| mw- Title and image | Date | Medium | Dimensions | Location |
| The Annunciation | 1472–1476 c. 1472–1476 | Oil and tempera on poplar panel | 98 cm × 217 cm39 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 × 47.5 cm24.4 in × 18.7 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 cm70 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 | 38.8 cm × 36.7 cm15.3 in × 14.4 in | National Gallery of Art, Washington, D.C. |
| | 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 | 49.5 cm × 33 cm19.5 in × 13.0 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 cm94 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 cm41 in × 30 in | Vatican Museums |
| | Universally accepted |
| Madonna Litta † | 1481–1495 c. 1481–1495 | Tempera (and oil) on poplar panel | 42 cm × 33 cm17 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 cm78 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 cm18 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 cm21 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 cm24 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 | 189.5 cm × 120 cm74.6 in × 47.2 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 cm180 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 cm56 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 × 46.5 cm24.0 in × 18.3 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 | 48.9 cm × 36.8 cm19.3 in × 14.5 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 examination has revealed "strikingly complex and similar" underdrawings in both versions, suggesting that Leonardo was involved in the making of both. The use of walnut wood suggests the earlier terminus post quem of 1499, as Leonardo's Milanese paintings are on this support. |
| Salvator Mundi ‡ | 1499–1510 c. 1499–1510 | Oil on wood panel | 65.6 cm × 45.4 cm25.8 in × 17.9 in | Unknown |
| | Generally accepted[citation needed] 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 painting set a new record for sale price (US$450 million) when auctioned by Christie's in 2017. Matthew Landrus considers it to be primarily the work of Bernardino Luini. In the 2021 documentary The Lost Leonardo, Frank Zöllner said: "You have the old parts of the painting which are original—these are by pupils—and the new parts of the painting, which look like Leonardo, but they are by the restorer. In some part, it's a masterpiece by Dianne Modestini". In 2021, the Spanish Prado downgraded the painting to a partial attribution. In 2022, the Encyclopædia Britannica noted: "no official record of the painting's attribution officially exists". |
| 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) | 50.2 cm × 36.4 cm19.8 in × 14.3 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 cm66 in × 44 in | Louvre, Paris |
| | Universally accepted |
| Mona Lisa(unfinished) | 1502–1516 c. 1502–1516 | Oil on cottonwood (poplar) panel | 76.8 cm × 53 cm30.2 in × 20.9 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 | 24.7 cm × 21 cm9.7 in × 8.3 in | Galleria Nazionale, Parma |
| | Generally accepted |
| Saint John the Baptist | 1507–1516 c. 1507–1516 | Oil on walnut panel | 69 cm × 57 cm27 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. |
