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DALILAND
INTERNATIONAL
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SALVADOR DALI
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Leonardo DaVinci's
"Lady in Mourning"
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In a vault in Chicago, not far from the world famous McCrone Research
Institute, hangs the most recent discovery of a work by Leonardo DaVinci. The work's
authenticity was determined through comprehensive analysis by the McCrone Research Laboratory.
This original oil is conservatively valued at $25 to $30 million and there is some
speculation among authorities that this may be the portrait of Isabella d'Este considered
be the real "Mona Lisa"
A limited numbered edition of 5,054 lithographs were authorized and a few were sold at the time of printing in August,
1986. A flash flood in Tulsa soon afterward destroyed all the remaining limited editions.
The few remaining are almost impossible to find.
These rare lithographs are available for
purchase through DaliLand International with verification of authenticity of the original from the McCrone Research Institute, the world's foremost
authority on art authentication.
-Bill Newell, Archivist
bnewell1923@yahoo.com |
| DaVinci Limited Edition Lithographs with Certificates of Authenticity,
Verification From McCrone Research Institute and Appraisals |
| Original Da Vinci as authenticated above |
$27,500,000 (Cash or trade) |
| Limited edition lithographs of above DaVinci: |
| Lithograph No. 1984 |
$12,500 (Cash or trade) |
| Lithograph No. 2983 |
$10,500 (Cash or trade) |
| Lithograph No. 3982 |
$ 9,500 (Cash or trade) |
| Lithograph No. 982 |
$15,000 (Cash or trade) |
Authentication Information from
McCrone Institute:
McCrone Research Institute
2508 South Michigan Avenue
Chicago, Illinois 60616 USA
Telephone (312) 842-7105
Web site: http://www.mcri.org |
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A Not-For-Profit Corporation
Teaching:
Microscopy
Crystallography
Ultramicroanalysis |
re: Microscopical characterization of pigments and media from an
oil-on-canvas portrait (attributed to DaVinci) of a lady holding a skull and measuring
64.8 x 81.3 cm (25 1/2" x 32".)
Eleven samples were taken from representative locations as shown on the attached
copy of a photograph of the painting. The paint medium for the pigments was identified
by microscopical staining reactions as one of the drying oils. The locations and
identities of pigments in each of the samples follows:
| A. |
White ground from lower right edge - chalk (Note: this substance was
not used as an overall gesso. Other areas showed a red ochre ground.) |
| B. |
Dark red-brown near sample A - red iron earth |
| C. |
Thin green over ground - chalk, copper resinate, white lead, iron
earth, massicot, madder rose, vermilion, ultramarine (most of these are trace components) |
| D. |
Loose red-brown flake from area near C (by color match) - white lead,
vermilion, red ochre |
| E. |
Yellow-green Sleeve - yellow ochre, ultramarine, white lead |
| F. |
Thumb of right hand - white lead, orange and yellow iron earths |
| G. |
Red sleeve, right arm - red iron earth |
| H. |
Cloth over right breast - white lead, iron earths, charcoal |
| I. |
Red along top edge, blue and green - massicot, ultramarine, red ochre,
charcoal |
| J. |
Chin (same red as lips) - madder rose, white lead |
| K. |
White from eye - white lead |
To summarize, we find: chalk, white lead, charcoal, various iron earths from yellow
ochre to red ochre (or burnt sienna,) madder, massicot, vermilion, azurite, natural
ultramarine and copper resinate.
In the past we have also had an opportunity to analyze pigments from "The Last
Supper" by DaVinci. In that painting we found all of the above pigments except
copper resinate. In it's place we found a similar, but crystalline basic copper salt
(resinate is a noncrystalline basic copper salt. ) Based on the fact that we find
such strong similarities and no other differences between the pigments used in these
two paintings there is no reason to doubt that DaVinci painted this portrait. The
pigments in both paintings are relatively crude in composition, and show similar
impurities and particle size as was characteristic of paintings during the early
renaissance period during which DaVinci painted. No pigments unknown to DaVinci were
found in either painting.
All our results therefore support the attribution of this painting to Leonardo DaVinci.
Respectfully submitted,
Walter C. McCrone
(from a letter dated December 30, 1986)
Copyright 2001 Daliland.com
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