List of works by Leonardo da Vinci
Major extant works

List of works by Leonardo da Vinci

Section Title: Major extant works
Table Section Text: None

Image (sort by size of the original)	Details (sort by title)	Attribution status and notes	Dating (sort by earliest)

-	The Annunciation Oil and tempera on poplar panel 98 × 217 cm Uffizi, Florence	Generally accepted Generally thought to be the earliest extant work by Leonardo. The work was traditionally attributed to Verrocchio until 1869.	c. 1473–74 (Kemp 2011) c. 1472–1476 (Syson 2011) c. 1473–1475 (Zöllner 2011) c. 1472–1475, probably 1473–74 (Marani 2000)

-	The Baptism of Christ Oil and tempera on poplar panel 177 × 151 cm Uffizi, Florence	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.	c. 1476 (Kemp 2011) c.

-	Madonna of the Carnation Tempera (?) and oil on poplar panel 62 × 47.5 cm Alte Pinakothek, Munich	Generally accepted It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.	c. 1475–76 (Kemp 2011) c. 1477–78 (Syson 2011) c. 1472–1478 (?) (Zöllner 2011) between 1473 and 1478 (Marani 2000)

-	Ginevra de' Benci Oil and tempera on poplar panel 38.8 × 36.7 cm, 15.3 × 14.4 in National Gallery of Art, Washington, D.C.	Generally accepted 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.	c. 1476–1478 (Kemp 2011) c. 1474 / 1478 (Syson 2011) c. 1478–1480 (Zöllner 2011) c. 1474 / 1475–76 (Marani 2000)

-	Benois Madonna Oil on wood panel, transferred to canvas 49.5 × 33 cm Hermitage, St Petersburg	Generally accepted Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478.	c. 1479–80 (Kemp 2011) c. 1481 onwards (Syson 2011) c. 1478–1480 (Zöllner 2011) probably after March 1481 (Marani 2000)

-	The Adoration of the Magi (unfinished) Oil (underpainting) on wood panel 240 × 250 cm, 96 × 97 in Uffizi, Florence	Universally accepted Forensic and scientific analysis by M. Seracini now proves that the paint was not applied by da Vinci, but considerably later, so that only the sketch can be "universally accepted" (see M.	c. 1479–1481 (Kemp 2011) c. 1480–1482 (Syson 2011) 1481/2 (Zöllner 2011) 1481 (Marani 2000)

-	Saint Jerome in the Wilderness (unfinished) Tempera and oil on walnut panel 103 × 75 cm, 41 × 30 in Vatican Museums	Universally accepted	c. 1480–1482 (Kemp 2011) c. 1488–1490 (Syson 2011) c. 1480–1482 (Zöllner 2011) probably c. 1480 (Marani 2000)

-	Madonna Litta Tempera (and oil?) on poplar panel 42 × 33 cm Hermitage, St Petersburg	Generally accepted Martin Kemp claims that the Gallery exhibited the Madonna Litta, on loan from the State Hermitage Museum in St.	c. 1481–1497 (Kemp 2011) c. 1491–1495 (Syson 2011) c. 1490 (Zöllner 2011) not in checklist of Marani 2000

-	Virgin of the Rocks (Louvre version) Oil on wood panel, transferred to canvas 199 × 122 cm, 78.3 × 48.0 in Louvre, Paris	Universally accepted Considered by most historians to be the earlier of the two versions.	1483–c. 1490 (Kemp 2011) 1483–c. 1485 (Syson 2011) 1483–1484/5 (Zöllner 2011) between 1483 and 1486 (Marani 2000)

-	Portrait of a Musician (unfinished) Tempera and oil on walnut (?) panel 45 × 32 cm Pinacoteca Ambrosiana, Milan	Generally accepted	c. 1485 (Kemp 2011) c. 1486–87 (Syson 2011) c. 1485 (Zöllner 2011) probably c. 1485 (Marani 2000)

-	Lady with an Ermine Oil on walnut panel 54 × 39 cm National Museum, Kraków	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.	c. 1490 (Kemp 2011) c. 1489–90 (Syson 2011) 1489/1490 (Zöllner 2011) 1489–90 (Marani 2000)

-	Virgin of the Rocks (London version) Oil on parqueted poplar panel 189.5 × 120 cm, 74.6 × 47.25 in National Gallery, London	Generally accepted Generally accepted as postdating the version in the Louvre, with collaboration of Ambrogio de Predis' and perhaps others. Some consider the work of Leonardo's workshop under his direction.	c. 1495–1508 (Kemp 2011) c.

-	The Last Supper Tempera on gesso, pitch and mastic 460 × 880 cm, 181 × 346 in Convent of Santa Maria delle Grazie, Milan	Universally accepted On 9 February 1498 Luca Pacioli described the mural as being complete.	c. 1495–1498 (Kemp 2011) 1492–7/8 (Syson 2011) c. 1495–1498 (Zöllner 2011) between 1494 and 1498 (Marani 2000)

-	La belle ferronnière Oil on walnut panel 62 × 44 cm Louvre, Paris	Generally accepted	c. 1496–97 (Kemp 2011) c. 1493–94 (Syson 2011) c. 1496–97 (Zöllner 2011) c. 1490–1495 or 1495–6 (Marani 2000)

-	Sala delle Asse Tempera on plaster Castello Sforzesco, Milan	Universally accepted Two fragments of Leonardo’s decorative scheme for this room were rediscovered in the late 19th century; they were covered over as they were thought not to be by his hand and were rediscovered again in 1954.	c. 1498–99 (Kemp 2011) c. 1498 (Syson 2011) c. 1498–99 (Zöllner 2011) c. 1497–98 (Marani 2000)

-	The Virgin and Child with St Anne and St John the Baptist Charcoal, black and white chalk on tinted paper, mounted on canvas 142 × 105 cm, 55.7 × 41.2 in National Gallery, London	Universally accepted	c. 1499–1500 (Syson 2011) 1499–1500 or c.

-	Portrait of Isabella d'Este Black and red chalk, yellow pastel chalk on paper 61 × 46.5 cm Louvre, Paris	Universally accepted	c. 1499–1500 (Syson 2011) December 1499 – March 1500 (?) (Zöllner 2011) end of 1499 / early 1500 (Marani 2000)

-	The Madonna of the Yarnwinder (The Buccleuch Madonna) Oil on walnut panel 48.9 × 36.8 cm Scottish National Gallery, Edinburgh (on long-term loan from the Buccleuch collection)	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.	c. 1501–1507 (Kemp 2011) c. 1499 onwards (Syson 2011) 1501–1507 (Zöllner 2011) no date in Marani 2000

-	The Madonna of the Yarnwinder (The Lansdowne Madonna) Oil on wood panel (transferred to canvas and later re-laid on panel) 50.2 × 36.4 cm Private collection, United States	Underdrawing by Leonardo?	c. 1501–1507 (Kemp 2011) c. 1501–1507 (?) (Zöllner 2011) no date in Marani 2000

-	The Virgin and Child with St. Anne Oil on wood panel 168 × 112 cm, 66.1 × 44.1 in Louvre, Paris	Universally accepted	c. 1508–1517 (Kemp 2011) c. 1501 onwards (Syson 2011) c. 1510–1513 (Marani 2000)

-	Mona Lisa Oil on cottonwood (poplar) panel 76.8 × 53.0 cm, 30.2 × 20.9 in Louvre, Paris	Universally accepted	c. 1503–1516 (Kemp 2011) c.

-	Salvator Mundi Oil on wood panel 65.6 x 45.4 cm (25.8 × 17.9 in)	Generally accepted, but disputed by several specialists 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.	c. 1504–1507 (Kemp 2011) c. 1499 onwards (Syson 2011) c. 1495–1497? (Marani 2000, when thought lost

-	Head of a Woman (La Scapigliata) Earth, amber and white lead on wood panel 24.7 × 21 cm Galleria Nazionale, Parma	Generally accepted	c. 1508 (Marani 2000) not in checklist of Kemp 2011 or Zöllner 2011

-	St. John the Baptist Oil on walnut panel 69 × 57 cm, 27.2 × 22.4 in Louvre, Paris	Generally accepted The "Anonimo Gaddiano" wrote that Leonardo painted a St. John. This is generally considered Leonardo's last masterpiece.	c. 1508–1516 (Kemp 2011) c. 1508–1516 (Zöllner 2011) c. 1508 (Marani 2000)

Sentence(s)

Salvator Mundi is one of the works of Leonardo da Vinci.

final_sentence: Salvator Mundi is one of the works of Leonardo da Vinci.