List of works by Leonardo da Vinci

The Last Supper

This is a list of paintings attributed to Leonardo da Vinci, (baptised Leonardo di ser Piero da Vinci) (pronunciation^ⓘ), (April 15, 1452 – May 2, 1519), one of the leading artists of the High Renaissance. Fifteen works are generally attributed either in whole or in large part to him, most of them paintings on panel but including a mural, a large drawing on paper and two works in the early stages of preparation. A further six paintings are disputed, there are four recently attributed works, and two are copies of lost work. None of Leonardo's paintings are signed, and this list draws on the opinions of various scholars.

The small number of surviving paintings is due to Leonardo's constant and frequently disastrous experimentation with new techniques, and his chronic procrastination. Nevertheless, these few works together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, comprise a contribution to later generations of artists rivaled only by that of his contemporary, Michelangelo.

Major extant works

Image (sort by size)	Details (sort by date)	Attribution status	Location (sort by country)
	The Baptism of Christ 1472–1475 Oil on wood 177 × 151 cm	Verrocchio and Leonardo Painted by Andrea del Verrocchio, with the angel on the left-hand side by Leonardo. It is generally considered that Leonardo also painted much of the background landscape and the torso of Christ. One of Leonardo's earliest extant works. Vasari's statement that the angel on the left is by Leonardo is confirmed by studies by Bode, Seidlitz and Guthman, and accepted by McCurdy, Wasserman and others.	Uffizi Florence
	Annunciation c. 1472–1475 Oil on panel 98 × 217 cm	Almost universally accepted Generally thought to be the earliest extant work entirely by Leonardo. The work was traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphhart, accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others.	Uffizi Florence
Ginevra de' Benci	Ginevra de' Benci c. 1476 Oil on wood 38.8 × 36.7 cm, 15.3 × 14.4 in	Dependent on attribution of Lady with an Ermine The work was proposed as a Leonardo by Waagen in 1866, and supported by Bode. Early 20th-century scholars were vociferous in their disagreement, but most current critics accept both the authorship and the identity of the sitter.	National Gallery of Art Washington, D.C.
	Benois Madonna 1478 Oil on canvas 49.5 × 33 cm	Generally accepted Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478.	Hermitage Museum Saint Petersburg
	Madonna of the Carnation 1478–1480 Oil on panel 62 × 47.5 cm	Generally accepted It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.	Alte Pinakothek Munich
	St. Jerome in the Wilderness c. 1480 Tempera and oil on panel 103 × 75 cm, 41 × 30 in Unfinished	Universally accepted	Vatican Museums
	Adoration of the Magi 1481 Underpainting on panel 240 × 250 cm, 96 × 97 in Unfinished	Universally accepted	Uffizi Florence
	Virgin of the Rocks 1483–1486 Oil on panel (transferred to canvas) 199 × 122 cm, 78.3 × 48.0 in	Universally accepted Considered by most historians to be the earlier of two versions	Louvre Paris
	Lady with an Ermine 1485 Oil on wood panel 54 × 39 cm	Generally accepted This painting has been subject to continued disagreement since it was first published as a Leonardo in 1889. The attribution of the "Ginevra de' Benci" has supported the attribution of this painting. The subject has been identified as Cecilia Gallerani.	Czartoryski Museum Kraków
	Madonna Litta c. 1490 Oil on canvas (transferred from panel) 42 × 33 cm	Disputed Thought perhaps to be by Marco d'Oggiono	Hermitage Museum Saint Petersburg
	Portrait of a Musician 1490 Oil on wood panel 45 × 32 cm	Disputed	Pinacoteca Ambrosiana Milan
	La belle ferronnière 1490–1496 Oil on wood 62 × 44 cm	Disputed	Louvre Paris
	The Last Supper 1495–1498 tempera on gesso, pitch and mastic 460 × 880 cm, 181 × 346 in	Universally accepted	Convent of Santa Maria delle Grazie Milan
	Virgin of the Rocks 1495–1508 Oil on panel 189.5 × 120 cm, 74.6 × 47.25 in National Gallery, London	Leonardo and Ambrogio de Predis Generally accepted as postdating the version in the Louvre, with collaboration of de Predis and perhaps others. While the date is not universally agreed, the collaboration of Leonardo's workshop is.	National Gallery London
	Sala delle Asse ceiling frescoes circa 1498–1499		Castello Sforzesco Milan
	The Virgin and Child with St. Anne and St. John the Baptist c. 1499–1500 Charcoal, black and white chalk on tinted paper 142 × 105 cm, 55.7 × 41.2 in	Universally accepted	National Gallery London
	Madonna of the Yarnwinder c. 1501 Oil on canvas 50.2 × 36.4 cm	Disputed Three versions exist, apparently by different hands, perhaps copies of a lost work that is described by Leonardo. The best known, that belonging to the estate of the Duke of Buccleuch, was stolen in 2003, and recovered in 2007.	Private collection Private collection
	Mona Lisa or La Gioconda c. 1503–1506 Oil on cottonwood 76.8 × 53.0 cm, 30.2 × 20.9 in	Universally accepted	Louvre Paris
	The Virgin and Child with St. Anne c. 1510 Oil on panel 168 × 112 cm, 66.1 × 44.1 in	Universally accepted	Louvre Paris
	Bacchus 1510–1515 Oil on walnut panel transferred to canvas 177 × 115 cm	Disputed Generally considered to be a workshop copy of a drawing.	Louvre Paris
	St. John the Baptist 1513–1516 Oil on walnut wood 69 × 57 cm, 27.2 × 22.4 in	Generally accepted "Anonimo Gaddiano" wrote that Leonardo painted a St. John. This is generally considered Leonardo's last masterpiece.	Louvre Paris

Lost works

Image	Details	Notes
	Medusa	A juvenile work described by Giorgio Vasari.
	Angel of the Annunciation c. 1503	The painting is described by Vasari. A drawing survives among studies for the Battle of Anghiari (see below), and a copy is in the Kunstmuseum Basel.
	The Battle of Anghiari 1505	The remains of Leonardo's fresco have been discovered in the Hall of the Five Hundred (Salone dei Cinquecento) in the Palazzo Vecchio, Florence. Peter Paul Rubens, The Battle of Anghiari (pictured). Black chalk, pen and ink heightened with lead white, over-painted with watercolour, 54.2 x 63.7 cm. Musée du Louvre
	Salvator Mundi 1506–1513	The painting is described by Vasari.
	Leda and the Swan 1508	There are nine known copies of the painting, including: Cesare Cesto, Leda and the Swan (pictured). Oil on wood, 69.5 x 73.7 cm. Wilton House, Wiltshire, United Kingdom Anonymous, Leda and the Swan. Tempera on wood, 115 x 86 cm. Galleria Borghese, Rome, Italy

Disputed or recent attributions

Image	Details	Attribution status	Location
	Tobias and the Angel 1470–80 Egg tempera on poplar 83.6 × 66 cm National Gallery, London	Verrochio and workshop (including Leonardo?) A painting by Verrocchio while Leonardo was in his workshop. 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 Dreyfus Madonna c. 1475–1480 Oil on panel 15.7 × 12.8 cm, 6.13 × 5 in National Gallery of Art, Washington, D.C.	Disputed Previously attributed to Verrocchio or Lorenzo di Credi. The anatomy of the Christ Child is so poor as to discourage firm attribution by most critics while some believe that it is a work of Leonardo's youth. This attribution was made by Suida in 1929. Other art historians such as Shearman and Morelli attribute the work to Verrocchio. Daniel Arasse discusses this painting as a youthful work in Leonardo da Vinci, (1997).
	The Holy Infants Embracing c. 1486–1490	Several versions in private collections.
	Christ Carrying the Cross c. 1500 Oil on poplar Private Collection, San Francisco	Previously attributed by Sotheby's to Gian-Francesco de Maineri. Attributed to Leonardo by its present 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, Leonardo expert Carlo Pedretti said that he knew of three similar paintings and that "All four paintings, he believed, were likely the work of Leonardo's studio assistants and perhaps even the master himself."
	Madonna and Child with St Joseph or Adoration of the Christ Child Tempera on panel Diameter 87 cm Galleria Borghese, Rome, Italy	Previously attributed to Fra Bartolomeo. After recent cleaning, the Borghese Gallery sought attribution as a work of Leonardo's youth, based on the presence of a fingerprint similar to one that appears in The Lady with the Ermine. Result of investigation not available.
	Mary Magdalene	Recently attributed as a Leonardo by Carlo Pedretti. Previously regarded as the work of Giampietrino who painted a number of similar Magdalenes. Carlo Pedretti's attribution of this painting is not accepted by other scholars, eg 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.
	Young Girl in Profile in Renaissance Dress, or Profile of a Young Fiancée	Identified as a Leonardo using the evidence of a fingerprint.