# Lady with an Ermine (Portrait of Cecilia Gallerani) > Leonardo da Vinci - c. 1489-1491 (placed between c. 1485 and c. 1508 by different authors) > Canonical HTML: https://iconotheca.com/artworks/leonardo-da-vinci/leonardo-lady-with-an-ermine-czartoryski/ > Published by Servola Systems GmbH. Last verified: 2026-10-08 ## Tombstone - **Artist:** Leonardo da Vinci - **Date:** c. 1489-1491 (placed between c. 1485 and c. 1508 by different authors) - **Medium:** Oil on walnut panel (the museum's catalogue: mixed technique, oil and distemper), on a thin lead-white ground; black overpainted background - **Dimensions:** 53.4 x 39.3 cm (59.5 x 47.2 cm with the small frame), per the National Museum in Krakow; the panel measured c. 40.5 x 55 cm and 4-5 mm thick in 2012 - **Object type:** Painting - **Period:** Italian Renaissance, Milan, late fifteenth century - **Current location:** Princes Czartoryski Museum (a branch of the National Museum in Krakow), Krakow; second floor, gallery VII, permanent exhibition - **Attribution:** accepted ## Summary A half-length portrait of a girl of about seventeen turning to look past the viewer, with a white animal in the crook of her arm, painted in oil on a single walnut board in Milan around 1490 and attached by most scholars, though by no document, to Cecilia Gallerani, the mistress of Ludovico Sforza. A portrait of her by Leonardo was in her hands in 1498, when Isabella d'Este borrowed it to compare Leonardo with Giovanni Bellini; the Krakow panel then leaves the record for about 300 years, nothing documenting its owners between 1498 and the purchase in Italy around 1800.Prince Adam Jerzy Czartoryski bought it in Italy around 1800 for his mother's collection at Pulawy. It was hidden, taken to Paris, brought to Krakow, seized by the Germans in 1939, was in Hans Frank's hands during the war, probably at the Wawel, and was found in Bavaria in 1945. A 2012 museum study found the black background is later overpaint over a plain dark grey; Pascal Cotte's 2014 book, drawing on a 2007 multispectral scan, argued there was once no ermine at all, a thesis the museum's conservators reject.No price for the picture alone is recorded. On 29 December 2016 the Polish state bought the whole Czartoryski collection, about 86,000 museum objects and 250,000 library items, for 100 million euros, an agreement signed that day according to the Ministry of Culture and Apollo. The picture is now on permanent view at the Princes Czartoryski Museum in Krakow. ## Provenance Every link carries a grade. `documented` means a cited source supports it, `disputed` means the identification is argued but not established, `unknown` means we have no owner for that span and have not bridged it. - **c. 1489-c. 1491** Made at the court of Ludovico Sforza, Milan, for a sitter conventionally identified as Cecilia Gallerani `[disputed]` (commission) Bucci writes that the portrait was wanted by Ludovico and executed by his favourite painter. No contract, payment or inventory entry for the picture is known. That the sitter is, as the title conventionally has it, Cecilia Gallerani is an inference widely shared but never documented, and the date is placed from 1485 to about 1508 by different authors. - **c. 1491-1498** Cecilia Gallerani (Countess Bergamina) `[disputed]` (ownership) In letters of 26 and 29 April 1498 Isabella d'Este asks to borrow, and Cecilia sends, a portrait of Cecilia by Leonardo. She is its owner and lender; Bucci says the picture remained her property. The letters do not describe the picture, so their link to the Krakow panel rests on the identification above. - **1498** Isabella d'Este, Marchioness of Mantua (on loan) `[documented]` (loan) Loan requested 26 April 1498 so that she could compare Leonardo with Giovanni Bellini; Cecilia replied 29 April; her third letter of 18 May answers Isabella's thanks. The Mantua catalogue says the painting was returned after about a month; the letters do not mention the return. - **1498-c. 1536** Cecilia Gallerani, presumably until her death `[unknown]` (ownership) The 2015 museum paper says she probably owned it until her death in 1536 and cites Marani for the idea; there is no document. Her death date is itself not known (Bucci: 'around 1536'). - **c. 1536-c. 1798** Unknown `[unknown]` (gap) No owner is documented for about 260 years. The 2015 paper reads the oak cradle, the partial cleaning and the black ground as work done to prepare it for sale in Italy before the Czartoryski purchase. The Monuments Men and Women Foundation says it came from the Giustiniani collection, without citing a source, and the museum says it was bought at an unknown place in Italy. - **1798-1800-1801** Prince Adam Jerzy Czartoryski `[disputed]` (purchase) The purchase is recorded by the museum, but its date and circumstances are not settled. Bought in Italy in circumstances the museum calls unknown and given to his mother. The date is 1798 in Wikipedia and the 2007 AFP report, 1799 or 1800 in the 2015 paper and about 1800 in the museum's own pages. No price is recorded. - **c. 1801-1831** Princess Izabela Czartoryska, Pulawy (Gothic House from 1809, no. 418) `[documented]` (ownership) Shown as a portrait of a woman in the manuscript catalogues and printed in her 1828 catalogue as no. 418; given the La Belle Ferronniere inscription at Pulawy between 1800 and 1809. - **1831-1882** Czartoryski family; hidden at Klemensow and Sieniawa, then at the Hotel Lambert, Paris `[documented]` (flight) Removed after the fall of Pulawy in 1831; walled up at Sieniawa for eight years (the 2015 paper dates this 1832-40); the family bought the Hotel Lambert in 1843 and the collection reached Paris through Dresden in 1848-49. The museum says it was not exhibited there. Dates differ slightly between the museum's pages and the paper. - **1882-1914** Princes Czartoryski Museum, Krakow (family property) `[documented]` (ownership) Moved to the museum the family had opened in 1876. English-language sources that say it reached Krakow in 1876 are giving the museum's founding date. - **1914-1920** Gemaldegalerie, Dresden (on deposit) `[documented]` (deposit) Sent for safe keeping in the First World War with the Raphael and Rembrandt. Hans Posse tried unsuccessfully to keep the collection in Germany (Monuments Men and Women Foundation). - **1920-September 1939** Princes Czartoryski Museum, Krakow `[documented]` (ownership) Returned to Krakow in 1920; evacuated to Sieniawa in 1939. - **September 1939-autumn 1939** German occupation authorities: Sieniawa, then Berlin (Muhlmann's office; Kaiser-Friedrich-Museum; a bank deposit box), reported `[disputed]` (seizure) The museum states that this picture was seized, with the Raphael and the Rembrandt, in a pre-planned looting and taken to Germany for the planned Linz museum. The Berlin stations come from the Monuments Men and Women Foundation's card on the Raphael, which treats the three paintings together and says they had 'likely' reached Muhlmann's Berlin office by November 1939, from post-war interrogations. The 2015 paper says only that the painting was exhibited in Berlin in 1939. Goering appointed Muhlmann on 6 October 1939. - **1940-1945** Hans Frank, Governor General of occupied Poland (Wawel Castle 1940, Breslau 1941, Wawel 1943, Seichau Castle 1944, Bavaria 1945) `[documented]` (seizure) The museum says the picture came into Frank's hands and was in his possession through the war, probably at the Wawel; the 2015 paper gives the stations. The foundation's card adds that in January 1945 Frank took twenty paintings with him to Bavaria, among them this one. - **1945-1946** Recovered by US forces in Frank's Bavarian villa; Monuments, Fine Arts and Archives officers; returned to Krakow via Nuremberg and the Wawel `[documented]` (recovery) X-rayed at the Doerner Institute, Munich, 1945; train from Nuremberg on 26 April 1946 (Apollo); at the Wawel 30 April to 8 May 1946; photographed in April 1946 with Monuments Men Albright and Lesley, Major Karol Estreicher and Pfc. Espinosa. Wikipedia names Schliersee; the sources read do not. - **1946-23 September 1991** Princes Czartoryski Museum, Krakow (National Museum in Krakow), ownership in abeyance `[documented]` (deposit) The owner, Prince Augustyn Czartoryski, was in Spain and died within months of the picture's return (Apollo). A Polish court ruled on 14 March 1991 that Adam Karol Czartoryski was the sole heir, ending about fifty years in which ownership of the collection had been in abeyance. - **23 September 1991-29 December 2016** Princes Czartoryski Foundation, on deposit at the National Museum in Krakow `[documented]` (ownership) Founded by Adam Karol Czartoryski by notarial deed, with the collection left on deposit. The Foundation arranged the foreign loans from 1991 to 2012 and, according to the Ministry of Culture, drew its main income from them. - **29 December 2016-2017** State Treasury of Poland (Minister of Culture and National Heritage, Piotr Glinski) `[documented]` (purchase) Agreement signed that day for the purchase, with the rest of the Princes Czartoryski Museum and Library, for EUR 100 million (the Ministry and Apollo; no payment date was found), about 86,000 museum objects and 250,000 library items. The price is for the whole collection and is not a valuation of this picture. The Ministry says the Foundation had insured it for EUR 300 million for foreign loans. No auction sale of this picture is recorded in any source read, and no price for the picture alone appears in any source read. - **2017-present** National Museum in Krakow (Princes Czartoryski Museum) `[documented]` (acquisition) Transferred to the National Museum in Krakow in 2017; the digital catalogue's origin field reads 'gift, 21 June 2017'. On show at the Wawel from 2012, at the main building from 19 May 2017 to 9 December 2019 and in the Czartoryski Museum since its reopening in December 2019. ## Exhibitions - Leonardo da Vinci, with the physico-chemical studies led by Kazimierz Kwiatkowski, National Museum in Warsaw, 1952-1955 - European portrait from the fifteenth to the twentieth century, Pushkin State Museum of Fine Arts, Moscow, 1972 - Circa 1492: Art in the Age of Exploration, National Gallery of Art, Washington, 1991-1992 - I ponti di Leonardo, Malmo and Stockholm, 1993-1994 - Display of the painting, Palazzo del Quirinale, Rome; Milan; Palazzo Pitti, Florence, 1998-1999 - Leonardo da Vinci, Lady with an Ermine: Treasures from the Princes Czartoryski Museum, Kyoto, Nagoya and Yokohama, 2001-2002 - Leonardo da Vinci and the Splendor of Poland, Milwaukee Art Museum; Museum of Fine Arts, Houston; Legion of Honor, San Francisco, 2002-2003 - From Botticelli to Titian: Two Centuries of Italian Masterpieces, Museum of Fine Arts, Budapest, 2009-2010 - Leonardo da Vinci: Lady with an Ermine and other masterpieces from the Czartoryski Museum, Royal Castle, Warsaw, 2010-2011 - Poland: Treasures and Art Collections (the Golden Age of the Republic), Palacio Real, Madrid, 2011 - Gesichter der Renaissance (Renaissance Faces), Bode Museum, Berlin, 2011 - Leonardo da Vinci: Painter at the Court of Milan, The National Gallery, London, 2011-2012 - Display of the painting while the Czartoryski Museum was rebuilt, Wawel Royal Castle, Krakow, 2012-2015 and after - Display of the painting, National Museum in Krakow, main building, 2017-2019 - Permanent exhibition, gallery VII, Princes Czartoryski Museum, Krakow, 2019 onward ## Literature - Izabela Czartoryska, Poczet pamiatek zachowanych w Domu Gotyckim w Pulawach (Warsaw, 1828), p. 40, no. 418. - Jan Boloz-Antoniewicz, Portret Cecylii Gallerani przez Lionarda da Vinci w Muzeum Ksiazat Czartoryskich w Krakowie, Pamietnik III Zjazdu Historykow Polskich (Krakow, 1900). - Henryk Ochenkowski, 'The Lady with the Ermine: a composition by Leonardo da Vinci', The Burlington Magazine 34 (1919), pp. 186-194. - Kazimierz Kwiatkowski, La Dame a l'hermine de Leonard de Vinci: etude technologique (Wroclaw, 1955), and the 1957 article in Rocznik Muzeum Narodowego w Warszawie. - Carlo Pedretti, 'La Dama con l'ermellino come allegoria politica', in Studi politici in onore di Luigi Firpo (Milan, 1990), pp. 164-165. - Janice Shell and Grazioso Sironi, 'Cecilia Gallerani: Leonardo's Lady with an Ermine', Artibus et Historiae 25 (1992), pp. 47-66. - David Bull, 'Two Portraits by Leonardo: Ginevra de' Benci and the Lady with an Ermine', Artibus et Historiae 25 (1992), pp. 67-83. - Marek Rostworowski, Gry o Dame (Krakow, 1994). - Krystyna Moczulska, 'Najpiekniejsza Gallerani i najdoskonalsza galee w portrecie namalowanym przez Leonarda da Vinci', Folia Historiae Artium, Seria Nowa 1 (1995), pp. 55-86. - Barbara Fabjan and Pietro C. Marani (eds), Leonardo: La Dama con l'ermellino (Milan, 1998). - Luke Syson (ed.), Leonardo da Vinci: Painter at the Court of Milan (London, National Gallery, 2011), entry 10 on the portrait of Cecilia Gallerani, pp. 111-113. - Pascal Cotte, Lumiere on The Lady with an Ermine by Leonardo da Vinci: Unprecedented Discoveries (Paris: Vinci Editions, 2014). - Janusz Czop, Joanna Sobczyk and others, in Rozprawy Muzeum Narodowego w Krakowie, Nowa Seria 8 (2015): 'The Travels of the Lady' and 'Leonardo da Vinci Lady with an Ermine - the latest research'. - Julio M. del Hoyo-Melendez and others, 'The Lady with an Ermine - Portrait of Cecilia Gallerani: research into Leonardo da Vinci's painting materials and techniques', Techne, hors-serie (2024), pp. 86-99. - Albert Boesten-Stengel, 'Ein Bildnis der Claude de France? Antike und Heraldik in Leonardos Dame mit Hermelin', Folia Historiae Artium, Seria Nowa 19 (2021), pp. 31-62. - Eden Collinsworth, What the Ermine Saw: The Extraordinary Journey of Leonardo da Vinci's Most Mysterious Portrait (2023). ## Open questions - Where was the picture between Cecilia Gallerani's death (probably around 1536) and the Czartoryski purchase in 1798-1800? The 2015 museum paper says no evidence has been found, and the Monuments Men and Women Foundation's line that it came from the Giustiniani collection has no cited source. - Who painted the black ground, when and why? Candidate answers in the sources: Italy before 1800 (the 2015 paper), Pulawy or Paris in the early or mid nineteenth century, the 1840s after the years walled up at Sieniawa (Rostworowski), or after the broken corner (Bull). The museum's own pages disagree with each other. - Was there ever a state of the picture without the ermine? Cotte (2014) says yes, in three stages; the museum's conservators (2015) say the radiograph and pouncing traces show the animal was part of the design from the start. Neither side's raw data is open. - Is the Krakow panel the portrait that Cecilia lent to Isabella d'Este in 1498? Nothing in the letters or in Bellincioni's sonnet describes it, and Boesten-Stengel (2021) argues the sonnet describes a different composition. - What is the date? Estimates range from 1485-86 (Mantua State Archive catalogue note) through 1488-91 (Bucci, the museum, the 2012 committee minutes) to about 1507-08 (Boesten-Stengel). - When was Ludovico invested in the Order of the Ermine, 1486 (Benzoni; Boesten-Stengel) or 1488 (Bucci following Pedretti; the museum)? The document that settles it was not found. - Who removed the two patches of overpaint at the top right and lower right, and when? Munich in 1945-46 and Kozlowski in 1952 are the two candidates in the 2015 paper, which says neither recorded doing it. - What did Leonardo receive for the portrait? No contract or payment has surfaced, and Cecilia's own 1,000-ducat inheritance seems not to have been paid by 1508. - What do the label BURG / 1227 on the back and the label 134 mean? The second matches the entry number in the 1940 German catalogue of secured works, which was not seen. - What did the 2024 Techne article by del Hoyo-Melendez and colleagues on the picture's materials and techniques add? It is listed in the museum's bibliography and was not reached. - Is the picture on Poland's List of Heritage Treasures? Piotr Zuchowski said in 2013 that it should be; whether it was entered was not established. - Where did the proceeds of the 2016 sale go? The Foundation says it moved its funds to a Liechtenstein foundation; the Liechtenstein authorities' inspection at the request of Poland's Supreme Audit Office has not been published. ## Sources - [1] National Museum in Krakow, collection page 'Lady with an Ermine' (entry by Dorota Dec and Janusz Walek; object number MNK XII-209; CC0). Primary institutional source. - [2] National Museum in Krakow, digital collection catalogue entry 157417, 'Lady with an Ermine - Portrait of Cecilia Gallerani': measurements, inscriptions, history, bibliography and exhibition events. Read through the in-app browser because the catalogue is a script-driven page. - [3] Janusz Czop and Joanna Sobczyk, 'The Travels of the Lady', Rozprawy Muzeum Narodowego w Krakowie, Nowa Seria 8 (2015), pp. 187-212 with chronology of loans after the Second World War. Read as OCR text on the Heidelberg digital library (reached through the in-app browser past a bot check). - [4] Janusz Czop, Piotr Fraczek, Julio M. del Hoyo-Melendez and eleven co-authors, 'Leonardo da Vinci Lady with an Ermine - the latest research into the artist's painting technique and the state of preservation of the painting', Rozprawy Muzeum Narodowego w Krakowie, Nowa Seria 8 (2015), pp. 229-250. Same volume and route as source 3. - [5] National Museum in Krakow with Google Arts & Culture, 'What Does the Paint Hide? History of the Examination of Lady with an Ermine' (text by Janusz Czop, Piotr Fraczek, Julio M. del Hoyo-Melendez and others). - [6] Lumiere Technology, 'Lady with an Ermine - Painter Leonardo da Vinci's painting' (Pascal Cotte's account of the 3 September 2007 multispectral scan and its conclusions). Commercial and interested source for the scan itself. - [7] Agence France-Presse, 'Scientist Strips Lady with Ermine', The Krakow Post, 24 November 2007 (Cotte, Jacques Franck and Anna Grochowska-Angelus quoted). - [8] Bendor Grosvenor, "'Secrets of Leonardo revealed'?", Art History News, 1 October 2014, with Pascal Cotte's reply (Update IV) and Martin Kemp's remarks as quoted from the BBC. - [9] Roya Nikkhah, BBC News, 'Leonardo Da Vinci painted three Ermine portraits', 2 October 2014, as reproduced in full on Travis Simpkins' blog. The BBC original was not reachable (domain blocked to the search tool); this is a republication. - [10] Le Petit Journal Varsovie, 'La Dame a l'hermine - Le celebre portrait du Musee Czartoryski revele ses secrets' (Laura Giarratana, 15 October 2014, updated 30 September 2026), on Cotte's three versions and current display. - [11] Archivio di Stato di Mantova, 'Leonardo da Vinci nei documenti dell'Archivio di Stato di Mantova', ed. Stefano L'Occaso (Mantua, 2019), section 'Cecilia Gallerani, la Dama con l'ermellino': transcriptions of Isabella d'Este's letter of 26 April 1498 and Cecilia Gallerani's letters of 29 April and 18 May 1498 (Archivio Gonzaga, busta 2992 and busta 1615). - [12] Julia Cartwright, Beatrice d'Este, Duchess of Milan, 1475-1497 (London, 1903), Project Gutenberg #25622: English translation of the April 1498 letters and an early account of Cecilia. Out of date on several facts (it gives an implausible 1481 gift of Saronno); used only for the translation. - [13] Carlo Alberto Bucci, 'Gallerani, Cecilia', Dizionario Biografico degli Italiani, vol. 51 (1998), Treccani. - [14] Gino Benzoni, 'Ludovico Sforza, detto il Moro, duca di Milano', Dizionario Biografico degli Italiani, vol. 66 (2006), Treccani. - [15] Albert Boesten-Stengel, 'Ein Bildnis der Claude de France? Antike und Heraldik in Leonardos Dame mit Hermelin', Folia Historiae Artium, Seria Nowa 19 (2021), pp. 31-62 (with English summary). Prints the 1493 text of Bellincioni's sonnet. - [16] Paolo Giovio, Dialogo dell'imprese militari et amorose (Lyon: Guglielmo Rouillio, 1574), Internet Archive copy 'dialogodellimpr00giov', full text (the passages on Ferrante's ermine and on Ludovico's Moor and brush). - [17] The Notebooks of Leonardo da Vinci, translated by Jean Paul Richter (1883), Project Gutenberg #5000: the bestiary entries on the ermine (no. 1234 and no. 1263). - [18] Fitzwilliam Museum, Cambridge, 'The ermine as a symbol of purity', PD.120-1961, Leonardo da Vinci, c. 1494 (record). - [19] Vatican Library, Humanist Library of Federico da Montefeltro, note 'Ermellino' (the Order of the Ermine, its motto and its collar, citing Giovio's Dialogo p. 56). - [20] Michael Wladika, 'Muhlmann, Kajetan', Lexikon der oesterreichischen Provenienzforschung (his appointment by Goering on 6 October 1939). - [21] Monuments Men and Women Foundation, 'Raphael, Portrait of a Young Man' card, WWII Most Wanted Art: the Czartoryski 'Great Three', Sieniawa, Muhlmann, Posse, Frank and the 1945 evacuation. - [22] Nicholas Hodge, 'What the sale of the Czartoryski collection says about Poland today', Apollo, 27 February 2017. - [23] Ministerstwo Kultury i Dziedzictwa Narodowego, communique on the purchase of the Princes Czartoryski collection, 6 April 2018, as republished by niezalezna.pl. - [24] Martyna Kosko, 'Burza wokol sprzedazy kolekcji Czartoryskich. Ministerstwo kultury zabralo glos', Money.pl, 6 April 2018 (summary of the Ministry's statement). - [25] Money.pl, 'Kontrola w nowej fundacji rodziny Czartoryskich. Wynikow nie poznamy', 6 October 2018 (the Foundation's statement on Le Jour Viendra; NIK's suspicion; Liechtenstein's refusal to release the inspection result). - [26] Witold Mrozek, 'Jak Glinski zaplacil spadkobiercom ksiazat Czartoryskich pol miliarda, a ci oglosili bankructwo', OKO.press, 11 January 2020. Critical commentary; used only for reported facts, attributed. - [27] Nicholas Hodge, 'Poland's oldest museum reopens after ten years of closure and controversy', Notes from Poland, 21 December 2019. - [28] The National Gallery, London, press release 20 January 2025, 'Van Gogh: Poets and Lovers ... most popular ever ticketed exhibition': gives 323,827 visits for 'Leonardo da Vinci: Painter at the Court of Milan' (9 November 2011 - 5 February 2012) and the night opening. - [29] The Globe and Mail, 'Leonardo's paintings, revolutionary' (November 2011), interview with Luke Syson at the National Gallery exhibition. - [30] Narodowy Bank Polski, mid rate of the euro, table A no. 251/A/NBP/2016, 29 December 2016: 4.4131 PLN (API record). - [31] Rafal Mundry, 'Budzet 2016 najlepszy od lat', Bankier.pl, 17 January 2017 (planned 2016 budget revenue of 313.8 billion zloty). - [32] Wikipedia, 'Lady with an Ermine'. TERTIARY source, used only where marked (Schliersee as the place of recovery; Wikipedia's own date claims). To be replaced with the Estreicher and Monuments Men records. - [33] Emily Zarevich, 'Lady with an Ermine Meets Nazi Art Thief Hans Frank', JSTOR Daily, 10 December 2023 (quoting Robert Aitken on Frank's conviction at Nuremberg). Popular source. - [34] Artibus et Historiae no. 25 (1992): abstract of David Bull, 'Two Portraits by Leonardo: Ginevra de' Benci and the Lady with an Ermine' (full article not read; its findings are taken from source 4). - [35] The National Gallery, London, 'The Virgin of the Rocks' (Leonardo da Vinci), catalogue page: the 1483 contract, the dispute over payment and the final payment in 1508. - [36] PAP, 'Krakow: Krajobraz z milosiernym Samarytaninem tylko do niedzieli', dzieje.pl, 30 November 2016 (the Lady at the Wawel; the Foundation's aim of an independent museum; the 2012 letter of intent). - [37] Wikimedia Commons file page, 'Return of Lady with an Ermine.jpg' (US Monuments, Fine Arts and Archives photograph, April 1946; source Monuments Men Foundation). - [38] Monika Kuc, 'Muzeum Ksiazat Czartoryskich po remoncie: Kladka do da Vinci', Rzeczpospolita, 26 December 2019. - [39] National Museum in Krakow, 'The Painting Conservation Studio at the Princes Czartoryski Museum' (list of the loans under conservation supervision). - [40] Publishers Weekly, review of Eden Collinsworth, What the Ermine Saw: The Extraordinary Journey of Leonardo da Vinci's Most Mysterious Portrait (2023). - [41] Wikipedia, 'Cecilia Gallerani'. TERTIARY source, used only to note the Siena birthplace and the 1493 date for Cesare that it gives, and the two novels. Not relied on for any fact. - [42] Wikimedia Commons file page, 'Infrared reflectograms of the Lady with an Ermine by Leonardo da Vinci.jpg' (photographed 11 December 2019 at the Louvre's Leonardo exhibition by the Commons user Tangopaso; dedicated to the public domain by the photographer). - [43] Wikimedia Commons file page for the National Museum in Krakow's own digital image of the picture (credit: National Museum in Krakow Digital Collection, digital ID 157417; public domain). - [44] Federico Giannini and Ilaria Baratta, "Leonardo da Vinci's Lady with an Ermine, the first portrait in modern history", Finestre sull'Arte, 14 January 2023 (partly paywalled; used only for Boloz-Antoniewicz, Suida and Carotti and the 1900 origin of the identification). --- Images on this record are public domain or CC0 and are hosted by us. 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