The Incarnate Angel
Charcoal on blue paper, attributed to Leonardo da Vinci (or the school of), 1513–14
Private collection, Germany

Discovered in 1991, this drawing has become quite controversial due to the figure's ambiguity. It depicts an androgynous being with long, flowing hair and a pose that's both graceful and suggestive. The title indicates a religious figure, but the lack of wings and the figure's exposed breast and genitals challenge that notion. This explicit detail has led some to believe that it is not an angel at all, but rather a study of a young model–it has been suggested that it is an androgynous depiction of Salai, da Vinci's young student, because his  name appears on the reverse, but is crossed out–possibly even a veiled self-portrait of da Vinci in his youth. However, others argue it could be a representation of a specific type of angel or a commentary on human duality. Some scholars have linked this portrait to da Vinci's later painting of Saint John the Baptist, noting similarities in the pose and overall physicality of the figures. This has generated the additional theory that the drawing is a humorous take on that painting. In any case, the work is a masterclass in da Vinci's signature sfumato. It appears that an attempt had been made to censor the figure's lack of modesty, but this has been debated as it may have been carried out by da Vinci himself, or the result of damage, or later modifications. Owned by Queen Victoria as part of the Royal collection, the drawing was sold to a German collector, who is believed to be the current owner.