger who miraculously recognizes the drawing as a Leonardo. Really, Silverman? Really. His claims of wanting to stay out of the limelight are silly at best. You wrote a book about it, sir. Don't try to tell me you're a shrinking violet.
Four stars for the story, one for the author.
I won't pretend that I know more about art than Silverman, or his many experts. I'm a baby student; I'll go with many of the experts right now, and maybe form my own opinions down the road. Assuming that "La Bella" is a Leonardo, she is the most remarkable part of this tale. From her inception as a portrait of Bianca Sforza--ah, Sforzas, how I love you--to the cutting-edge technology that unveiled her identity, I was riveted. I also enjoyed the little details telling me HOW art historians authenticate works--the book's pictures and close-ups were welcome in this regard.
However, Silverman's part of the story drags. He just doesn't come off as likable. In fact, he seems shocked at times that people would be wary of his claims. Um, sir--it doesn't matter if Mina Gregori identified the drawing as a Leonardo. Leonardo da Vinci's don't just materialize out of nowhere. Of course the "art world" is suspicious!
The weird thing is, though Silverman refers to the drawing as "priceless" his storytelling often comes off as a sales' technique. He calls the painting "his lady", which is pretty annoying in itself, and puts down several people through the course of the book, most of all the woman who owned the drawing before he did. He name drops and mentions sordid little details here and there. It's all very gossipy and not worthy of the Leonardo he apparently owns. I kept on wanting him to stop whining and just do what he had to do.
Oh, and then he goes on to tell me stories I can't possibly believe--such as one involving a plane passenger who miraculously recognizes the drawing as a Leonardo. Really, Silverman? Really. His claims of wanting to stay out of the limelight are silly at best. You wrote a book about it, sir. Don't try to tell me you're a shrinking violet.
Four stars for the story, one for the author.
June 30, 2020
The picture in question, now named La Bella Principessa, turns out to be a portrait of Bianca Sforza, born about 1480 and who died in November 1496, about four months after her marriage. She was the daughter of the Duke of Milan, Ludovico Sforza. A man rich enough to commission Leonardo to produce a portrait of his daughter.
This book is an interesting work of non-fiction about the difficulties of trying to prove that a painting bought for $20,000 was actually worth $150million. For me the interest was in the difficulty gaining any consistent support behind the change of attribution and how scholars, collectors and museums were unwilling to support a claim which was backed by plenty of scientific evidence. Some of those experts were unwilling to even look at the painting in real-life and, in my view, showed a high degree of arrogance. Christies auction house, who classified the painting as a minor German piece from the nineteenth century instead of a $150million masterpiece, also come out of the story badly. But then can you blame them for remaining sceptical about the new provenance – they are the ones who didn’t work hard enough on behalf of the original owner and get her a good price.
All in all the book reinforces a view that the art world is full of people who think that they know best, but who are unwilling to take any note of science over their own knowledge, and even when the evidence stacks up against them, still refuse to budge. Vested interests play a big part too. If you have bought lots of pieces from Christies over the years, it is unlikely you’ll be keen to prove them as sometimes incompetent. It may mean your masterpiece is worthless. The same can go for museums.
The fun in the book is the detective story, piecing all the clues together. The date of the vellum on which it is drawn, the left-handed shading, the detailed dating of the costume worn by the princess, and even the finger print in the paint which shares numerous characteristics with ones on other of Leonardo’s works. Experts are quoted often. One of the passages I enjoyed was about forgery:
“According to [Thomas] Hoving, every art historian abides by some basic tenets when determining if a work is a forgery:
• The forger will always betray himself by some silly personal mannerism of style.
• A fake will always lack freedom of execution and originality.
• The phony is always lower in quality than the original.
• Where gut reaction and intense scrutiny by the naked eye fails to detect a fake, “science” – the computer, the laser – will always unmask the bogus.
• Fakes eventually reveal the taste of the time in which they were created and nevre stand up more than a generation or so before they crash.”
I also enjoyed the observation about how the viewer’s background impacts their thinking about a piece of art:
“Two people observing the same work might derive completely different signals from it, depending on many factors, including their cultural, educational, emotional and philosophical conditioning. For example, a non-Buddhist will not understand the image of Buddha in the same way as someone who practices Buddhism. Likewise, a non-Christian would probably not perceive Michelangelo’s Last Judgement, or the sublime image of Christ on the cross be Bernini, the same way as a Christian would. The believing Christian would see the violent scenes through the prism of faith and feel inspired by the possibility of redemption, whereas the non-Christian might see only violence and terrible suffering.”
Having reached what appeared to be an impasse in the case of La Bella Principessa – some believers and some deniers – a final piece of evidence emerges which gives the picture the thing which it most lacks – provenance. Once people know where it has been hiding for the last few centuries, then they are more willing to believe.
A fascinating story, best summarised in some of Leonardo’s own words; “There are three classes of people: those who see, those who see when they are shown, those who do not see.” Better still, it is a sublime work of art. I would love to come face to face with it one day. But what about the owner, who when it was worth $20,000 was happy to hang it at home, but can’t do so any longer because it is worth $150million and he probably can’t afford the insurance.
This book is an interesting work of non-fiction about the difficulties of trying to prove that a painting bought for $20,000 was actually worth $150million. For me the interest was in the difficulty gaining any consistent support behind the change of attribution and how scholars, collectors and museums were unwilling to support a claim which was backed by plenty of scientific evidence. Some of those experts were unwilling to even look at the painting in real-life and, in my view, showed a high degree of arrogance. Christies auction house, who classified the painting as a minor German piece from the nineteenth century instead of a $150million masterpiece, also come out of the story badly. But then can you blame them for remaining sceptical about the new provenance – they are the ones who didn’t work hard enough on behalf of the original owner and get her a good price.
All in all the book reinforces a view that the art world is full of people who think that they know best, but who are unwilling to take any note of science over their own knowledge, and even when the evidence stacks up against them, still refuse to budge. Vested interests play a big part too. If you have bought lots of pieces from Christies over the years, it is unlikely you’ll be keen to prove them as sometimes incompetent. It may mean your masterpiece is worthless. The same can go for museums.
The fun in the book is the detective story, piecing all the clues together. The date of the vellum on which it is drawn, the left-handed shading, the detailed dating of the costume worn by the princess, and even the finger print in the paint which shares numerous characteristics with ones on other of Leonardo’s works. Experts are quoted often. One of the passages I enjoyed was about forgery:
“According to [Thomas] Hoving, every art historian abides by some basic tenets when determining if a work is a forgery:
• The forger will always betray himself by some silly personal mannerism of style.
• A fake will always lack freedom of execution and originality.
• The phony is always lower in quality than the original.
• Where gut reaction and intense scrutiny by the naked eye fails to detect a fake, “science” – the computer, the laser – will always unmask the bogus.
• Fakes eventually reveal the taste of the time in which they were created and nevre stand up more than a generation or so before they crash.”
I also enjoyed the observation about how the viewer’s background impacts their thinking about a piece of art:
“Two people observing the same work might derive completely different signals from it, depending on many factors, including their cultural, educational, emotional and philosophical conditioning. For example, a non-Buddhist will not understand the image of Buddha in the same way as someone who practices Buddhism. Likewise, a non-Christian would probably not perceive Michelangelo’s Last Judgement, or the sublime image of Christ on the cross be Bernini, the same way as a Christian would. The believing Christian would see the violent scenes through the prism of faith and feel inspired by the possibility of redemption, whereas the non-Christian might see only violence and terrible suffering.”
Having reached what appeared to be an impasse in the case of La Bella Principessa – some believers and some deniers – a final piece of evidence emerges which gives the picture the thing which it most lacks – provenance. Once people know where it has been hiding for the last few centuries, then they are more willing to believe.
A fascinating story, best summarised in some of Leonardo’s own words; “There are three classes of people: those who see, those who see when they are shown, those who do not see.” Better still, it is a sublime work of art. I would love to come face to face with it one day. But what about the owner, who when it was worth $20,000 was happy to hang it at home, but can’t do so any longer because it is worth $150million and he probably can’t afford the insurance.
July 30, 2012
I am so disappointed not to be able to recommend this book. While I have not seen it, I have no doubt that the so-called "Bella Principessa" is by Leonardo da Vinci, and that it was designed as a special frontispiece for the "Sforziana." It is probably the most significant--and lovely--art historical discovery in a generation and it is a great pleasure that it was authenticated by Martin Kemp. Somewhat amazingly, this book manages to make the entire discovery unpleasant through the airing of petty personal grievances, a poorly-edited, convoluted and repetitive narrative, and above all the smug self-satisfaction of the author. Makes you wish anyone else had found the drawing.
February 15, 2018
This is an incredible story. BUT....unless you are really really really fascinated by the extremely detailed scientific minutia involved in authenticating a artwork and you don't mind having to read about how many times Peter Silverman went to the opera...just watch the NOVA documentary about this drawing and skip the book.
September 16, 2018
I enjoyed reading Leonardo's Lost Princess. This book started with the author buying what was described as a German 19th century art piece for $19,000 and finding out that is was much older and much more valuable and a Leonardo. This book is full of information of what is involved in determining if an art piece is an original. It also described the period in which the painting was done. Much of the book was full of specifics on what is required to authenticate a piece of art such as carbon-dating, having it digitally examined and even fingerprinted. It never occurred to me that the paint strokes will show if the painter is left handed or right handed. There are many people that just have the instinct to recognize a great painting or art piece.
It seemed like there were a lot of disagreements about this beautiful paintings that sometimes seemed petty. I wish that I had felt more of a professional view point rather than an almost revengeful or disapproving one. That was one piece of this art world that both surprised and disappointed me. It is amazing that in this day, there are differing opinions despite what proof we can find. It is not foolproof.
Still, I enjoyed reading this book and came away with knowledge of a world I knew nothing about. I read about art history, about Leonardo da Vinci's style, about the many steps involved in determining the origin of paining, and of the art world in general.
It seemed like there were a lot of disagreements about this beautiful paintings that sometimes seemed petty. I wish that I had felt more of a professional view point rather than an almost revengeful or disapproving one. That was one piece of this art world that both surprised and disappointed me. It is amazing that in this day, there are differing opinions despite what proof we can find. It is not foolproof.
Still, I enjoyed reading this book and came away with knowledge of a world I knew nothing about. I read about art history, about Leonardo da Vinci's style, about the many steps involved in determining the origin of paining, and of the art world in general.
June 26, 2017
I loved this book so much, I read it twice! After the first reading, I was so excited, I selected it as the subject for our woman’s study club, purchasing the book for 12 other members. Every single lady raved about the book – not only because of the interesting subject matter, but also because the book reads like a mystery novel! Comments such as “I probably would have never chosen this book, but I couldn’t put it down!” and “I’m so glad that I read this book, it was incredibly interesting!” I couldn’t agree more. It is a fascinating and moving story - a real page turner.
Peter Silverman is a noted art collector and connoisseur who purchased a chalk, pen and ink portrait of a young girl from a New York gallery, described to be a German, early 19th century work. Because of its quality, Silverman was certain that the piece was either a Renaissance work by a great master or by that of a brilliant forger. With remarkable resolve, Mr. Silverman engaged not only art experts to examine the work, but scientific dating experts to prove that the work is indeed of the Renaissance. Their research takes them through many twists and turns to Paris, Milan, London, and Warsaw, in the end proving, beyond a doubt, the portrait is by the great master, Leonardo da Vinci.
Peter Silverman is a noted art collector and connoisseur who purchased a chalk, pen and ink portrait of a young girl from a New York gallery, described to be a German, early 19th century work. Because of its quality, Silverman was certain that the piece was either a Renaissance work by a great master or by that of a brilliant forger. With remarkable resolve, Mr. Silverman engaged not only art experts to examine the work, but scientific dating experts to prove that the work is indeed of the Renaissance. Their research takes them through many twists and turns to Paris, Milan, London, and Warsaw, in the end proving, beyond a doubt, the portrait is by the great master, Leonardo da Vinci.
March 23, 2020
In this book Peter is self-promoting the research that was done to prove a drawing, bought by Peter as an 18th century German work, was created by the hands of renaissance master Leonardo DaVinci.
There is some interesting insights on how that process was done (curators, art historians, scientific analysis) and arguments are exposed on why this work would be by the old master hands.
The book concludes with evidence that the drawing had once been part of a copy in the National Library of Poland in Warsaw of the Sforziada. Sforziada is a printed book with hand-illuminated additions containing a long propagandistic poem in praise of the father of Ludovico Sforza, who was Leonardo's patron.
With the whole attempt to prove the drawing authorship I do feel that there is a huge financial motivation behind this book, which the author doesn't denied that, as apparently he makes a living buying art that is incorrectly cataloged.
There is some interesting insights on how that process was done (curators, art historians, scientific analysis) and arguments are exposed on why this work would be by the old master hands.
The book concludes with evidence that the drawing had once been part of a copy in the National Library of Poland in Warsaw of the Sforziada. Sforziada is a printed book with hand-illuminated additions containing a long propagandistic poem in praise of the father of Ludovico Sforza, who was Leonardo's patron.
With the whole attempt to prove the drawing authorship I do feel that there is a huge financial motivation behind this book, which the author doesn't denied that, as apparently he makes a living buying art that is incorrectly cataloged.
August 22, 2018
How could an unassuming — but beautiful — chalk drawing by Leonardo da Vinci be misappropriated as a 19th century copy in the Renaissance style? This book goes through the tale and at the same time exposes many of the petty grievances, jealousies, and fear of being wrong that exist in the world art market. One of the best things that happened with this discovery is that Bianca Sforza, princess and child bride, gained back her place in history.
June 13, 2024
This was an interesting tale. I rather enjoyed the mystery of the painting and how all the information about it all came together. This was, overall, a good Art History read - especially if you like Old World Masters, or the modern methods of solving crimes being applied to other industries.
June 15, 2014
Leonardo's Lost Princess, by Peter Silverman: interesting story. Not a whole lot of suspense, since it's clear from the beginning (never mind the blurb and flap copy)what the outcome is, but how the proof of it being one of Leonardo's portraits was determined was interesting to me. In fact, the main suspense for me was what was the problem, since his proof seemed cut and dried. Then suddenly halfway through the book (just after the photo section!) the narrative turned into an account of everyone who disagreed--which the author/owner found incredible, more or less--and then the final circumstances were laid out, and I'm not sure if I'm supposed to assume that all the doubters have become believers or what. I would love to know who owns the picture now and where is it--unless I missed that bit, the last time its locale is mentioned it was in a vault in Zurich. Which seems a pity!
Not particularly well written, but I give it 4 stars anyway because it is quite a story.
Not particularly well written, but I give it 4 stars anyway because it is quite a story.
February 26, 2012
How can you not love a true story in which a 19c drawing turns out to be a Leonardo Da Vinci?
Mr. Silverman's tale of serendipity is a fascinating view of the art world, for better or worse, as well as an introduction both to technology used to authenticate works and the process of attribution.
It is perhaps a bit disheartening that connoisseurship carries so much weight in attribution since it can so easily be biased...and wrong. Clearly, had Mr. Silverman not been a connected part of the art world, this discovery might never have been made. But he is and it was - and it is a well-written, fabulous story.
Mr. Silverman's tale of serendipity is a fascinating view of the art world, for better or worse, as well as an introduction both to technology used to authenticate works and the process of attribution.
It is perhaps a bit disheartening that connoisseurship carries so much weight in attribution since it can so easily be biased...and wrong. Clearly, had Mr. Silverman not been a connected part of the art world, this discovery might never have been made. But he is and it was - and it is a well-written, fabulous story.
March 19, 2014
Interesting details regarding the attempt to authenticate a work of art. The author, also the owner and "discoverer" of the work, is annoyingly self-congratulatory, and one can never forget that he is very interested in making sure that the reader is convinced of the attribution for the work. Still, the book contains interesting glimpses into the art world and explanations of some of the new technologies that are turning art attribution on its head. It was a short read and worth it.
October 19, 2014
I was so excited to find this book at the library. I had just watched the National Geographic/NOVA special on PBS for a 2nd time and was just as fascinated as the first viewing. This is such a great book about the finding and authentication of this lost work of art. I highly recommend both the reading of the book and the viewing of the special. Amazing what present day science and technology can discover.
May 31, 2013
I'm fascinated by Leonardo and love to visit his historical sites when in Europe. While this book was not about him, per se, it included many insights into his life and work, as well as what is entailed in authenticating works of art. Interesting from all sides. A bit too technical at times, but I guess it has to be.
July 1, 2012
well paced and interesting narrative, but the author is kind of a pompous, self-congratulating rich guy, so I kind of kept wishing it wouldn't really be a leonardo just so his maturbatory "i am right i am the smartest" diatribe would come to an end
Read
August 22, 2012Very Interesting.
August 10, 2012
This is the companion to the PBS National Geographic/Nova TV documentary which was much better than the book!
Read
March 20, 2013A beautiful art investigation. I'ts true!
June 7, 2014
Interesting for art lovers.
July 17, 2015
Fascinating.
February 3, 2015
WOW!! What a treasure hunt!!
Displaying 1 - 22 of 22 reviews