Major Extant Works.docx

Major extant works[edit] Image

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Dating (sort by earliest) c. 1473– 4 (Kemp 2011)



The Annunciation Oil and tempera on poplar panel 98 × 217 cm Florence, Uffi zi

Generally accepted Generally thought to be the earliest extant work by Leonardo. The work was 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.[1]

c. 1472– 6 (Syson 2011) c. 1473– 5 (Zöllner 2011) c. 1472–5, probably 1473–4 (Marani 2000)

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Dating (sort by earliest) c. 1476 (Ke mp 2011) c. 1470– 2 and c. 147 5



(Zöllner The Baptism of Christ Oil and tempera on poplar panel 177 × 151 cm Florence, Uffizi

Verrocchio and Leonardo

2011)

Painted by Andrea del Verrocchio, with the angel on the left-

c. 1469–

hand side by Leonardo.[2] It is generally considered that

72 by

Leonardo also painted much of the background landscape

Verrocchio,

and the torso of Christ. One of Leonardo's earliest extant works. Vasari's statement that the angel on the left is by

then resumed by

Leonardo is confirmed by studies by Bode, Seidlitz and

Leonardo

Guthman, and accepted by McCurdy, Wasserman and

perhaps

others.[1]

mid-1470s (Covi 2005, p. 186) probably 1475–8 (Marani 2000)

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Dating (sort by earliest) c. 1475–



6 (Kemp 2011)

Madonna of

c. 1477–

the Carnation

8 (Syson 2011)

Tempera (?)

Generally accepted

and oil on

It is generally accepted as a Leonardo, but has some

poplar panel

overpainting possibly by a Flemish artist.[1]

62 × 47.5 cm

c. 1472–8 (?) (Zöllner 2011) between

Munich, Alte

1473 and 1478

Pinakothek

(Marani 2000) c. 1476–



Ginevra de' Benci

8 (Kemp 2011) c. 1474 /

Oil and tempera on

Generally accepted

1478 (Syson

poplar panel

The work was proposed as a Leonardo by Waagen in 1866,

2011)

38.8 × 36.7 c

and supported by Bode. Early 20th-century scholars were

c. 1478–

m,

vociferous in their disagreement, but most current critics

80 (Zöllner

15.3 × 14.4 in

accept both the authorship and the identity of the sitter.[1]

2011)

Washington,

c. 1474 /

D.C., National

1475–6

Gallery of Art

(Marani 2000)

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Dating (sort by earliest) c. 1479–

Benois

80 (Kemp  2011)

Madonna

c. 1481

Oil on wood

onwards (Sy

panel, transferred to canvas 49.5 × 33 cm

Generally accepted Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478.[1]

son 2011) c. 1478– 80 (Zöllner 2011)

St

probably

Petersburg, H ermitage

after March 1481 (Marani 2000)

The Adoration of the Magi(unfinish ed) Oil (underpainting ) on wood panel 240 × 250 cm, 96 × 97 in Florence, Uffizi

Universally accepted

c. 1479– 81 (Kemp 2011) c. 1480– 2 (Syson 2011) 1481/2 (Zöllner 2011) 1481 (Marani 2000)

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Image

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Image

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Image

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Image

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Image

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Image

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Attribution status and notes

c. 1480–

Saint Jerome

2 (Kemp

in the

2011)

Wilderness (

c. 1488–

unfinished)

90 (Syson

Tempera and oil on walnut

Dating (sort by earliest)

Universally accepted

panel

2011) c. 1480– 2 (Zöllner

103 × 75 cm,

2011)

41 × 30 in

probably c. 1

Vatican

480 (Marani 2000)

Museums

c. 1481– 97 (Kemp 2011)

Madonna Litta

Generally accepted

c. 1491–

Tempera (and

Martin Kemp claims that the Gallery exhibited the Madonna

5 (Syson

oil?) on poplar

Litta, on loan from the State Hermitage Museum in St.

2011)

panel

Petersburg, as an autograph work, even though the National

c. 1490 (Zöll

42 × 33 cm

Gallery’s own curators believed it to be by a pupil, Boltraffio.[3]

ner 2011)

St Petersburg, Hermitage

not in checklist of Marani 2000

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Attribution status and notes

Dating (sort by earliest)

1483– c. 1490 (Ke Virgin of the

mp 2011)

Rocks

1483–

(Louvre

c. 1485 (Sys

version)

on 2011)

Oil on wood

Universally accepted

1483–

panel,

Considered by most historians to be the earlier of the two

1484/5

transferred to

versions.

(Zöllner

canvas

2011)

199 × 122 cm, 78.3 × 48.0 in

between 1483 and

Paris, Louvre

1486 (Marani 2000)

Portrait of a

c. 1485 (Ke

Musician(unfi

mp 2011)

nished)

c. 1486–

Tempera and

7 (Syson

oil on walnut (?) panel

Generally accepted[a]

2011) c. 1485 (Zöll

45 × 32 cm

ner 2011)

Milan, Pinacot

probably c. 1

eca

485 (Marani

Ambrosiana

2000)

Image

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Dating (sort by earliest)

c. 1490 (Ke mp 2011) Lady with an Ermine Oil on walnut panel 54 × 39 cm Kraków, Natio nal Museum

Generally accepted First published as a Leonardo in 1889 and subject to wide disagreement, but now generally accepted. The attribution of the Ginevra de' Benci has supported the attribution of this painting.[1] The subject has been identified as Cecilia Gallerani.[4]

c. 1489– 90 (Syson 2011) 1489/1490 (Zöllner 2011) 1489–90 (Marani 2000) c. 1495– 1508 (Kemp

Virgin of the

2011)

Rocks

c. 1491/2–9 and 1506–8

(London version) Oil on parqueted poplar panel 189.5 × 120 cm, 74.6 ×

Generally accepted Generally accepted as postdating the version in the Louvre, with collaboration of Ambrogio de Predis' and perhaps others.[1] Some consider the work of Leonardo's workshop under his direction. The date is not universally agreed.

(Syson 2011) c. 1495–9 and 1506–8 (Zöllner 2011)

47.25 in

1491 / 1494,

London, Natio

finished by

nal Gallery

1508 (Marani 2000)

Image

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Attribution status and notes

Dating (sort by earliest) c. 1495–

The Last

8 (Kemp

Supper

2011)

Tempera on

1492–7/8

gesso, pitch

(Syson

and mastic 460 × 880 cm, 181 × 346 in Milan,

Universally accepted On 9 February 1498 Luca Pacioli described the mural as being complete.[5]

2011) c. 1495– 8 (Zöllner 2011)

Convent

between

of Santa Maria delle

1494 and 1498

Grazie

(Marani 2000) c. 1496– 7 (Kemp 2011) c. 1493–

La belle

4 (Syson

ferronnière Oil on walnut panel 62 × 44 cm Paris, Louvre

2011) Generally accepted

c. 1496– 7 (Zöllner 2011) c. 1490–5 or 1495–6 (Marani 2000)

Image

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Attribution status and notes

Dating (sort by earliest)

c. 1498– 9 (Kemp Sala delle Asse Tempera on plaster Milan, Castell o Sforzesco

2011) Universally accepted

c. 1498 (Sys

Two fragments of Leonardo’s decorative scheme for this

on 2011)

room were rediscovered in the late 19th century; they were

c. 1498–

covered over as they were thought not to be by his hand and

9 (Zöllner

were rediscovered again in 1954.[5]

2011) c. 1497– 8 (Marani 2000)

The Virgin

c. 1499–

and Child

1500 (Syson

with St Anne

2011)

and St John the Baptist

1499–1500 or c. 1508

Charcoal,

(?)(Zöllner

black and

2011)

white chalk on tinted paper,

Universally accepted

c. 1506– 8 (Chapman

mounted on

& Faietti

canvas

2010)

142 × 105 cm,

c. 1508 (Ke

55.7 × 41.2 in

mp 2006)

London,

Italian

National

scholars: c. 1

Gallery

501–5;

Image

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(sort by size of the original)

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Attribution status and notes

Dating (sort by earliest)

Pedretti and Anglo-Saxon scholars: 1506–8, but Wasserman n: 1499 (Marani 2000)



c. 1499– 1500 (Syson

Portrait

2011)

of Isabella

December

d'Este

1499 –

Black and red chalk, yellow pastel chalk on paper 61 × 46.5 cm Paris, Louvre

Universally accepted

March 1500 (?) (Zöllner 2011) end of 1499 / early 1500 (Marani 2000)

Image

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Attribution status and notes

Dating (sort by earliest)

The Madonna of the



Yarnwinder

Leonardo and another artist?[b]

c. 1501–

(The

Leonardo was documented as working on a painting of this

7 (Kemp

Buccleuch

2011)

Madonna)

subject in Florence in 1501; it appears to have been delivered to its patron in 1507. This and the Lansdowne

Oil on walnut

Madonna are the most likely candidates for being that work,

onwards (Sy

panel

but neither is considered to be wholly autograph. Scientific

son 2011)

48.9 × 36.8

examination has revealed "strikingly complex and similar"

1501–7

cm Edinburgh, Sc

underdrawings in both versions, suggesting that Leonardo was involved in the making of both.[6]

(Zöllner 2011)

ottish National

The use of walnut wood suggests the earlier terminus post

no date

Gallery (on

quem of 1499, as Leonardo's Milanese paintings are on this

in Marani

long-term loan

support.

2000

from the Buccleuch collection)

[7]

c. 1499

Image

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Attribution status and notes

Dating (sort by earliest)

The Madonna of the



Yarnwinder ( The

c. 1501–

Lansdowne

7 (Kemp

Madonna)

2011)

Oil on wood panel (transferred to canvas and later re-laid on panel) 50.2 × 36.4 cm United States, private collection

c. 1501–7 Underdrawing by Leonardo?

[c]

(?) (Zöllner 2011) no date in Marani 2000

Image

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Attribution status and notes

Dating (sort by earliest)

 c. 1508–

The Virgin

17 (Kemp

and Child

2011)

with St. Anne

c. 1501

Oil on wood panel

Universally accepted

onwards (Sy son 2011)

168 × 112 cm,

c. 1510–

66.1 × 44.1 in

3 (Marani

Paris, Louvre

2000)

c. 1503– 16 (Kemp



2011)

Mona Lisa

c. 1502 onwards (Sy

Oil on

son 2011)

cottonwood

1503–6 and

(poplar) panel 76.8 × 53.0 c

Universally accepted

later (1510?) (Zöllner

m,

2011)

30.2 × 20.9 in

probably

Paris, Louvre

begun c. 150 3–4, finished by 1513–4 (Marani 2000)

Image

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Attribution status and notes

Dating (sort by earliest)

Generally accepted, but disputed by several specialists[8]  Previously presumed to be a later copy of the lost original

c. 1504– 7 (Kemp

Mundi

painting. Purchased in 2005 and restored, it has gained acceptance as Leonardo's original. Pentimenti (changes to

Oil on wood

the composition) were found in the thumb of Christ's right

c. 1499

panel

hand and elsewhere which are indicators of the painting's

onwards (Sy

65.6 x 45.4

status as an "original".[9] The painting set a new record for

son 2011)

cm

sale price (US$450 million) when auctioned by Christie'sin

c. 1495–7?

(25.8 × 17.9

2017.[10][11]

(Marani

in)

Matthew Landrus thinks the record-breaking work was painted primarily by Leonardo’s assistant, Bernardino Luini.[12]

2000, when

Salvator

2011)

thought lost

Head of a Woman (La

c. 1508 (Mar

Scapigliata)

ani 2000)

Earth, amber and white

not in Generally accepted[d]

checklist

lead on wood

of Kemp

panel

2011or Zölln

24.7 × 21 cm

er 2011

Parma, Galleri a Nazionale

Image

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(sort by size of the original)

(sort by title)

Dating

Attribution status and notes

(sort by earliest)

c. 1508–

St. John the Baptist Oil on walnut panel 69 × 57 cm, 27.2 × 22.4 in

16 (Kemp Generally accepted

2011)

The "Anonimo Gaddiano" wrote that Leonardo painted a St. John. This is generally considered Leonardo's last

c. 1508– 16 (Zöllner

masterpiece.[1]

2011) c. 1508 (Mar

Paris, Louvre

ani 2000)

Disputed attributions[edit] Image

Details

Notes

Dating

Image

Details

Notes

Dating

A paintin g by Verroc



Tob

chio

ias

while

and

Leona

the

rdo

Ang

was in

el

his

Egg

works

tem pera

hop. Martin

on

Kemp

popl

sugge

ar

sts

83.6

that

× 66

Leona

cm

rdo

Lon

may

don,

have

Nati

painte

onal

d

Gall ery

some part of this work, most likely

c. 14 73 ( Kem p 2011 ) no date in M arani 2000 , but acce pted by him

Image

Details

Notes

the fish. David Alan Brown , of the Nation al Galler y in Washi ngton, attribu tes the paintin g of the dog to him as well.

Dating

Image



Details

Notes

The

Previo

Dre

usly

yfu

attribu

s

ted to

Mad

Verroc

onn

chio

a

or Lor

Oil

enzo

on

di

pan

Credi.

el

The

15.7 ×1

anato my of

2.8

the

cm,

Christ

6.13

Child

×5

is so

in

poor

Was

as to

hing

discou

ton,

rage

D.C.

firm

,

attribu

Nati onal

tion by most

Gall

critics

ery

while

of

some

Art

believ

Dating

prob ably c. 14 69 (Mar ani 2000 )

Image

Details

Notes

e that it is a work of Leona rdo's youth. This attribu tion was made by Suida in 1929. Other art histori ans such as Shear man and Morelli attribu te the work

Dating

Image

Details

Notes

to Verroc chio.[1] Daniel Arass e discus ses this paintin g as a youthf ul work in Leo nardo da Vinci, (1997) .[13]

Dating

Image

Details

Notes

Dating

Bac chu

c. 15

s

13–

Oil on



wal nut pan el tran sferr ed to can vas 177 × 11 5c m Pari s, Lou vre

16 ( Dispu ted

Kem p

Gener

2011

ally

)

consid

c. 15

ered

10–

to be

5,

a

later

works

repai

hop

nted

copy

and

of a

alter

drawin g.[1]

ed (Mar ani 2000 )

Image

Details



Notes

Dating

The Hol

Sever

y

al

Infa

versio

c. 14

nts

ns in

86–

Em

private

1490

bra

collect

cin

ions.

g



Gener Port rait of a Lad y in Prof ile Mila n, Pina cote ca Am bros iana

ally attribu ted to Am brogio de Predis . The

c. 14

face is

93–5

thoug ht to show the hand of Leona rdo.[14]

Image

Details



Notes

Port

Identifi

rait

ed as

of a

a

You

Leona

ng

rdo

Fia

by Ma

ncé

rtin

e

Kemp

(La

on

Bell

stylisti

a

c

Prin cipe

groun ds,

ssa)

and

Bod

confir

ycol

med

our

using

(pas

the

tel)

eviden

on

ce of a

vell

finger

um

print.[15

33 ×

]

22 cm

expert s have

Swit

not

zerl

agree

and,

d with

Priv

this

Other

Dating

Image

Details

Notes

ate

attribu

coll

tion.

ecti

As of

on

2010 the metho ds used to analys e the finger print have come into questi on.[16] The prese nce of holes in the page shows it was once part of the Sf

Dating

Image

Details

Notes

orziad ea manus cript kept in Warsa w, this fact points to its origina lity. Shau n Green algh c laims he faked the “mast erpiec e” La Bella Princi pessa, basing it on a woma

Dating

Image

Details

Notes

Dating

n called Sally on the tills at the Co-op in Bolton .[17] Port rait of a ma

Accep

n in red

ted by some

chal

schol

k

ars,

Red

but

chal

not

k on

univer

Pap

sally

er

accept

33.3

ed.[18][19

cm

]

× 21.6 cm



Image

Details

Notes

Dating

(13. 1 in × 8.5 in) Bibli otec a Rea le, T urin Luc an Port rait of Leo nar do da Vin ci tem pera gras sa on popl

A paintin g



discov ered in 2008 near Naple s, that closel y resem bles the Uffizi 17th centur

c. 15 051510

Image

Details

Notes

ar

y copy

40

of the

cm

"Self

× 60

portrai

cm

t of

Mus

Leona

eo

rdo da

dell

Vinci",

e

is

Anti

curren

che

tly

Gen ti di

under going

Luc

restor

ania

ation

,

and

Vagl

investi

io

gation.

Basi

Gener

licat

ally

a

rejecte d as a Leona rdo origina l, but it has been validat

Dating

Image

Details

Notes

ed by schola rs like Peter Hohen statt (Unive rsity of Parma ), Alessa ndro Tomei (Unive rsity of ChietiPesca ra), Jan Royt (Unive rsity of Pragu e), David Bersh ad (Unive rsity of

Dating

Image

Details

Notes

Calgar y) and Orest Korma shov (Unive rsity of Tallinn ).[citation needed]

Lost works[edit] Details

Drag on shiel d

Notes

A juvenile work described by Giorgio Vasari, who said it was sold by Ser Piero da Vinci to merchants, who then sold it on to the Duke of Milan.[20]

Ada m and Eve Wate rcolo ur carto

Described in great detail by 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.[20]

Image

Dating

Details

Notes

Image

on for a tape stry Med usa Oil on

A juvenile work described by Vasari.

pane l San Bern ardo Altar piec e Oil on pane l

The Battl e of Ang hiari Com

A commission for the chapel in Palazzo della Signoria, Florence, allocated to Leonardo on 10 January 1478 but never completed.[20] The commission had originally been given to Piero del Pollaiolo 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 commission it was given to Domenico Ghirlandaio on 20 May 1483, but he did not complete the work either. It is sometimes mistakenly said that a Virgin and Child with Saints in the Uffiziby Filippino Lippi was the work finally delivered to the chapel, but this was painted for the Sala dei Dugento (council hall) of the palace.[21]



Peter Paul Rubens , copy of Leonar do's Th



Details

Notes

Image

missi

e Battle

oned

of

4

Anghiar

May

i (pictur

1504

ed). Black chalk, pen and ink heighte ned with lead white, overpainted with waterc olour, 54.2 x 63.7 c m. Musée du Louvre The remains of Leonardo's fresco may have been discovered in the Hall of the Five Hundred (Salone dei Cinquecento) in the Palazzo Vecchio, Florence.

Details

Notes

Image

Recorded by Cassiano dal Pozzo as being at Château de Fontainebleau in 1625 There are nine known copies of the painting, including:



C e s a r e

Leda and the

d a

Swa n c. 15 04– 8[20]

S e s t o , L e d a a n d



Details

Notes

Image

t h e S w a n ( p i c t u r e d ) . O i l o n

Details

Notes

Image

w o o d , 6 9 . 5 x 7 3 . 7 c m . W i l t o n

Details

Notes

Image

H o u s e , W i l t s h i r e , U n i t e d K i n g

Details

Notes

Image

d o m



A n o n y m o u s , p o s s i b l y I l S o d

Details

Notes

Image

o m a , L e d a a n d t h e S w a n . T e m p e

Details

Notes

Image

r a o n w o o d , 1 1 5 x 8 6 c m . G a l l

Details

Notes

Image

e r i a B o r g h e s e , R o m e , I t a l y



F r a

Details

Notes

Image

n c e s c o M e l z i , L e d a a n d t h e S w

Details

Notes

Image

a n . U f f i z i , F l o r e n c e , I t a l y



A n

Details

Notes

Image

o n y m o u s , p o s s i b l y F e r n a n d o Y á

Details

Notes

Image

ñ e z d e l a A l m e d i n a , L e d a a n d

Details

Notes

Image

t h e S w a n . O i l o n p a n e l , 5 1 5 /

Details

Notes

Image

8 x 3 0 i n c h e s ( 1 3 1 . 1 x 7 6 . 2 c

Details

Notes

Image

m ) . P h i l a d e l p h i a M u s e u m o f A r

Details

Notes

Image

t , U S A ( p r e v i o u s l y a t J o h n G .

Details

Notes

Image

J o h n s o n C o l l e c t i o n , 1 9 1 7 )



G i a

Details

Notes

Image

m p i e t r i n o , L e d a a n d t h e S w a n ,

Details

Notes

Image

f r o m t h e c o l l e c t i o n o f t h e M

Details

Notes

Image

a r q u i s o f H a s t i n g s



G i a m p i e t r i

Details

Notes

Image

n o , V e n u s a n d C u p i d , p r i v a t e

Details

Notes

Image

c o l l e c t i o n , M i l a n



V e n u s a n d C

Details

Notes

Image

u p i d , 1 6 t h c e n t u r y , O i l o n p a

Details

Notes

Image

n e l , N e w O r l e a n s M u s e u m o f A r

Details

Notes

Image

t , U S A The painting is described by Vasari. A drawing survives among studies for the Battle of Anghiari (see below). The drawing at right, known as The Incarnate Angel is a satirical copy, perhaps by Salaì, in the Kunstmuseum Basel.[22] There are some extant copies of the subject by Leonardeschi, including:

 Ang

W o

el of

r

the

k

Ann

s

unci

h

ation

o

c. 15

p

10– 3[20]

o f L e o n a



Details

Notes

Image

r d o d a V i n c i ? A n g e l o f t h e A n

Details

Notes

Image

n u n c i a t i o n , c . 1 5 0 5 – 1 3 ? O i l o

Details

Notes

Image

n c a n v a s ( t r a n s f e r r e d f r o m p a

Details

Notes

Image

n e l ) , 6 6 × 4 7 . 3 c m , H e r m i t a g e

Details

Notes

Image

, S t . P e t e r s b u r g . [ 2 3 ]



W o r k s h o

Details

Notes

Image

p o f L e o n a r d o d a V i n c i ? S t J o

Details

Notes

Image

h n t h e B a p t i s t , c . 1 5 0 8 – 1 3 ? P

Details

Notes

Image

a n e l , 7 1 × 5 2 c m , K u n s t m u s e u m

Details

Notes

Image

B a s e l . [ 2 4 ]



W o r k s h o p o f L e o n a

Details

Notes

Image

r d o d a V i n c i ? S t J o h n t h e B a p

Details

Notes

Image

t i s t , c . 1 5 0 8 – 1 3 ? O i l o n p a n e

Details

Notes

Image

l , 7 5 × 5 3 . 4 c m , A s h m o l e a n M u

Details

Notes

Image

s e u m , O x f o r d . [ 2 5 ]



B a c c i o B a n d

Details

Notes

Image

i n e l l i . A n n u n c i a t e A n g e l . S k e

Details

Notes

Image

t c h a f t e r L e o n a r d o d a V i n c i .

Recent attributions[edit] Virgin of the Rocks



Chera my Oil on wood panel, transfer red to canvas. 154,5 × 122 cm;

Recently the subject of a new book (2017) and attributed to Leonardo and workshop by Professor Carlo Pedretti. Previously incorrectly attributed only to his student Giampetrino. Mentioned by Jean-AugusteDominique Ingres in 1845 and by Pierre Puvis de Chavannes, who were both convinced that it was a Leonardo original. According to the world's top Leonardo expert Carlo Pedretti, the so-called Cheramy Madonna "is wholly similar to the one in the Louvre" (seehttp://www.italymagazine.com/italy/marche /virgin-rocks-smash-hit, Italy Magazine, "Virgin of the rocks a smash hit," 9 November, 2005).

Switzerl

Pedretti says the work - only recently recovered

and,

from another private collection - shows "clear

Private

signs" of the master's hand at work just four

Collecti formerly

years before his death. Following detailed restoration of the work, Pedretti is convinced that it is an original Leonardo (Leonardo da

Paris,

Vinci : the "Virgin of the rocks" in the Cheramy

Chéram

version : its history & critical fortune, by Carlo

y

Pedretti and Sara Taglialagamba, 2017).

on,

Collecti on

c. 1495–7 (PEDRETTI) c. 1495–7 (MARANI 1991)



D e t Image

a i

Attribution status

l s Madon



na and Child with St Joseph or Ador ation of

Previously attributed to Fra Bartolomeo. After recent

the

cleaning, the Borghese Gallery sought attribution as a

Christ Child

work of Leonardo's youth, based on the presence of a fingerprint similar to one that appears in The Lady with an

Temper

Ermine. Result of investigation not available.[26]

a on panel Diamet er 87 cm Rome,

Galleria Borghe se



Mary Magdal ene Switzerl and, private collectio n

Sin

Previ

ce

ously

the

attrib

disc

uted

ove

by

ry

Soth

of

eby's

this

to Gi

imp

an

orta nt

Fran cesc

pain

o

ting

Main

by

eri.[29][

the

30]

mos

ibute

t

d to

emi

Leon

nen

ardo

t

by its

Leo

pres

nar do

ent owne

sch

r.[29] A

olar

ttribu

Carl

tion

o

base

Ped

d on

retti

the

Attr

,

simil

the

arity

pain

of

ting

the

has

torm

bee

entor

n

s of

exhi

Chris

bite

t to

d in maj

drawi ngs

or

mad

exhi

e by

bitio

Rube

ns in

ns of the B

Eur

attle

ope

of

and

Angh

in

iari.

the

Acco

Far Eas

rding to

t.

Forb

Den dro chr onol ogic al and com

es Mag azine , Leon ardo expe rt

pre

Carlo

hen

Pedr

sive

etti

scie

said

ntifi

that

c

he

exa

knew

min

of

atio

three

n conf

simil ar

irm

painti

the

ngs

exe

and

cuti

that

on

"All

of

four

the

painti

pain

ngs,

ting

he

to

belie

the earl

ved, were

y

likely

16t

the

h

work

cent

of

ury.

Leon

The pro ven anc

ardo' s studi o

e of

assis

the

tants

wor

and

k

perh

has

aps

bee

even

n

the

esta

mast

blis

er

hed to

hims elf."[29

the

]

late 16t h cent ury. Recently attributed as a Leonardo by Carlo Pedretti. Previously regarded as the work of Giampietrino who painted a number of similar Magdalenes.[27]Carlo Pedretti's attribution of this painting is not accepted by other scholars, e.g. Carlo Bertelli, (former director of the Brera Art Gallery in Milan), who said this painting is not by Leonardo and that the subject could be a Lucretia with the knife removed.[28] Christ Carrying the Cross c. 1500 Oil on poplar San Francisco, private collection

Lucan Portrait of

Leonar do Vaglio Basilica ta, Museo delle Antiche

Discovered in 2008 in a private collection and identified as a self-portrait by Peter Hohenstatt and others. A date in the late 15th or 16th century has been confirmed by scientific testing. Fingerprints match those found on the Lady with an Ermine. Alternately attributed to Cristofano dell'Altissimo.[31]

Genti di Lucania Islewor th Mona Lisa Switzerl and, private

 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.[32]

collectio n Horse and Rider c. 1508 Private collectio n, London

Recently[when?] discovered[33] fragmentary wax statuette in a private collectionin London, formerly in

the Sangiorgi Collection in Rome, said[who?] to have come from the Melzi estate at Vaprio d’Adda. Described as “by Leonardo himself” by Professor Carlo Pedretti, in 1985.[34][35] The attribution of the sculpture to da Vinci has been criticized by various art historians[36][37][38] and publications, citing a lack of hard evidence, a signature, or documentation.[39][40][41]

c. 1506–8 (PEDRETTI 1985) c. 1506–8 (MOFFATT 2005) c. 1508–11 (SOLARI 2016)

Manuscripts[edit] Image

Title

Dates

Pages

Notes

Location



Codex Atlanticus

1478– 1519

1,119

12 volumes, collated by the

Milan, Pinacoteca

sculptor Pompeo Leoni.

Ambrosiana

Image

Title

Dates

Pages

Notes

Location



Codex Windsor

1478– 1518

153

Windsor, Royal Collection



Codex Arundel

1480– 1518

283

London, British Library

Image

Title

Dates

Pages

Notes

Location



Codex Trivulzianus

c.

55

Milan, Biblioteca

1487–

(originally

Trivulziana,

90

62)

Castello Sforzesco

Five pocket notebooks bound into three volumes, here listed in chronological order.



 Codex Forster

1487– 1505

I.2 (Milan, c. 1487–90): Discusses hydraulic engineering, the moving

354

and raising of water and perpetual motion.



III (Milan, c. 1490–3: Notes on geometry, weights and hydraulics interspersed with

London, Victoria and Albert Museum

Image

Title

Dates

Pages

Notes

Location

sketches of horses’ legs, what might be designs for ball costumes and a description of the anatomy of the human head.



II.1 (Milan, c. 1495): Notes on the theory of proportions and other miscellaneous material.



II.2 (Milan, 1495–7): Notes on the theory of weights, traction, stresses and balances.



I.1 (Florence, 1505): Notes on the measurement of solid bodies and on topology.[42]



12 volumes labeled from "A" to "M", here listed in chronological order. Paris Manuscripts

1488– 1505

more than 2500

Paris, Bibliothèque



B (1488–90; 84 folios):

de l’Institut de

Notebook including

France

designs for flying Paris Manuscript B Folio 80r. A flying machine.

machines (including the “helicopter”), a

Image

Title

Dates

Pages

Notes

submarine, centrallyplanned churches and war machines.[43]



C (1490−1; 28 folios. One section missing.) Treatise on light and shade; also discusses flow of water and percussion.[44]



A (c. 1492): Fragment of a larger MS which included the Codex Ashburnham II. Subjects covered include painting, perspective, water and mechanics.[45]



H (1493–4; 142 folios): Three pocket notebooks bound together. Discusses Euclidean geometry and the design of drawing materials.[46]



M (late 1490s–1500; 48 folios): A pocket notebook on geometry, ballistics and botany.[47]



L (1497–1502; 94 folios): A notebook on military engineering,

Location

Image

Title

Dates

Pages

Notes

used by Leonardo when he was in the employ of Cesare Borgia.[48]



K (1503–8; 128 folios): Three pocket notebooks, mainly on geometry.[49]



I (1497–1505; 139 folios): Two pocket notebooks with notes on geometry, architecture, Latin, perspective and proportions for painters.[50]



D (1508–9; 10 folios with 20 drawings): Discusses theories of vision.[51]



F (1508–13; 96 folios): Discusses water, optics, geology and astronomy.[52]



E (1513–4; originally 96 folios): Discusses weights and the effects of gravity, an invention for draining the Pontine Marshes, geometry, painting and the flight of birds.[53]



G (1510–5; 93 folios):

Location

Image

Title

Dates

Pages

Notes

Location

Primarily discusses botany.[54] Two volumes, rediscovered in 1966.





I (1490s): Mainly concerned with the science of mechanisms.[55]

Codex Madrid

1490s– 1504



II (1503–4): Miscellaneous drawings, including maps of

Madrid, Biblioteca Nacional de España

the Arno relating to the project to divert its course and notes and drawings relating to the casting of the Sforza monument.[56]

 Two volumes, taken out of Codex Ashburnham

c. 1492

Paris Manuscripts A and B

Paris, Bibliothèque

and sold to the Earl of

de l’Institut de

Ashburnham, who returned

France

them to Paris in 1890. Folio 93v. Designs for a centrally planned church

Image

Title

Dates

Pages

Notes

Location

 Originally part of Paris Codex on the Flight of Birds

dated 1505

18

Manuscript B; probably stolen

Turin, Biblioteca

by Count Guglielmo Libriin around 1840–7.[57]

Reale



Codex Leicester

1506– 1510

United States,

72

private collection

An anthology of writings by Leonardo compiled after his death by his pupil Francesco Codex Urbinas

c. 1530

Melzi. An abridged version was published in 1651 as a treatise on painting (Trattato della Pittura).[58]

Vatican City, Biblioteca Apostolica Vaticana