Collections · da Vinci
da Vinci, restored for print
Leonardo has been out of copyright for as long as copyright has existed. We restore his paintings, drawings and studies from archival scans and sell them as 250+ finished prints in four formats. Twelve, chosen and annotated by the studio, are below.
LumenArtee is our own Etsy storefront — one of the three shops this studio runs. Every sale funds the next restoration.How we restore ·our open ledger
The icons, restored
Mona Lisa, c. 1503–1506
Under the glass in Paris she reads almost monochrome — three centuries of varnish gone amber. We keep the famous calm intact but let the blue-green of the valley and the warmth of the sleeves come back through.
Florence · four formats
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The Last Supper, 1495–1498
Leonardo painted it on a dry wall instead of wet plaster, and it began failing within his own lifetime. What survives is sober and thin, and we resist sweetening it — the apostles' blues and corals hold exactly as the wall holds them.
Milan · four formats
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Vitruvian Man, c. 1490
Kept in the dark in Venice and exhibited only rarely, so most prints descend from tired old plates. Here the mirror writing above and below the figure stays legible — the sheet is half text, and it deserves to read as one.
Milan · four formats
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Lady with an Ermine, c. 1489–1491
Cecilia Gallerani, about sixteen, painted for the Sforza court. The flat black behind her is a later repaint that muddy copies let swallow her hair; restored, her outline and the ermine's white fur sit clean against it.
Milan · four formats
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The Virgin of the Rocks, 1483–1486
The earlier of Leonardo's two treatments of the subject — the version where the angel looks out at you and points. Grotto pictures die first in the shadows, so the work here was keeping the blue rock vista and the red mantle alive inside all that dark.
Milan, first version · four formats
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Self-Portrait in Red Chalk, c. 1512
So light-fragile it is almost never shown, and in person the paper is a field of brown spots. We brought the old man's face back out of the foxing without flattening the chalk's grain — this drawing is all texture.
Turin · four formats
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Deeper into the catalogue
Six more, in the order he made them — Florence to Amboise.
Annunciation, c. 1472–1476
Painted while he was still in Verrocchio's workshop, with the angel's wings studied from real birds. The picture is a test of edges — marble lectern, lawn flowers, harbour haze — and each keeps its own sharpness here.
First Florentine period · four formats
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Ginevra de' Benci, c. 1474–1478
The juniper behind her is a pun on her name — ginepro, Ginevra. The panel was cut down below centuries ago, which is why she meets a square format so calmly; the porcelain pallor is hers, not a tired scan's.
First Florentine period · four formats
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Saint Jerome in the Wilderness, c. 1480–1482
Abandoned unfinished — the lion is bare ground and the saint's neck and shoulder are a naked anatomy study. We restored nothing that was never there; the point of this panel is watching him think.
First Florentine period · four formats
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Head of a Woman (La Scapigliata), c. 1506–1508
The dishevelled one — umber and lead white on a small poplar panel, a face finished to glass inside a storm of unfinished hair. Careless prints grey out the wood's warmth; this one keeps the panel glowing.
Second Milanese period · four formats
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A Star of Bethlehem and Other Plants, c. 1506–1512
Drawn while he was preparing the lost Leda, and the leaves spiral exactly the way he drew moving water. Pen and ink over red chalk — two close browns that cheap printing merges, kept apart here.
Leda studies · four formats
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Saint John the Baptist, c. 1513–1516
One of the paintings he kept beside him until his death in France — a raised finger, a smile, and almost nothing else out of the dark. The picture is a single slow gradation, and protecting that fade at print size was the entire job.
Late period · four formats
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The rest of the room
The works above are a taste — the catalogue holds 250+ da Vinci works. Browse it by subject:
Choosing a format
Rolled poster
The cheapest way in — pick it if you already own a frame or want one chosen for the room, not the shipment.
Framed paper
Arrives ready to hang, glass over paper — the classic museum-print look, and the safest default for most rooms.
Stretched canvas
No glass, no glare — texture close to a painting's, and a natural fit for painterly surfaces.
Framed canvas
The canvas texture with a finished edge — the most furniture-like of the four, and the largest sizes live here.
Prices vary by size and format; every listing shows all options in your own currency. Undecided? Ourprint format guidecompares the four honestly.
From the journal
Why is this work free to print in the first place?da Vinci and the public domain — the full guide →