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List of works by Leonardo da Vinci

Updated: Wikipedia source

List of works by Leonardo da Vinci

The Italian polymath Leonardo da Vinci (1452–1519) was one of the founding figures of the High Renaissance, and exhibited enormous influence on subsequent artists. Only around eight major works—The Adoration of the Magi, Saint Jerome in the Wilderness, the Louvre Virgin of the Rocks, The Last Supper, the ceiling of the Sala delle Asse, The Virgin and Child with Saint Anne and Saint John the Baptist, The Virgin and Child with Saint Anne, and the Mona Lisa—are universally attributed to him, and have aroused little or no controversy in the past. Ten additional works are now widely attributed to his oeuvre, though most have previously incited considerable controversy or doubt: the Annunciation, Madonna of the Carnation, The Baptism of Christ (with his teacher, Verrocchio), Ginevra de' Benci, the Benois Madonna, the Portrait of a Musician (with possible studio assistance), the Lady with an Ermine, La Belle Ferronnière, the London Virgin of the Rocks (with studio assistance), the Portrait of Isabella d'Este, and Saint John the Baptist. Other attributions are more complicated. La Scapigliata appears to be attributed by most scholars, but some prominent specialists are silent on the issue. Salvator Mundi's attribution remains extremely controversial, and the extensive nature of the restoration may never allow a definitive resolution. The small number of surviving paintings is due in part to Leonardo's habit of disastrous experimentation with new techniques and his chronic procrastination, resulting in many incomplete works. It is thought that he created many more works that are now lost, though records and copies have survived for some. In addition to his paintings, there are eleven surviving manuscripts of Leonardo da Vinci's notes and drawings, amounting to thousands of pages in total. There are numerous other works with disputed attributions to Leonardo, which have failed, as of yet, to achieve thorough scholarly approval.

Tables

· Major extant works
Widely accepted
Widely accepted
Universally accepted
Widely accepted
Unanimously accepted works
Accepted by large majority of modern scholars; controversial in the past
Generally accepted
Generally accepted
Universally accepted
Generally accepted
Unanimously accepted works
Accepted by most modern scholars; still controversial
Universally accepted
Unanimously accepted works
Widely accepted
Accepted by large majority of modern scholars; controversial in the past
Generally accepted
Accepted by most modern scholars; still controversial
· Major extant works
The Annunciation
The Annunciation
Date
1472–1476 c. 1472–1476
Medium
Oil and tempera on poplar panel
Dimensions
98 cm × 217 cm 39 in × 85 in
Location
Uffizi, Florence
Madonna of the Carnation
Madonna of the Carnation
Date
1472–1478 c. 1472–1478
Medium
Oil on poplar panel
Dimensions
62 cm × 47 cm 24 in × 18 in
Location
Alte Pinakothek, Munich
The Baptism of Christ †
The Baptism of Christ †
Date
1474–1478 c. 1474–1478
Medium
Oil and tempera on poplar panel
Dimensions
177 cm × 151 cm 70 in × 59 in
Location
Uffizi, Florence
Ginevra de' Benci
Ginevra de' Benci
Date
1474–1480 c. 1474–1480
Medium
Oil and tempera on poplar panel
Dimensions
38 cm × 36 cm 15 in × 14 in
Location
National Gallery of Art, Washington, D .
Benois Madonna
Benois Madonna
Date
1478–1481 c. 1478–1481
Medium
Oil on wood panel, transferred to canvas
Dimensions
49 cm × 33 cm 19 in × 13 in
Location
Hermitage, Saint Petersburg
The Adoration of the Magi (unfinished)
The Adoration of the Magi (unfinished)
Date
1478–1482 c. 1478–1482
Medium
Oil (underpainting) on wood panel
Dimensions
240 cm × 250 cm 94 in × 98 in
Location
Uffizi, Florence
Saint Jerome in the Wilderness (unfinished)
Saint Jerome in the Wilderness (unfinished)
Date
1480–1490 c. 1480–1490
Medium
Tempera and oil on walnut panel
Dimensions
103 cm × 75 cm 41 in × 30 in
Location
Vatican Museums
Madonna Litta †
Madonna Litta †
Date
1481–1495 c. 1481–1495
Medium
Tempera (and oil) on poplar panel
Dimensions
42 cm × 33 cm 17 in × 13 in
Location
Hermitage, Saint Petersburg
Virgin of the Rocks (Louvre version)
Virgin of the Rocks (Louvre version)
Date
1483–1493 c. 1483–1493
Medium
Oil on wood panel, transferred to canvas
Dimensions
199 cm × 122 cm 78 in × 48 in
Location
Louvre, Paris
Portrait of a Musician (unfinished) ‡
Portrait of a Musician (unfinished) ‡
Date
1483–1487 c. 1483–1487
Medium
Oil (and tempera?) on walnut panel
Dimensions
45 cm × 32 cm 18 in × 13 in
Location
Pinacoteca Ambrosiana, Milan
Lady with an Ermine
Lady with an Ermine
Date
1489–1491 c. 1489–1491
Medium
Oil on walnut panel
Dimensions
54 cm × 39 cm 21 in × 15 in
Location
Czartoryski Museum, Kraków
La Belle Ferronnière
La Belle Ferronnière
Date
1490–1498 c. 1490–1498
Medium
Oil on walnut panel
Dimensions
62 cm × 44 cm 24 in × 17 in
Location
Louvre, Paris
Virgin of the Rocks (London version) †
Virgin of the Rocks (London version) †
Date
1491–1508 c. 1491–1508
Medium
Oil on parqueted poplar panel
Dimensions
189 cm × 120 cm 74 in × 47 in
Location
National Gallery, London
The Last Supper
The Last Supper
Date
1492–1498 c. 1492–1498
Medium
Tempera on gesso, pitch and mastic
Dimensions
460 cm × 880 cm 180 in × 350 in
Location
Convent of Santa Maria delle Grazie, Milan
Sala delle Asse
Sala delle Asse
Date
1497–1499 c. 1497–1499
Medium
Tempera on plaster
Location
Castello Sforzesco, Milan
The Virgin and Child with Saint Anne and Saint John the Baptist
The Virgin and Child with Saint Anne and Saint John the Baptist
Date
1499–1508 c. 1499–1508
Medium
Charcoal, black and white chalk on tinted paper, mounted on canvas
Dimensions
142 cm × 105 cm 56 in × 41 in
Location
National Gallery, London
Portrait of Isabella d'Este
Portrait of Isabella d'Este
Date
1499–1500 c. 1499–1500
Medium
Black and red chalk, yellow pastel chalk on paper
Dimensions
61 cm × 46 cm 24 in × 18 in
Location
Louvre, Paris
Madonna of the Yarnwinder (The Buccleuch Madonna) †
Madonna of the Yarnwinder (The Buccleuch Madonna) †
Date
1499–1508 c. 1499–1508
Medium
Oil on walnut panel
Dimensions
48 cm × 36 cm 19 in × 14 in
Location
Scottish National Gallery, Edinburgh
Salvator Mundi ‡
Salvator Mundi ‡
Date
1499–1510 c. 1499–1510
Medium
Oil on wood panel
Dimensions
65 cm × 45 cm 25 in × 17 in
Location
Unknown
Madonna of the Yarnwinder (The Lansdowne Madonna) †
Madonna of the Yarnwinder (The Lansdowne Madonna) †
Date
1501–1508 c. 1501–1508
Medium
Oil on wood panel (transferred to canvas and later re-laid on panel)
Dimensions
50 cm × 36 cm 19 in × 14 in
Location
Private collection, New York City
The Virgin and Child with Saint Anne
The Virgin and Child with Saint Anne
Date
1501–1519 c. 1501–1519
Medium
Oil on wood panel
Dimensions
168 cm × 112 cm 66 in × 44 in
Location
Louvre, Paris
Mona Lisa (unfinished)
Mona Lisa (unfinished)
Date
1502–1516 c. 1502–1516
Medium
Oil on cottonwood (poplar) panel
Dimensions
76 cm × 53 cm 30 in × 20 in
Location
Louvre, Paris
La Scapigliata (unfinished)
La Scapigliata (unfinished)
Date
1506–1508 c. 1506–1508
Medium
Earth, amber and white lead on wood panel
Dimensions
24 cm × 21 cm 9 in × 8 in
Location
Galleria Nazionale, Parma
Saint John the Baptist
Saint John the Baptist
Date
1507–1516 c. 1507–1516
Medium
Oil on walnut panel
Dimensions
69 cm × 57 cm 27 in × 22 in
Location
Louvre, Paris
Title and image
Date
Medium
Dimensions
Location
The Annunciation
1472–1476 c. 1472–1476
Oil and tempera on poplar panel
98 cm × 217 cm 39 in × 85 in
Uffizi, Florence
Widely accepted Generally thought to be the earliest extant work by Leonardo. Traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphart; accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others.
Madonna of the Carnation
1472–1478 c. 1472–1478
Oil on poplar panel
62 cm × 47 cm 24 in × 18 in
Alte Pinakothek, Munich
Widely accepted Generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.
The Baptism of Christ †
1474–1478 c. 1474–1478
Oil and tempera on poplar panel
177 cm × 151 cm 70 in × 59 in
Uffizi, Florence
Widely accepted as by Verrocchio and Leonardo Painted mainly by Andrea del Verrocchio; Leonardo's contributions include angel on the left-hand side, some of the background landscape and the torso of Christ.
Ginevra de' Benci
1474–1480 c. 1474–1480
Oil and tempera on poplar panel
38 cm × 36 cm 15 in × 14 in
National Gallery of Art, Washington, D .
Widely accepted While controversial in the past, modern scholarship widely attributes the work to Leonardo. The attribution of Lady with an Ermine supports the attribution of this painting.
Benois Madonna
1478–1481 c. 1478–1481
Oil on wood panel, transferred to canvas
49 cm × 33 cm 19 in × 13 in
Hermitage, Saint Petersburg
Widely accepted
The Adoration of the Magi (unfinished)
1478–1482 c. 1478–1482
Oil (underpainting) on wood panel
240 cm × 250 cm 94 in × 98 in
Uffizi, Florence
Universally accepted Forensic and scientific analysis by Maurizio Seracini now proves that at least two layers of varnish, mainly in the lower half of the painting, were applied in the 18th–19th centuries.
Saint Jerome in the Wilderness (unfinished)
1480–1490 c. 1480–1490
Tempera and oil on walnut panel
103 cm × 75 cm 41 in × 30 in
Vatican Museums
Universally accepted
Madonna Litta †
1481–1495 c. 1481–1495
Tempera (and oil) on poplar panel
42 cm × 33 cm 17 in × 13 in
Hermitage, Saint Petersburg
Widely accepted Martin Kemp claims that the National Gallery, London, exhibited the Madonna Litta on loan from the Hermitage as an autograph work, even though the gallery's own curators believed it to be by a pupil, Giovanni Antonio Boltraffio.
Virgin of the Rocks (Louvre version)
1483–1493 c. 1483–1493
Oil on wood panel, transferred to canvas
199 cm × 122 cm 78 in × 48 in
Louvre, Paris
Universally accepted
Portrait of a Musician (unfinished) ‡
1483–1487 c. 1483–1487
Oil (and tempera?) on walnut panel
45 cm × 32 cm 18 in × 13 in
Pinacoteca Ambrosiana, Milan
Widely accepted Widely accepted that Leonardo painted the figure's face. Some scholars suggest the body to be the work of his pupils Giovanni Antonio Boltraffio and Giovanni Ambrogio de Predis
Lady with an Ermine
1489–1491 c. 1489–1491
Oil on walnut panel
54 cm × 39 cm 21 in × 15 in
Czartoryski Museum, Kraków
Widely accepted While controversial in the past, modern scholarship widely attributes the work to Leonardo. The attribution of Ginevra de' Benci supports the attribution of this painting.
La Belle Ferronnière
1490–1498 c. 1490–1498
Oil on walnut panel
62 cm × 44 cm 24 in × 17 in
Louvre, Paris
Widely accepted Modern scholars still debate the attribution and it is not as widely accepted as other portraits like Ginevra de' Benci, Portrait of a Musician, and Lady with an Ermine.
Virgin of the Rocks (London version) †
1491–1508 c. 1491–1508
Oil on parqueted poplar panel
189 cm × 120 cm 74 in × 47 in
National Gallery, London
Generally accepted Generally accepted as postdating the version in the Louvre, and produced in collaboration with Ambrogio de Predis and perhaps others. Some consider it the work of Leonardo's workshop under his direction. The date is not universally agreed.
The Last Supper
1492–1498 c. 1492–1498
Tempera on gesso, pitch and mastic
460 cm × 880 cm 180 in × 350 in
Convent of Santa Maria delle Grazie, Milan
Universally accepted
Sala delle Asse
1497–1499 c. 1497–1499
Tempera on plaster
Castello Sforzesco, Milan
Universally accepted
The Virgin and Child with Saint Anne and Saint John the Baptist
1499–1508 c. 1499–1508
Charcoal, black and white chalk on tinted paper, mounted on canvas
142 cm × 105 cm 56 in × 41 in
National Gallery, London
Universally accepted
Portrait of Isabella d'Este
1499–1500 c. 1499–1500
Black and red chalk, yellow pastel chalk on paper
61 cm × 46 cm 24 in × 18 in
Louvre, Paris
Widely accepted Letters document at least two portrait drawings of Isabella d'Este and, in 1501–1506, her requests to execute the promised portrait in colour.
Madonna of the Yarnwinder (The Buccleuch Madonna) †
1499–1508 c. 1499–1508
Oil on walnut panel
48 cm × 36 cm 19 in × 14 in
Scottish National Gallery, Edinburgh
Generally accepted as by Leonardo and another artist Leonardo was documented as working on a painting of this subject in Florence in 1501; it appears to have been delivered to its patron in 1507. This and the Lansdowne Madonna are the most likely candidates for being that work, but neither is considered to be wholly autograph. Scientific examinatio
Salvator Mundi ‡
1499–1510 c. 1499–1510
Oil on wood panel
65 cm × 45 cm 25 in × 17 in
Unknown
Generally accepted Previously presumed to be a later copy of the lost original painting. Purchased in 2005 and restored, it has gained only few acceptance as Leonardo's original. Pentimenti (changes to the composition) were found in the thumb of Christ's right hand and elsewhere which are indicators of the painting's status as an "original". The pa
Madonna of the Yarnwinder (The Lansdowne Madonna) †
1501–1508 c. 1501–1508
Oil on wood panel (transferred to canvas and later re-laid on panel)
50 cm × 36 cm 19 in × 14 in
Private collection, New York City
Generally accepted as having an underdrawing by Leonardo
The Virgin and Child with Saint Anne
1501–1519 c. 1501–1519
Oil on wood panel
168 cm × 112 cm 66 in × 44 in
Louvre, Paris
Universally accepted
Mona Lisa (unfinished)
1502–1516 c. 1502–1516
Oil on cottonwood (poplar) panel
76 cm × 53 cm 30 in × 20 in
Louvre, Paris
Universally accepted A drawing by Giovanni Ambrogio Figino depicting an elderly Leonardo with his right arm assuaged by cloth and a record of an October 1517 visit by Louis d'Aragon, confirm an account of Leonardo's right hand being paralytic at the age of 65, which may indicate why he left works such as the Mona Lisa unfinished.
La Scapigliata (unfinished)
1506–1508 c. 1506–1508
Earth, amber and white lead on wood panel
24 cm × 21 cm 9 in × 8 in
Galleria Nazionale, Parma
Generally accepted
Saint John the Baptist
1507–1516 c. 1507–1516
Oil on walnut panel
69 cm × 57 cm 27 in × 22 in
Louvre, Paris
Widely accepted While controversial in the past, modern scholarship widely attributes the work to Leonardo. Scientific evidence in the second half of the 20th century has furthered this attribution.
· Manuscripts
Codex Atlanticus
Codex Atlanticus
Dates
1478–1519
Abbreviation(s)
C .
Pages
1,119
Location
Pinacoteca Ambrosiana, Milan
Giant crossbow (C /53v-b)
Giant crossbow (C /53v-b)
Dates
12 volumes, collated by the sculptor Pompeo Leoni.
Codex Windsor
Codex Windsor
Dates
1478–1518
Abbreviation(s)
W.
Pages
153
Location
Royal Collection, Windsor
Fetus in the womb (W )
Fetus in the womb (W )
Dates
These drawings were pasted into an album by Pompeo Leoni, probably entered the English royal collection in the reign of Charles II, and were removed from their binding in the 19th century.
Codex Arundel
Codex Arundel
Dates
1480–1518
Abbreviation(s)
B ., Arundel MS. or Br .
Pages
283
Location
British Library, London
Diving apparatus (B )
Diving apparatus (B )
Codex Trivulzianus
Codex Trivulzianus
Dates
c. 1487–1490
Abbreviation(s)
Triv.
Pages
55 (originally 62)
Location
Biblioteca Trivulziana, Castello Sforzesco, Milan
List with a profile portrait (Triv )
List with a profile portrait (Triv )
Codex Forster
Codex Forster
Dates
1487–1505
Abbreviation(s)
Forster I, II and III (including I1, I2 and II2); formerly known as S , II and III
Pages
354
Location
Victoria and Albert Museum, London
Determining the volume of regular and irregular solids (Forster I )
Determining the volume of regular and irregular solids (Forster I )
Dates
Five pocket notebooks bound into three volumes, here listed in chronological order: I2 (Milan, c. 1487–1490): Discusses hydraulic engineering, the moving and raising of water and perpetual motion. III (Milan, c. 1490–1493): Notes on geometry, weights and hydraulics interspersed with sketches of horses' legs, what might be designs for ball costumes
Paris Manuscripts
Paris Manuscripts
Dates
1488–1505
Abbreviation(s)
A, B, C, D, E, F, G, H (including H1, H2 and H3), I (including I1 and I2), K (including K1, K2 and K3), L and M
Pages
more than 2,500
Location
Bibliothèque de l'Institut de France, Paris
Aerial screw (detail of B ) Vertically standing bird's-winged flying machine (B )
Aerial screw (detail of B ) Vertically standing bird's-winged flying machine (B )
Dates
12 volumes, here listed in chronological order: B (1488–1490; 84 folios): Notebook including designs for flying machines (including the "helicopter"), a submarine, centrally-planned churches and war machines. C (1490–91; 28 folios. One section missing.) Treatise on light and shade; also discusses the flow of water and percussion. A (c. 1492): Frag
Codex Madrid
Codex Madrid
Dates
1490s–1504
Abbreviation(s)
Madrid I and Madrid II
Location
Biblioteca Nacional de España, Madrid
Drawing of the ironwork casting mould for the head of the Sforza Horse (Madrid II –157r)
Drawing of the ironwork casting mould for the head of the Sforza Horse (Madrid II –157r)
Dates
Two volumes, rediscovered in 1966: I (1490s): Mainly concerned with the science of mechanisms. II (1503–04): Miscellaneous drawings, including maps of the Arno relating to the project to divert its course and notes and drawings relating to the casting of the Sforza monument.
Codex Ashburnham
Codex Ashburnham
Dates
c. 1492
Abbreviation(s)
Ash . or B (formerly part of MS .); Ash or B (formerly part of MS .)
Location
Bibliothèque de l'Institut de France, Paris
Studies for a building on a centralized plan (Ash )
Studies for a building on a centralized plan (Ash )
Dates
Two volumes, taken out of Paris Manuscripts A and B and sold to the Earl of Ashburnham, who returned them to Paris in 1890.
Codex on the Flight of Birds
Codex on the Flight of Birds
Dates
dated 1505
Abbreviation(s)
Turin
Pages
18
Location
Biblioteca Reale, Turin
Notes on the position of a bird in flight in relationship to the wind (Turin )
Notes on the position of a bird in flight in relationship to the wind (Turin )
Dates
Originally part of Paris Manuscript B; probably stolen by Count Guglielmo Libri in around 1840–1847.
Codex Leicester
Codex Leicester
Dates
1506–1510
Abbreviation(s)
Leic.
Pages
72
Location
Collection of Bill Gates, Seattle (tours internationally)
Studies of the illumination of the moon (Leic (1r))
Studies of the illumination of the moon (Leic (1r))
Codex Urbinas and libro A
Codex Urbinas and libro A
Dates
c. 1530
Abbreviation(s)
Urb. and L°A.
Location
Biblioteca Apostolica Vaticana
Title and sample image
Dates
Abbreviation(s)
Pages
Location
Codex Atlanticus
1478–1519
C .
1,119
Pinacoteca Ambrosiana, Milan
Giant crossbow (C /53v-b)
12 volumes, collated by the sculptor Pompeo Leoni.
Codex Windsor
1478–1518
W.
153
Royal Collection, Windsor
Fetus in the womb (W )
These drawings were pasted into an album by Pompeo Leoni, probably entered the English royal collection in the reign of Charles II, and were removed from their binding in the 19th century.
Codex Arundel
1480–1518
B ., Arundel MS. or Br .
283
British Library, London
Diving apparatus (B )
Codex Trivulzianus
c. 1487–1490
Triv.
55 (originally 62)
Biblioteca Trivulziana, Castello Sforzesco, Milan
List with a profile portrait (Triv )
Codex Forster
1487–1505
Forster I, II and III (including I1, I2 and II2); formerly known as S , II and III
354
Victoria and Albert Museum, London
Determining the volume of regular and irregular solids (Forster I )
Five pocket notebooks bound into three volumes, here listed in chronological order: I2 (Milan, c. 1487–1490): Discusses hydraulic engineering, the moving and raising of water and perpetual motion. III (Milan, c. 1490–1493): Notes on geometry, weights and hydraulics interspersed with sketches of horses' legs, what might be designs for ball costumes
Paris Manuscripts
1488–1505
A, B, C, D, E, F, G, H (including H1, H2 and H3), I (including I1 and I2), K (including K1, K2 and K3), L and M
more than 2,500
Bibliothèque de l'Institut de France, Paris
Aerial screw (detail of B ) Vertically standing bird's-winged flying machine (B )
12 volumes, here listed in chronological order: B (1488–1490; 84 folios): Notebook including designs for flying machines (including the "helicopter"), a submarine, centrally-planned churches and war machines. C (1490–91; 28 folios. One section missing.) Treatise on light and shade; also discusses the flow of water and percussion. A (c. 1492): Frag
Codex Madrid
1490s–1504
Madrid I and Madrid II
Biblioteca Nacional de España, Madrid
Drawing of the ironwork casting mould for the head of the Sforza Horse (Madrid II –157r)
Two volumes, rediscovered in 1966: I (1490s): Mainly concerned with the science of mechanisms. II (1503–04): Miscellaneous drawings, including maps of the Arno relating to the project to divert its course and notes and drawings relating to the casting of the Sforza monument.
Codex Ashburnham
c. 1492
Ash . or B (formerly part of MS .); Ash or B (formerly part of MS .)
Bibliothèque de l'Institut de France, Paris
Studies for a building on a centralized plan (Ash )
Two volumes, taken out of Paris Manuscripts A and B and sold to the Earl of Ashburnham, who returned them to Paris in 1890.
Codex on the Flight of Birds
dated 1505
Turin
18
Biblioteca Reale, Turin
Notes on the position of a bird in flight in relationship to the wind (Turin )
Originally part of Paris Manuscript B; probably stolen by Count Guglielmo Libri in around 1840–1847.
Codex Leicester
1506–1510
Leic.
72
Collection of Bill Gates, Seattle (tours internationally)
Studies of the illumination of the moon (Leic (1r))
Codex Urbinas and libro A
c. 1530
Urb. and L°A.
Biblioteca Apostolica Vaticana
An anthology of writings by Leonardo compiled after his death by his pupil Francesco Melzi. An abridged version was published in 1651 as a treatise on painting (Trattato della Pittura).
· Lost works
Adam and Eve (unfinished)
Adam and Eve (unfinished)
Date
c. mid 1460s – early 1470s
Type
Watercolor cartoon for a tapestry
Last known location
In the collection of Ottaviano de' Medici during Vasari's lifetime (1511–1574)
Drawing by Francesco di Giorgio Martini, possibly based on Leonardo's cartoon
Drawing by Francesco di Giorgio Martini, possibly based on Leonardo's cartoon
Date
Described in great detail by Giorgio Vasari and the Anonimo Gaddiano. Painted for the King of Portugal, it was in the collection of Ottaviano de' Medici in Vasari's lifetime. The composition might have inspired a drawing by Francesco di Giorgio Martini in the Christ Church Picture Gallery, Oxford.
Dragon shield
Dragon shield
Date
c. 1472
Type
Painted shield
Last known location
Unknown
The Head of Medusa
The Head of Medusa
Date
Youthful work
Type
Oil on panel
Last known location
In the collection of Cosimo I de' Medici during Vasari's lifetime (1511–1574)
San Bernardo Altarpiece (unfinished)
San Bernardo Altarpiece (unfinished)
Date
Commissioned 10 January 1478
Type
Oil on panel
Last known location
Unknown
The Battle of Anghiari
The Battle of Anghiari
Date
Commissioned 4 May 1504
Type
Mural painting
Last known location
Still visible in 1549
Copy by Peter Paul Rubens
Copy by Peter Paul Rubens
Date
Covered up by frescoes by Vasari, beginning in 1563. The remains of Leonardo's fresco may have been discovered in the Salone dei Cinquecento.
Leda and the Swan
Leda and the Swan
Date
c. 1504–1508
Type
Oil painting
Last known location
Recorded by Cassiano dal Pozzo as being at the Palace of Fontainebleau in 1625.
Copy by Cesare da Sesto
Copy by Cesare da Sesto
Date
There are nine known copies of the painting, including: Cesare da Sesto, Leda and the Swan (pictured). Oil on wood, 69 cm × 73 cm (27 in × 29 in). Wilton House, Wiltshire Anonymous, possibly Il Sodoma, Leda and the Swan. Tempera on wood, 115 cm × 86 cm (45 in × 34 in). Galleria Borghese, Rome Francesco Melzi, Leda and the Swan. Uffizi, Fl
Angel of the Annunciation
Angel of the Annunciation
Date
c. 1510–1513
Type
Oil painting
Last known location
In Duke Cosimo I de' Medici's palace during Vasari's lifetime (1511–1574)
The Incarnate Angel, satirical copy
The Incarnate Angel, satirical copy
Date
The painting is described by Vasari. A drawing survives among studies for the Battle of Anghiari (see below). The drawing at left, known as The Incarnate Angel, is a satirical copy, by Leonardo. There are some extant copies of the subject by Leonardeschi, including: Workshop of Leonardo da Vinci? Angel of the Annunciation, c. 1505 – 1513? Oil on ca
Title, and image of derivative work
Date
Type
Last known location
Adam and Eve (unfinished)
c. mid 1460s – early 1470s
Watercolor cartoon for a tapestry
In the collection of Ottaviano de' Medici during Vasari's lifetime (1511–1574)
Drawing by Francesco di Giorgio Martini, possibly based on Leonardo's cartoon
Described in great detail by Giorgio Vasari and the Anonimo Gaddiano. Painted for the King of Portugal, it was in the collection of Ottaviano de' Medici in Vasari's lifetime. The composition might have inspired a drawing by Francesco di Giorgio Martini in the Christ Church Picture Gallery, Oxford.
Dragon shield
c. 1472
Painted shield
Unknown
A juvenile work known only from accounts by Giorgio Vasari and the Anonimo Gaddiano. Vasari stated that it was sold by Leonardo's father Ser Piero da Vinci to merchants, who then sold it on to the Duke of Milan.
The Head of Medusa
Youthful work
Oil on panel
In the collection of Cosimo I de' Medici during Vasari's lifetime (1511–1574)
A juvenile work only known from an account by Giorgio Vasari. A Flemish painting of this subject of c. 1600 in the Uffizi, Florence, was once mistakenly thought to be this work.
San Bernardo Altarpiece (unfinished)
Commissioned 10 January 1478
Oil on panel
Unknown
A commission for the chapel in the Palazzo della Signoria, Florence, allocated to Leonardo on 10 January 1478 but never completed. The commission had originally been given to Piero del Pollaiuolo on 24 December 1477; its reallocation might have been arranged by Leonardo's father, who was a notary to the Signoria. After Leonardo's failure to fulfill
The Battle of Anghiari
Commissioned 4 May 1504
Mural painting
Still visible in 1549
Copy by Peter Paul Rubens
Covered up by frescoes by Vasari, beginning in 1563. The remains of Leonardo's fresco may have been discovered in the Salone dei Cinquecento.
Leda and the Swan
c. 1504–1508
Oil painting
Recorded by Cassiano dal Pozzo as being at the Palace of Fontainebleau in 1625.
Copy by Cesare da Sesto
There are nine known copies of the painting, including: Cesare da Sesto, Leda and the Swan (pictured). Oil on wood, 69 cm × 73 cm (27 in × 29 in). Wilton House, Wiltshire Anonymous, possibly Il Sodoma, Leda and the Swan. Tempera on wood, 115 cm × 86 cm (45 in × 34 in). Galleria Borghese, Rome Francesco Melzi, Leda and the Swan. Uffizi, Fl
Angel of the Annunciation
c. 1510–1513
Oil painting
In Duke Cosimo I de' Medici's palace during Vasari's lifetime (1511–1574)
The Incarnate Angel, satirical copy
The painting is described by Vasari. A drawing survives among studies for the Battle of Anghiari (see below). The drawing at left, known as The Incarnate Angel, is a satirical copy, by Leonardo. There are some extant copies of the subject by Leonardeschi, including: Workshop of Leonardo da Vinci? Angel of the Annunciation, c. 1505 – 1513? Oil on ca
· Disputed works
Madonna and Child with a Pomegranate (The Dreyfus Madonna)
Madonna and Child with a Pomegranate (The Dreyfus Madonna)
Date
probably c. 1469
Medium
Oil on wood
Dimensions
15 cm × 12 cm 6 in × 5 in
Location
National Gallery of Art, Washington, D .
Tobias and the Angel †
Tobias and the Angel †
Date
c. 1473
Medium
Egg tempera on poplar
Dimensions
83 cm × 66 cm 32 in × 26 in
Location
National Gallery, London
The Holy Infants Embracing
The Holy Infants Embracing
Date
c. 1486–1490
Portrait of a Lady in Profile
Portrait of a Lady in Profile
Date
c. 1493–1495
Medium
Tempera and oil on panel
Dimensions
51 cm × 34 cm 20 in × 13 in
Location
Pinacoteca Ambrosiana, Milan
La Bella Principessa
La Bella Principessa
Date
1495–1496 (Kemp)
Medium
Bodycolour (pastel) on vellum
Dimensions
33 cm × 22 cm 13 in × 8 in
Location
Private collection, Switzerland
Virgin of the Rocks Chéramy †
Virgin of the Rocks Chéramy †
Date
c. 1495–1497 (Pedretti)
Medium
Oil on wood panel, transferred to canvas
Dimensions
154 cm × 122 cm 60 in × 48 in
Location
Private collection, Switzerland
Madonna and Child with St Joseph or Adoration of the Christ Child
Madonna and Child with St Joseph or Adoration of the Christ Child
Date
between 1495 and 1500
Medium
Tempera on panel
Dimensions
Diam. 87 cm (34 in)
Location
Galleria Borghese, Rome
Young Christ
Young Christ
Date
c. 1496
Medium
Terracotta
Location
Private collection
Portrait of Luca Pacioli †
Portrait of Luca Pacioli †
Date
c. 1495–1500
Medium
Tempera on panel
Dimensions
99 cm × 120 cm 39 in × 47 in
Location
Museo di Capodimonte, Naples
Christ Carrying the Cross †
Christ Carrying the Cross †
Date
c. 1500
Medium
Oil on poplar
Location
Private collection, San Francisco
Isleworth Mona Lisa †
Isleworth Mona Lisa †
Medium
Oil on canvas
Dimensions
84 cm × 64 cm 33 in × 25 in
Location
Private collection, Switzerland
Horse and Rider
Horse and Rider
Date
c. 1506–1508 (Pedretti 1985) c. 1506–1510 (Kemp 1992) c. 1508–1511 (Solari 2016)
Medium
Beeswax
Location
Private collection, London
Lucan portrait of Leonardo da Vinci
Lucan portrait of Leonardo da Vinci
Date
c. 1505–1510
Medium
Tempera grassa on poplar
Dimensions
40 cm × 60 cm 16 in × 24 in
Location
Museo delle Antiche Genti di Lucania, Vaglio Basilicata
Portrait of a Man in Red Chalk
Portrait of a Man in Red Chalk
Date
c. 1512
Medium
Red chalk on paper
Dimensions
33 cm × 21 cm 13 in × 8 in
Location
Biblioteca Reale, Turin
Bacchus
Bacchus
Date
c. 1513–1516 c. 1510–1515, later repainted and altered
Medium
Oil on walnut panel transferred to canvas
Dimensions
177 cm × 115 cm 70 in × 45 in
Location
Louvre, Paris
Mary Magdalene
Mary Magdalene
Date
1515
Dimensions
58 cm × 45 cm 23 in × 18 in
Location
Private collection, Switzerland
Title and image
Date
Medium
Dimensions
Location
Madonna and Child with a Pomegranate (The Dreyfus Madonna)
probably c. 1469
Oil on wood
15 cm × 12 cm 6 in × 5 in
National Gallery of Art, Washington, D .
Previously attributed to Verrocchio or Lorenzo di Credi. Most critics have considered the anatomy of the Christ Child to be so poor as to discourage firm attribution to Leonardo, but some believe that it is a work of his youth. This attribution was made by Suida in 1929. Other art historians such as Shearman and Morelli attribute the work to Verroc
Tobias and the Angel †
c. 1473
Egg tempera on poplar
83 cm × 66 cm 32 in × 26 in
National Gallery, London
Workshop of Verrocchio, with a possible contribution by Leonardo Martin Kemp suggests that Leonardo may have painted some part of this work, most likely the fish. David Alan Brown, of the National Gallery in Washington, attributes the painting of the dog to him as well.
The Holy Infants Embracing
c. 1486–1490
Several versions in private collections.
Portrait of a Lady in Profile
c. 1493–1495
Tempera and oil on panel
51 cm × 34 cm 20 in × 13 in
Pinacoteca Ambrosiana, Milan
Generally attributed to Ambrogio de Predis. According to Martin Kemp, Leonardo may have been responsible for "laying down the basis of the image", based on "[t]he quality of drawing in the head".
La Bella Principessa
1495–1496 (Kemp)
Bodycolour (pastel) on vellum
33 cm × 22 cm 13 in × 8 in
Private collection, Switzerland
Identified as a Leonardo by Martin Kemp on stylistic grounds, and confirmed using the evidence of a fingerprint. Other experts have not agreed with this attribution. As of 2010 the methods used to analyse the fingerprint have come into question. The presence of holes in the page shows that it was once part of the Sforziada, a manuscript kept in War
Virgin of the Rocks Chéramy †
c. 1495–1497 (Pedretti)
Oil on wood panel, transferred to canvas
154 cm × 122 cm 60 in × 48 in
Private collection, Switzerland
Attributed to Leonardo and his workshop by Carlo Pedretti; believed by others to be a copy of the Virgin of the Rocks by Leonardo's student Giampietrino. Mentioned by Jean-Auguste-Dominique Ingres in 1845 and by Pierre Puvis de Chavannes; both were convinced that it was an original work by Leonardo.
Madonna and Child with St Joseph or Adoration of the Christ Child
between 1495 and 1500
Tempera on panel
Diam. 87 cm (34 in)
Galleria Borghese, Rome
Young Christ
c. 1496
Terracotta
Private collection
The bust is said by Kemp to be the most likely candidate for a surviving sculpture by Leonardo.
Portrait of Luca Pacioli †
c. 1495–1500
Tempera on panel
99 cm × 120 cm 39 in × 47 in
Museo di Capodimonte, Naples
The painting has been generally attributed to Jacopo de' Barbari due to the presence of a cartouche with a cryptic inscription resembling his name, but some attribute the painting (at least partially) to Leonardo, who began collaborating with Pacioli when the latter moved to Milan in 1496. Leonardo illustrated Archimedean solids, including the rhom
Christ Carrying the Cross †
c. 1500
Oil on poplar
Private collection, San Francisco
Previously attributed by Sotheby's to Gian Francesco Maineri. Attributed to Leonardo by its former owner. Attribution based on the similarity of the tormentors of Christ to drawings made by Rubens of the Battle of Anghiari. According to Forbes magazine, Carlo Pedretti said that he knew of three similar paintings and "[a]ll four paintings, he believ
Isleworth Mona Lisa †
Oil on canvas
84 cm × 64 cm 33 in × 25 in
Private collection, Switzerland
Its proponents claim that this is the earlier of two versions of the Mona Lisa, painted for Francesco del Giocondo (husband of Lisa) in 1503, and that the Louvre version was painted for Giuliano de' Medici in 1517.
Horse and Rider
c. 1506–1508 (Pedretti 1985) c. 1506–1510 (Kemp 1992) c. 1508–1511 (Solari 2016)
Beeswax
Private collection, London
Fragmentary wax statuette in a private collection in London, formerly in the Sangiorgi Collection in Rome; said to have come from the Melzi estate at Vaprio d'Adda. Carlo Pedretti in 1985 considered it to be an autograph work by Leonardo, and Martin Kemp, after personally examining the wax model wrote in 1992, "My overall conclusion is that I would
Lucan portrait of Leonardo da Vinci
c. 1505–1510
Tempera grassa on poplar
40 cm × 60 cm 16 in × 24 in
Museo delle Antiche Genti di Lucania, Vaglio Basilicata
A painting discovered in 2008 near Naples, which closely resembles the Uffizi's 17th-century copy of the "Self-portrait of Leonardo da Vinci", is currently undergoing restoration and investigation. A date in the late 15th or 16th centuries has been confirmed by scientific testing. Fingerprints match those found on the Lady with an Ermine. Alternati
Portrait of a Man in Red Chalk
c. 1512
Red chalk on paper
33 cm × 21 cm 13 in × 8 in
Biblioteca Reale, Turin
Accepted by some scholars, but not universally accepted.
Bacchus
c. 1513–1516 c. 1510–1515, later repainted and altered
Oil on walnut panel transferred to canvas
177 cm × 115 cm 70 in × 45 in
Louvre, Paris
Disputed Generally considered to be a workshop copy of a drawing. According to Kemp, it may have been begun by Leonardo as a figure of John the Baptist.
Mary Magdalene
1515
58 cm × 45 cm 23 in × 18 in
Private collection, Switzerland
Described as a potential Leonardo by Carlo Pedretti. Previously attributed to Giampietrino, who painted a number of similar Magdalenes. Pedretti's attribution is not accepted by other scholars, e . Carlo Bertelli (former director of the Pinacoteca di Brera in Milan), who said that the subject could be a Lucretia with the knife removed.

References

  1. Far to the right, partially visible, is Salome with the Head of Saint John the Baptist by Bernardino Luini (a follower o
  2. On long-term loan from the Duke of Buccleuch collection
  3. Leonardo da Vinci and an anonymous 16th-century painter Syson (2011, p. 294); Workshop of Leonardo after a design by Leo
  4. Salaì after a design by Leonardo Zöllner (2019, p. 238)
  5. Identified via its similarity to Leonardo's presumed self-portrait
  6. "On the 10th of October, 1517, Monsignor and the rest of us went to see, in one of the outlying parts of Amboise, Messer
  7. Follower of Leonardo Syson (2011, p. 198, n. 9); "ascribed today to Leonardo" Marani (2003, p. 140)
  8. Kemp (2004, p. 247)
  9. Kemp 2004, p. 251; attributed there to "[Leonardo,] probably with his studio", but this work does not appear in a later
  10. Kemp 2004, p. 252; described there as "probably by Leonardo"
  11. The Annunciation Kemp (2019, p. 6): c. 1473–1474 Marani (2003, p. 338): c. 1472–1475 Syson (2011, p. 15): c. 1472–1476
  12. Madonna of the Carnation Kemp (2019, p. 15): c. 1475 Marani (2003, p. 338): between 1473 and 1478 Syson (2011, p. 16):
  13. The Baptism of Christ Covi (2005, p. 186): c. 1469–1472 by Verrocchio, then resumed by Leonardo perhaps mid-1470s Kemp
  14. Ginevra de' Benci Kemp (2019, p. 17): c. 1478 Marani (2003, p. 338): c. 1474/1475–1476 Syson (2011, p. 48): c. 1474/14
  15. Benois Madonna Kemp (2019, p. 21): c. 1478–1480 Marani (2003, p. 338): probably after March 1481 Syson (2011, p. 18):
  16. The Adoration of the Magi Kemp (2019, p. 27): c. 1481–1482 Marani (2003, p. 338): 1481 Syson (2011, p. 56): c. 1480–14
  17. Saint Jerome in the Wilderness Kemp (2019, p. 31): c. 1481–1482 Marani (2003, p. 338): probably c. 1480 Syson (2011, p
  18. Madonna Litta Kemp (2019, p. 39): c. 1495 Marani (2003): not in checklist Syson (2011, p. 222): c. 1491–1495 Zöllner
  19. Virgin of the Rocks (Louvre version) Kemp (2019, p. 41): c. 1483–1493 Marani (2003, p. 339): between 1483 and 1486 Sys
  20. Portrait of a Musician Kemp (2019, p. 47): c. 1483–1486 Marani (2003, p. 339): c. 1485 Syson (2011, p. 95): c. 1486–14
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