We are honored to have been entrusted with the technical expertise, archival research, and dating of the historic artwork known as the "Harris Mona Lisa." This webpage serves as an open research dossier. We are committed to a process of rigorous, ongoing peer review and technical vetting before this historical version is formally presented for institutional evaluation. In addition to the historical certifications from Galerie Fiévez and expert J. Bueso, a comprehensive analysis is currently being compiled by a prominent Belgian specialist. To respect the preliminary nature of this institutional cataloging, the findings of this report remain confidential and will be disclosed exclusively to museum departments and qualified scholars upon direct inquiry.
"The Harris Mona Lisa", oil on oak wood, 72,5 x 54,5 cm.
Chronology & Dating Note
Preliminary expert and conservation assessments suggest the artwork most likely originated during the
18th century. At this stage of the investigation, this timeframe serves as our primary baseline of inquiry.
Chronology & Dating Note
Preliminary expert and conservation assessments suggest the artwork most likely originated during the
18th century. At this stage of the investigation, this timeframe serves as our primary baseline of inquiry.
Image of the same painting in its frame.
The Support
This version was executed on an oak wood panel, a material choice historically indicative of a Northern European artist.
Structural Conservation
A structural wooden cradling (parquetage) was a common practice in the past , especially since the 19th century,
to prevent the warping of the wooden support.
Support vs. Housing
The physical analysis of the artwork strictly separates the support from its housing. While the reverse of the panel exhibits historical cradling designed for structural stabilization, the frame features a fragmented red label alongside a blue inventory label (No. 128). Current archival cross-referencing is treating these markings independently to determine whether the frame and panel share an uninterrupted historical trajectory or were unified at a later stage in an elite European collection.
This version was executed on an oak wood panel, a material choice historically indicative of a Northern European artist.
Structural Conservation
A structural wooden cradling (parquetage) was a common practice in the past , especially since the 19th century,
to prevent the warping of the wooden support.
Support vs. Housing
The physical analysis of the artwork strictly separates the support from its housing. While the reverse of the panel exhibits historical cradling designed for structural stabilization, the frame features a fragmented red label alongside a blue inventory label (No. 128). Current archival cross-referencing is treating these markings independently to determine whether the frame and panel share an uninterrupted historical trajectory or were unified at a later stage in an elite European collection.
Archival Markings & Inscriptions
Inscription on reverse:
"Mona Lisa Mistress of François 1er of France. Formerly in the collection of Colonel Harris of Radford"
Note about the Inscription:
In the 18th and 19th centuries, it was highly common for British and French collectors to invent or embellish romantic backstories for Renaissance portraits to increase their mystique.
The handwritten note on the reverse alleges that Lisa Gherardini (the Mona Lisa) 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 G. Instead, this inscription serves as a fascinating testament to how the painting's provenance was romanticized by later European collectors.
Inscription on reverse:
"Mona Lisa Mistress of François 1er of France. Formerly in the collection of Colonel Harris of Radford"
Note about the Inscription:
In the 18th and 19th centuries, it was highly common for British and French collectors to invent or embellish romantic backstories for Renaissance portraits to increase their mystique.
The handwritten note on the reverse alleges that Lisa Gherardini (the Mona Lisa) 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 G. Instead, this inscription serves as a fascinating testament to how the painting's provenance was romanticized by later 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 Lt-Gen George Ramsay, 9th Earl of Dalhousie. In 1834, he was created a Knight of the Royal Hanoverian Guelphic Order, eventually retiring in 1838 as Lt-Col 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."
We are currently investigating whether the Harris copy of the Mona Lisa was included in that specific 1917 sale.
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 Lt-Gen George Ramsay, 9th Earl of Dalhousie. In 1834, he was created a Knight of the Royal Hanoverian Guelphic Order, eventually retiring in 1838 as Lt-Col 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."
We are currently investigating whether the Harris copy of the Mona Lisa was included in that specific 1917 sale.
20th-Century Market History & Vetting
The 1926 Auction
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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Conservation Record
- Left: The painting prior to conservation treatment in 2026 by Belgian art restorer Pierre Masson / Salvartes.
- Right: The painting following Salvartes' careful conservation intervention.
Detail Analysis: Close-up of the face following conservation treatment by Salvartes.
Detail Analysis: Close-up of the hands before conservation treatment by Salvartes.
Detail Analysis: Close-up of the hands after conservation treatment by Salvartes.
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. If you have questions regarding our current findings, wish to review the pending technical data, 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. If you have questions regarding our current findings, wish to review the pending technical data, or would like to share relevant archival insights, please do not hesitate to contact
our research department:
[email protected]
