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Formerly placed as by a follower of Andrea del Sarto. [+]
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 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 [+]
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 [+]
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. [+]
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 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 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). [+]
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 [+]
This is a little reminiscent of the style of Giovanni Andrea Ansaldo (1584-1638). [+]
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 [+]
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 [+]
This fine drawing seems to show some Emilian traits of style. Alternatively, it may be Marchigian, around Lilio (c. 1570-1635). [+]
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 [+]
Busto de Cristo mayor que el natural, con la cabeza vuelta hacia la derecha del espectador y los ojos bajos. El rostro tiene forma oval, con labios muy finos, barba partida y cabello largo y rizado qu [+]
A vessel made up of three pieces of rock crystal and three enamelled gold mounts. The body is formed by a boat-shaped piece with a figurehead on the prow consisting of a mask with pointed ears and ram [+]
This case takes the form of the vessel for which it was made, a Fluted goblet with a tall stem and rubies (O20). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made ca [+]
This case takes the form of the vessel for which it was made, a Jasper helmet-shaped ewer (O18). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match t [+]
