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Saint Michael Archangel
Mixed method on panel. 1475 - 1485
Ximénez, Miguel
Saint Michael Archangel
Mixed method on panel. 1475 - 1485
Ximénez, Miguel

This is the left panel of the Altar Piece of the Pietà, Saint Michael and Saint Catherine from the church of Santa María in Ejea de los Caballeros (Zaragoza). The painter, originally fro [+]

Angel holding back a drapery
Pencil, Grey-brown ink on brown paper. XVI century
Anonymous
Angel holding back a drapery
Pencil, Grey-brown ink on brown paper. XVI century
Anonymous

In spite of the pentiment in the area of the angel´s upper right arm, the handling of this drawing is poor and is evidently by a minor artist, possibly copying a figure from the work of a master. [+]

The Angel of the Annunciation
Black chalk, Red chalk on yellow paper. XVI century
Bugiardini, Giuliano (Attributed To)
The Angel of the Annunciation
Black chalk, Red chalk on yellow paper. XVI century
Bugiardini, Giuliano (Attributed To)

Although the conception and execution are clearly Florentine, a precise connection with Bugiardini´s work remains to be established. However, the naturalistic figure type seems to be from the Early Ba [+]

Winged angels seated on clouds
Pencil, Pencil ground, Grey ink, Grey-brown ink, Wash on brown paper. XVI century
Anonymous (Circle Of India, Bernardino)
Winged angels seated on clouds
Pencil, Pencil ground, Grey ink, Grey-brown ink, Wash on brown paper. XVI century
Anonymous (Circle Of India, Bernardino)

The old attribution CORREGIO, in which both Brun (?) and Fernández Durán may have believed, is not correct. The drawing displays some stylistic traits associable with Bernardino India, t [+]

The Angel of the Annunciation
Grey-brown ink, White lead, Wash on tinted paper. XVI century
Anonymous
The Angel of the Annunciation
Grey-brown ink, White lead, Wash on tinted paper. XVI century
Anonymous

Traditionally attributed to Giovanni Battista Trotti, called ´Malosso´ (1556-1619), who was mostly active in Cremona, in Northern Italy. On the other hand, the style of this drawing is per [+]

Saint Michael
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Mid-XVIcentury
Sabbatini, Lorenzo (Attributed To)
Saint Michael
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Mid-XVIcentury
Sabbatini, Lorenzo (Attributed To)

The present study is clearly strongly influenced in style by the work of the Bolognese painter Pellegrino Tibaldi (1527-1596). Mario di Giampaolo was the first to suggest the attibution to Sabbatini, [+]

Angels and Putti amongst Clouds
Pencil, Chalk ground, Grey-brown ink, Wash on yellow paper. Third quarter of the XVI century
Samacchini, Orazio
Angels and Putti amongst Clouds
Pencil, Chalk ground, Grey-brown ink, Wash on yellow paper. Third quarter of the XVI century
Samacchini, Orazio

The fine pen lines and carefully modulated passages of wash are characteristic of Samacchini´s highly disciplined, if not somewhat academic, style of drawing. A similar tightness of execution is found [+]

Studies of a Reclining Male Nude
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on yellow paper. Second half of the XVI century
Alberti, Giovanni (Attributed To)
Studies of a Reclining Male Nude
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on yellow paper. Second half of the XVI century
Alberti, Giovanni (Attributed To)

On Brun´s (?) mount, with his attribution: LE JOSEPIN [i. e., the Cavaliere d´Arpino (1568-1640), who was sometimes referred to as Il Giuseppino]. The style is certainly recalls that of Cherubino Albe [+]

Two Standing Winged Angels
Pencil, Grey-brown ink on green paper. Second half of the XVI century
Anonymous (Copy After Parmigianino. Girolamo Francesco Maria Mazzola)
Two Standing Winged Angels
Pencil, Grey-brown ink on green paper. Second half of the XVI century
Anonymous (Copy After Parmigianino. Girolamo Francesco Maria Mazzola)

This is a good facsimile copy of a drawing formerly in the collection of Prof. Van Regteren Altena, Amsterdam. Another copy of the Amsterdam drawing is in the British Royal Collection, Windsor Castle. [+]

Winged Angel Flying to the Right
Red chalk, Pencil strokes on yellow paper. Second half of the XVI century
Alberti, Cherubino (Attributed To)
Winged Angel Flying to the Right
Red chalk, Pencil strokes on yellow paper. Second half of the XVI century
Alberti, Cherubino (Attributed To)

Inscribed in brown ink on a strip of paper pasted at the bottom of the sheet: CHERUBINUS ALBERTIUS PICTOR ET ARCHITEC. FECIT QUI VIX AN. LXIII. DEC. MDCXV. The eighteenth-century inscription written o [+]

Dead Christ, surrounded by the Instruments of the Passion, with God the Father and the Holy Spirit
Pencil, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous
Dead Christ, surrounded by the Instruments of the Passion, with God the Father and the Holy Spirit
Pencil, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous

Although the present composition is ultimately dependent in origin on Albrecht Dürer´s great woodcut of the Trinity, a Florentine interpretation of the design is evident in the conception of the [+]

The Virgin and Child Appearing to St. John of Matha and St. Felix of Valois
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on tinted paper, dark yellow laid paper. Ca. 1580
Calvaert, Denys
The Virgin and Child Appearing to St. John of Matha and St. Felix of Valois
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on tinted paper, dark yellow laid paper. Ca. 1580
Calvaert, Denys

The two saints kneeling in the foreground are the little-known St. John of Matha, a native of Faucon in Provence, and St. Felix of Valois, who lived at the turn of the twelfth century. Both were found [+]

Martyrdom of St. Judas Taddeus
Pencil, Grey-brown ink, Wash on dark yellow paper. Ca. 1585
Poccetti, Bernardino Barbatelli
Martyrdom of St. Judas Taddeus
Pencil, Grey-brown ink, Wash on dark yellow paper. Ca. 1585
Poccetti, Bernardino Barbatelli

Poccetti was one of the leading Florentine painters of the early seventeenth century. Largely thanks to his youthful association with the group of painters around Santi di Tito, Poccetti soon began to [+]

The Assumption of the Virgin
Pencil, Grey wash on grey paper. Before 1604
Lilio, Andrea
The Assumption of the Virgin
Pencil, Grey wash on grey paper. Before 1604
Lilio, Andrea

This impressive drawing is a finished preparatory study, squared for transfer, for Lilio´s altarpiece of the Assumption of the Virgin in the church of S. Giovanni Battista at Numana, a small town on t [+]

The Annunciation
Black chalk, Red chalk on dark yellow paper. Late XVI century
Cesi, Bartolomeo (Attributed To)
The Annunciation
Black chalk, Red chalk on dark yellow paper. Late XVI century
Cesi, Bartolomeo (Attributed To)

In her 1983 catalogue, Mena Marques rightly brought attention to the very high quality of this drawing and suggested the style could be Sienese, from the end of the sixteenth century and the beginning [+]

Two angels
Red chalk on yellow paper. Ca. 1600
Anonymous
Two angels
Red chalk on yellow paper. Ca. 1600
Anonymous

Although traditionally attributed to Parmigianino (1503-1540), the style seems to suggest a later period, around 1600. The draftsman appears to have been acquainted with the work of Bartolomeo Cesi (1 [+]

The Virgin crowned by angels
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous
The Virgin crowned by angels
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous

The style of the drawing does indeed seem Emilian, but is more suggestive of that of artist working in the city from a later period, such as Cesi (1556-1629) and the young Guido Reni (1575-1642). [+]

Angel in a pendentive
Pencil, Pencil ground, Grey-brown ink on yellow paper. Ca. 1600
Anonymous
Angel in a pendentive
Pencil, Pencil ground, Grey-brown ink on yellow paper. Ca. 1600
Anonymous

This fine drawing seems to show some Emilian traits of style. Alternatively, it may be Marchigian, around Lilio (c. 1570-1635). [+]

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