List of works by Leonardo da Vinci

Leonardo da Vinci (1452–1519) was one of the leading artists of the High Renaissance. Fifteen artworks are generally attributed either in whole or in large part to him. However, it is believed that he made many more, only for them to be lost over the years or remain unidentified. The authorship of several paintings traditionally attributed to Leonardo is disputed. Two major works are known only as copies. Works are regularly attributed to Leonardo with varying degrees of credibility. None of Leonardo's paintings are signed. The attributions here draw on the opinions of various scholars.[1]

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The Last Supper is Leonardo da Vinci's most famous work of religious art. (Clickable image—use cursor to identify.)

The small number of surviving paintings is due in part to Leonardo's 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 rivalled only by that of his contemporary, Michelangelo.

Major extant works
* Collaborative work
º Potentially collaborative work
Image[lower-alpha 1] Title Dating Medium,
Dimensions[2]		 Location[2] Attribution status[2]
The Annunciation 1472–1476 c. 1472–1476[d 1] Painting
Oil and tempera on poplar panel
98 × 217 cm (38.25 × 84.62 in)		 Uffizi, Florence
Widely accepted[lower-alpha 2]
Madonna of the Carnation 1472–1478 c. 1472–1478[d 2] Painting
Oil on poplar panel
62 × 47.5 cm (24.13 x 18.5 in)		 Alte Pinakothek, Munich
Widely accepted[lower-alpha 3]
The Baptism of Christ* 1474–1478 c. 1474–1478[d 3] Painting
Oil and tempera on poplar panel
177 × 151 cm		 Uffizi, Florence
Widely accepted
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.[3]
Ginevra de' Benci 1474–1480 c. 1474–1480[d 4] Painting
Oil and tempera on poplar panel
38.8 × 36.7 cm (15.3 × 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.[4]
Benois Madonna 1478–1481 c. 1478–1481[d 5] Painting
Oil on wood panel, transferred to canvas
49.5 × 33 cm		 Hermitage, Saint Petersburg
Widely accepted
The Adoration of the Magi
(unfinished)		 1478–1482 c. 1478–1482[d 6] Painting
Oil (underpainting) on wood panel
240 × 250 cm (96 × 97 in)		 Uffizi, Florence
Universally accepted[5]
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.[6]
Saint Jerome in the Wilderness
(unfinished)		 1480–1490 c. 1480–1490[d 7] Painting
Tempera and oil on walnut panel
103 × 75 cm (41 × 30 in)		 Vatican Museums
Universally accepted[7]
Madonna Litta 1481–1495 c. 1481–1495[d 8] Painting
Tempera (and oil) on poplar panel
42 × 33 cm		 Hermitage, Saint Petersburg
Generally accepted[lower-alpha 4]
Virgin of the Rocks
(Louvre version)		 1483–1493 c. 1483–1493[d 9] Painting
Oil on wood panel, transferred to canvas
199 × 122 cm (78.3 × 48.0 in)		 Louvre, Paris
Universally accepted[9]
Portrait of a Musicianº
(unfinished)		 1483–1487 c. 1483–1487[d 10] Painting
Tempera and oil on walnut panel
45 × 32 cm		 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 students, Giovanni Antonio Boltraffio and Giovanni Ambrogio de Predis[10]
Lady with an Ermine 1489–1491 c. 1489–1491[d 11] Painting
Oil on walnut panel
54 × 39 cm		 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.[11]
La Belle Ferronnière 1490–1498 c. 1490–1498[d 12] Painting
Oil on walnut panel
62 × 44 cm		 Louvre, Paris
Generally 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.[12][13]
Virgin of the Rocks*
(London version)		 1491–1508 c. 1491–1508[d 13] Painting
Oil on parqueted poplar panel
189.5 × 120 cm (74.6 × 47.25 in)		 National Gallery, London
Generally accepted[lower-alpha 5]
The Last Supper 1492–1498 c. 1492–1498[d 14] Fresco
Tempera on gesso, pitch and mastic
460 × 880 cm (181 × 346 in)		 Convent of Santa Maria delle Grazie, Milan
Universally accepted[14]
Sala delle Asse 1497–1499 c. 1497–1499[d 15] Fresco
Tempera on plaster		 Castello Sforzesco, Milan
Universally accepted[15]
The Virgin and Child with Saint Anne and Saint John the Baptist 1499–1508 c. 1499–1508[d 16] Chalk drawing
Charcoal, black and white chalk on tinted paper, mounted on canvas
142 × 105 cm (55.7 × 41.2 in)		 National Gallery, London
Universally accepted[16]
Portrait of Isabella d'Este 1499–1500 c. 1499–1500[d 17] Chalk drawing
Black and red chalk, yellow pastel chalk on paper
61 × 46.5 cm		 Louvre, Paris
Widely accepted
The Madonna of the Yarnwinder*
(The Buccleuch Madonna)
 1499–1508 c. 1499–1508[d 18] Painting
Oil on walnut panel
48.9 × 36.8 cm		 Scottish National Gallery, Edinburgh[lower-alpha 6]
Generally accepted
Leonardo and another artist[lower-alpha 7][lower-alpha 8]
The Madonna of the Yarnwinder*
(The Lansdowne Madonna)
 1501–1508 c. 1501–1508[d 19] Painting
Oil on wood panel (transferred to canvas and later re-laid on panel)
50.2 × 36.4 cm		 Private collection, New York City
Generally accepted
Underdrawing by Leonardo[lower-alpha 9]
The Virgin and Child with Saint Anne 1501–1519 c. 1501–1519[d 20] Painting
Oil on wood panel
168 × 112 cm (66.1 × 44.1 in)		 Louvre, Paris
Universally accepted[20]
Mona Lisa 1502–1516 c. 1502–1516[d 21] Painting
Oil on cottonwood (poplar) panel
76.8 × 53.0 cm (30.2 × 20.9 in)		 Louvre, Paris
Universally accepted[21]
Salvator Mundiº 1504–1510 c. 1504–1510[d 22] Painting
Oil on wood panel
65.6 x 45.4 cm (25.8 × 17.9 in)		 Unknown
Generally accepted[22][lower-alpha 10]
La Scapigliata
(unfinished)		 1506–1508 c. 1506–1508[d 23] Painting
Earth, amber and white lead on wood panel
24.7 × 21 cm (9.7 × 8.3 in)		 Galleria Nazionale, Parma
Generally accepted[lower-alpha 11]
Saint John the Baptist 1507–1516 c. 1507–1516[d 24] Painting
Oil on walnut panel
69 × 57 cm (27.2 × 22.4 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.[27]

Manuscripts
Sample image Details Pages Notes Dates
  • Design for a flying machine (C.A. f.858r)
Codex Atlanticus
C.A.
Pinacoteca Ambrosiana, Milan
 1,119

12 volumes, collated by the sculptor Pompeo Leoni.

 1478–1519
  • Study of the muscles of the shoulder (RCIN 919003)
Codex Windsor
W.
Royal Collection, Windsor
 153 1478–1518
Codex Arundel
B.L., Arundel MS. or Br.M.
British Library, London
 283 1480–1518
Codex Trivulzianus
Triv.
Biblioteca Trivulziana, Castello Sforzesco, Milan
 55 (originally 62) c. 1487–1490
Codex Forster
Forster I, II and III (including I1, I2 and II2); formerly known as S.K.M.I, II and III
Victoria and Albert Museum, London
 354

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

  • I.2 (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 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, 1495–1497): Notes on the theory of weights, traction, stresses and balances.
  • I.1 (Florence, 1505): Notes on the measurement of solid bodies and on topology.[28]
 1487–1505
  • Design for a flying machine (B. f.80r)
Paris Manuscripts
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
Bibliothèque de l’Institut de France, Paris
 more than 2500

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.[29]
  • C (1490–91; 28 folios. One section missing.) Treatise on light and shade; also discusses flow of water and percussion.[30]
  • A (c. 1492): Fragment of a larger MS which included the Codex Ashburnham II. Subjects covered include painting, perspective, water and mechanics.[31]
  • H (1493–94; 142 folios): Three pocket notebooks bound together. Discusses Euclidean geometry and the design of drawing materials.[32]
  • M (late 1490s–1500; 48 folios): A pocket notebook on geometry, ballistics and botany.[33]
  • L (1497–1502; 94 folios): A notebook on military engineering, used by Leonardo when he was in the employ of Cesare Borgia.[34]
  • K (1503–1508; 128 folios): Three pocket notebooks, mainly on geometry.[35]
  • I (1497–1505; 139 folios): Two pocket notebooks with notes on geometry, architecture, Latin, perspective and proportions for painters.[36]
  • D (1508–09; 10 folios with 20 drawings): Discusses theories of vision.[37]
  • F (1508–1513; 96 folios): Discusses water, optics, geology and astronomy.[38]
  • E (1513–14; originally 96 folios): Discusses weights and the effects of gravity, an invention for draining the Pontine Marshes, geometry, painting and the flight of birds.[39]
  • G (1510–1515; 93 folios): Primarily discusses botany.[40]
 1488–1505
Codex Madrid
Madrid I and Madrid II
Biblioteca Nacional de España, Madrid

Two volumes, rediscovered in 1966.

  • I (1490s): Mainly concerned with the science of mechanisms.[41]
  • 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.[42]
 1490s–1504
  • Folio 93v. Designs for a centrally planned church
Codex Ashburnham
Ash.I. or B.N.2037 (formerly part of MS.B.)
Ash.II or B.N.2038 (formerly part of MS.A.)
Bibliothèque de l’Institut de France, Paris

Two volumes, taken out of Paris Manuscripts A and B and sold to the Earl of Ashburnham, who returned them to Paris in 1890.

 c. 1492
Codex on the Flight of Birds
Turin
Biblioteca Reale, Turin
 18

Originally part of Paris Manuscript B; probably stolen by Count Guglielmo Libri in around 1840–1847.[43]

 dated 1505
Codex Leicester
Leic.
Private collection, United States
 72 1506–1510
Codex Urbinas and libro A
Urb. and L°A.
Biblioteca Apostolica Vaticana, Vatican City

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).[44]

 c. 1530

Lost works
Image Details Notes Dating
Dragon shield
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.[45]
Adam and Eve
Watercolour cartoon for a tapestry
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.[45]
Medusa
Oil on panel
A juvenile work described by Vasari.
San Bernardo Altarpiece
Oil on panel
A commission for the chapel in Palazzo della Signoria, Florence, allocated to Leonardo on 10 January 1478 but never completed.[45] 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 Uffizi by Filippino Lippi was the work finally delivered to the chapel, but this was painted for the Sala dei Dugento (council hall) of the palace.[46]
The Battle of Anghiari
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.[47]
Commissioned 4 May 1504
Leda and the Swan
Recorded by Cassiano dal Pozzo as being at Château de Fontainebleau in 1625.
There are nine known copies of the painting, including:
c. 1504–1508[45]
Angel of the Annunciation
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, perhaps by Salaì, in the Kunstmuseum Basel.[48] There are some extant copies of the subject by Leonardeschi, including:
  • Workshop of Leonardo da Vinci? Angel of the Annunciation, c. 1505 – 13? Oil on canvas (transferred from panel), 66 × 47.3 cm, Hermitage, St Petersburg.[49]
  • Workshop of Leonardo da Vinci? St John the Baptist, c. 1508 – 13? Panel, 71 × 52 cm, Kunstmuseum Basel.[50]
  • Workshop of Leonardo da Vinci? St John the Baptist, c. 1508 – 13? Oil on panel, 75 × 53.4 cm, Ashmolean Museum, Oxford.[51]
  • Baccio Bandinelli. Annunciate Angel. Sketch after Leonardo da Vinci.
c. 1510–1513[45]

Works without consensus on attribution
Image Details Attribution Status and Notes Dating
Dreyfus Madonna
Oil on panel
15.7 × 12.8 cm, 6.13 × 5 in
National Gallery of Art, Washington, D.C.
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.[1] Daniel Arasse discusses this painting as a youthful work in Leonardo da Vinci, (1997).[52]
probably c. 1469
(Marani 2000)
Tobias and the Angel
Egg tempera on poplar
83.6 × 66 cm
National Gallery, London
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.
c. 1473 (Kemp 2011)
no date in Marani 2000, but accepted by him
The Holy Infants Embracing
Several versions in private collections.
c. 1486–1490
La Bella Principessa
Bodycolour (pastel) on vellum
33 × 22 cm
Private collection, Switzerland
Identified as a Leonardo by Martin Kemp on stylistic grounds, and confirmed using the evidence of a fingerprint.[53] Other experts have not agreed with this attribution. As of 2010 the methods used to analyse the fingerprint have come into question.[54] The presence of holes in the page shows it was once part of the Sforziada a manuscript kept in Warsaw, this fact points to its originality.
Shaun Greenhalgh claims he faked the "masterpiece" La Bella Principessa, basing it on a woman called Sally on the tills at the Co-op in Bolton.[55]
Virgin of the Rocks Chéramy
Oil on wood panel, transferred to canvas.
154.5 × 122 cm;
Private collection, Switzerland
Attributed to Leonardo and his workshop by Carlo Pedretti;[56] 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.
c. 1495–1497 (Pedretti)
Madonna and Child with St Joseph or Adoration of the Christ Child
Tempera on panel
Diameter 87 cm
Galleria Borghese, Rome
Previously attributed to Fra Bartolomeo. After recent cleaning, the Galleria Borghese sought attribution as a youthful work by Leonardo, based on the presence of a fingerprint similar to one that appears in the Lady with an Ermine. Result of investigation not available.[57]
Mary Magdalene
Private collection, Switzerland
Described as a potential Leonardo by Carlo Pedretti. Previously attributed to Giampietrino, who painted a number of similar Magdalenes.[58] Pedretti's attribution is not accepted by other scholars, e.g. Carlo Bertelli (former director of the Pinacoteca di Brera in Milan), who said this painting is not by Leonardo and that the subject could be a Lucretia with the knife removed.[59]
Portrait of Luca Pacioli
Capodimonte Museum, 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,[60] who began collaborating with Pacioli when the latter moved to Milan in 1496.[61][62] Leonardo illustrated Archimedean solids, including the rhombicuboctahedron (pictured in the portrait), in Pacioli's Divina proportione (1509).[63] According to one scholar, in the rhombicuboctahedron "we surely see the ineffable left hand of Leonardo da Vinci, who drew the superb pictures for De divina proportione, which, moreover, hang from a string ..."[60]
c. 1495–1500
Christ Carrying the Cross
Oil on poplar
Private collection, San Francisco.
Previously attributed by Sotheby's to Gian Francesco Maineri.[64][65] Attributed to Leonardo by its former owner.[64] 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 that "All four paintings, he believed, were likely the work of Leonardo's studio assistants and perhaps even the master himself."[64]
c. 1500
Isleworth Mona Lisa
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.[66]
Horse and Rider
c. 1508
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.[67][68] While described as “by Leonardo himself” by Carlo Pedretti in 1985,[69][70] Martin Kemp does not accept it as a Leonardo sculpture, commenting that "it has none of the characteristics of understanding horse anatomy and renaissance armor that you would expect from Leonardo".[71] The attribution has also been criticized by various other art historians[72][73][74] and publications, citing a lack of hard evidence or documentation.[75][76][77]
c. 1506–1508 (Pedretti 1985)[78]
c. 1508–1511 (Solari 2016)[79]
Lucan portrait of Leonardo da Vinci
tempera grassa on poplar
40 cm × 60 cm
Museo delle Antiche Genti di Lucania, Vaglio Basilicata
A painting discovered in 2008 near Naples, that closely resembles the Uffizi 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 century has been confirmed by scientific testing. Fingerprints match those found on the Lady with an Ermine. Alternatively attributed to Cristofano dell'Altissimo.[80]
c. 1505–1510
Portrait of a Man in Red Chalk
Red chalk on paper
33.3 cm × 21.6 cm (13.1 in × 8.5 in)
Biblioteca Reale, Turin
Accepted by some scholars, but not universally accepted.[81][82]
c. 1512
Bacchus
Oil on walnut panel transferred to canvas
177 × 115 cm
Louvre, Paris
Disputed
Generally considered to be a workshop copy of a drawing.[1]
c. 1513–1516 (Kemp 2011)
c. 1510–1515, later repainted and altered (Marani 2000)

See also
  • Portraits of Leonardo da Vinci

Notes

Sources for dating
  1. The Annunciation
  2. Madonna of the Carnation
  3. The Baptism of Christ
    • Kemp 2019, p. 3: Leonardo c. 1474–1476
    • Marani 2003, p. 338: Leonardo c. 1475–1478
    • Syson 2011, p. 184: Verrocchio and Leonardo c. 1468–1477
    • Zöllner 2019, p. 215: Verrocchio c. 1470–1472, Leonardo c. 1475
    • Covi 2005, p. 186: c. 1469–1472 by Verrocchio, then resumed by Leonardo perhaps mid-1470s
  4. Ginevra de' Benci
  5. Benois Madonna
  6. The Adoration of the Magi
  7. Saint Jerome in the Wilderness
  8. Madonna Litta
  9. Virgin of the Rocks (Louvre version)
  10. Portrait of a Musician
  11. Lady with an Ermine
  12. La Belle Ferronnière
  13. Virgin of the Rocks (London version)
  14. The Last Supper
  15. Sala delle Asse
  16. Virgin and Child with SS. Anne and John the Baptist
  17. Portrait of Isabella d'Este
  18. Madonna of the Yarnwinder (Buccleuch version)
  19. Madonna of the Yarnwinder (Lansdowne version)
  20. Virgin and Child with Saint Anne
  21. Mona Lisa
  22. Salvator Mundi
  23. La Scapigliata
  24. Saint John the Baptist

Sources for attribution status
  1. Sort by size of the original
  2. 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]
  3. It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.[1]
  4. Martin Kemp claims that the Gallery exhibited the Madonna Litta, on loan from the State Hermitage Museum in Saint Petersburg, as an autograph work, even though the National Gallery's own curators believed it to be by a pupil, Giovanni Antonio Boltraffio.[8]
  5. Generally accepted as postdating the version in the Louvre, and produced in collaboration with Ambrogio de Predis and perhaps others.[1] Some consider it the work of Leonardo's workshop under his direction. The date is not universally agreed.
  6. On long-term loan from the Duke of Buccleuch collection[17]
  7. Leonardo da Vinci and an anonymous 16th-century painter (Syson 2011, p. 294); Workshop of Leonardo after a design by Leonardo (Zöllner 2019, p. 239)
  8. 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.[18] The use of walnut wood suggests the earlier terminus post quem of 1499, as Leonardo's. Milanese paintings are on this support.[19]
  9. Salaì after a design by Leonardo (Zöllner 2019, p. 238)
  10. Previously presumed to be a later copy of the lost original painting. Purchased in 2005 and restored, it has gained 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".[23] The painting set a new record for sale price (US$450 million) when auctioned by Christie's in 2017.[24][25] Matthew Landrus considers it to be primarily the work of Bernardino Luini.[26]
  11. Follower of Leonardo (Syson 2011, p. 198, n. 9); "ascribed today to Leonardo" (Marani 2003, p. 140)

References
  1. della Chiesa, Angela Ottino (1967). The Complete Paintings of Leonardo da Vinci. Penguin. ISBN 978-0-14-008649-2.CS1 maint: ref=harv (link)
  2. Marani 2003, pp. 338–340; Zöllner 2019, pp. 214–251.
  3. Zöllner 2019, p. 215.
  4. Zöllner 2019, p. 218–219.
  5. Marani 2003, p. 338: "Attribution to Leonardo is unchallenged."
  6. Zöllner 2019, p. 222.
  7. Marani 2003, p. 338: "Attribution to Leonardo has never been seriously questioned."
  8. "National Gallery in London accused of altering attribution of Hermitage's 'Leonardo' for 2011 blockbuster show". www.theartnewspaper.com. Retrieved 2018-08-13.
  9. Marani 2003, p. 339: "Attribution to Leonardo is unchallenged."
  10. Zöllner 2019, p. 225.
  11. Zöllner 2019, p. 226.
  12. Zöllner 2019, p. 228.
  13. Marani 2003, pp. 175–178.
  14. Marani 2003, p. 339: "Attribution to Leonardo has never been contested."
  15. Marani 2003, p. 339: "Unanimously recognized as the only surviving fragments by Leonardo for this room."
  16. Marani 2003, p. 339: "Attribution to Leonardo is unanimous."
  17. Zöllner 2019, p. 239.
  18. Kemp 2011, 253
  19. Syson 2011, 294
  20. Marani 2003, p. 340: "Although the painting's condition is poor, it should be considered a very damaged original by Leonardo."
  21. Marani 2003, p. 340: "Unanimously attributed to Leonardo, although there is little agreement on its date."
  22. For a partial list of scholars who accept the attribution, see Bailey, Martin (31 October 2011). "Leonardo's Saviour of the World rediscovered in New York". The Art Newspaper. Retrieved 2012-02-21.
  23. Syson 2011, 302
  24. Andrews, Travis M. (15 November 2017). "Long-lost da Vinci painting fetches $450 million, a world record". Washington Post. Retrieved 16 November 2017.
  25. Holland, Oscar (2017-11-16). "Rare Da Vinci painting smashes world records with $450 million sale". CNN. Retrieved 16 November 2017.
  26. "Who Really Painted 'Salvator Mundi'? An Oxford Art Historian Says It Was Leonardo's Assistant | artnet News". artnet News. 2018-08-07. Retrieved 2018-08-13.
  27. Zöllner 2019, p. 248.
  28. "The Forster Codices: Leonardo da Vinci's Notebooks at the V&A". Victoria and Albert Museum. Retrieved 4 November 2012.
  29. "Paris Manuscript B". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  30. "Paris Manuscript C". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  31. "Paris Manuscript A". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  32. "Paris Manuscript H". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  33. "Paris Manuscript M". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  34. "Paris Manuscript L". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  35. "Paris Manuscript K". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  36. "Paris Manuscript I". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  37. "Paris Manuscript D". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  38. "Paris Manuscript F". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  39. "Paris Manuscript E". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  40. "Paris Manuscript G". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  41. "Codex Madrid I". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  42. "Codex Madrid II". Universal Leonardo. University of the Arts, London. Retrieved 3 November 2012.
  43. Bambach 2003, p. 723.
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  45. Marani 2000, p. 431
  46. Rubin & Wright 1999, pp. 84 and 118, n. 25
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  64. Stephane Fitch DaVinci's Fingerprints, 12.22.03 accessed 7 July 2009. Martin Kemp, the expert on Leonardo's fingerprints, had not examined the painting when the article was written.
  65. A similar image, without the tormentors, is in the Hermitage Museum, St Petersburg.
  66. "'Early Mona Lisa' painting claim disputed". BBC News. 27 September 2012. Retrieved 26 January 2013.
  67. Pedretti, Carlo, ed. (1987). Leonardo Da Vinci: Drawings of Horses and Other Animals from the Royal Library at Windsor Castle. London: Harcourt Brace. p. 185. ISBN 0384-45284-1. Fig 111 and 112 Unpublished fragmentary wax model of an equestrian portrait of Charles d'Amboise attributed to Leonardo, said to have come from the Melzi estate at Vaprio d'Adda. London, Private collection (formally Sangiorgi collection in Rome).
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  72. Zerner, Henri (25 September 1997). "The Vision of Leonardo". The New York Review of Books. 44 (14): 67. no existing sculpture can be attributed to him with any certainty. [... the Bust of Christ as a Youth] was unfortunately placed in the exhibition next to a bizarre object, a wax statuette of a rider on a bucking horse never before seen in public. In the explanatory label, the statuette was said to have belonged to Francesco Melzi, a student and companion of Leonardo, a provenance unfortunately based on hearsay. [...] I fail to see the point of presenting to the uninformed visitor highly debatable hypotheses as if they were confirmed.
  73. Holmstrom, David (24 March 1997). "Putting Leonardo's Inventions to the test: Boston's Museum of Science looks at the breathtaking scope of Leonardo da Vinci's work, though the authenticity of some objects is in question". The Christian Science Monitor. ProQuest 405615445. CONTROVERSIAL WORK: Whether Leonardo made this small wax figure is a source of contention among experts. Although the piece is unsigned, it is attributed to him in the exhibit. (subscription required)
  74. Yemma, John (23 February 1997). "Leonardo on tour: the good, the bad ... and the phony? Art historians question attribution of some works headed for Boston show". The Boston Globe. p. A.1. at least one of the two sculptures on display in the art gallery at Science Park beginning March 3 have caused grave doubts among some art historians. [...] The labels on the paintings, Ackerman warned museum officials, were simply too generous, linking dubious and contested works from private collections too closely with Leonardo and other Italian masters. [...] after weeks of struggling over wording, museum officials altered some of the labels to introduce more skepticism [... The Wax Horse] is "attributed to Leonardo." Not so fast, said Jack Wasserman, an art historian at Temple University in Philadelphia. "There is no single work of sculpture which Leonardo worked on that survived to today," Wasserman said. "Yes, it could be 'attributed to' Leonardo, but you need to have a compelling reason for doing so. Since nothing survived, there is no way to judge a piece of sculpture like this." (subscription required)
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  79. Solari, Ernesto (2016). Leonardo da Vinci : Horse and rider : il "monumento" a Charles d'Amboise. Leonardo, da Vinci, 1452-1519,, Palazzo delle Stelline (Prima edizione ed.). Paderno Dugnano (Mi). ISBN 9788897206330. OCLC 962823523.
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