Page 133 - TMS Art Collection

p. 62, no. 42; BÉGUIN, 1983, p. 87; KEMP, 1991, p. 41; LEONARDO DA VINCI, EDINBURGH 1992,
p. 13; SCAILLIEREZ in the MUSÉE DU LOUVRE CATALOGUE, 2007, p. 82; FAGNART, 2009, p.
241; KEMP-WELLS, 2011, p. 198; DELIEUVIN in LA “SAINTE ANNE”, PARIS 2012, p. 240, no. 78.
5 Follower of Leonardo (Cesare da Sesto?), Madonna of the Yarnwinder, c. 1505-1530, oil on
canvas, 48 x 35 cm, collection formerly Liliane Ernout Paris (until 1974). The work is re-
ported by unverifiable sources as being at the Museo Soumaya in Mexico City. Bibliog-
raphy: SUIDA, 1931; LEONARDO DOPO MILANO, VINCI 1982, no. 52; VEZZOSI, 1983, p. 62, no. 40;
LEONARDO DA VINCI, EDINBURGH 1992, pp. 42-43, no. 3; CHRISTIE’S, 2000, Lot 77 (Price Re-
alized: £124.750/$ 180.638); KEMP-WELLS, 2011, pp. 198-199, no. 90; WELLS, 2014, p. 111, fig. 20.
6 Ambrosius Benson (?), Madonna of the Yarnwinder, c. 1520-1525, oil on panel transferred
to canvas, 46.5 x 34.3 cm, formerly Geneva, The Renaissance Fine Art Foundation. The
Zeri photographic archive in Bologna has a Reflectography of the piece dating back to
1985, the year in which the painting was reported to Zeri as part of a private American
collection. See PEDRETTI, 1998, pp. 206-207.
7 Follower (Spanish?) of Leonardo, Madonna of the Yarnwinder, c. 1510-1530, oil on panel,
48.5 x 34.5 cm, Haspley House, Collection of the Duke of Wellington. Bibliography:
LEONARDO E IL LEONARDISMO, NAPOLI 1983 E ROMA 1984, p. 56, no. 43; LEONARDO DA
VINCI, EDINBURGH 1992, pp. 44-45, no. 4; RUÍZ MANERO, 1992, pp. 23-24; KEMP-WELLS,
2011, pp. 198, 200, fig. 93; WELLS, 2014, p. 112.
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8 Follower (Spanish?) of Leonardo, Madonna of the Yarnwinder, 16 Century, 48 x 35.5
Madonna col Bambino e San Giovannino di Fernando Yañez cm, Granada, Cathedral of Granada. Bibliography: ALCOLEA BLANCH, 1960, p. 130; GAYA
alla National Gallery di Washington
Fernando Yañez’s Madonna with Child and St. John young in NUÑO, 1968, p. 306; MORENO, 1982 vol. I, p. 275, vol. II, p. 160; RUÍZ MANERO, 1992,
the National Gallery of Washington pp. 20-21, no. 2; KEMP-WELLS, 2011, pp. 198, 200, no. 94; WELLS, 2014, pp. 111-112, fig. 21.
9 After Leonardo, Madonna of the Yarnwinder with fruit, 16 Century, oil on panel, 42
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n. 42; BÉGUIN, 1983, p. 87; KEMP, 1991, p. 41; LEONARDO DA VINCI, EDINBURGH 1992, p. 13; x 32.3 cm, private collection. Bibliography: SERACINI, 2008; KEMP-WELLS, 2011, p. 202,
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SCAILLIEREZ in MUSÉE DU LOUVRE CATALOGUE, 2007, p. 82; FAGNART, 2009, p. 241; KEMP- no. 99. By Leonardo, Madonna of the Yarnwinder with fruit, 16 Century, oil on canvas,
WELLS, 2011, p. 198; DELIEUVIN in LA “SAINTE ANNE”, PARIS 2012, p. 240, n. 78. private collection; see: KEMP-WELLS, 2011, p. 202, no. 100. After Leonardo, Madonna of
5 Seguace di Leonardo (Cesare da Sesto?), Madonna dei fusi, c. 1505-1530, olio su tela, 48 x the Yarnwinder, 16 Century, 40 x 31 cm, oil on panel, formerly Antwerp. Work sold in
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35 cm, già Parigi collezione Liliane Ernout (fino al 1974). L’opera è segnalata, da fonti non Antwerp in 1933 (Hessel Sale, Cercle Royal Artistique, no. 69) as “Leonardo da Vinci
verificabili, presso il Museo Soumaya di Città del Messico. Bibliografia di riferimento: (attr. à). école italienne, XV siècle”; was subsequently presented in the catalogue of the
SUIDA, 1931; LEONARDO DOPO MILANO, VINCI 1982, n. 52; VEZZOSI, 1983, p. 62, n. 40; LEO- international antiques Exhibition in Florence in 1971 as a copy by Bernardino Luini (A.
NARDO DA VINCI, EDINBURGH 1992, pp. 42-43, n. 3; CHRISTIE’S, 2000, Lot 77 (Price realized: De Heuvel Gallery, Brussels). On the back, burned into the wood, a coat of arms with
£ 124.750 /$ 180.638); KEMP-WELLS, 2011, pp. 198-199, n. 90; WELLS, 2014, p. 111, fig. 20. the inscription “Académie des Scienc”. See: LEONARDO E IL LEONARDISMO, NAPOLI 1983
6 Ambrosius Benson (?), Madonna dei fusi, c. 1520-1525, olio su tavola trasportato su E ROMA 1984, p. 63, no. 50. By Leonardo, Madonna of the Yarnwinder with fruit, first half
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tela, 46.5 x 34.3 cm, già Geneva, The Renaissance Fine Art Foundation. La fototeca of 16 Century, oil on canvas, private collection; see: KEMP-WELLS, 2011, p. 203, no. 101.
Zeri di Bologna conserva una riflettografia d’insieme risalente al 1985, anno in cui il 10 Anonymous after Leonardo da Vinci (Fernando Yañez de la Almedina), Madonna of the
dipinto fu segnalato allo studioso come opera facente parte di una collezione privata Yarnwinder, c. 1510-20, oil on panel, 62 x 48.8 cm, Edinburgh, National Gallery of Scotland.
americana. Si veda PEDRETTI, 1998, pp. 206-207. Bibliography: BRIGSTOCKE, 1978, pp. 66-67, no. 2270; LEONARDO DOPO MILANO, VINCI 1982,
7 Seguace (spagnolo?) di Leonardo, Madonna dei fusi, c. 1510-1530, olio su tavola, 48.5 x no. 51; LEONARDO E IL LEONARDISMO, NAPOLI 1983 E ROMA 1984, p. 64, no. 53; LEONARDO
34.5 cm, Haspley House, collezione del Duca di Wellington. Bibliografia di riferimento: DA VINCI, EDINBURGH 1992, p. 4, no. 5; PENNY, 1992, p. 544, fig. 51; BRIGSTOCKE, 1993 , pp.
2
LEONARDO E IL LEONARDISMO, NAPOLI 1983 E ROMA 1984, p. 56, n. 43; LEONARDO DA VIN- 88-89, no. 2270, p. 272, plate 64; KEMP, 1994, pp. 259-274, fig. 39; PEDRETTI, 1998, pp. 81-85,
CI, EDINBURGH 1992, pp. 44-45, n. 4; RUÍZ MANERO, 1992, pp. 23-24; KEMP-WELLs, 2011, no. 10; KEMP-WELLS, 2011, pp. 194-195, fig. 8o; ACIDINI-BELLUCCI-FROSININI, 2014, p. 123.
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pp. 198, 200, fig. 93; WELLS, 2014, p. 112. 11 Anonymous after Leonardo da Vinci, Madonna of the Yarnwinder, first half of 16 Cen-
8 Seguace (spagnolo?) di Leonardo, Madonna dei fusi, XVI secolo, 48 x 35.5 cm, Granada tury, oil on panel, 62.2 x 48.9 cm, Collection formerly at the Wood Prince private col-

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