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Saint Sebastian
Red chalk on laid paper. XVIII century
Anonymous
Saint Sebastian
Red chalk on laid paper. XVIII century
Anonymous

It is an 18th-century copy of one of the canvases in Ribera’s oeuvre, Saint Sebastian cured by the Saintly Women (1621) in the Museo de Bellas Artes in Bilbao. The painting belonged to the Marquess of Leganés and was preserved in the chapterhouse of El Escorial from 1657 to 1809, the year that Bonaparte gave it to Marshal Soult.

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

Nude Male Figure in Profile / Saint Sebastian (?)
Red chalk on yellow laid paper. XVII century
Anonymous
Nude Male Figure in Profile / Saint Sebastian (?)
Red chalk on yellow laid paper. XVII century
Anonymous

The drawing depicts a naked man in profile. He is tied to a trunk with one knee on the ground and his arms raised.On the verso, there is another study that was drawn with a thick pen and ink wash for another figure in the same pose. This drawing clearly depicts Saint Sebastian.The drawing is difficult to classify; likely, it could even be Italian.

And still they don't go!
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous
And still they don't go!
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous

Este dibujo se incluye en el conjunto de 77 copias de los Caprichos de Goya de autor anónimo los cuales, sin aparente relación con la obra de Martín Rico, sin embargo han formado parte de su colección desde la segunda mitad del siglo XIX. Conforman un destacado ejemplo del interés que suscitó la obra de Goya desde su publicación y de la fama que alcanzaron los Caprichos, motivando la realización d

Allegory of Dawn
Black chalk, Touches of red chalk on yellow laid paper. Second half of the XVII century
Anonymous
Allegory of Dawn
Black chalk, Touches of red chalk on yellow laid paper. Second half of the XVII century
Anonymous

En el dibujo aparece representada una figura femenina alegórica, volando hacia la derecha, acompañada de genios infantiles y precedida de un ave, seguramente un gallo, derramando flores sobre la tierra.Obra madrileña de la segunda mitad del siglo XVII, en relación con el estilo de Coello. Probablemente preparatorio para alguno de los techos y bóvedas del Alcázar o el Palacio del Buen Retiro. (Text

The Visitation
Pencil, Grey-brown wash on yellow laid paper. XVII century
Anonymous
The Visitation
Pencil, Grey-brown wash on yellow laid paper. XVII century
Anonymous

In front of an architectural background, the Virgin and Saint Elizabeth hold out their hands towards each other while Zechariah, in the shadow of the door situated on the right, and Saint Joseph, on the left, gaze at them. Saint Joseph holds in his hand a travelling hat: this narrative detail possibly follows the post-Tridentine requirement for a relevant and historically accurate feature in relig

Apostles (?)
Pencil on yellow laid paper. XVII century
Anonymous
Apostles (?)
Pencil on yellow laid paper. XVII century
Anonymous

On the left, Saint Paul is depicted standing with a large sword. He is sketched in a narrow frame, as a figure in the central part of an altarpiece. On the right, a standing figure is walking with open arms and his gaze lowered and is wearing a swirling cloak and tunic. Its style somewhat recalls the work of Alonso Cano.

No one has seen us
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous
No one has seen us
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous

Este dibujo se incluye en el conjunto de 77 copias de los Caprichos de Goya de autor anónimo los cuales, sin aparente relación con la obra de Martín Rico, sin embargo han formado parte de su colección desde la segunda mitad del siglo XIX. Conforman un destacado ejemplo del interés que suscitó la obra de Goya desde su publicación y de la fama que alcanzaron los Caprichos, motivando la realización d

Apostle (?)
Black chalk, Red chalk, White chalk on grey laid paper. Second half of the XVII century
Anonymous
Apostle (?)
Black chalk, Red chalk, White chalk on grey laid paper. Second half of the XVII century
Anonymous

The figure is standing wrapped in a large cloak, almost in profile to the right of the drawing with his head raised. The work was made in Madrid between 1650–1700. However, the attribution to Rizi that the drawing exhibits does not seem entirely convincing.

The Sacrifice of Isaac
Pencil, Chalk ground, Grey-brown wash on yellow laid paper. Second half of the XVII century
Anonymous
The Sacrifice of Isaac
Pencil, Chalk ground, Grey-brown wash on yellow laid paper. Second half of the XVII century
Anonymous

Standing to the left, Abraham is depicted with a knife in his right hand. He is stopped by the angel who appears flying above the altar on which Isaac lies blindfolded on logs. This drawing is set in a landscape background. The work dates from the second half of the century. It suggests Italian influence and may have been executed by an Aragonese or Valencian artist.

Two Child Angels
Black chalk, Red chalk on laid paper. Late XVII century
Anonymous
Two Child Angels
Black chalk, Red chalk on laid paper. Late XVII century
Anonymous

This drawing was pasted on the verso of The Immaculate Conception by Claudio Coello (D000117). Nevertheless, it cannot be considered to have been by his hand, let alone by Murillo’s, as previously acknowledged by Sánchez Cantón with some reservations. It is a work made in Madrid at the end of the 17th century.

Saint Ambrose in his Cradle (?)
Pencil ground, Ink, Grey-brown wash on laid paper. Ca. 1673
Anonymous
Saint Ambrose in his Cradle (?)
Pencil ground, Ink, Grey-brown wash on laid paper. Ca. 1673
Anonymous

The drawing is associated with the painting The Miracle of the Bees (Museo de Bellas Artes in Seville), which opens the series devoted to the Life of Saint Ambrose, painted by Juan Valdés Leal around 1673. The scene takes place when Saint Ambrose was a baby and focuses on a tense moment in which the governess is frightened and is about to scare away the bees that are approaching the child’s

The Virgin Annunciate (?) / The Temptations of Saint Anthony the Abbot (?)
Pencil, Ink on yellow laid paper. Late XVI century
Anonymous
The Virgin Annunciate (?) / The Temptations of Saint Anthony the Abbot (?)
Pencil, Ink on yellow laid paper. Late XVI century
Anonymous

The Virgin is depicted seated next to a lectern with a book on which she rests her left hand. She turns her body to one side and extends her right arm in a gesture of surprise.The attribution to ‘Carducci’ cannot be understood as having been to Vicente Carducho, whose style was markedly different from what this particular drawing demonstrates. If the attribution refers to Bartolomé Carducci

The Earthly Trinity
Black chalk on yellow laid paper. Ca. 1650
Anonymous
The Earthly Trinity
Black chalk on yellow laid paper. Ca. 1650
Anonymous

The Christ Child faces forward between the Virgin and Saint Joseph, who are both holding his hands. God the Father and the Holy Spirit are in the sky. It is an excellent work in the Madrid style with a technique similar to that of certain drawings by Carreño. However, the figures are inspired by those of Alonso Cano. An artist close in style to Escalante comes to mind when considering its a

Might not the pupil know more?
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous
Might not the pupil know more?
Pencil, Pencil, Indian ink, Grey ink, Iron gall ink, Wash on laid paper. Mid-XIXcentury
Anonymous

Este dibujo se incluye en el conjunto de 77 copias de los Caprichos de Goya de autor anónimo los cuales, sin aparente relación con la obra de Martín Rico, sin embargo han formado parte de su colección desde la segunda mitad del siglo XIX. Conforman un destacado ejemplo del interés que suscitó la obra de Goya desde su publicación y de la fama que alcanzaron los Caprichos, motivando la realización d

Saint John the Baptist
Pencil, Grey-brown ink, Grey-brown wash on laid paper. XVI century
Anonymous
Saint John the Baptist
Pencil, Grey-brown ink, Grey-brown wash on laid paper. XVI century
Anonymous

Self-portrait of Louise-Elisabeth Vigée-Le Brun with a hat
Pencil, Red chalk, Squared-up on laid paper. XVIII century
Anonymous
Self-portrait of Louise-Elisabeth Vigée-Le Brun with a hat
Pencil, Red chalk, Squared-up on laid paper. XVIII century
Anonymous

El dibujo para grabar se corresponde fielmente con el autorretrato de Louise-Elisabeth Vigée-Lebrun, cuya copia se conserva en la National Gallery de Londres. El original se expuso en 1782 en el Salon de la Correspondance de París. El dibujo, realizado a sanguina y cuadriculado, obedece a la tipología de dibujo para grabar, en la que se reporduce el contorno de la figura que luego se transfiere a

Decapitation of a Saint Interrupted by a Prodigy
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Second half of the XVII century
Anonymous
Decapitation of a Saint Interrupted by a Prodigy
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. Second half of the XVII century
Anonymous

In the centre of the composition, the saint is depicted kneeling in profile towards the right. His hands are tied behind his back, and his head is bowed and crowned with rays of light. Behind him, the terrified executioner appears screaming in terror, with his sword having fallen on the ground and his left arm raised. The onlookers are shocked. In the background to the left, a horse rears up. The

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