We are honored to have been entrusted with the technical expertise, archival research, and dating of the historic artwork known as the "Colonel Harris Mona Lisa." This webpage serves as an open research dossier, acting as a digital companion to our recent presentation of the work to our private clients and institutional partners. Following a process of rigorous technical vetting, this historical version is now available for institutional evaluation. Our investigation confirms the findings of Dr. Joost Vander Auwera, Honorary Senior Curator at the Royal Museums of Fine Arts of Belgium, who identified the work as:
"An old copy after La Gioconda (Mona Lisa) by Leonardo da Vinci, executed on oak panel during the 18th century."
In addition to the historical records from Galerie Fiévez (1926) and the 1964 assessment by expert J. Bueso, a comprehensive technical dossier has been finalized in June 2026. This includes the aforementioned formal report by Dr Vander Auwera and a detailed scientific conservation report by Belgian art restorer Pierre Masson. These findings are now available for review by institutional curators and qualified scholars upon professional request.
[ Request the Technical Dossier ]
"The Colonel Harris Mona Lisa", oil on oak wood, 72.5 x 54.5 cm.
Image of the same painting in its frame.
TECHNICAL ANALYSIS AND CONSERVATION
The Support & Attribution
The painting is executed on an oak panel, a material characteristic of Northern European artists, particularly those from the Flemish and Dutch schools. This finding represents a significant departure from the 1964 assessment by J. Bueso, who attributed the work to an Italian hand. Unlike the original Mona Lisa (poplar) or the 16th-century version in the Prado (walnut), the material composition of this work does not align with Italian workshop traditions. While the historical wooden cradling (parquetage) on the reverse has unfortunately obscured potential panel-maker marks or guild stamps, the oak support firmly situates the work within a Northern European artistic context, as confirmed by Dr. Joost Vander Auwera.
Structural Conservation
The panel features historical wooden cradling (parquetage), a common 19th-century intervention designed to stabilize the wooden support and prevent warping.
Support vs. Housing
Our physical analysis maintains a strict distinction between the support and its housing. The frame exhibits two distinct labels: a blue inventory label (No. 128) and a fragmented red label. Archival research is currently underway to determine whether these markings represent an uninterrupted historical trajectory or a later unification within an elite collection.
Conservation Record
The 2026 conservation intervention was performed by art restorer Pierre Masson (Salvartes). His examination, based on binocular observation, confirms that the pictorial layer significantly predates the 19th century. The process was strictly limited to ethical preservation measures, ensuring the structural integrity of the oak panel while respecting the painterly nuances of the 18th-century surface.
The Support & Attribution
The painting is executed on an oak panel, a material characteristic of Northern European artists, particularly those from the Flemish and Dutch schools. This finding represents a significant departure from the 1964 assessment by J. Bueso, who attributed the work to an Italian hand. Unlike the original Mona Lisa (poplar) or the 16th-century version in the Prado (walnut), the material composition of this work does not align with Italian workshop traditions. While the historical wooden cradling (parquetage) on the reverse has unfortunately obscured potential panel-maker marks or guild stamps, the oak support firmly situates the work within a Northern European artistic context, as confirmed by Dr. Joost Vander Auwera.
Structural Conservation
The panel features historical wooden cradling (parquetage), a common 19th-century intervention designed to stabilize the wooden support and prevent warping.
Support vs. Housing
Our physical analysis maintains a strict distinction between the support and its housing. The frame exhibits two distinct labels: a blue inventory label (No. 128) and a fragmented red label. Archival research is currently underway to determine whether these markings represent an uninterrupted historical trajectory or a later unification within an elite collection.
Conservation Record
The 2026 conservation intervention was performed by art restorer Pierre Masson (Salvartes). His examination, based on binocular observation, confirms that the pictorial layer significantly predates the 19th century. The process was strictly limited to ethical preservation measures, ensuring the structural integrity of the oak panel while respecting the painterly nuances of the 18th-century surface.
PROVENANCE & ARCHIVAL INSIGHTS
Archival Markings & Inscriptions
Inscription on reverse:
"Mona Lisa Mistress of François 1er of France. Formerly in the collection of Colonel Harris of Radford"
Technical analysis by Dr. Joost Vander Auwera indicates that the various labels and inscriptions on the reverse date from the 19th century or later. This chronological distinction is significant, as it clarifies that these markings represent subsequent cataloging efforts rather than original 18th-century documentation. This observation reinforces our interpretation that the romanticized narrative regarding Lisa Gherardini and King François I was an embellishment added during the 19th-century history of the work, rather than an original provenance detail.
Note about the Inscription
In the 18th and 19th centuries, it was common practice among British and French collectors to fabricate or embroider romantic backstories for Renaissance portraits to heighten their mystique. The handwritten note on the reverse alleges that Lisa Gherardini was the mistress of King François I of France. While historical consensus confirms that François I acquired the original masterpiece directly from Leonardo da Vinci during the artist's final years at Clos Lucé, there is no historical basis whatsoever for a personal relationship between the King and Lisa Gherardini. Rather, this inscription serves as a fascinating testament to how the painting's provenance was romanticized by subsequent European collectors.
The Blue Inventory Label (No. 128)
A significant clue to the artwork's provenance is found in an antique blue label bearing the number 128. This type of numbering typically denotes a precise placement within a major historical private collection or a specific 20th-century European exhibition catalog.
A significant clue to the artwork's provenance is found in an antique blue label bearing the number 128. This type of numbering typically denotes a precise placement within a major historical private collection or a specific 20th-century European exhibition catalog.
The Fragmented Red Label
The frame also features a fragmented red label, which is currently undergoing analysis. Even in its incomplete state, this partial marking serves as a vital archival clue, often characteristic of historical customs stamps, shipping agents, or specific European gallery registries. It provides further evidence of the artwork's historical transit and provenance, representing a significant lead for institutional research.
The frame also features a fragmented red label, which is currently undergoing analysis. Even in its incomplete state, this partial marking serves as a vital archival clue, often characteristic of historical customs stamps, shipping agents, or specific European gallery registries. It provides further evidence of the artwork's historical transit and provenance, representing a significant lead for institutional research.
Provenance: The Radford Estate and the Harris Family
The Radford house, Plymstock, Devon and its estate were owned by the Harris family for over 500 years. During the reign of Elizabeth I,
Sir Christopher Harris (b. c. 1553 – d. 1625) represented Plymouth in Parliament and served as Vice-Admiral of Devon. Due to his naval connections, he regularly entertained the finest captains of the fleet at Radford—including a victory celebration for those who fought against the Spanish Armada, attended by Sir Francis Drake, Sir Walter Raleigh, Howard, and Hawkins, among others.
A prime measure of Harris' wealth was 'The Armada Service,' which also birthed one of the 'lost treasure' legends associated with the house. Now preserved in the British Museum, this fabulous collection of 22 silver dishes was made for Sir Christopher between 1581 and 1602, representing his success as an Admiralty official during the Anglo-Spanish War (1585–1604), where he was presented with silver reputedly captured from New World trading ships, principally Spanish. The house passed through generations of the Harris (and later Harris-Bulteel) family. The occupant of Radford recorded in the 1841 census was Colonel Harry Bulteel Harris (1788–1863), who later became a partner in the Naval Bank in 1845/6, alongside his wife Anne (b. 1795). In 1818, he served as Deputy Adjutant-General of Nova Scotia under the governorship of Lieutenant General George Ramsay, 9th Earl of Dalhousie. In 1834, he was created a Knight of the Royal Hanoverian Guelphic Order, and retired in 1838 as Lieutenant Colonel of the 93rd Regiment of Foot.
Following the bankruptcy of the Harris Bulteel & Co Naval Bank in August 1914, the estate was sold in 1917. It was acquired for £11,000 (approximately £440,000 in 2007 value) by William ("Billy") A. Mitchell (b. 1861 – d. 1930), a prominent local businessman, dignitary, tidal corn miller, and landowner known locally as the "Uncrowned King of Plymstock." Significantly, the historic Radford House was demolished in 1937. This event likely catalyzed the dispersal of the house’s long-standing collection, underscoring the importance of the inventory labels still present on the painting today. We are currently investigating whether the Harris copy of the Mona Lisa was included in the 1917 sale or remained in the estate until its final liquidation in the 1930s.
The Radford house, Plymstock, Devon and its estate were owned by the Harris family for over 500 years. During the reign of Elizabeth I,
Sir Christopher Harris (b. c. 1553 – d. 1625) represented Plymouth in Parliament and served as Vice-Admiral of Devon. Due to his naval connections, he regularly entertained the finest captains of the fleet at Radford—including a victory celebration for those who fought against the Spanish Armada, attended by Sir Francis Drake, Sir Walter Raleigh, Howard, and Hawkins, among others.
A prime measure of Harris' wealth was 'The Armada Service,' which also birthed one of the 'lost treasure' legends associated with the house. Now preserved in the British Museum, this fabulous collection of 22 silver dishes was made for Sir Christopher between 1581 and 1602, representing his success as an Admiralty official during the Anglo-Spanish War (1585–1604), where he was presented with silver reputedly captured from New World trading ships, principally Spanish. The house passed through generations of the Harris (and later Harris-Bulteel) family. The occupant of Radford recorded in the 1841 census was Colonel Harry Bulteel Harris (1788–1863), who later became a partner in the Naval Bank in 1845/6, alongside his wife Anne (b. 1795). In 1818, he served as Deputy Adjutant-General of Nova Scotia under the governorship of Lieutenant General George Ramsay, 9th Earl of Dalhousie. In 1834, he was created a Knight of the Royal Hanoverian Guelphic Order, and retired in 1838 as Lieutenant Colonel of the 93rd Regiment of Foot.
Following the bankruptcy of the Harris Bulteel & Co Naval Bank in August 1914, the estate was sold in 1917. It was acquired for £11,000 (approximately £440,000 in 2007 value) by William ("Billy") A. Mitchell (b. 1861 – d. 1930), a prominent local businessman, dignitary, tidal corn miller, and landowner known locally as the "Uncrowned King of Plymstock." Significantly, the historic Radford House was demolished in 1937. This event likely catalyzed the dispersal of the house’s long-standing collection, underscoring the importance of the inventory labels still present on the painting today. We are currently investigating whether the Harris copy of the Mona Lisa was included in the 1917 sale or remained in the estate until its final liquidation in the 1930s.
ART HISTORICAL SIGNIFICANCE
Historical context
Research conducted by Dr. Joost Vander Auwera suggests that this copy was executed by a skilled artist who had access to the Mona Lisa during its residency at Versailles (1682–1797) or shortly after the opening of the Louvre at the end of the 18th century. The copyist deliberately opted for an oak panel to achieve a refined, smooth surface quality, aiming to emulate the aesthetic prestige of the original masterpiece. The work’s long-standing presence within the Harris collection at the Radford Estate—and its esteemed position among the English gentry for over two centuries—serves as a compelling testament to the enduring influence of Leonardo da Vinci’s masterpiece on European collecting history.
Historical context
Research conducted by Dr. Joost Vander Auwera suggests that this copy was executed by a skilled artist who had access to the Mona Lisa during its residency at Versailles (1682–1797) or shortly after the opening of the Louvre at the end of the 18th century. The copyist deliberately opted for an oak panel to achieve a refined, smooth surface quality, aiming to emulate the aesthetic prestige of the original masterpiece. The work’s long-standing presence within the Harris collection at the Radford Estate—and its esteemed position among the English gentry for over two centuries—serves as a compelling testament to the enduring influence of Leonardo da Vinci’s masterpiece on European collecting history.
20th-Century Market History & Vetting
The 1926 Auction
The Harris Mona Lisa was subsequently sold at Galerie Fiévez in Brussels on July 20, 1926, appearing in the official catalogue as Lot No. 118. Established in Brussels, Galerie Fiévez was one of the most prestigious and influential auction houses in Belgium during the late 19th and mid-20th centuries, serving as a primary venue for the dispersion of major European private collections and aristocrats' estates.
The 1964 Bueso Assessment
In 1964, Brussels art expert J. Bueso described and cataloged this copy of the Mona Lisa as follows:
"Ecole italienne du XVIe siècle - d'après Léonard de Vinci - La Joconde (sur panneau) - Copie ancienne -
(estimation optimiste 75.000 à 100.000 belgian francs)."
An estimate of 100,000 BEF in 1964 represented a highly significant amount for a work of art—equivalent to several months of a senior professional's salary at the time. Expert J. Bueso was highly regarded internationally for an illustrious career deeply rooted in institutional art conservation, scientific analysis, and the technical examination of European masterpieces.
In 1964, Brussels art expert J. Bueso described and cataloged this copy of the Mona Lisa as follows:
"Ecole italienne du XVIe siècle - d'après Léonard de Vinci - La Joconde (sur panneau) - Copie ancienne -
(estimation optimiste 75.000 à 100.000 belgian francs)."
An estimate of 100,000 BEF in 1964 represented a highly significant amount for a work of art—equivalent to several months of a senior professional's salary at the time. Expert J. Bueso was highly regarded internationally for an illustrious career deeply rooted in institutional art conservation, scientific analysis, and the technical examination of European masterpieces.
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Left: The painting prior to conservation treatment in 2026 by Belgian art restorer Pierre Masson / Salvartes.
Right: The painting after his careful conservation treatment.
Right: The painting after his careful conservation treatment.
Detail Analysis: Close-up of the face following conservation treatment by Pierre Masson.
Detail Analysis: Close-up of the hands before conservation treatment by Pierre Masson.
Detail Analysis: Close-up of the hands after conservation treatment by Pierre Masson.
Research & Dialogue
Group 2 Gallery views the study of the Harris Mona Lisa as an open, collaborative investigation.
We warmly welcome inquiries, insights, and comparative research from art historians, museum curators, and conservation specialists.
Technical Dossier & Expertise Reports
The complete research dossier, including the formal expertise report by Dr. Joost Vander Auwera and the conservation and material analysis by Pierre Masson, is available for review by institutional curators and qualified researchers.
[ Request the Technical Dossier ]
If you have questions regarding our current findings or would like to share relevant archival insights, please do not hesitate
to contact our research department:
[email protected]
Research & Dialogue
Group 2 Gallery views the study of the Harris Mona Lisa as an open, collaborative investigation.
We warmly welcome inquiries, insights, and comparative research from art historians, museum curators, and conservation specialists.
Technical Dossier & Expertise Reports
The complete research dossier, including the formal expertise report by Dr. Joost Vander Auwera and the conservation and material analysis by Pierre Masson, is available for review by institutional curators and qualified researchers.
[ Request the Technical Dossier ]
If you have questions regarding our current findings or would like to share relevant archival insights, please do not hesitate
to contact our research department:
[email protected]
