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Gaius Fabricius Luscinus Refusing Gifts from Pyrrhus
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on paper. XVI century
Anonymous
Gaius Fabricius Luscinus Refusing Gifts from Pyrrhus
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on paper. XVI century
Anonymous

This drawing is after the one of the scenes painted by Polidoro between the windows of second floor of the Palazzo Milesi, Rome. [+]

Frieze with Episodes from the Life of Mucius Scaevola
Pencil, Grey-brown ink, Wash on paper attached to canvas. Ca. 1600
Anonymous
Frieze with Episodes from the Life of Mucius Scaevola
Pencil, Grey-brown ink, Wash on paper attached to canvas. Ca. 1600
Anonymous

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 [+]

The Virgin, surrounded by angels, appearing to a Pope, a King and a Doge, in the Presence of Kings, Bishops, Monks and Nuns
Pencil, Pencil ground, Grey wash, Grey-brown ink, Grey-brown wash, White lead on paper. XVI century
Anonymous
The Virgin, surrounded by angels, appearing to a Pope, a King and a Doge, in the Presence of Kings, Bishops, Monks and Nuns
Pencil, Pencil ground, Grey wash, Grey-brown ink, Grey-brown wash, White lead on paper. XVI century
Anonymous

The composition, which I have been unable so far to identify, may have been taken from a print. The inventor of the design was evidently either Venetian or Veronese. [+]

Dead Christ, surrounded by the Instruments of the Passion, with God the Father and the Holy Spirit
Pencil, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous
Dead Christ, surrounded by the Instruments of the Passion, with God the Father and the Holy Spirit
Pencil, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous

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 [+]

Christ blessing a kneeling woman
Pencil, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous
Christ blessing a kneeling woman
Pencil, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous

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. [+]

Standing woman clothed in classical dress
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
Standing woman clothed in classical dress
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

[+]

Susannah and the Elders
Black chalk, Grey-brown wash, White lead on grey paper. 1650 - 1700
Anonymous
Susannah and the Elders
Black chalk, Grey-brown wash, White lead on grey paper. 1650 - 1700
Anonymous

Dibujo en el que se representa a Susana sentada en primer término junto a una fuente mientras rechaza a las figuras de ancianos que están a su espalda. Podría ser dibujo romano de la segunda mitad del [+]

Pharaoh´s daughter with two serving-maids, tending the infant Moses
Pencil, Grey-brown ink, White lead, Wash on brown paper. Late XVI century
Anonymous
Pharaoh´s daughter with two serving-maids, tending the infant Moses
Pencil, Grey-brown ink, White lead, Wash on brown paper. Late XVI century
Anonymous

The drawing, which seems little more than a copy, carries an old attibution to Antonio Vassilacchi, l´Aliense (1556-1629). The composition indeed seems Venetian. [+]

Woman kneeling, with a large urn in front of her [The Magdalen (?)]
Pencil, Grey-brown ink, White lead, Wash on tinted paper. XVI century
Anonymous
Woman kneeling, with a large urn in front of her [The Magdalen (?)]
Pencil, Grey-brown ink, White lead, Wash on tinted paper. XVI century
Anonymous

The figure appears to derive from the circle of the Florentine Mannierist, Francesco Salviati (c. 1520-c. 1575), rather than from the School of Raphael. Especially redolent of Salviati´s invention is [+]

The Crowning with Thorns
Pencil, Red chalk, Grey-brown wash on white paper. 1601 - 1625
Anonymous
The Crowning with Thorns
Pencil, Red chalk, Grey-brown wash on white paper. 1601 - 1625
Anonymous

El dibujo representa a Cristo sentado en el centro y a ambos lados dos sayones que le colocan la corona de espinas mientras que al fondo dos personajes asisten a la escena. No es aceptable la antigua [+]

God the Father, with the dove of the Trinity, appearing to the Virgin and Child, St. Anne, St. Jerome, and St. Andrew (?)
Pencil, Grey-brown ink, White lead, Wash on brown paper. Early Finales del siglo XVI - XVII century
Anonymous
God the Father, with the dove of the Trinity, appearing to the Virgin and Child, St. Anne, St. Jerome, and St. Andrew (?)
Pencil, Grey-brown ink, White lead, Wash on brown paper. Early Finales del siglo XVI - XVII century
Anonymous

Traditionally attributed to Palma Giovane. This seems however to be a feeble copy, perhaps based on a composition by the master, or a member of his studio. [+]

Saint Francis of Assisi in Ecstasy
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Second half of the XVII century
Anonymous
Saint Francis of Assisi in Ecstasy
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Second half of the XVII century
Anonymous

El santo es representado de más de medio cuerpo, sentado ante una cruz de madera con la mirada alzada y el libro y la calavera bajo su mano derecha. Seguramente sevillano recordando tipos y actitudes [+]

The Agony in the Garden
Black chalk, Pencil, Grey-brown wash on dark yellow paper. Mid-XVIIIcentury
Anonymous
The Agony in the Garden
Black chalk, Pencil, Grey-brown wash on dark yellow paper. Mid-XVIIIcentury
Anonymous

En el centro, arrodillado, Jesucristo en oración. A su izquierda, se acerca el ángel con el cáliz sobre una nube. Al fondo, los apóstoles dormidos y los guerreros guiados por Judas. (Texto extractado [+]

The Crucifixion
Pencil, Grey-brown wash on yellow paper. Early XVII century
Anonymous
The Crucifixion
Pencil, Grey-brown wash on yellow paper. Early XVII century
Anonymous

En el dibujo se representa a Cristo desnudo, sentado sobre la Cruz. Un sayón en primer término cava el suelo; otro barrena en uno de los brazos. A la derecha un grupo de soldados, a la izquierda las M [+]

A man and a woman seated within a threfoil, each holding an open book in their lap
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Early Finales del siglo XVI - XVII century
Anonymous
A man and a woman seated within a threfoil, each holding an open book in their lap
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Early Finales del siglo XVI - XVII century
Anonymous

[+]

The Assumption of the Virgin
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Last third of the XVII century
Anonymous
The Assumption of the Virgin
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Last third of the XVII century
Anonymous

En la parte superior, la Virgen, sentada sobre una nube es conducida al cielo por dos ángeles mancebos, entre vuelo de ángeles niños. En la parte inferior, los Apóstoles en torno al sepulcro vacio: un [+]

Niobe Receiving Offerings
Pencil, Grey-brown ink, Wash on paper. XVI century
Anonymous
Niobe Receiving Offerings
Pencil, Grey-brown ink, Wash on paper. XVI century
Anonymous

The figures occur in the center and right of the central scene from the Story of Niobe, formerly on the facade of the Palazzo Milesi, Rome. The decorative pen-and-wash technique and Salviatesque style [+]

Adoration of the Shepherds
Pencil, Grey ink, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
Adoration of the Shepherds
Pencil, Grey ink, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

Connected by the Suidas with the composition of Cambiaso´s upright painting of the subject in the Cappella Lercari in the Duomo of S. Lorenzo, Genoa. The style is, however, a little reminiscent of tha [+]

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