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In spite of the optimism about the drawing´s authorship expressed by one of its earlier owners, this is surely a copy after a sixteenth-century Venetian composition, which I have not yet identified. T [+]
This drawing is after the one of the scenes painted by Polidoro between the windows of second floor of the Palazzo Milesi, Rome. [+]
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 [+]
Although the line work of the drawing has the appearance of being sixteenth century, it is indeed hard to see lay-lines in the paper. since there are no old inscriptions on the drawing itself, nor any [+]
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. [+]
Although clearly not from the hand of Nicolò dell´Abate (1509 or 1512-1571), the composition reflected by this drawing seems Emilian, and there are slight echoes of the style of the Parmese Jac [+]
Dibujo de mano de imitador de Guercino del s. XVIII, del que se conservan numerosos (véase D00788) apuntes repartidos en las mas importantes colecciones europeas y americanas, como originales del arti [+]
Allegorical Female from a Fresco in the Sala Constantino in the Vatican. [+]
This is a sixteenth-century copy after Parmigianino’s fresco of Moses in the Steccata at Parma [+]
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Apparently Italian [+]
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 [+]
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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 [+]
In spite of the pentiment in the area of the angel´s upper right arm, the handling of this drawing is poor and is evidently by a minor artist, possibly copying a figure from the work of a master. [+]
Although the present composition is ultimately dependent in origin on Albrecht Dürer´s great woodcut of the Trinity, a Florentine interpretation of the design is evident in the conception of the [+]
Paul Joannides has suggested that a corresponding figure may appear in Salviati´s fresco decoration in the Sala dell´Udienza, the Palazzo Vecchio, Florence. The man has three faces and three animal ma [+]
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