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A Bear Walking, Leonardo da Vinci Italian, silverpoint on light buff prepared paper
A Bear Walking
Leonardo da Vinci
ca. 1482–85
Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso), Leonardo da Vinci Italian, Silverpoint, partly reworked by the artist with pen and dark brown ink on pink prepared paper; lines ruled with metalpoint (recto); pen and brown ink (verso)
Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso)
Leonardo da Vinci
1480–85
The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci Italian, Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)
The Head of the Virgin in Three-Quarter View Facing Right
Leonardo da Vinci
1510–13
Studies for Hercules Holding a Club Seen in Frontal View, Male Nude Unsheathing a Sword, and the Movements of Water (recto); Study for Hercules Holding a Club Seen in Rear View (verso), Leonardo da Vinci Italian, Pen and brown ink; soft black chalk or charcoal (recto); soft black chalk or charcoal (verso)
Studies for Hercules Holding a Club Seen in Frontal View, Male Nude Unsheathing a Sword, and the Movements of Water (recto); Study for Hercules Holding a Club Seen in Rear View (verso)
Leonardo da Vinci
ca. 1506–8
Head of a Man in Profile Facing to the Left, Leonardo da Vinci Italian, Pen and brown ink, over soft black chalk
Head of a Man in Profile Facing to the Left
Leonardo da Vinci
1490–94
The Head of a Grotesque Man in Profile Facing Right, Leonardo da Vinci Italian, Pen and brown ink, on off-white paper (now darkened)
The Head of a Grotesque Man in Profile Facing Right
After Leonardo da Vinci
after 1500
Allegory on the Fidelity of the Lizard (recto); Design for a Stage Setting (verso), Leonardo da Vinci Italian, Pen and brown ink (recto and verso)
Allegory on the Fidelity of the Lizard (recto); Design for a Stage Setting (verso)
Leonardo da Vinci
1496
Divina proportione, Leonardo da Vinci Italian, Book with woodcut illustrations
Divina proportione
Designer after Leonardo da Vinci
Fra Luca Pacioli
Publisher Paganinus de Paganinus
June 1, 1509
Portrait of Leonardo da Vinci, from "Characaturas by Leonardo da Vinci, from Drawings by Wincelslaus Hollar, out of the Portland Museum", Leonardo da Vinci Italian, Aquatint and etching
Portrait of Leonardo da Vinci, from "Characaturas by Leonardo da Vinci, from Drawings by Wincelslaus Hollar, out of the Portland Museum"
Sitter Leonardo da Vinci
1786
Traitté de la Peinture, Leonardo da Vinci Italian, Printed book
Traitté de la Peinture
Multiple artists/makers
1651
Madonna of the Yarnwinder (The Lansdowne Madonna), Leonardo da Vinci and Studio Italian, Oil transferred from walnut panel
On loan to The Met
Madonna of the Yarnwinder (The Lansdowne Madonna)
Leonardo da Vinci
ca. 1501
Embroidery Pattern with Seven Six-pointed Stars and Four Corner Pieces, Albrecht Dürer German, Woodcut
Embroidery Pattern with Seven Six-pointed Stars and Four Corner Pieces
Albrecht Dürer
After Leonardo da Vinci
before 1521
The Rape of Ganymede, Caradosso (Cristoforo Caradosso Foppa), Bronze, remains of gilding, Italian, Milan
The Rape of Ganymede
Caradosso (Cristoforo Caradosso Foppa)
Designer Probably after a design by Leonardo da Vinci
16th century
Three Horse Heads after Leonardo da Vinci
After Leonardo da Vinci
After Giovanni Antonio da Brescia
ca. 1580–1620
Studies for the Battle of Anghiari Cartoon and the Proportions of the Head, Leonardo da Vinci Italian, Pen and two hues of brown ink (that of lighter color later reworked with black-brown ink), over traces of preliminary stylus work, soft black chalk, red chalk (recto); ren and two hues of brown ink (that of lighter color later reworkedwith black-brown ink), over soft black chalk, with densely pinpricked holes close to the figure's profile
On loan to The Met
Studies for the Battle of Anghiari Cartoon and the Proportions of the Head
Leonardo da Vinci
ca. 1490-95; 1503-5
The Last Supper, with a Spaniel, Giovanni Pietro da Birago Italian, Engraving
The Last Supper, with a Spaniel
Attributed to Giovanni Pietro da Birago
After Leonardo da Vinci
ca. 1500
The Head of a Woman in Profile Facing Left, Giovanni Antonio Boltraffio Italian, Silverpoint and leadpoint, highlighted with white gouache, on pale blue-gray (indigo) prepared paper. Media tested by the Department of Scientific Research, The Metropolitan Museum of Art, with x-ray fluorescence spectroscopy (XRF) and fiber optics reflectance spectroscopy (FORS); October 1, 2019.
The Head of a Woman in Profile Facing Left
Giovanni Antonio Boltraffio
Follower of Leonardo da Vinci
1490–1500
A Grotesque Couple: Old Woman with an Elaborate Headdress and Old Man with Large Ears and Lacking a Chin, Giovanni Francesco Melzi Italian, Pen and brown ink

A Grotesque Couple: Old Woman with an Elaborate Headdress and Old Man with Large Ears and Lacking a Chin

Attributed to Giovanni Francesco Melzi
After Leonardo da Vinci
1491/93–1570
Head of a man with thick curly hair in profile to the left, Wenceslaus Hollar Bohemian, Etching; first state of two
Head of a man with thick curly hair in profile to the left
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1644–52
Skull in profile to right, Wenceslaus Hollar Bohemian, Etching; only state
Skull in profile to right
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
Sectioned skull in profile to left with the left side of the cranium removed, Wenceslaus Hollar Bohemian, Etching: only state
Sectioned skull in profile to left with the left side of the cranium removed
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1651
Title Page, Diversae Effigies, Wenceslaus Hollar Bohemian, Etching; first state of three
Title Page, Diversae Effigies
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1648
Head of a bald man in profile to left, Wenceslaus Hollar Bohemian, Etching; only state
Head of a bald man in profile to left
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1644–52
Head and shoulder of a child, in profile to right, Wenceslaus Hollar Bohemian, Etching; only state
Head and shoulder of a child, in profile to right
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
Bust of a woman looking downwards towards left with elaborately decorated hair, Wenceslaus Hollar Bohemian, Etching; only state
Bust of a woman looking downwards towards left with elaborately decorated hair
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1648
Head of an old man with tufts of curly hair around ear in profile to left, Wenceslaus Hollar Bohemian, Etching; only state
Head of an old man with tufts of curly hair around ear in profile to left
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1644–52
Man with stern expression in profile to left, Wenceslaus Hollar Bohemian, Etching; second state of two
Man with stern expression in profile to left
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
St. Anne, Wenceslaus Hollar Bohemian, Etching; only state
St. Anne
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
Male head in profile to left with muscles exposed, Wenceslaus Hollar Bohemian, Etching; only state
Male head in profile to left with muscles exposed
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1660
Two deformed heads, Wenceslaus Hollar Bohemian, Engraving (rejected)
Two deformed heads
Formerly attributed to Wenceslaus Hollar
After Leonardo da Vinci
1645–50
Head of a muscular old man in profile to left with flowing hair, Wenceslaus Hollar Bohemian, Etching; only state
Head of a muscular old man in profile to left with flowing hair
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1644–52
Bust of a deformed old woman with one tooth, facing left, Wenceslaus Hollar Bohemian, Etching; only state
Bust of a deformed old woman with one tooth, facing left
Wenceslaus Hollar
After Leonardo da Vinci
1665
Title page to Diversae Probae, Wenceslaus Hollar Bohemian, Etching; only state
Title page to Diversae Probae
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
Heads of two young women, Wenceslaus Hollar Bohemian, Etching; second state of two; later printing
Heads of two young women
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
Head studies, Wenceslaus Hollar Bohemian, Etching; second state of two; later printing
Head studies
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
Rex et Regina de Tunis, Wenceslaus Hollar Bohemian, Etching; second state of two; later impression
Rex et Regina de Tunis
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
A large man with a bald head facing a grotesque female, Wenceslaus Hollar Bohemian, Etching; second state of two
A large man with a bald head facing a grotesque female
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
Two deformed heads (the figure on the left is possibly a caricature of Dante), Wenceslaus Hollar Bohemian, Etching; second state of two
Two deformed heads (the figure on the left is possibly a caricature of Dante)
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
Two deformed heads facing inwards, Wenceslaus Hollar Bohemian, Etching; second state of two
Two deformed heads facing inwards
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
Two deformed heads facing each other, Wenceslaus Hollar Bohemian, Etching; second state of two
Two deformed heads facing each other
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
A deformed couple facing each other, Wenceslaus Hollar Bohemian, Etching; second state of two
A deformed couple facing each other
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645
Two deformed heads facing each other, Wenceslaus Hollar Bohemian, Etching; third state of three
Two deformed heads facing each other
Etcher Wenceslaus Hollar
After Leonardo da Vinci
1645