Checklist
Ordered by Catalogue Number


Back to online format
PRINT THIS PAGE

Catalogue: 1–138 of 138
  1. Young Woman in Bust Length in Three-Quarter View Facing to the Left
    Andrea del Verrocchio (Andrea di Michele Cione) (Florence, 1434/37–Venice, 1488)
    Soft black chalk or charcoal, partly reworked in pen and golden brown ink, brush with brown ink and gray wash; outlines pricked for transfer; 411 x 327 mm (16 3/16 x 12 7/8 in.)
    Christ Church, Oxford 0005

  2. Head of a Young Boy (recto)
    Fragment of a Head of a Young Boy (verso)
    Andrea del Verrocchio (Andrea di Michele Cione) (Florence, 1434/37–Venice, 1488)
    Soft black chalk or charcoal, highlighted with white chalk, outlines pricked for transfer; traces of framing outlines in pen and brown ink; 185 x 160 mm (7 5/16 x 6 5/16 in.)
    Staatliche Museen zu Berlin—Preussischer Kulturbesitz, Kupferstichkabinett, Berlin KdZ 5095

  3. Head of a Young Woman in Three-Quarter View Facing to the Left (recto)
    Head of a Young Woman in Three-Quarter View (verso)
    Andrea del Verrocchio (Andrea di Michele Cione) (Florence, 1434/37–Venice, 1488)
    Charcoal reworked with black chalk, highlighted with white chalk, on paper with a layer of cream color preparation (recto); charcoal on paper with a layer of cream color preparation (verso); 324 x 273 mm (12 3/4 x 10 3/4 in.)
    The British Museum, London 1895-9-15-785

  4. Sketches of Infants (recto and verso)
    Andrea del Verrocchio (Andrea di Michele Cione) (Florence, 1434/37–Venice, 1488)
    Pen and dark brown ink, over traces of leadpoint or soft black chalk; 158 x 210 mm (6 1/4 x 8 1/4 in.)
    Département des Arts Graphiques du Musée du Louvre, Paris RF 2

  5. Study for a Funerary Monument to Doge Andrea Vendramin
    Andrea del Verrocchio (Andrea di Michele Cione) (Florence, 1434/37–Venice, 1488)
    Leadpoint, partly reworked with pen and brown ink, brush and brown wash, and some ruling in leadpoint; glued to secondary paper support; 272 x 174 mm (10 3/4 x 6 7/8 in.)
    Victoria and Albert Museum, London 2314

  6. Child in Bust Length in Three-Quarter View Facing to the Right
    Attributed to Andrea del Verrocchio
    Metalpoint reworked with brush and brown wash, highlighted with white gouache on beige prepared paper; arch motif in pen and brown ink, brush and brown wash with reddish wash accents; 229 x 158 mm (9 x 6 3/16 in.)
    The Syndics of the Fitzwilliam Museum, Cambridge, England. Purchased with grants from the National Lottery through the Heritage Lottery Fund, the National Art Collections Fund and the Pilgrim Trust 2930

  7. Standing Saint John the Baptist (Study for the Pistoia Altarpiece)
    Lorenzo di Credi (Lorenzo di Andrea di Oderigo) (Florence, ca. 1457–Florence, 1536)
    Metalpoint, reworked with pen and brown ink, brush with brown and gray wash, highlighted with white gouache, on light red-orange prepared paper; glued to secondary paper support; 262 x 101 mm (10 5/16 x 3 15/16 in.); enlarged with similar paper, 276 x 128 mm (10 7/8 x 5 in.)
    Département des Arts Graphiques du Musée du Louvre, Paris RF 455

  8. Standing Bishop Saint Donatus (Study for the Pistoia Altarpiece) and Other Figures (recto)
    A Male Head in Three-Quarter View Facing to the Left and Other Figural Sketches (verso)
    Lorenzo di Credi (and Andrea del Verrocchio?)
    Metalpoint, pen and brown ink, brush and brown wash, highlighted with white gouache, on pink prepared paper (recto); pen and brown ink on off-white unprepared paper (verso); 285 x 201 mm (11 1/4 x 7 7/8 in.)
    National Gallery of Scotland, Edinburgh 642

  9. Measured Drawing of a Horse in Profile Facing to the Left
    Andrea del Verrocchio (Andrea di Michele Cione) (Florence, 1434/37–Venice, 1488)
    Pen and dark brown ink, over traces of black chalk; 249 x 298 mm (9 13/16 x 11 3/4 in.)
    The Metropolitan Museum of Art, New York
    Frederick C. Hewitt Fund, 1917 (19.76.5)

  10. Horse in Profile Facing to the Right; Unrelated Small Figural Sketch at Bottom Center (recto)
    Measured Drawings of a Horse in Rear View, a Horse in Frontal View, and Detail of Its Foreleg in Profile (verso)
    Andrea del Verrocchio (Andrea di Michele Cione) (Florence, 1434/37–Venice, 1488)
    Pen and dark brown ink, over traces of black chalk (recto and verso); 293 x 275 mm (11 1/2 x 10 13/16 in.), irregular borders
    Istituto Nazionale per la Grafica, Rome F. C. 127615

  11. Study for an Equestrian Monument
    Antonio del Pollaiuolo (Antonio Benci) (Florence, 1431/32–Rome, 1498)
    Pen and brown ink, brush with light and dark brown wash, over faint black chalk underdrawing; outlines of the horse and rider are selectively pricked for transfer; the background was reworked with dark brown ink, possibly by Giorgio Vasari; 288 x 255 mm (11 3/8 x 10 1/16 in.), irregular borders
    The Metropolitan Museum of Art, New York
    Robert Lehman Collection, 1975 (1975.1.410)

  12. Sketches of Figures of the Virgin Kneeling, Saint Peter Standing, Seated Allegorical Figures of Faith and Charity, and Child Standing on a Corbel (?) (recto)
    Sketches of Figures of Saint Sebastian Standing and the Virgin and Child with Angels (verso)
    Francesco di Simone Ferrucci (Fiesole, 1437–Florence, 1493)
    Pen and brown ink, over leadpoint or black chalk, on rose-washed paper; 274 mm x 198 mm (10 13/16 x 7 13/16 in.)
    The Metropolitan Museum of Art, New York
    Bequest of Walter C. Baker, 1971 (1972.118.252)

  13. Drapery for a Kneeling Figure
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Brush and gray-brown tempera, highlighted with white, on gray prepared linen; glued to secondary support; 206 x 281 mm (8 1/8 x 11 1/16 in.); perforations in upper right and left corners; yellowing around edges
    Département des Arts Graphiques du Musée du Louvre, Paris RF 41904

  14. Drapery for a Kneeling Figure
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Brush and gray tempera, highlighted with white, on gray prepared linen; torso and right arm sketched with tip of the brush; 181 x 234 mm (7 1/8 x 9 1/4 in.); trace of framing outline in pen and brown ink; glued to secondary support
    Département des Arts Graphiques du Musée du Louvre, Paris 2256

  15. Standing Draped Figure
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Brush and gray tempera, highlighted with white, on dark gray prepared linen; traces of black chalk in bust and head; glued to secondary support; 315 x 168 mm (12 7/16 x 6 5/8 in.)
    Département des Arts Graphiques du Musée du Louvre, Paris RF 1081

  16. Drapery for a Standing Figure
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Brush and gray tempera, highlighted with white, on gray prepared linen; glued to secondary support; 196 x 153 mm (7 3/4 x 6 1/8 in.); cloth probably cut along all four borders
    Département des Arts Graphiques du Musée du Louvre, Paris RF 1082

  17. Drapery for a Seated Figure
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Brush and gray tempera, highlighted with white, on gray prepared linen; 266 x 233 mm (10 1/2 x 9 1/4 in.); traces of framing outline in pen and black ink; worn spots in preparation; upper and lower left corners reconstituted and gray-tinted; glued to secondary support
    Département des Arts Graphiques du Musée du Louvre, Paris 2255

  18. Virgin and Child Holding a Cat
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, brush and brown wash, over stylus and traces of leadpoint; 84 x 71 mm (3 5/16 x 2 13/16 in.) maximum
    Private collection, New York

  19. Sketches of a Child Holding and Playing with a Cat; a Cat (recto)
    Sketches of the Virgin and Child with a Cat; a Child with a Cat; a Cat (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink over traces of leadpoint (recto); pen and dark brown ink over a sketch with a stylus (verso); 213 x 149 mm (8 3/8 x 5 7/8 in.)
    The British Museum, London 1857-1-10-1

  20. The Virgin and Child; Profiles; Technical Sketches (recto)
    The Virgin and Child (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Silverpoint and leadpoint, reworked with pen and brown ink on pale salmon-pink prepared paper (recto); pen and medium brown ink over leadpoint on unprepared cream paper, small sketch in leadpoint only (verso); 202 x 157 mm (7 15/16 x 6 3/16 in.)
    The British Museum, London 1860-6-16-100

  21. Young Woman Bathing an Infant (Il Bagnetto); the Buttocks of an Infant
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, brush and brown wash, over black chalk; glued to secondary paper support; 185 x 114 mm (7 1/4 x 4 1/2 in.)
    Faculdade de Belas Artes, Universidade do Porto, Oporto 99.1.1174

  22. Madonna and Child with a Bowl of Fruit (recto)
    Architectural Study for a Vault (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink with brown wash over stylus and metalpoint (leadpoint?) (recto), leadpoint, traces of stylus (verso); 355 x 253 mm (14 x 10 in.); horizontal fold in the center; oxidation; worn along all four edges (recto), added piece of paper (verso)
    Département des Arts Graphiques du Musée du Louvre, Paris RF 486

  23. Young Woman Seated in a Landscape with a Unicorn
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink; 94 x 74 mm (3 11/16 x 2 15/16 in.)
    Visitors of the Ashmolean Museum, Oxford Chambers Hall Gift, Oxford, 1855 KPII 15

  24. Figural Sketches (recto)
    Figural Studies (for a Madonna?) (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink over traces of stylus, and leadpoint or black chalk (recto); soft black chalk or charcoal (verso); 164 x 139 mm (6 1/2 x 5 1/2 in.)
    National Gallery of Art, Washington, D.C.; The Armand Hammer Collection 1991 1991.217.2.a

  25. Phyllis (or Campaspe) Riding Aristotle (recto)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink over metalpoint on pale blue-gray paper; traces of framing outlines in pen and dark brown ink (recto); unprepared paper (verso); 96 x 135 mm (3 3/4 x 5 5/16 in.)
    Hamburger Kunsthalle 21487

  26. A Unicorn Dipping its Horn into a Pool of Water; Unrelated Fragment of a Study of the Hindquarters of a Horse or Unicorn
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink (unicorn); leadpoint (hindquarters of horse or unicorn); 92 x 80 mm (3 5/8 x 3 3/16 in.)
    Visitors of the Ashmolean Museum, Oxford Chambers Hall Gift, 1855, Oxford KPII 16

  27. Adoration of the Magi (recto)
    Sketch of a Seated Nude Man, His Left Leg Bent; Two Sketches of Paired Columns (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink over leadpoint tracing (recto); leadpoint (verso); 284 x 213 mm (11 1/8 x 8 3/8 in.); oxidation and stains, reconstituted in upper right corner (recto)
    Département des Arts Graphiques du Musée du Louvre, Paris RF 1978

  28. Figure Studies for the Adoration of the Magi (recto)
    Two Studies of a Crab (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink over traces of leadpoint or black chalk (recto); pen and brown ink (verso); 274 x 180 mm (10 3/4 x 7 1/16 in.)
    Wallraf-Richartz-Museum—Foundation Corboud, Graphische Sammlung, Cologne Z 2003

  29. Studies of Male Nude Figures; a Virgin and Child; a Hygrometer (recto)
    Six Studies of Nude or Draped Men (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink over leadpoint, leadpoint for the Virgin and Child (recto); pen and brown ink over leadpoint; leadpoint for sketch at lower left (verso); 277 x 209 mm (11 x 8 1/4 in.); oxidation and a few lacunae
    Département des Arts Graphiques du Musée du Louvre, Paris 2258

  30. Studies for the Adoration of the Magi (recto and verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink over stylus (recto); leadpoint for the child, pen and brown ink for the woman's head (in another hand?), center of sheet rubbed with charcoal (verso); 179 x 263 mm (7 1/8 x 10 3/8 in.)
    Bibliothèque de l'École Nationale Supérieure des Beaux-Arts, Paris 424

  31. Six Figures and the Profile of an Old Man Facing to the Right (recto)
    Allegory with Fortune (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink on unprepared paper (recto); metalpoint partly reworked with pen and brown ink and brush and brown wash on warm pink prepared paper (verso); 166 x 265 mm (6 1/2 x 10 7/16 in.)
    The British Museum, London 1886-6-9-42

  32. Man Blowing a Trumpet into the Ear of Another Man; Two Seated Men Disputing
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink over leadpoint; 258 x 192 mm (10 1/8 x 7 9/16 in.)
    The British Museum, London 1895-9-15-478

  33. Rider on a Rearing Horse Fighting a Dragon
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark gray-brown ink, brush and gray-brown wash, over traces of preliminary stylus underdrawing, on light brown paper; 136 x 189 mm (5 3/8 x 7 7/16 in.)
    The British Museum, London 1952-10-11-2

  34. Flying Winged Figures; Allegorical Figure of Fortune; Tree Stump with a Shield Bearing a Lion Rampant Hanging from a Branch, Other Emblems Beside
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink, brush and brown wash, over leadpoint and stylus; the upper right figure largely sketched with the stylus only; 249 x 202 mm (9 13/16 x 7 15/16 in.)
    The British Museum, London 1895-9-15-482

  35. Saint Sebastian Standing in Three-Quarter View Tied to a Tree (recto)
    Diagrams of Perspective (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink over leadpoint; 174 x 63 mm (6 13/16 x 2 3/8 in.) maximum; irregular borders
    Hamburger Kunsthalle 21489

  36. The Virgin and Child with Saint Joseph (?), Shepherds, and Angels (Studies for an Adoration of the Christ Child) (recto)
    Cropped Outlines of a Youth's Head in Profile (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and two brown inks, over black chalk or leadpoint (recto); pen and brown ink, black chalk or leadpoint (verso); 119 x 135 mm (4 11/16 x 5 5/16 in.); irregular borders in the shape of an upside-down L
    Gallerie dell'Accademia, Venice 256

  37. Kneeling Figure, Infants, and Angels (Studies for an Adoration of the Christ Child) (recto)
    Cropped Outlines of a Lira or Viola "da Braccio" (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, brush and brown wash, over black chalk or lead point (recto); pen and brown ink (verso); 110 x 122 mm (4 1/8 x 4 13/16 in.); irregular borders in the shape of an L
    Gallerie dell'Accademia, Venice 259

  38. Studies for an Adoration of the Christ Child
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Fine pen with dark brown ink, thick pen and lighter brown ink, over metalpoint on pale purple prepared paper (recto); unprepared paper (verso); 173 x 111 mm (6 13/16 x 4 3/8 in.)
    Hamburger Kunsthalle 21488

  39. Three Figures; Gears, Wheels, and Other Mechanical Devices
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint on pale pink prepared paper; 204 x 180 mm (8 1/16 x 7 1/8 in.)
    Visitors of the Ashmolean Museum, Oxford; Chambers Hall Gift, 1855 KPII 18

  40. A Rider on a Rearing Horse in a Profile View
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint, reworked with pen and dark brown ink, on pink-beige prepared paper; 144 x 122 mm (5 11/16 x 4 13/16 in.)
    The Syndics of the Fitzwilliam Museum, Cambridge, England. Purchased with grants from the National Lottery through the Heritage Lottery Fund, the National Art Collections Fund and the Pilgrim Trust PD. 44–1999

  41. Two Studies for a Cat, Study of a Dog
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint on pale gray prepared paper; 137 x 103 mm (5 3/8 x 4 1/16 in.)
    The British Museum, London 1895-9-15-477

  42. Studies of a Dog's Paw (recto and verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint on pale pink prepared paper (recto and verso); 141 x 107 mm (5 9/16 x 4 3/16 in.)
    National Gallery of Scotland, Edinburgh D5189

  43. Studies for a Bear Walking; Faint Underdrawing of an Unrelated Design of a Pregnant Woman's Body
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint on pink-light brown prepared paper; 103 x 134 mm (4 1/16 x 5 5/16 in.)
    The Metropolitan Museum of Art, New York
    Robert Lehman Collection, 1975 (1975.1.369)

  44. Woman's Head Almost in Profile (recto and verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint highlighted with white on pale blue prepared paper; at lower left, black-chalk sketch of a half-length nude man by a different, right hand; 179 x 168 mm (7 1/16 x 6 5/8 in.); several stains; reworking of outline of the face, eye, and neck (recto); reworking of facial features on recto in another hand in pen and brown ink and red chalk (verso)
    Département des Arts Graphiques du Musée du Louvre, Paris 2376

  45. Designs for a Nativity or Adoration of the Christ Child; Perspectival Projection (recto)
    Slight Doodles (not by the artist; verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint partly reworked with pen and dark brown ink on pink prepared paper; lines ruled with metalpoint (recto); pen and brown ink (verso); 194 x 163 mm (7 5/8 x 6 3/8 in.)
    The Metropolitan Museum of Art, New York
    Rogers Fund, 1917 (17.142.1)

  46. Saint Jerome Praying in the Wilderness
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Unfinished painting in a mixed technique of oil and tempera on walnut wood; 102.8 x 73.5 cm (40 1/2 x 28 15/16 in.)
    Monumenti, Musei e Gallerie Pontificie, Vatican City 40337

  47. Old Man in Profile Turning to the Right (recto)
    Fragment of a Nude Man (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint on lightly prepared pink-ocher paper (recto), pen and brown ink over metalpoint (verso); 98 x 75 mm (3 7/8 x 3 in.); diagonal vertical fold; pink-ocher color of paper more intense on verso than on recto
    École Nationale Supérieure des Beaux-Arts, Paris EBA 426

  48. Studies of Weapons
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint and pen and brown ink on blue prepared paper, partly reworked in pen and brown ink; 209 x 308 mm (8 1/4 x 12 1/8 in.); vertical center fold with perforations; sketch in lower right corner in another hand; trace of fold from papermaking process on lower edge of sheet
    Département des Arts Graphiques du Musée du Louvre, Paris 2260

  49. Two Horsemen Attacking a Position Defended by Two Foot Soldiers; Drawings of Weapons (recto)
    Drawing of a War Machine and Other Studies (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint, pen and ink on white paper; 293 x 208 mm (11 1/2 x 8 1/8 in.)
    Gallerie dell'Accademia, Venice 235

  50. Studies of Ballistics
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink; 200 x 280 mm (7 7/8 x 11 1/16 in.); framing outline in pen and brown ink; oxidation; glued to secondary support
    École Nationale Supérieure des Beaux-Arts, Paris EBA 423

  51. A Cannon Factory
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink over traces of black chalk or leadpoint (?); 247 x 183 mm (9 3/4 x 7 3/16 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12647

  52. Mortars, Guns, and Other Military Devices Intended for a Boat (recto)
    The Tower of a Military Fortress Being Blown Up; A Hill Town Being Blown Up (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink with some brown wash over leadpoint on unprepared paper (recto); pen and dark brown ink on blue prepared paper (verso); 285 x 207 mm (11 1/4 x 8 3/16 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12652

  53. A Rider on a Rearing Horse Trampling on a Fallen Foe (Study for the Sforza Monument) (recto)
    Sketches of Walls; Triangles; Wave; Crossbow; Water (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint on blue prepared paper (recto); pen and dark brown ink on unprepared paper (verso); 151 x 188 mm (5 15/16 x 7 7/16 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12358

  54. Two Allegories of Envy (recto)
    Two Allegories (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, traces of red chalk (recto and verso); 210 x 289 mm (8 1/4 x 11 3/8 in.)
    Christ Church, Oxford 0034

  55. Designs for a Maritime Assault Mechanism and a Device for Bending Beams
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink over traces of black chalk; 283 x 201 mm (11 1/8 x 7 15/16 in.)
    The Pierpont Morgan Library, New York; Gift of Otto Manley, 1986 1986.50

  56. Architectural Studies (recto and verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink; 145 x 219 mm (5 3/4 x 8 5/8 in.); traces of former mount (recto); traces of former blue mount; piece glued to lower edge on left (verso)
    Département des Arts Graphiques du Musée du Louvre, Paris 2282

  57. Anatomical Male Figure Showing Heart, Lungs, and Main Arteries
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink with brush and green watercolor and wash that ranges from yellow to green to blue, over charcoal; 278 x 197 mm (10 15/16 x 7 3/4 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12597

  58. Studies of the Human Skull (recto and verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink over traces of leadpoint (recto); pen and brown ink over black chalk or leadpoint (verso); 189 x 139 mm (7 7/16 x 5 1/2 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 19058

  59. Head of an Old Man in Profile Facing to the Right
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink; 126 x 104 mm (4 15/16 x 4 1/16 in.); irregular borders; glued onto secondary paper support
    Biblioteca Pinacoteca Ambrosiana, Milan Cod. F. 263 inf. 78

  60. Head of Man in Profile Facing to the Left
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink over charcoal or black chalk; 120 x 50 mm (4 3/4 x 2 in.)
    The Metropolitan Museum of Art, New York
    Rogers Fund, 1909 (10.45.1)

  61. Head of a Child in Three-Quarter View
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint, highlighted with white gouache, on prepared gray-beige paper, irregularly cut; max. 134 x 119 mm (5 5/16 x 4 11/16 in.), glue to prepared gray-brown paper, 169 x 140 mm (6 11/16 x 5 1/2 in.); largely reworked in pen, brush, and brown wash; pricked for transfer; hatching on the lower part of the chin and cheek done by a right-handed person; spots of white gouache on the upper part; creased on the cheek and ear; annotated curving lines on verso of mount
    Département des Arts Graphiques du Musée du Louvre, Paris 2347

  62. The Head and Shoulders of Christ Being Held by His Hair by a Hand (Study for a Christ Carrying the Cross)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint on pale gray-blue prepared paper; 116 x 91 (4 5/8 x 3 5/8 in.)
    Gallerie dell'Accademia, Venice 231

  63. Four Studies of Horses' Legs
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint, highlighted with brush and white gouache, on dark blue prepared paper; glued onto secondary paper support; 155 x 204 mm (6 1/8 x 8 1/16 in.)
    Biblioteca Reale, Turin 15580

  64. Designs of Furnaces in Ground Plan and Perspectival Section for the Casting of the "Sforza Horse"; Cogwheel and Pulley Mechanisms; Armatures for the Core of the "Sforza Horse"; and a Man in Bust-Length Profile Facing to the Right (recto)
    Further Designs of Furnaces in Ground Plan and Section for the Casting of the "Sforza Horse" (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and golden brown ink (recto and verso); notes in red chalk on recto; 278 x 191 mm (10 15/16 x 7 1/2 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12349

  65. Sketches for the Last Supper; Architectural and Geometric Sketches (recto)
    Calculations with Architectural, Engineering, and Geometric Sketches (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and golden brown ink (recto); pen and brown ink, soft black chalk or charcoal (verso); 266 x 214 mm (10 1/2 x 8 7/16 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12542

  66. Bearded Old Man in Half-Length, Three-Quarter View Facing to the Right (Saint Peter?)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Metalpoint, reworked with pen and brown ink, on blue prepared paper; 145 x 113 mm (5 3/4 x 4 7/16 in.)
    Graphische Sammlung Albertina, Vienna 17614 (S.R. 64)

  67. Allegory with Solar Mirror
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, framing lines in pen and brown ink; 104 x 124 mm (4 1/8 x 4 7/8 in.); traces of mounting outlines in pen and brown ink; paper yellowed, worn in spots, and folded in half
    Département des Arts Graphiques, Musée du Louvre, Paris 2247

  68. Allegory on the Fidelity of the Lizard (recto)
    Design for a Stage Setting (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink (recto and verso); 202 x 133 mm (7 15/16 x 5 1/4 in.)
    The Metropolitan Museum of Art, New York
    Rogers Fund, 1917 (17.142.2)

  69. Laughing Man with Bushy Hair in Bust-Length Profile
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and medium brown ink; glued onto secondary paper support; 66 x 55 mm (2 5/8 x 2 1/8 in.)
    The J. Paul Getty Museum, Los Angeles 84.GA.647

  70. Old Woman with Beetling Brow, Wearing a Tall Pointy Hat, in Bust-Length Profile
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink; glued onto secondary paper support; 69 x 56 mm (2 3/4 x 2 1/4 in.)
    Private collection, New York

  71. Snub-Nosed Old Man with a Cowled Hat in Bust-Length Profile
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink; glued to secondary paper support; 65 x 53 mm (2 1/2 x 2 1/8 in.)
    Private collection, New York

  72. Old Woman with Horned Head Dress, Wearing a Carnation, in Bust-Length Profile
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink; glued to secondary paper support; 64 x 52 mm (2 1/2 x 2 1/16 in.)
    The Woodner Collections, on deposit at the National Gallery of Art, Washington, D.C. 74585

  73. Four Fragments with Grotesque Heads
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, glued onto secondary paper support; a: 51 x 37 mm (2 x 1 7/16 in.), b: 52 x 37 mm (2 1/16 x 1 7/16 in.), c: 50 x 42 mm (2 x 1 5/8 in.), d: 52 x 45 mm (2 1/16 x 1 3/4 in.)
    The Duke of Devonshire and the Chatsworth Settlement Trustees, Chatsworth 823A, B, C, D

  74. Old Man Standing in Profile Facing to the Right
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Leadpoint or soft pale black chalk with some red chalk offsetting; 211 x 156 mm (8 5/16 x 6 1/8 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12582

  75. Head of Old Man or Woman in Profile Facing to the Left
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Red chalk; outlines along the profile of the front part of the cranium, face, and neck pricked for transfer; 100 x 80 mm (3 15/16 x 3 3/16 in.)
    Hamburger Kunsthalle 21482

  76. Head of an Old Man
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Red chalk, traces of stylus; 94 x 61 mm (3 3/4 x 2 3/8 in.); traces of framing outlines in pen and brown ink, gold particles; slight oxidation stain; glued to secondary support
    Département des Arts Graphiques du Musée du Louvre, Paris 2249

  77. A Copse of Trees Seen in Sunlight (recto)
    Tree (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Red chalk; 194 x 153 mm (7 5/8 x 6 1/16 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12431

  78. Topographic View of the Countryside around the Plain of Arezzo and the Val di Chiana
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Charcoal or soft black chalk, reworked with pen and dark brown ink, brush and brown wash; 208 x 283 mm (8 3/16 x 11 1/8 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12682

  79. Map of the River Arno
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Charcoal or soft black chalk, reworked with pen and dark brown ink, brush with brown wash and some gray wash; 334 x 482 mm (13 3/16 x 19 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12279

  80. Map of the Arno and Mugnone Rivers to the West of Florence
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, brush with blue and green watercolor; 442 x 241 mm (17 7/16 x 9 1/2 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 126781

  81. Two Skirmishes between Horsemen and Foot Soldiers
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, brush and brown wash, over traces of stylus (?); 147 x 154 mm (5 3/4 x 6 1/16 in.)
    Gallerie dell'Accademia, Venice 215 A

  82. Skirmish between Horsemen and Foot Soldiers; Foot Soldiers Wielding Long Weapons
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, over black chalk and traces of stylus (?); 164 x 152 mm (6 7/16 x 6 1/16 in.)
    Gallerie dell'Accademia, Venice 215

  83. Fight for the Standard at the Bridge and Two Foot Soldiers
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink; 99 x 141 mm (3 15/16 x 5 9/16 in.)
    Gallerie dell'Accademia, Venice 216

  84. Cavalcade (recto)
    Insignificant Sketches Possibly Representing Horsemen (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Charcoal and black chalk (?), possibly slightly reworked with brush and brown wash in some shadows (recto); charcoal or black chalk (verso); 159 x 197 mm (6 1/4 x 7 3/4 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12339

  85. Studies of Charging Soldiers and Horses
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Brick-red chalk on cream paper; 167 x 240 mm (6 9/16 x 9 7/16 in.), irregular
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12340

  86. The Facial Proportions of a Man in Profile; Study of Soldiers and Horses (recto)
    Studies of the Proportions of a Man in Bust Length in Profile Inscribed within a Rectangle (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and two colors of brown ink over traces of stylus, black chalk, or charcoal, selectively pinpricked holes for the construction of the grid over the figure in profile, red chalk (recto); pen and two colors of brown ink over black chalk or charcoal, densely pinpricked holes close to the figure's profile (verso); 280 x 224 mm (11 x 8 13/16 in.)
    Gallerie dell'Accademia, Venice 236

  87. Rearing Horse
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Red chalk, with traces of pen and brown ink reworking; 153 x 142 mm (6 1/16 x 5 5/8 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12336

  88. Studies of a Rearing Horse and Rider; Leda and the Swan (recto)
    Mortars Firing Stones or Cannonballs across the Walls of a Fort or Town (verso, upside down)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Charcoal or soft black chalk partly reworked with pen and brown ink; 292 x 412 mm (11 1/2 x 16 1/4 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12337

  89. A Row of Four Mortars Firing into the Courtyard of a Fortification
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, brush with gray-brown and yellow-brown (originally green?) wash, over traces of charcoal or soft black chalk; 326 x 476 mm (12 7/8 x 18 3/4 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12275

  90. Study for the Head of a Soldier in the "Battle of Anghiari" (recto)
    Study for the Same Soldier on a Horse (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Red chalk on very pale ocher-pink prepared paper; outlines along facial profile slightly incised (recto); red chalk on unprepared paper (verso); 227 x 186 mm (8 15/16 x 7 5/16 in.)
    Szépmüvészeti Múzeum, Budapest 1774

  91. Studies for the Heads of Two Soldiers in the "Battle of Anghiari"
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Charcoal, or soft black chalk; some traces of red chalk on left; 192 x 188 mm (7 9/16 x 7 7/16 in.)
    Szépmüvészeti Múzeum, Budapest 1775

  92. Bust of Grotesque Man in Profile Facing to the Right
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Charcoal or black chalk, with some right-handed reworking, with contours pricked for transfer; 382 x 275 mm (15 1/16 x 10 13/16 in.)
    Christ Church, Oxford 0033

  93. The Sea God Neptune Commanding His Quadriga of Sea Horses
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Charcoal or soft black chalk; 252 x 389 mm (9 15/16 x 15 5/16 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12570

  94. Studies of an Infant Holding a Lamb (recto)
    Technological Studies; Head of a Grotesque Old Man (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Soft black chalk, partly reworked in pen and brown ink (recto); soft black chalk, pen and brown ink (verso); 210 x 142 mm (8 1/4 x 5 9/16 in.)
    The J. Paul Getty Museum, Los Angeles 86.GG.725

  95. Virgin and Child with Saint Anne and a Lamb in a Landscape
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and two colors of brown ink, over black chalk and some stylus; traces of framing outlines in pen and brown ink; 121 x 100 mm (4 3/4 x 3 15/16 in.)
    Gallerie dell'Accademia, Venice 230

  96. Sketches for the Virgin and Child with Saint Anne; Wheels; a Weir, Dam, or Bridge (recto)
    Profile of an Old Man Facing to the Right; Traced-through Composition of the Virgin and Child with Saint Anne (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink and wash over black chalk (recto); black chalk (verso); 266 x 200 mm (10 7/16 x 7 7/8 in.)
    The British Museum, London 1875-6-12-17

  97. Studies and Sketches of a Young Child
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Black chalk or charcoal with some red chalk offsetting, partly reworked with pen and medium brown ink; 204 x 152 mm (8 1/16 x 6 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12562

  98. Kneeling Leda and the Swan
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink (with losses of pigment), over extensive charcoal or soft black chalk; traces of a framing outline in pen and brown ink; 126 x 109 mm (4 15/16 x 4 5/16 in.)
    Museum Boijmans Van Beuningen, Rotterdam I 466

  99. Kneeling Leda and the Swan
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, brush and brown wash, over charcoal or soft black chalk; 160 x 139 mm (6 5/16 x 5 1/2 in.)
    The Duke of Devonshire and the Chatsworth Settlement Trustees, Chatsworth 717

  100. Botanical Studies with Star-of-Bethlehem, Grasses, Crowfoot, Wood Anemone, and Another Genus
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Red chalk, reworked with pen and dark brown ink; 196 x 158 mm (7 11/16 x 6 3/16 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12424

  101. Sketches for the Flow of Water; Standing Hercules, Holding a Club, Seen from the Front; and a Man Sheathing or Unsheathing a Sword (recto)
    Standing Hercules, Holding a Club, Seen from the Rear (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, with charcoal or soft black chalk (recto); charcoal or soft black chalk (verso); 137 x 140 mm (5 3/8 x 5 1/2 in.)
    The Metropolitan Museum of Art, New York
    Purchase, Florence B. Selden Bequest and Rogers Fund, and Promised Gift of Leon D. and Debra R. Black, 2000 (2000.328)

  102. Standing Hercules Holding a Club, with a Recumbent Lion, Seen from the Rear (Hercules and the Nemean Lion)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Soft black chalk or charcoal, incised with the stylus for transfer; two sections of a circle incised with a compass; ruled lines; pinpricks to determine intervals and to transcribe measurement; verso rubbed with black chalk or charcoal dust for transfer; 279 x 192 mm (11 x 7 9/16 in.)
    Biblioteca Reale, Turin 15630

  103. Figural Sketches (recto)
    Faintly Traced Through Figure of a Soldier Holding a Sword; probably not by Leonardo (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink, with traces of soft black chalk or leadpoint (recto); soft black chalk or leadpoint (verso); 253 x 197 mm (10 x 7 3/4 in.)
    Biblioteca Reale, Turin 15577

  104. Comparative Studies of Human and Horse Legs
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, brush and brown wash over traces of red chalk on ocher or brick-red prepared paper (recto); unprepared off-white paper (verso); 284 x 204 mm (11 3/16 x 8 1/16 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12625

  105. Studies for the Christ Child (recto)
    Slight Diagramatic Sketches (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Red chalk, brush and red wash (head at center), small traces of white gouache highlights over traces of stylus, on ocher-red prepared paper (recto); pen and brown ink (verso); 285 x 198 mm (11 1/4 x 7 13/16 in.)
    Gallerie dell'Accademia, Venice 257

  106. Arm, Hand, and Sleeve of Drapery
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Charcoal and orange red chalk, brush with brown ink and brown wash, highlighted with white gouache; 167 x 84 mm (6 9/16 x 3 5/16 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12532

  107. Drapery Enveloping the Legs of a Seated Figure
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Initial drawing in black chalk and black-chalk wash, white and black pigments applied with a tempera technique; 230 x 245 mm (9 1/16 x 9 5/8 in.); damaged corners
    Département des Arts Graphiques du Musée du Louvre, Paris 2257

  108. Head of the Virgin in Three-Quarter View Facing to the Right
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Soft black and red chalks; traces of framing outline in pen and brown ink at upper right (not by Leonardo); 203 x 156 mm (8 x 6 1/8 in.)
    The Metropolitan Museum of Art, New York
    Harris Brisbane Dick Fund, 1951 (51.90)

  109. Rock Formations
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Charcoal or very soft black chalk, probably reworked with pale brown wash to unify some of the deeper shadows; 160 x 198 mm (6 5/16 x 7 13/16 in.), maximum, irregular shape
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12397

  110. Diagrams and Notes on Geometry; Allegorical Representations (recto and verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink; 294 x 206 mm (11 9/16 x 8 1/8 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12700

  111. Sketches for a Funerary Equestrian Monument to Gian Giacomo Trivulzio
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and medium brown ink on coarse-fiber, buff or light tan paper; 278 x 198 mm (10 15/16 x 7 13/16 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12355

  112. Project for a Mausoleum with Central Plan; Elevation, Plan, and Detail of a Funerary Chamber
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and brown ink, brush and brown wash, on an underdrawing in black chalk, for the mausoleum; black-chalk wash for the funerary chamber; incised compass lines and traces of stylus for the plan, the funerary chamber, and the elevation axis; 199 x 267 mm (7 7/8 x 10 1/2 in.); on verso, three traces of vertical folds
    Département des Arts Graphiques du Musée du Louvre, Paris 2386

  113. A Dead or Moribund Man in Bust Length; a Detail of the Jaw and Neck; the Muscular and Vascular Systems of the Shoulder and Arm (recto)
    Detail Section of the Mouth and Throat; the Muscular System of the Shoulder and Arm (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink, brush and brown wash, over leadpoint or black chalk on cream-white paper; 288 x 199 mm (11 3/8 x 7 7/8 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 19005

  114. Eight Double-Sided Sheets from the Codex Leicester
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Collection of Bill and Melinda Gates, Seattle, Washington

  115. Cataclysmic Storm Striking a Landscape with a Cavalry
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Charcoal or soft black chalk reworked with pen and golden and dark brown ink, brush and brown wash, on cream-color paper smudged gray in many parts with charcoal; small traces of white gouache highlights on group at lower right; 266 x 409 mm (10 1/2 x 16 1/8 in.) maximum; lower left corner cropped
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12376

  116. Cataclysmic Deluge Striking a Town
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Charcoal or soft black chalk over leadpoint on coarse-fiber paper (originally cream or light tan color); 161 x 210 mm (6 3/8 x 8 1/4 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12378

  117. Cats and a Dragon
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Pen and dark brown ink, brush with touches of wash, over soft black chalk or charcoal or leadpoint, some unrelated red-chalk offsetting; 271 x 205 mm (10 11/16 x 8 1/16 in.), irregular shape
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12363

  118. Studies for an Equestrian Monument
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Leadpoint and charcoal or soft black chalk on cream paper, reworked with pen and golden brown ink on bottom left study; 222 x 159 mm (8 3/4 x 6 1/4 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12360

  119. A Masquerader in the Guise of a Prisoner (recto)
    Slight Outline Drawing of a Nude Male Figure (verso)
    Leonardo da Vinci (Vinci, 1452–Cloux, 1519)
    Soft black chalk or charcoal, with some red-chalk offsetting (recto); black chalk (verso); 181 x 126 mm (7 1/8 x 5 in.)
    Lent by Her Majesty Queen Elizabeth II, Royal Library, Windsor Castle 12573

  120. Head of a Bald Man in Profile Facing to the Right
    (Giovanni) Francesco Melzi (? Milan, 1491/93–Vaprio d'Adda, ca. 1570)
    Red chalk over traces of black chalk; glued onto secondary paper support, 202 x 130 mm (7 15/16 x 5 1/8 in.)
    Biblioteca Pinacoteca Ambrosiana, Milan Cod. F. 274 inf. 8

  121. Two Grotesque Heads: An Old Woman with an Elaborate Headdress and a Man with Large Ears
    (Giovanni) Francesco Melzi (? Milan, 1491/93–Vaprio d'Adda, ca. 1570)
    Pen and brown ink; 54 x 99 mm (2 1/8 x 3 7/8 in.), lower margin irregular
    The Metropolitan Museum of Art, New York
    Gift of Mrs. Edward Fowles, in memory of Edward Fowles, 1975 (1975.96)

  122. Head of a Boy in Profile Facing to the Right (Massimiliano Sforza?)
    Master of the Sforza Altarpiece (Maestro della Pala Sforzesca) (Milan, 1495–ca. 1520)
    Metalpoint on blue-gray prepared paper, pricked for transfer and glued to secondary paper support; 205 x 156 mm (8 1/16 x 6 1/8 in.)
    Biblioteca Pinacoteca Ambrosiana, Milan Cod. F. 290 inf. 13

  123. Head of Man in Three-Quarter View Facing to the Right; Study of Profile; Doodles (recto)
    Study of a Hand (verso)
    Master of the Sforza Altarpiece (Maestro della Pala Sforzesca) (Milan, 1495–ca. 1520)
    Metalpoint with very light white highlights on blue-gray prepared paper (recto); black chalk (verso); 233 x 163 mm (9 1/4 x 6 1/2 in.); reworked in stylus and metalpoint (?) on the right part of the outline of the face, and on the eyes, nose, and mouth; corners cut off, reconstituted, and colored green (recto), traces of former mount (verso)
    Département des Arts Graphiques du Musée du Louvre, Paris 2416

  124. Head of a Young Woman in Front View
    Giovanni Antonio Boltraffio (Milan, 1467–Milan, 1516)
    Metalpoint on gray-green prepared paper; 150 x 124 mm (5 7/8 x 4 7/8 in.)
    Sterling and Francine Clark Art Institute, Williamstown, Massachusetts 1955.1470

  125. Head of a Child in Profile
    Giovanni Antonio Boltraffio (attributed to)
    Metalpoint on light beige prepared paper, with traces of white gouache and framing outlines in dark brown ink; 119 x 98 mm (4 11/16 x 3 7/8 in.)
    Département des Arts Graphiques du Musée du Louvre, Paris 2250

  126. Young Man in Profile Facing to the Right
    Giovanni Antonio Boltraffio (attributed to)
    Metalpoint on bluish gray prepared paper; 185 x 121 mm (7 1/4 x 4 3/4 in.)
    Département des Arts Graphiques du Musée du Louvre, Paris 2251

  127. Bust-Length Study of a Young Woman in Frontal View
    Giovanni Antonio Boltraffio (Milan, 1467–Milan, 1516)
    Brown, yellow ocher, red, and ivory pastel over charcoal on paper prepared with a cream-color ground; traces of stylus incisions on some outlines (?); traces of framing outlines in pen and dark brown ink and in brush and yellow ocher gouache; 533 x 405 mm (21 x 15 15/16 in.) maximum; losses along borders
    Biblioteca Pinacoteca Ambrosiana, Milan Cod. F. 290 inf. 7

  128. Bust-Length Portrait of a Young Man in Three-Quarter View Facing to the Right and Pointing with His Right Hand
    Giovanni Antonio Boltraffio (Milan, 1467–Milan, 1516)
    Brown, yellow ocher, red, and ivory pastel over charcoal on paper prepared with a cream-color ground; traces of stylus incisions on some outlines; traces of framing outlines in pen and dark brown ink and in brush and yellow ocher gouache; 537 x 407 mm (21 1/8 x 16 1/16 in.)
    Biblioteca Pinacoteca Ambrosiana, Milan Cod. F. 290 inf. 8

  129. Head of a Bearded Man
    Andrea Solario (Milan, ca. 1465–Milan, 1524)
    Black, red, and yellow chalk on brownish paper; repaired losses; 374 x 273 mm (14 3/4 x 10 3/4 in.)
    The Metropolitan Museum of Art, New York
    Rogers Fund, 1906 (06.1051.9)

  130. Half-Length Study of Young Boy in Three-Quarter View Facing to the Right
    Giovanni Agostino da Lodi (Lombardy, active ca. 1495–ca. 1520)
    Red chalk; 100 x 83 mm (3 15/16 x 3 1/4 in.); perforations on the neck in center of sheet; folded in half
    Département des Arts Graphiques du Musée du Louvre, Paris 2252

  131. Portrait of a Woman in Half-Length, Three-Quarter View Facing to the Left (Ippolita Bentivoglio?)
    Bernardino Luini (Dumenza, sopra Luino, ca. 1480–Milan, 1532)
    Pastel (black, red, yellow, and white) and soft black chalk over charcoal; 414 x 284 mm (16 5/16 x 11 3/16 in.)
    Graphische Sammlung Albertina, Vienna 59. (SR 71; B. 405)

  132. Cartoon Fragment of the Head of an Infant
    Bernardino Luini (Dumenza, sopra Luino, ca. 1480–Milan, 1532)
    Charcoal, with some reworking in red and white chalk, on light brown paper; 212 x 187 mm (8 5/16 x 7 3/8 in.)
    Département des Arts Graphiques du Musée du Louvre, Paris 6815

  133. Cartoon Fragment of the Head of an Infant
    Bernardino Luini (Dumenza, sopra Luino, ca. 1480–Milan, 1532)
    Charcoal, with some reworking in red and white chalk, on light brown paper; 203 x 167 mm (8 x 6 9/16 in.)
    Département des Arts Graphiques du Musée du Louvre, Paris 6816

  134. Leda and the Swan
    After Leonardo da Vinci
    Red chalk; 272 x 168 mm (10 3/4 x 6 5/8 in.); framing outline in pen and brown ink
    Département des Arts Graphiques du Musée du Louvre, Paris 2563

  135. The Fight for the Standard
    Italian 16th-century copy after Leonardo, restored and reworked by Peter Paul Rubens (Siegen, 1577–Antwerp, 1640), ca. 1615
    Copy after Leonardo: black chalk, traces of white chalk highlights, pen and brown ink; 428 x 577 mm (16 7/8 x 22 3/4 in.)
    Reworking by Rubens: brush with brown and gray-black ink, gray wash, and white and bluish gray gouache, over copy inserted into a larger piece of paper; 453 x 636 mm (17 7/8 x 25 1/16 in.)
    Département des Arts Graphiques du Museé du Louvre, Paris 20.271

  136. Three Grotesque Couples
    Sixteenth-century Lombard artist after Leonardo da Vinci
    Pen and brown ink, brush and touches of wash; 192 x 127 mm (7 9/16 x 5 in.); traces of framing lines in pen and brown ink; stains and perforations; old collection mark, faint and worn away, in lower right corner
    Département des Arts Graphiques du Musée du Louvre, Paris 2296

  137. Mariette Album of Drawings after Leonardo da Vinci
    Binding in black shagreen, border of gold arabesques on upper and lower portions, edge decorated with gold threads and lozenges; 333 x 241 mm (13 1/8 x 9 1/2 in.)
    Département des Arts Graphiques du Musée du Louvre, Paris RF 28725–RF 28785

  138. Recueil / de Testes de caractere / & de Charges / dessinées / Par Leonard de Vinci / Florentin. / & gravées par M. le C. de C. / MDCCXXX
    Calf binding; double gold threads on the front cover; coat of arms of Louis-Antoine Crozat, baron of Thiers, on the upper and lower sections of the cover; 286 x 212 mm (11 1/4 x 8 5/16 in.)
    Département des Arts Graphiques du Musée du Louvre, Paris RF 28786


BACK TO TOP
The material in this section was derived from the exhibition catalogue, Leonardo da Vinci, Master Draftsman. Edited by Carmen C. Bambach, with contributions by Carmen C. Bambach, Alessandro Cecchi, Claire Farago, Varena Forcione, Martin Kemp, Anne-Marie Logan, Pietro C. Marani, Carlo Pedretti, Carlo Vecce, Françoise Viatte, and Linda Wolk-Simon. Published by The Metropolitan Museum of Art, New York, 2003. Distributed by Yale University Press. The catalogue is available in the Museum's bookshops and in the online Met Store.

Many thanks to the Museum's Editorial Department for making portions of the exhibition catalogue available for online use.



Copyright © 2000–2003 The Metropolitan Museum of Art. All rights reserved.

Available online at www.metmuseum.org