The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Collection <Back
Search

Explore the collection

Refine results
27 results
Noah after the Flood
Oil on canvas. Second half of the XVI century
Anonymous (Workshop Of Bassano)
Noah after the Flood
Oil on canvas. Second half of the XVI century
Anonymous (Workshop Of Bassano)

If we compare this painting with the Animals Entering the Ark (P22), we find that the iconographic elements which identify the subject have been shifted to a middle plane -Noah thanking God for bringi [+]

The Emperor Charles V with a Dog
Oil on canvas. Second half of the XVI century
Anonymous (Copy After Titian (Tiziano Vecellio))
The Emperor Charles V with a Dog
Oil on canvas. Second half of the XVI century
Anonymous (Copy After Titian (Tiziano Vecellio))

[+]

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. [+]

The Virgin and Child seated in a landscape, adored by St. John the Evangelist
Black chalk, Red chalk on tinted paper. Second half of the XVI century
Anonymous (Copy Barocci, Federico)
The Virgin and Child seated in a landscape, adored by St. John the Evangelist
Black chalk, Red chalk on tinted paper. Second half of the XVI century
Anonymous (Copy Barocci, Federico)

As pointed out by Giuseppe Scavizzi in a note on the mount, this is a copy after Barocci´s so-called Madonna di S. Giovanni in the Galleria Nationale delle Marche, Urbino, carried out in c. 1565. [+]

Portrait of a young woman wearing a ruff
Black chalk, Red chalk on paper. Second half of the XVI century
Anonymous (Copy Barocci, Federico)
Portrait of a young woman wearing a ruff
Black chalk, Red chalk on paper. Second half of the XVI century
Anonymous (Copy Barocci, Federico)

The drawing is laid down onto Brun´s (?) mount, with his inscription F. BAROCCI. The attribution follows the older inscription written in the reverse, in the hand of the so-called Italian Supplier. Th [+]

Two Women Seeking Directions from a Man
Pencil, Grey-brown ink on paper. Second half of the XVI century
Anonymous (Circle Of Zuccaro, Federico)
Two Women Seeking Directions from a Man
Pencil, Grey-brown ink on paper. Second half of the XVI century
Anonymous (Circle Of Zuccaro, Federico)

Perhaps by a Spanish follower of Federico Zuccari who was accomplished at representing hunting scenes. [+]

Horsemen fighting outside a walled city
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Second half of the XVI century
Anonymous
Horsemen fighting outside a walled city
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Second half of the XVI century
Anonymous

The identification of the bearded man bottom left, perhaps a priest or an Old Testament prophet, seems to hold the key to identification of the subject of this interesting drawing. The artist shows kn [+]

Design for the Decoration of a Spandrel Containing a Cartouche / Study for the Three Protagonists in a Composition of the Sposalizio of the Virgen
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous
Design for the Decoration of a Spandrel Containing a Cartouche / Study for the Three Protagonists in a Composition of the Sposalizio of the Virgen
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous

It is indeed possible that this good drawing could be by the Tuscan, Marco Marchetti da Faenza (before 1528-1588), who worked in the circle of Vasari. However, the style seems a little too accomplishe [+]

The Pool of Bethesda
Pencil, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous (Copy Perino del Vaga)
The Pool of Bethesda
Pencil, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous (Copy Perino del Vaga)

The drawing is connected with one of two large upright frescoes by Perino formerly in the Cappella Massimi in S. Trinita dei Monti, Rome. One, the Raising of Lazarus, is detached and now in the Victor [+]

Man with his hands raised
Pencil on yellow paper. 1501 - 1600
Anonymous
Man with his hands raised
Pencil on yellow paper. 1501 - 1600
Anonymous

This is a feeble drawing in the style of Cigoli (1559-1613), Jacopo Chimenti da Empoli (1551-1640), and others. [+]

Holy Family with St. Anne
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous (Circle Of Zuccaro, Federico)
Holy Family with St. Anne
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous (Circle Of Zuccaro, Federico)

This drawing seems to have been copied after a composition by Federico Zuccari, or by a member of his circle. [+]

Annunciation
Pencil, Mauve ink, Grey-brown ink, Grey-brown wash on yellow paper. Ca. 1600
Anonymous
Annunciation
Pencil, Mauve ink, Grey-brown ink, Grey-brown wash on yellow paper. Ca. 1600
Anonymous

The treatment of the composition reflects the work of the Florentines, Cigoli (1559-1613), Jacopo Chimenti da Empoli (1551-1640), Jacopo Vignali (1592-1664) and others. [+]

Seminude woman
Pencil, Chalk ground, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous (Copy Zuccaro, Taddeo)
Seminude woman
Pencil, Chalk ground, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous (Copy Zuccaro, Taddeo)

As Sylvie Béguin has pointed out in a note on the mount (1980), this is a copy after a drawing by Taddeo Zuccaro in the Louvre. The Louvre drawing is a study for the circular fresco of Somnus i [+]

Unidentified scene from Ancient History
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on blue paper. Second half of the XVI century
Anonymous (Circle Of Zuccaro, Federico)
Unidentified scene from Ancient History
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on blue paper. Second half of the XVI century
Anonymous (Circle Of Zuccaro, Federico)

The original drawing recorded in this copy was probably intended as a design for maiolica. The subject may be Artaxerxes pointing to the head of Cyrus. [+]

Saints Luke and John
Pencil, Pencil ground, Grey-brown ink on yellow paper. XVI century
Anonymous (Copy Vasari, Giorgio)
Saints Luke and John
Pencil, Pencil ground, Grey-brown ink on yellow paper. XVI century
Anonymous (Copy Vasari, Giorgio)

In a nineteenth-century inscription and in further annotations on the reverse, the drawing is given to the Sienese Domenico Beccafumi (1484-1551). In 1980, in a pencil note on the mount, Anna Forlani [+]

Two figures lifting an Urn; and male head
Black chalk, White lead, Wash on paper. Second half of the XVI century
Anonymous (Copy Zuccaro, Taddeo)
Two figures lifting an Urn; and male head
Black chalk, White lead, Wash on paper. Second half of the XVI century
Anonymous (Copy Zuccaro, Taddeo)

The group appears between a pair of columns on the right of Taddeo´s fresco of the "Last Supper" in the church of S. Maria della Consolazione, Rome. [+]

Two Nude Putti in a Cornice
Pencil, Grey-brown ink, Wash on tinted paper. Second half of the XVI century
Anonymous
Two Nude Putti in a Cornice
Pencil, Grey-brown ink, Wash on tinted paper. Second half of the XVI century
Anonymous

The motif of paired putti standing derives from the thrones with Prophets on Michelangelo´s Sistine ceiling. [+]

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 [+]

Up