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Judith offering the Head of Holofernes
Oil on panel. 1636
Bray, Salomon de
Judith offering the Head of Holofernes
Oil on panel. 1636
Bray, Salomon de

This painting entered the Prado as an original by Philips de Koninck (1619-1688), though in the 1873 catalogue it is attributed to Salomon Koninck (1609-1656). Adecade later, in the 1885 edition, Bredius ascribes it to Pieter Fransz. de Grebber (1595/1605-1652/53), an attribution that is accepted by the Prado, albeit with reservations, as of the 1933 catalogue, where the previous title, Portraits

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

En pie, sobre el creciente de la luna, con las manos juntas y la cabeza ligeramente vuelta a la derecha. Tres ángeles niños le acompañan con la palma, el cetro y el espejo, símbolos de la letanía mariana. Según Pérez Sánchez (1972), dibujo típicamente madrileño del siglo XVII. Su semejanza con otros dibujos seguros de Pedro Ruíz González permiten atribuírselo con algunas reservas. Atribución que r

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).

Apollo Shooting Arrows at the Children of Niobe
Pencil, Grey ink, Wash on blue paper. XVIII century
Anonymous
Apollo Shooting Arrows at the Children of Niobe
Pencil, Grey ink, Wash on blue paper. XVIII century
Anonymous

As J.A. Gere pointed out in 1981 (pencil note on the modern museum mount), the composition is taken from Polidoro´s facade decoration of the Palazzo Milesi, Rome. Judging from the style, the copyist was eighteenth century, which might imply he used an engraving or another drawing after Polidoro as his model, rather than the painted facade itself.

Saint Roch in Glory
Grey ink, White lead, Wash on blue paper. Late XVI century
Anonymous
Saint Roch in Glory
Grey ink, White lead, Wash on blue paper. Late XVI century
Anonymous

This good copy, probably datable from the late sixteenth century, is after Tintoretto´s fresco in the Sala dell´Albergo, the Scuola Grande di San Rocco, Venice.

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.

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
Pencil, Black ink, Blue wash on dark yellow laid paper. 1667
Ruiz González, Pedro
The Baptism of Christ
Pencil, Black ink, Blue wash on dark yellow laid paper. 1667
Ruiz González, Pedro

Jesús, semiarrodillado en una piedra, aguarda el bautismo. San Juan agachado recoge el agua del río Jordán. Dos ángeles, tras Jesús, sostienen sus vestiduras; otros a la derecha dialogan. En el cielo Dios Padre, el Espíritu Santo y ángeles. Fondo de paisaje con un puente y bañistas.La figura del bautista se inspira en alguna estampa del Azzolino clásico. La composición entera, muy característica d

The Triumph of David
Black chalk, Grey-brown wash, White lead on blue paper. 1688
Anonymous
The Triumph of David
Black chalk, Grey-brown wash, White lead on blue paper. 1688
Anonymous

Dibujo que presenta en primer termino a David en pie, con la espada y la honda en el brazo derecho y apoyado el izquierdo sobre la cabeza de Goliath que yace sobre un ara; en ella dos angelitos suenan el arpa y en la parte baja las armas del gigante. Al fondo, otro amorcillo señala por la ventana la escena de la muerte de Goliath y otro vuela llevando una palma y una corona de laurel (Texto extrac

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

En la escena se presenta, a la izquierda, ante el portal, a la Virgen sentada con el Niño en pie en sus rodillas. Tras ella San José acodado y con la cabeza apoyada en el brazo. Melchor, arrodillado, besa el pie del Niño. Tras él, dos siervos abren un cofre, y los dos Reyes, un soldado y los camellos del séquito, aguardan. (Texto extractado de Pérez Sánchez, A. E., Catálogo de dibujos. I. Dibujos

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).

The Youthful St. John the Baptist
Pencil, Grey-brown ink, White lead, Wash on blue paper. XVIII century
Anonymous
The Youthful St. John the Baptist
Pencil, Grey-brown ink, White lead, Wash on blue paper. XVIII century
Anonymous

This is clearly a pastiche in the manner of Parmigianino, apparently by an eighteen-century hand, after a prototype that remains to be identified.

Penitent Magdalen
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on blue paper. Early Finales del siglo XVI - XVII century
Anonymous
Penitent Magdalen
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on blue paper. Early Finales del siglo XVI - XVII century
Anonymous

Design for ornament in the form of a winged lionness
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on blue paper. XVI century
Cambiaso, Luca
Design for ornament in the form of a winged lionness
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on blue paper. XVI century
Cambiaso, Luca

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

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.

Saint Genesius, the Comedian, before Diocletian
Pencil ground, Grey-brown ink, Wash on blue paper. Late XVI century
Pozzo, Giovanni Battista
Saint Genesius, the Comedian, before Diocletian
Pencil ground, Grey-brown ink, Wash on blue paper. Late XVI century
Pozzo, Giovanni Battista

Rhoda Eitel-Porter has kindly confirmed that this drawing is indeed by Pozzo and connected with the artist´s share of the decoration of the Peretti Chapel in S. Susanna, Rome. The chapel is dedicated to St. Laurence, and Pozzo, a little-known painter from Valsolda (Milan), decorated it with scenes from the lives of Saints Eleutherius and Genesius, shortly before his premature death. The altarpiece

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