Silverpoint Collection (#2)

A Horse Seen from the Front, c1480 (1945). Artist: Leonardo da Vinci
A Horse Seen from the Front, c1480 (1945). From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

Two Horsemen, c1480 (1945). Artist: Leonardo da Vinci
Two Horsemen, c1480 (1945). From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

A Rider on a Rearing Horse, c1480 (1945). Artist: Leonardo da Vinci
A Rider on a Rearing Horse, c1480 (1945). From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

Studies of a Dog and of a Cat, c1480 (1945). Artist: Leonardo da Vinci
Studies of a Dog and of a Cat, c1480 (1945). From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

Studies of a Dragon, c1480 (1945). Artist: Leonardo da Vinci
Studies of a Dragon, c1480 (1945). From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

Fight Between a Horseman and a Griffin, c1480 (1945). Artist: Leonardo da Vinci
Fight Between a Horseman and a Griffin, c1480 (1945). From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

Studies of a Rearing Horse and a Horses Hind-Quarters, c1480 (1945). Artist: Leonardo da Vinci
Studies of a Rearing Horse and a Horses Hind-Quarters, c1480 (1945). From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

Two Studies of Horses, One of a Galloping Horseman and Others of Horses Legs, c1480 (1945). Artist: Leonardo da Vinci
Two Studies of Horses, One of a Galloping Horseman and Others of Horses Legs, c1480 (1945). From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

Studies of Horses Grazing, c1480 (1945). Artist: Leonardo da Vinci
Studies of Horses Grazing, c1480 (1945). From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

Studies of Asses and of an Ox, c1480 (1945). Artist: Leonardo da Vinci
Studies of Asses and of an Ox, c1480 (1945). From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

A Draped Figure, Studies of Machinery Etc. c1480 (1945). Artist: Leonardo da Vinci
A Draped Figure, Studies of Machinery Etc. c1480 (1945). The drawing is held by the Galleria degli Uffizi, Florence. From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

Adoration of the Kings: Composition Sketch, 1478-1481 (1945). Artist: Leonardo da Vinci
Adoration of the Kings: Composition Sketch, 1478-1481 (1945). The drawing is held by the Musee du Louvre, Paris. From The Drawings of Leonardo da Vinci. [Reynal & Hitchcock, New York, 1945]

A female head, c1472-c1519 (1883), Artist: Leonardo da Vinci
A female head, c1472-c1519 (1883). A preparatory drawing in silverpoint on brown-toned paper for the Angel in the `Virgin of the Rocks`. From The Literary Works of Leonardo Da Vinci, Vol

Study of female hands, c1472-c1519 (1883). Artist: Leonardo da Vinci
Study of female hands, drawn with the silverpoint on yellowish tinted paper, heightened with white, c1472-c1519 (1883). From The Literary Works of Leonardo Da Vinci, Vol. 1 by Jean Paul Richter, PH

Study for the Sforza Monument, c1482-c1499 (1883). Artist: Leonardo da Vinci
Study for the Sforza Monument, c1482-c1499 (1883). Silverpoint on bluish tinted paper. From The Literary Works of Leonardo Da Vinci, Vol. II by Jean Paul Richter, PH. DR

Two preparatory studies for the Sforza Monument, c1482-c1499 (1883). Artist: Leonardo da Vinci
Two preparatory studies for the Sforza Monument, c1482-c1499 (1883). One drawn with a pen, the other in silverpoint on bluish tinted paper. From The Literary Works of Leonardo Da Vinci, Vol

Horses, c1490-1510. Artist: Leonardo da Vinci
Horses, c1490-1510. Left: Three Horses, c1508-1510; right: Two Horses, c1490, both studies for the Trivulzio Monument and found in the collection of the Royal Library, Windsor Castle, Windsor, England

The Sforza Monument, c1488-1493. Artist: Leonardo da Vinci
The Sforza Monument, c1488-1493. Top: study, c1488-1490, from the collection of the Royal Library, Windsor Castle, Windsor, England; bottom right: Two Sketches of Moulds for Casting a Prancing Horse

Horseman, 1480-1481. Artist: Leonardo da Vinci
Horseman, 1480-1481. Study for The Adoration of the Kings, from the collection of Captain Colville, London, England; top right: Horseman, 1480-1481, Study for The Adoration of the Kings

St John the Baptist, c1478. Artist: Leonardo da Vinci
St John the Baptist, c1478. From the collection of the Royal Library, Windsor Castle, Windsor, England

Adoration of the Child, c1483. Artist: Leonardo da Vinci
Adoration of the Child, c1483. Top: from the collection of the Metropolitan Museum of Art, New York, U.S.A.; bottom: Academy, Venice, Italy

Adoration of the Shepherds, c1478-1480. Artist: Leonardo da Vinci
Adoration of the Shepherds, c1478-1480. From the collection of the Louvre, Paris, France

Allegory of Fortuna, c1483. Artist: Leonardo da Vinci
Allegory of Fortuna, c1483. From the collection of the British Museum, London, England

Portrait of a Girl with a Cap, 1493-1495. Artist: Leonardo da Vinci
Portrait of a Girl with a Cap, 1493-1495. From the collection of the Royal Library, Windsor Castle, Windsor, England

Madonna with the Fruit-Plate, 1480-82. Artist: Leonardo da Vinci
Madonna with the Fruit-Plate, 1480-82. From the collection of the Louvre, Paris, France

Compositional Sketches Virgin Adoring Christ Child
Artokoloro

Hans Holbein the Elder (German, c. 1465 - 1524), Study of a Bearded Man, c. 1508-1510, silverpoint and black chalk heightened with white on white prepared paper

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Silverpoint is a timeless artistic technique that has captivated artists throughout history. Dating back to the 15th century, this delicate medium involves using a silver stylus to create intricate and precise drawings on specially prepared surfaces. One of the most notable proponents was none other than Leonardo da Vinci himself. In his works such as "A Condottiere" and "A Horseman Trampling on a Fallen Foe, " he showcased his mastery in capturing movement and intensity with remarkable detail. The studies of horses and their heads further demonstrate his fascination with these majestic creatures, immortalizing their grace and power on paper. Not limited to animals, Leonardo also explored human subjects through silverpoint. His "Studies for Tobias and the Angel" reveal his ability to convey emotion through subtle lines, while the study of drapery showcases his meticulous attention to texture and folds. But Leonardo wasn't the only artist enchanted by this medium; Alphonse Legros also embraced silverpoint in his work. With pieces like "Head of an Old Man" and "Nude Model Seated, " Legros demonstrated how this technique could capture both ageless wisdom and vulnerable beauty. The allure lies not only in its historical significance but also in its unique aesthetic qualities. The soft shimmering lines created by the metal stylus lend an ethereal quality to each drawing, adding depth and dimensionality unlike any other medium. Today, contemporary artists continue to explore silverpoint's possibilities, pushing boundaries while paying homage to its rich heritage. As we marvel at these exquisite artworks from centuries past or gaze upon modern interpretations, we are reminded that even though time passes, true artistry remains eternal.