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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. [+]

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. [+]

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

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 [+]

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 (Follower Of Vasari, Giorgio)
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 (Follower Of Vasari, Giorgio)

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 [+]

Mystic Marriage of St. Catherine
Pencil, Pencil ground, Grey ink on paper. Second half of the XVI century
Anonymous (Copy Bagnacavallo The Younger)
Mystic Marriage of St. Catherine
Pencil, Pencil ground, Grey ink on paper. Second half of the XVI century
Anonymous (Copy Bagnacavallo The Younger)

As Sylvie Béguin pointed out in a note on the modern museum matte (1980), this is a copy of the painting in the Pinacoteca Nazionale, Bologna, once given to Pellegrino Tibaldi (1527-1596) and n [+]

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. [+]

The Death of Seneca
Red chalk on white paper. XVII century
Anonymous (Circle Of Maratta, Carlo)
The Death of Seneca
Red chalk on white paper. XVII century
Anonymous (Circle Of Maratta, Carlo)

Dibujo que presenta en el centro una estancia con arquitecturas clásicas donde Séneca, agonizante, aparece rodeado de figuras masculinas y femeninas; a la derecha, un joven sentado escribe el hecho en [+]

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. [+]

The Adoration of the Shepherds
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous (Circle Of Zuccaro, Federico)
The Adoration of the Shepherds
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous (Circle Of Zuccaro, Federico)

Until recently, the drawing was placed under the name of Luca Giordano (1634-1705), however the style suggests an artist working in the circle of Federico Zuccari. [+]

Procession of the Magi
Pencil, Red chalk on paper. Ca. 1600
Anonymous (Copy Sarto, Andrea del (Andrea D'agnolo))
Procession of the Magi
Pencil, Red chalk on paper. Ca. 1600
Anonymous (Copy Sarto, Andrea del (Andrea D'agnolo))

From its style, the drawing appears to have been made by a Florentine artist active around 1600, perhaps from the circle of Jacopo Chimenti da Empoli (1551-1640) or Cigoli (1559-1613). Andrea del Sart [+]

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 [+]

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