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According to a press release recently issued by Sotheby’s on the painting’s impending sale, Hahn, in “The Rape of La Belle,” “lambastes Duveen’s ‘lust for power’ and vengeful attack on the picture.” Interestingly, he does much more than that. By carefully constructed arguments based on years of his own research during and after the court case, and by relying on some of the testimony of experts at the trial, Hahn attempts to show that the the portrait he and his wife received as a wedding gift is indeed the true da Vinci, and the painting in the Louvre a copy. While such may not be the accepted wisdom, his arguments are substantive enough to deserve a hearing.
In the first place, Hahn asserts that the painting is misnamed, that
La Belle Ferronniere
refers to another portrait of a different woman in profile, albeit a work of da Vinci’s, of which an original and a copy exist. This woman, according to William Sanger’s “A History of Prostitution,”was taken …

See the full article from “OpEdNews”