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Portrait of don Rodrigo Vázquez de Arce
Oil on canvas. Ca. 1590
Anonymous
Portrait of don Rodrigo Vázquez de Arce
Oil on canvas. Ca. 1590
Anonymous

Considered a copy of a portrait by El Greco, the more detailed technique deployed here lacks the loose boldness of his brushstroke but the composition and some of the elements within it remain close t [+]

Agustín Profit, el Calabrés
Oil on canvas. Ca. 1590
Anonymous
Agustín Profit, el Calabrés
Oil on canvas. Ca. 1590
Anonymous

The portraitee, chamberlain to King Philip II and warden of the Country House, is dressed in black, except for cuffs and frills, his figure silhouetted against a neutral background. His head is covere [+]

Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous
Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous

This is a modest bottega product illustrating the passage on the birth of Christ (Luke 2: 8-20) which lends itself particularly well to a nocturnal setting. It is a replica, not of the Adoration of th [+]

La Pietá
Oil on canvas. Ca. 1600
Anonymous
La Pietá
Oil on canvas. Ca. 1600
Anonymous

La obra sigue una composición popularizada por un grabado de Jean Sadeler, basada en una invención de Taddeo Zuccari, si bien lo hace invirtiendo especularmente dicho grabado, por lo que probablemente [+]

Frieze with Episodes from the Life of Mucius Scaevola
Pencil, Grey-brown ink, Wash on paper attached to canvas. Ca. 1600
Anonymous
Frieze with Episodes from the Life of Mucius Scaevola
Pencil, Grey-brown ink, Wash on paper attached to canvas. Ca. 1600
Anonymous

The composition shows the following episodes from the first floor of the painted frieze on the facade of the Palazzo Ricci, Rome: Mucius Scaevola crossing the Tiber to take the Etruscan camp of King L [+]

Bearded man, three quarter lenght
Pencil, Grey-brown ink on paper. Ca. 1600
Anonymous
Bearded man, three quarter lenght
Pencil, Grey-brown ink on paper. Ca. 1600
Anonymous

Formerly attributed to Bartolomeo Passerotti (1529-1592), presumably on account of the broad cross-hatching in pen, a technique that is characteristic of drawings by this artist. On the other hand, th [+]

Christ blessing a kneeling woman
Pencil, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous
Christ blessing a kneeling woman
Pencil, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous

The old attribution is to Titian (c. 1485-1576). The style seems however to be either Emilian or Lombard, from the mid-to-late sixteenth century. [+]

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 [+]

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. [+]

Procession of the Magi
Pencil, Red chalk on paper. Ca. 1600
Anonymous
Procession of the Magi
Pencil, Red chalk on paper. Ca. 1600
Anonymous

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 [+]

The Virgin and Child with Sts. Catherine, Agatha, Paul and a bishop saint
Pencil, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous
The Virgin and Child with Sts. Catherine, Agatha, Paul and a bishop saint
Pencil, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous

The monotonous pen-work indicates this is a copy. The arrangement of the figures and the somber lighting suggest that the prototype may have been a composition by a late sixteenth-century Roman artist [+]

Way to Calvary
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous
Way to Calvary
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous

This good drawing appears to be by an artist active in the Veneto, or nearby, around 1600. Florian Härb has kindly pointed out some echoes of Palma Giovane´s figure types, for example in the head [+]

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). [+]

Half-lenght female figure, her hands raised up in prayer / half-length figure of a man, seen from the rear
Pencil, Red chalk, White chalk on yellow paper. Ca. 1600
Anonymous
Half-lenght female figure, her hands raised up in prayer / half-length figure of a man, seen from the rear
Pencil, Red chalk, White chalk on yellow paper. Ca. 1600
Anonymous

Formerly placed as by a follower of Andrea del Sarto. [+]

Male nude seen from the rear
Red chalk on paper. Ca. 1600
Anonymous
Male nude seen from the rear
Red chalk on paper. Ca. 1600
Anonymous

Although feeble in handling, this is typical of the finished studies from the live nude model that were made in Florence around 1600, often in red chalk. [+]

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). [+]

Figures at a balcony
Pencil, Grey-brown ink, Wash on paper. Ca. 1600
Anonymous
Figures at a balcony
Pencil, Grey-brown ink, Wash on paper. Ca. 1600
Anonymous

This is a little reminiscent of the style of Giovanni Andrea Ansaldo (1584-1638). [+]

The Worship of the Golden Calf
Pencil ground, Grey wash, White lead on brown paper. Ca. 1600
Anonymous
The Worship of the Golden Calf
Pencil ground, Grey wash, White lead on brown paper. Ca. 1600
Anonymous

The composition of this drawing corresponds to the middle and lower sections of Tintoretto´s great canvas of The Worship of the Golden Calf, which hangs on the left-hand wall of the choir of the churc [+]

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