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The Immaculate Conception
Pencil, Blue wash on yellow laid paper. XVII century
Anonymous
The Immaculate Conception
Pencil, Blue wash on yellow laid paper. XVII century
Anonymous

The figure is depicted standing on the crescent moon with her hands together and her head slightly raised to the right of the drawing. Three cherubim accompany her and hold the palm branch, the sceptre and the mirror, symbols of the Marian litany. According to Pérez Sánchez (1972), the drawing is typical of 17th-century Madrid. Its resemblance to other confirmed drawings by Pedro Rui

The Martyrdom of Saint Stephen
Black chalk, Pencil, Grey-brown ink, Blue wash on yellow paper. XVII century
Zanchi, Antonio
The Martyrdom of Saint Stephen
Black chalk, Pencil, Grey-brown ink, Blue wash on yellow paper. XVII century
Zanchi, Antonio

Dibujo en el que se representa en el centro, arrodillado, el Santo rodeado de los sayones que le arrojan piedras. Mientras que en la parte superior es representada la Trinidad (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p.167).

Military ruler seated on a throne, listening to the pleas of a man standing before a counsel
Pencil ground, Blue ink, Wash on paper. Late XVI century
Anonymous
Military ruler seated on a throne, listening to the pleas of a man standing before a counsel
Pencil ground, Blue ink, Wash on paper. Late XVI century
Anonymous

The drawing may be Napolitan, by an artist in the orbit of Belisario Corenzio (active 1590-1646), though this is no more than a guess. The dramatic, light blue-grey wash reminded Paul Joannides of the drawings of the French painter, etcher and draftsman Jacques Bellange (c. 1575-1616).

Horse Leaping
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash, Blue wash on yellow paper. XVII century
Anonymous
Horse Leaping
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash, Blue wash on yellow paper. XVII century
Anonymous

The composition is based on one of the prints in Tempesta´s Serie dei cavalli. The print in question is the fifteenth in the series.

Jupiter and Semele
Pencil, Pencil ground, Grey-brown ink, Blue wash on paper. XVI century
Anonymous
Jupiter and Semele
Pencil, Pencil ground, Grey-brown ink, Blue wash on paper. XVI century
Anonymous

Flight into Egypt
Pencil, Grey-brown ink, Blue wash on yellow paper. XVII century
Anonymous
Flight into Egypt
Pencil, Grey-brown ink, Blue wash on yellow paper. XVII century
Anonymous

As a Pouncey observed (note on the mount), this is a copy after Camillo Procaccini.

The Baptism of Christ / Sketches of angels and their features
Pencil, Black ink, Blue wash on dark yellow laid paper. 1667
Ruiz González, Pedro
The Baptism of Christ / Sketches of angels and their features
Pencil, Black ink, Blue wash on dark yellow laid paper. 1667
Ruiz González, Pedro

Jesus, half-kneeling on a stone, awaits his baptism. Saint John bends down to collect water from the river Jordan. Two angels hold Jesus’s garments behind him. Meanwhile, other angels on the right are represented in dialogue. God the Father is in the sky alongside the Holy Spirit and some angels. In the background, there is a landscape with a bridge and bathers. The figure of Saint John the Baptis

Moses Closing the Waters of the Red Sea over Pharaoh's Hosts
Pencil, Grey-brown ink, Blue wash on blue paper. XVI century
Anonymous
Moses Closing the Waters of the Red Sea over Pharaoh's Hosts
Pencil, Grey-brown ink, Blue wash on blue paper. XVI century
Anonymous

The composition by Polidoro da Caravaggio is known from a number of drawn copies (Ravelli, 1978, pp. 224-225, nos. 273-277). Like the subject of the following drawing, Moses Closing the Waters of the Red Sea over Pharaoh´s Hosts is thought to reflect one of the scenes from a cycle of paintings of biblical stories that the artist carried out for a chapel in S. Eustachio, Rome (Ravelli, 1978,

The Adoration of the Magi
Pencil, Grey-brown wash, Blue wash on yellow laid paper. 1689
Gazul, Agustín
The Adoration of the Magi
Pencil, Grey-brown wash, Blue wash on yellow laid paper. 1689
Gazul, Agustín

To the left and in front of the stable, the scene depicts the Virgin seated with the Christ Child standing on her knees. Behind her, Saint Joseph is bending his elbows with his head in his arms. Melchior, kneeling, kisses the feet of the Child. Behind him, two servants open a chest while the two other kings, a soldier, and the camels of the retinue wait to see what will happen.

Three Figures from a Composition of The Gathering of the Manna
Pencil, Grey-brown ink, Blue wash on yellow paper. XVI century
Anonymous
Three Figures from a Composition of The Gathering of the Manna
Pencil, Grey-brown ink, Blue wash on yellow paper. XVI century
Anonymous

The figures of a woman with a basket on her head, a young man with a large amphora and a youth holding a basket to his side are found on the left of a composition by Polidoro da Caravaggio of The Gathering of the Manna, sometimes thought to be one of a cycle of biblical scenes that once decorated a chapel in S. Eustachio, Rome (Ravelli, 1978, pp. 227-234).

Saint Dominic de la Calzada
Pencil, Pencil ground, Blue wash on yellow laid paper. Second half of the XVII century
Anonymous
Saint Dominic de la Calzada
Pencil, Pencil ground, Blue wash on yellow laid paper. Second half of the XVII century
Anonymous

In the foreground of the composition, there is a tomb from which a man in chains rises. The event terrifies a female figure. In front of the tomb are a rooster, two hens and a dog. In the background there is the architectural structure of a church, of which we can see the upper façade and bell gable. The figure of Saint Dominic appears in the celestial plane with an abbot’s habit and a staf

Parable of the wise and foolish virgins
Pencil, Grey-brown ink, Blue wash on yellow paper. XVI century
India, Bernardino (Attributed To)
Parable of the wise and foolish virgins
Pencil, Grey-brown ink, Blue wash on yellow paper. XVI century
India, Bernardino (Attributed To)

The drawing carries an old attribution to Poccetti (1548-1612). There is much in the delicate rendering of the figures, especially in their facial type and coiffure , to suggest the hand of Bernardino India.

Saint Andrew / Sketches of naked figures
Pencil ground, Ink, Blue wash on dark yellow paper. XVII century
Anonymous
Saint Andrew / Sketches of naked figures
Pencil ground, Ink, Blue wash on dark yellow paper. XVII century
Anonymous

This drawing is a copy of a well-known print by Golzio, which has been copied countless times.On the verso, there is a series of sketches of naked figures. As stated in the note, it is likely a work from Madrid. It does not appear recorded in the Lefort catalogue of 1869. Nevertheless, it should be noted that number 367 lists: plusieurs dessins non catalogués (several uncatalogued drawings)

Tabernacle for the cathedral of Oviedo
Pencil, Pencil ground, Grey ink, Black ink, Grey-brown ink, Red ink, Blue ink, Pink ink, Wash on laid paper. 1863 - 1869
Madrazo y Kuntz, Juan de
Tabernacle for the cathedral of Oviedo
Pencil, Pencil ground, Grey ink, Black ink, Grey-brown ink, Red ink, Blue ink, Pink ink, Wash on laid paper. 1863 - 1869
Madrazo y Kuntz, Juan de

The cathedral of Oviedo, in the nineteenth century, undergoes the reform of the main chapel completed with the installation of the new altar and tabernacle in 1869, created by the architect Juan de Madrazo and Kuntz. In 1866, Madrazo began to project the altar and tabernacle. Finally, it is in the year 1868, after having been transferred all the pieces that composed the altar and tabernacle, when

Male Portrait
Ca. 1800
Anonymous
Male Portrait
Ca. 1800
Anonymous

Este retrato responde a las características de las miniaturas españolas pintadas en los últimos años del reinado de Carlos IV, con una representación realista alejada del idealismo que impusieron Jean Bauzil y los pintores llegados a la corte desde París. Los miniaturistas españoles no fueron partidarios de las ambientaciones interiores ni de destacar a sus modelos ante paisajes o colores claros,

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