Fingerprint points to $19,000 portrait being revalued as £100m work by Leonardo da Vinc
价值19000美元的画像上发现达芬奇指纹重估价值为1亿欧元
2010年10月29日
ATG correspondent SIMON HEWITT gains exclusiveaccess to the evidence used to unveil what the world's leading scholars say is the first major Leonardo Da Vinci find for 100 years.
自动测试组通讯员西蒙休伊特获得了独家证据来证明世界一流学者的断言---奥纳多•达•芬奇是这100年中最重要的事情。
Is this 13 x 9in (33 x 24cm) portrait, in chalk, pen and ink on vellum, mounted on an oak board, a long-lost work by Leonardo da Vinci? That is the claim being made by Martin Kemp, Emeritus Professor of History of Art at Oxford University.
这就是内部由粉笔，钢笔，墨水雕成的13*19英尺的木板画像？这就是奥纳多•达•芬奇遗失已久的作品？哈佛大学艺术历史系马丁教授曾这样问过。
Catalogued as "German, early 19th century" and sold for $19,000 at Christie's New York in the late 1990s, new scientifictechniques have uncovered evidence that has convinced a growing number of the world's leading Leonardo scholars that it is a previously unrecognised work.
作品诞生于德国19世纪早期并于上世纪90年代末在纽约克里斯蒂拍卖行售价19000美元，作品毫无保留的展示了世界科技技术的增长，并证明世界列奥纳多学者的领先地位，是史无前例的作品。
ATG have had exclusiveaccess to that scientific evidence and can reveal that it literally reveals the hand - and fingerprint - of the artist in the wor.
自动测试独家获得了科学依据并完全地揭示了作品中艺术家的手和指纹。
The fingerprint is "highly comparable" to one on a Leonardo work in the Vatican.
指纹和梵蒂冈的列奥纳多作品相吻合。
Professor Kemp's assertion is backed by scientific evidence obtained by the revolutionary "multispectral" camera pioneered by Lumière Technology of Paris.
卡普教授的断言是有科学依据的，依据来自于巴黎参照技术。
Peter Paul Biro, the Montreal-based forensic art expert, examined the multispectral images and found a fingerprint near the top left of the work, corresponding to the tip of the index or middle-finger, and "highly comparable" to a fingerprint on Leonardo's St Jerome in the Vatican (which, stresses Biro, is an early work from a time when Leonardo is not known to have employed assistants).
彼得是蒙特利尔市科学艺术预言家，检查了多普线的图片并在作品的左上方发现了指纹，和指尖或者中指相吻合并和列奥纳多的圣杰罗姆在梵蒂冈的指纹吻合。
A palm-print in the chalk on the sitter's neck "is also consistent in application to Leonardo's use of his hands in creating texture and shading", adds Biro, who is credited with pioneering fingerprint studies to help resolve authentication and attribution issues of works of art。
彼得被认为指纹研究先驱来帮助解决艺术的真实性&贡献，补充到模特颈上用粉笔画的掌纹也和列奥纳多的纹路相符。
The Lumière camera has already been used to analyse Leonardo's Mona Lisa and Lady with an Ermine; by the Kröller-Müller, Van Gogh and Cleveland Art Museums; and by the Art Institute of Chicago.
Kröller-Müller，凡高，克利夫兰城市艺术馆和芝加哥艺术馆已经用光线摄像机来分析达芬奇的蒙娜丽莎。
Multispectral analysis reveals each successive layer of colour, and enables the pigments and pigment mixtures of each pixel to be identified without takingphysical samples。
多光谱的分析折射每层的色彩，能够在不需要范本的情况下把颜料和每个色素分辨出来。
For the vellum portrait, Lumière have been able to establish the composition of the materials used in both the original drawing and the restoration. It transpires, for instance, that the green of the girl's costume was obtained by applying progressive strokes of black chalk to the yellowish surface of the vellum.
关于肖像内部，光线已经可以组合原创以及修复的原材料，例如，她泄露女孩绿色服装就是不断运用黑色粉笔到黄色肖像表面。
Lumière have identified the chalk as amphelite, a fine-grained black argillite (clay slate). Meanwhile flesh tints, and the amber tone of the iris, were achieved by leaving the vellum uncovered.
光线辨认粉笔为黑色的粘土，同时肉色块和琥珀音调的虹膜通过裸露内部可获得。
Infrared analysis reveals significant pentimenti throughout, with stylistic parallels to those in Leonardo's Portrait of a Woman in Profile in Windsor Castle; and shows that the drawing and hatching were made by a left-handed artist (as Leonardo is famously known to have been), whereasrestoration was carried out right-handed.
红外线分析通过和达芬奇的在温莎堡里女人的肖像对比揭示了重要的变化并显示著作是出于位左撇子艺术家（达尔文已经是出名的左撇子），然而修复是由右撇子完成的。
There is no other known work by Leonardo on vellum, although Professor Kemp (citing a passage in Leonardo's Ligny Memorandum) points out that, when French court painter Jean Perréal visited Milan with Charles VIII in 1494, Leonardo quizzed him about the technique of using coloured chalks on vellum.
关于肖像方面，达芬奇没有其它著名作品，虽然坎普教授指出1494年法国宫廷画家珍参观了米兰查尔斯八世时询问了他关于使用肖像粉笔方面的技术。
Professor Kemp suggests that Leonardo used vellum here because the portrait was intended to adorn a book of poetry in honour of the sitter; three needle holes along the left edge of the vellum indicate it was once bound in a manuscript.
坎普教授认为达尔文运用了内部肖像因为肖像试图点缀诗集以示尊重模特，肖像内侧左端3个针孔暗示人们曾经只会使手稿。
The sitter's costume and elaborate hairstyle reflect Milanese fashion of the late 15th century. Carbon-14 analysis of the vellum, carried out by the Institute for Particle Physics in Zurich, is consistent with such a dating [it gave a date-range of 1440-1650].
模特的衣服以及竞争的发型反射了15世纪晚期米兰人的时尚。粒子物理学研究所实行的内部分析和当时的时尚风格相一直。
But who is the wistful, peach-skinned, flaxen-haired teenager?
但是谁是这个智慧，光滑肌肤，卷发少年？
After originally code-naming her La Bella Milanese, Professor Kemp - who dubs her profile "subtle to an inexpressible degree" - upgraded her to La Bella Principessa after identifying her, "by a process of elimination", as Bianca Sforza, daughter of Ludovico Sforza, Duke of Milan (1452-1508), and his mistress Bernardina de Corradis.
最初大家称呼她米兰贝拉，坎普教授宣称她的个人资料很微妙的，后来确认她的身份后称她贝拉王妃，因她是鲁多维科史佛札赞助的女儿,和米兰公爵(1452-1508)的情妇。
Kemp believes the portrait must date from around 1496 when, aged 13 or 14, Bianca married the Duke's army captain, Galeazzo Sanseverino (a patron of Leonardo's). Tragically, she died four months after the wedding.
坎普认为作品追溯到大约1496年，那时比恩卡13. 14岁左右，嫁给给了公爵的陆军上尉, 加莱阿佐先生（达芬奇的资助者）。可悲的是，结婚后4个月她就去世了。
This would be Leonardo's first known Sforza 'princess' portrait, although he painted two of the Duke's mistresses: Cecilia Gallerani (Lady with an Ermine in the Czartoryski Museum, Cracov); and Lucrezia Crivelli (La Belle Ferronière in the Louvre).
这将是达芬奇的首张著名皇室画像，虽然他之前已经提到爵士的其他两个情妇：切奇利娅•加莱拉尼（一个戴貂皮女士）；琉克勒茜（卢浮宫中贝拉）。
After centuries of oblivion, the portrait resurfaced at Christie's New York on January 30, 1998, as lot 402 in an Old Master Drawings (part II) sale as a Young Girl in Profile in Renaissance Dress - catalogued as "German, early 19th century", with a $12,000-16,000 estimate.
数世纪后，1998年1月30日画像在克里斯蒂重现，画像呈现的是一位少女展示文艺复兴时的服饰---被列为德国19世纪早期作品，估价12000-16000美金。
It sold for $19,000 (hammer) to New York dealer Kate Ganz, who sold it (for about the same sum) to the Canadian-born, Europe-based connoisseur Peter Silverman in 2007.
纽约经销商凯特以19000美元拍卖到此画像，然后在2007年 (出售这大约相同的金额)卖给加拿大出生的行家彼得•西尔弗曼。
Ganz had suggested the portrait "may have been made by a German artist studying in Italy... based on paintings by Leonardo da Vinci".
冈茨认为画像是位意大利留学的德国画家画的并且是参考达芬奇的作品。
Silverman, an underbidder at Christie's sale, had other ideas and mentioned the work to Dr Nicholas Turner, formerly Keeper of Prints & Drawings at the British Museum, when he bumped into him at the Polidoro da Caravaggio exhibition at the Louvre in January 2008.
克里斯蒂的低价投标者----西尔弗曼2008年1月在卢浮宫达•卡拉瓦乔的展览中遇见大英博物馆画像的看护者尼古拉斯提到此作品。
Turner, who had seen a transparency of the work a few months earlier, told Silverman he suspected Leonardo's involvement because of the "very high quality of the work overall, and the left-handed shading - his signature feature", and directed Silverman to the renowned Leonardo specialist Martin Kemp.
特纳几个月前看到此作品并向西尔弗曼提到他认为此作品和达芬奇没有关系，因为他的作品特点是高质量和左撇子，希望西尔弗曼关注列奥纳多的知名专家马丁•坎普。
Professor Kemp's first reaction was that "it all sounded too good to be true - after 40 years in the Leonardo business, I thought I'd seen it all!" But, as he pursued his research, "all the bits fell into place like a well-made piece of furniture. All the drawers slotted in"。
坎普教授第一反映就是事实是这样就太好了-在列奥纳多40年以后，我认为我看到了一切，但是他还是进行他的研究，所有的特点都展现出来。
Silverman is coy about the work's current ownership, and the portrait has yet to be shown in public since its reattribution. However, Professor Kemp has recently completed a 200-page book about it (so far unpublished) in conjunction with Lumière Technology's Pascal Cotte.
西尔弗曼对作品的原创保持沉默，画像再次呈现后一直受到观众瞩目，然而坎普教授关于作者最近已经写了本200页的画书（截止目前还未出版）。
Attempts to display La Bella in a museum are said to have faltered because of financial concerns linked to insurance - as a Leonardo, the portrait has been valued by London dealer Simon Dickinson at £100m.
出于资金和安全方面的考虑，试图在贝拉博物馆陈列的计划已经被搁置，伦敦经销商西蒙狄金森评估此画像价值1亿欧元。
The portrait is now due to go on display next March at a show called And There Was Light: The Masters of the Renaissance Seen in a New Light to be held in the Eriksbergshallen, Gothenburg.
肖像于明年三月在名叫尽头总有希望的节目中展示，文艺复兴时期的杰出作品将在克罗地亚看到。
The exhibition's artisticdirector is Alessandro Vezzosi, Director of the Museo Ideale in Vinci, Leonardo's home town, and the first man to publish the portrait as a Leonardo in his book Leonardo Infinito last year.
展览的艺术总监是亚历山德罗文卓西，是达芬奇故乡博物馆的负责人，是去年第一位陈列此画像的人。
Professor Vezzosi is one of a growing roster of Italian art historians who believe the portrait is an autograph work, including Mina Gregori, Professor Emerita of the Florence University and President of the Fondazione Longhi; Dr Cristina Geddo, an expert on Leonardo's Milanese followers; and Professor Claudio Strinati, Head of the City of Rome Museums, who states that "the portrait constitutes a valuableaddition to Leonardo's oeuvre".
文卓西教授是意大利著名艺术家花名册中的一位，他认为此画像是许多画家的共同作品，例如：米纳•戈雷果日教授--弗罗伦斯大学教授，克里斯蒂娜博士--达文西的米兰的专家的追随者，克劳迪奥--罗马城博物馆主席，他们认为此画像包含许多其他作家的技术。
To Professor Carlo Pedretti, head of the Fondazione Pedretti for Leonardo studies and widely considered the doyen of Leonardo da Vinci expertise, "this could be the most important discovery since the early 19th century re-establishment of the Lady with the Ermine as a genuine Leonardo"。
达芬奇协会主席卡洛教授认为此作品是达芬奇作品中的精华，"发现天才达芬奇肖像画将是19世纪早期最重要的事情。
以下内容为图片简介
New scientifictechniques have uncovered evidence that this picture is a previously unrecognised work by Leonardo da Vinci.