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Chastity
Pencil, Grey wash, Grey-brown wash on yellow laid paper. 1787
Paret y Alcázar, Luis
Chastity
Pencil, Grey wash, Grey-brown wash on yellow laid paper. 1787
Paret y Alcázar, Luis

Se trata de un dibujo preparatorio para la pintura al temple que decora una de las pechinas de la Capilla de San Juan del Ramo, en la Iglesia de Santa María de Viana (Navarra) en las que Paret trabajó [+]

Pandora (?)
Pencil, Grey-brown wash on laid paper. Second half of the XVIII century
Paret y Alcázar, Luis
Pandora (?)
Pencil, Grey-brown wash on laid paper. Second half of the XVIII century
Paret y Alcázar, Luis

La composición del dibujo se enmarca en un óvalo. En él se representa en pie a Pandora, apoyada en una caja de forma de urna con la llave en la mano derecha, con la cabeza doblada, pensativa, sobre la [+]

St. John the Evangelist
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Bellini, Filippo (Attributed To)
St. John the Evangelist
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Bellini, Filippo (Attributed To)

Formerly classified as anonymous Italian. The style brings to mind some aspects of Bellini´s pen-and-wash drawings, especially the large, almost grotesque hands with stubby fingers-with only three on [+]

Saint Agnes
Red chalk on dark yellow paper. 1650 - 1660
Guercino (Giovanni Francesco Barbieri)
Saint Agnes
Red chalk on dark yellow paper. 1650 - 1660
Guercino (Giovanni Francesco Barbieri)

This drawing, formerly in the Spanish Royal Collection, was recognised as an autograph work by Guercino by Manuela Mena Marqués. The suggested date for it is around the 1650-60, when Guercino h [+]

Huntsman on Horseback Chasing a Stag in a Wood, Watched by a Maiden
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Second third of the XVI century
Il Bergamasco
Huntsman on Horseback Chasing a Stag in a Wood, Watched by a Maiden
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Second third of the XVI century
Il Bergamasco

The traditional attribution to Castello, which appears in an old inscription on the reverse of the mount, needs to be taken seriously. Not only is the pen work reminiscent of Castello´s handling of th [+]

God the Father with Angels Appearing among Clouds
Pencil ground, Grey-brown ink, White lead, Wash on green paper. Second half of the XVI century
Farinati, Paolo
God the Father with Angels Appearing among Clouds
Pencil ground, Grey-brown ink, White lead, Wash on green paper. Second half of the XVI century
Farinati, Paolo

Farinati was one of the most prolific draftsmen active in Verona in the second half of the sixteenth century. His pictorial approach to drawing -many of his studies are carried out largely with the br [+]

Saint John the Baptist
Black chalk, Pencil, Red chalk, Grey-brown wash on dark yellow paper. XVII century
Tiarini, Alessandro
Saint John the Baptist
Black chalk, Pencil, Red chalk, Grey-brown wash on dark yellow paper. XVII century
Tiarini, Alessandro

Dibujo en el que se presenta San Juan Bautista de frente, con las manos juntas y la pierna derecha doblada y apoyada en una roca; en otra, el cordero dormido y en la parte superior Dios Padre (Texto e [+]

August and the sybil
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
India, Bernardino
August and the sybil
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
India, Bernardino

Traditionally attributed to Nicolò dell´Abate (c. 1512-1571). In the elegantly classical arrangement of the composition, the drawing shows knowledge of the work of Giuseppe Porta, called Salvia [+]

The Virgin Appears to Saint Felix of Cantalice
Pencil, Grey-brown wash on yellow laid paper. 1653 - 1657
Cano, Alonso
The Virgin Appears to Saint Felix of Cantalice
Pencil, Grey-brown wash on yellow laid paper. 1653 - 1657
Cano, Alonso

La Virgen se encuentra sentada sobre unas nubes, en la parte superior derecha, y el Niño se aleja de su madre para dirigirse hacia San Félix, cuyos brazos abiertos esperan al pequeño que ha sido confi [+]

Winged angels seated on clouds
Pencil, Pencil ground, Grey ink, Grey-brown ink, Wash on brown paper. XVI century
Anonymous (Circle Of India, Bernardino)
Winged angels seated on clouds
Pencil, Pencil ground, Grey ink, Grey-brown ink, Wash on brown paper. XVI century
Anonymous (Circle Of India, Bernardino)

The old attribution CORREGIO, in which both Brun (?) and Fernández Durán may have believed, is not correct. The drawing displays some stylistic traits associable with Bernardino India, t [+]

Architectural Elevation of an Interior, with Two Clerestory Windows and Part of a Vaulted Ceiling, Putti Supporting Swags of Fruit and Effigies of St. Michael and the Annunciate Virgin
Pencil, Grey-brown ink, Grey-brown wash, White lead, Yellow wash on paper. Second half of the XVI century
Vecchi, Giovanni de
Architectural Elevation of an Interior, with Two Clerestory Windows and Part of a Vaulted Ceiling, Putti Supporting Swags of Fruit and Effigies of St. Michael and the Annunciate Virgin
Pencil, Grey-brown ink, Grey-brown wash, White lead, Yellow wash on paper. Second half of the XVI century
Vecchi, Giovanni de

This is an entirely characteristic work of Giovanni de´ Vecchi. The two imprese, in the panel´s lower center, which might otherwise provide evidence as to the church decoration here designed, are alas [+]

St. Margaret
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. Early Finales del siglo XVI - XVII century
Anonymous (Circle Of Villamena, Francesco)
St. Margaret
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. Early Finales del siglo XVI - XVII century
Anonymous (Circle Of Villamena, Francesco)

In spite of the traditional attribution to Lorenzo Sabbatini (ca. 1530-1576), this drawing appears to be by Villena as other drawings, though it lacks and old inscription giving it to Villamena. [+]

Cristo muerto, sostenido por las Marías
Pencil ground, Grey-brown wash on dark yellow paper. XVII century
Anonymous
Cristo muerto, sostenido por las Marías
Pencil ground, Grey-brown wash on dark yellow paper. XVII century
Anonymous

La Virgen desmayada es sostenida por San Juan, mientras la Magdalena (?), sujeta el cuerpo de Cristo, apoyado en el regazo de María. A la derecha las Marías restantes, sollozando.A pesar de la vieja a [+]

Presentation in the Temple
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Early Segunda mitad del siglo XVI - XVII century
Poccetti, Bernardino Barbatelli (Attributed To)
Presentation in the Temple
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Early Segunda mitad del siglo XVI - XVII century
Poccetti, Bernardino Barbatelli (Attributed To)

Florian Harb (2004), was the first to make the convincing suggestion, on stylistic grounds, that this drawing could be by Poccetti. [+]

Two winged putti supporting an escutcheon on top of a cornice
Pencil, Grey-brown ink, White lead, Wash on blue paper. XVI century
Garofalo (Attributed To)
Two winged putti supporting an escutcheon on top of a cornice
Pencil, Grey-brown ink, White lead, Wash on blue paper. XVI century
Garofalo (Attributed To)

It looks like an artist from central Italy between the mid to late 16th century. [+]

Pietà
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Mid-XVIcentury
Zuccaro, Taddeo
Pietà
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Mid-XVIcentury
Zuccaro, Taddeo

Since this drawing was believed in the past to be a work of Michelangelo (1475-1564), it was clearly much revered by at least two of its previous owners, Céan Bermudez adn Brun (?), in spite of [+]

Allegorical Female from a Fresco in the Sala Constantino in the Vatican
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on paper. XVI century
Anonymous (Copy Romano, Giulio (Giovanni Francesco Penni))
Allegorical Female from a Fresco in the Sala Constantino in the Vatican
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on paper. XVI century
Anonymous (Copy Romano, Giulio (Giovanni Francesco Penni))

Allegorical Female from a Fresco in the Sala Constantino in the Vatican. [+]

Moses about to Break the Tablets of the Law
Pencil, Grey-brown ink, Wash on brown paper. XVI century
Anonymous (Copy After Parmigianino. Girolamo Francesco Maria Mazzola)
Moses about to Break the Tablets of the Law
Pencil, Grey-brown ink, Wash on brown paper. XVI century
Anonymous (Copy After Parmigianino. Girolamo Francesco Maria Mazzola)

This is a sixteenth-century copy after Parmigianino’s fresco of Moses in the Steccata at Parma [+]

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