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Marianne of Austria, Queen of Spain
Oil on canvas. Second half of the XVII century
Anonymous
Marianne of Austria, Queen of Spain
Oil on canvas. Second half of the XVII century
Anonymous

Marianne of Austria (1634–1696) was the daughter of the Holy Roman Emperor Ferdinand III of Austria and his wife Maria. When she was 15 years old, she was betrothed in 1649, to her uncle King of Spain [+]

The Birth of the Virgin
Pencil, Grey-brown ink on yellow paper. XVI century
Anonymous
The Birth of the Virgin
Pencil, Grey-brown ink on yellow paper. XVI century
Anonymous

The composition shows knowledge of the composition of the subject by Andrea del Sarto (1486-1530) in the Chiostrino dei Voti, SS. Annunziata, Florence, but the pen-work does not necessarily indicate t [+]

Bearded man, three quarter lenght
Pencil, Grey-brown ink on paper. Ca. 1600
Anonymous
Bearded man, three quarter lenght
Pencil, Grey-brown ink on paper. Ca. 1600
Anonymous

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 [+]

The Assumption of the Virgin
Chalk ground, Reed pen on yellow paper. XVII century
Anonymous
The Assumption of the Virgin
Chalk ground, Reed pen on yellow paper. XVII century
Anonymous

La Virgen semiarrodillada en una nube que sostiene cuatro ángeles mancebos, abre los brazos y alza la cabeza hacia el Padre Eterno, que aparece con los brazos abiertos en el ángulo superior derecho. A [+]

Bearded Man Wearing a Long Cloak
Pencil, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
Bearded Man Wearing a Long Cloak
Pencil, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

There are old attributions on the reverse of the mount to Parmigianino (1503-1540) and Nicolò dell´Abate (1509/12-1571). However, the elongated figure and the flowing pen work point in the dire [+]

Samson slaying the philistine with the jawbone of the ass
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
Samson slaying the philistine with the jawbone of the ass
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

The drawing is laid down onto the same type of eighteenth-century Italian backing, decorated with a ruled, pen-and-ink border, as St. John the Evangelist (D01881) and Sibyl (?)(D01919). Several other [+]

Cavalry Battle
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
Cavalry Battle
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

Another studio version of the composition, also in pen and wash, is in the Albertina, Vienna (inv. no. 2765). Yet another, lacking the addition of wash but perhaps by Cambiaso himself, is in the Minne [+]

St. Benedict enthroned, accompanied by St. John the Baptist and St, Luke and a monk
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
St. Benedict enthroned, accompanied by St. John the Baptist and St, Luke and a monk
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

This drawing is connected with Cambiaso´s altarpiece of St. Benedict enthroned between Saints John the Baptist and Luke, commissioned by Luca Spinola in 1562 for the family chapel in the now demolishe [+]

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

This is a good drawing and is evidently by one of the master´s more talented followers. The suggestion of light and shade is successfully achieved and the rapid handing of the pen and wash is pleasing [+]

Frieze with Centaurs Fighting Horseman and Warriors
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
Frieze with Centaurs Fighting Horseman and Warriors
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

The composition appears to be copied from an Antique frieze, as the limbs of some of the figures are abruptly terminated, as if to show the breaks in a piece of ancient sculpture, for example the righ [+]

Nude warrior, seen from the rear
Pencil, Grey-brown ink on yellow paper. XVI century
Anonymous
Nude warrior, seen from the rear
Pencil, Grey-brown ink on yellow paper. XVI century
Anonymous

This drawing seems to reflect the sort of diagrammatic pen drawing of human anatomy that Michelangelo sometimes made at the beginning of his career, while the general conception of the figure recalls [+]

Studies of Heads
Pencil, Grey ink on brown paper. Early XVI century
Anonymous
Studies of Heads
Pencil, Grey ink on brown paper. Early XVI century
Anonymous

In a note on the modern museum matte, Sylvie Béguin suggested that the drawing could be after Parmigianino (1980). The types are indeed Parmigianinesque but they may instead reflect the work of [+]

Christ kneeling on the Cross
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
Christ kneeling on the Cross
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

It is hard for the viewer to make out the cross lying on the ground, its from only loosely indicated in brush and wash and the contours not picket out in pen and ink. Cambiaso´s own drawing of the com [+]

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 [+]

The Virgin and Child with Sts. Catherine, Agatha, Paul and a bishop saint
Pencil, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous
The Virgin and Child with Sts. Catherine, Agatha, Paul and a bishop saint
Pencil, Grey-brown ink, Wash on yellow paper. Ca. 1600
Anonymous

The monotonous pen-work indicates this is a copy. The arrangement of the figures and the somber lighting suggest that the prototype may have been a composition by a late sixteenth-century Roman artist [+]

The triumph of Galatea
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
The triumph of Galatea
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

Another closely corresponding School version of this drawing, also in pen and ink, but showing the composition in reverse and with some small differences in detail, is in the Accademia, Venice (inv. n [+]

Nude youth, seen from the rear, wielding a club
Pencil, Grey-brown ink on yellow paper. XVI century
Anonymous
Nude youth, seen from the rear, wielding a club
Pencil, Grey-brown ink on yellow paper. XVI century
Anonymous

This and D01647 drawing are clearly companions. Although formerly placed as after Parmigianino, the style points rather to Ludovico Carraci and his following on whom Parmigianino´s highly wrought tech [+]

The Virgin and Child, with St. Anne
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
The Virgin and Child, with St. Anne
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

Apparently traced from a pen-and wash drawing by Cambiaso or a member of his studio in the Louvre, or from another, superior version of this drawing (inv. no. 9228). An identical composition occurs in [+]

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