Lady with an Ermine
1490
National Gallery of ArtOriginal work, c. 1474/1478
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Leonardo da Vinci — Ginevra de' Benci [obverse] Print
Leonardo’s portrait presents Ginevra de’ Benci against dense greenery, with a composed gaze and finely observed features. The dark foliage makes her pale face and rich clothing especially vivid.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
£19.50
From museum archives. No recolouring, retouching or AI enhancement.
UK delivery. Unframed £4.99, free from £50. Wood-frame delivery included.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
Our print guideAbout the artwork
Leonardo’s portrait presents Ginevra de’ Benci against dense greenery, with a composed gaze and finely observed features. The dark foliage makes her pale face and rich clothing especially vivid.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Leonardo da Vinci
- Artwork
- Leonardo da Vinci — Ginevra de' Benci [obverse] Print
- Date of work
- c. 1474/1478
- Museum collection
- National Gallery of Art
About Leonardo da Vinci
Italian · 1452–1519
Leonardo da Vinci trained in Florence in Andrea del Verrocchio’s workshop. Painting and sculpture formed part of a much wider curiosity about nature. Drawings recorded ideas, observations and experiments, from anatomy and animals to water and machinery. His notebooks show an artist repeatedly using the act of drawing to ask a question.
Leonardo worked principally in Florence and Milan, with later periods in Rome and France. Relatively few finished paintings survive, alongside a substantial body of drawings. The Last Supper, made for Santa Maria delle Grazie in Milan, brings a dramatic human event into a rigorously arranged architectural setting.
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