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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 [+]

The Visitation
Pencil, Grey-brown wash, White lead on yellow laid paper. First half of the XVII century
Anonymous
The Visitation
Pencil, Grey-brown wash, White lead on yellow laid paper. First half of the XVII century
Anonymous

A la izquierda, de perfil hacia la derecha, Santa Isabel se aproxima, con los brazos abiertos, a la Virgen que la recibe y la abraza.De la primera mitad del siglo XVII, y de nada fácil clasificación. [+]

The Sacrifice of Iphigenia
Pencil, Pencil strokes, Grey-brown wash on dark yellow paper. Mid-XVIIIcentury
Anonymous (Manner Of Fratta, Domenico Maria)
The Sacrifice of Iphigenia
Pencil, Pencil strokes, Grey-brown wash on dark yellow paper. Mid-XVIIIcentury
Anonymous (Manner Of Fratta, Domenico Maria)

La escena enmarcada en una franja semicircular, como para decoración de un abanico. En el centro, el ara llameante, tras ella el anciano Agamenón alza el cuchillo para sacrificar a la joven; a ambos l [+]

Christ Healing the Son of the Widow of Nain
Pencil, Pencil ground, Grey-brown ink, Pink wash, Yellow wash on yellow paper. Second half of the XVI century
Anonymous (Copy Zuccaro, Taddeo)
Christ Healing the Son of the Widow of Nain
Pencil, Pencil ground, Grey-brown ink, Pink wash, Yellow wash on yellow paper. Second half of the XVI century
Anonymous (Copy Zuccaro, Taddeo)

In a pencil note on the old mount, M. Hofstede suggested the drawing could be a study for Federico Zuccari´s altarpiece of this subject, which he painted in 1568 for the Cathedral at Orvierto. In a su [+]

Christ Disputing with the Doctors in the Temple and Separate Studies of a Head and of a Figure
Pencil ground, Grey-brown ink, Wash on yellow paper. XVII century
Anonymous (Copy After Parmigianino. Girolamo Francesco Maria Mazzola)
Christ Disputing with the Doctors in the Temple and Separate Studies of a Head and of a Figure
Pencil ground, Grey-brown ink, Wash on yellow paper. XVII century
Anonymous (Copy After Parmigianino. Girolamo Francesco Maria Mazzola)

As Scavizzi rightly pointed out in a note on the modern museum mount, the principal composition is derived from Parmigianino. From the style of the copy, as well as that of the separate studies to the [+]

The Altarpiece of the Virgin
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous
The Altarpiece of the Virgin
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous

Dibujo en el que encontramos, en una hornacina central, la imagen de la Virgen sedente y coronada, con el Niño Jesús en pie sobre la rodilla izquierda. Está flanqueada por dos parejas de columnas cori [+]

The Immaculate Conception
Red chalk on dark yellow paper. XVIII century
Anonymous
The Immaculate Conception
Red chalk on dark yellow paper. XVIII century
Anonymous

Dibujo con una composición terminada en medio punto, como cuadro de altar.La Inmaculada de frente, en pie sobre el creciente de la luna, con las manos juntas. En la zona superior Dios Padre con los br [+]

The Immaculate Conception
Red chalk, Red wash on grey laid paper. XVIII century
Anonymous
The Immaculate Conception
Red chalk, Red wash on grey laid paper. XVIII century
Anonymous

Estudio preparatorio en el que se representa una Inmaculada en pie sobre las nubes y el creciente de la luna, con las manos sobre el pecho y la mirada baja. A ambos lados, arrodillados, dos ángeles ma [+]

The Rape of Europa
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Anonymous
The Rape of Europa
Pencil, Pencil ground, Grey-brown wash on yellow laid paper. XVIII century
Anonymous

Preparatorio para una tela de abanico. En él se representa en el centro, sobre un toro que conducen dos amorcillos, a Europa que se adentra en el mar. A la izquierda, tres damas con gesto de asombro y [+]

The Assumption of the Virgin
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous
The Assumption of the Virgin
Pencil, Grey-brown wash on yellow laid paper. XVIII century
Anonymous

Dibujo que indica un remate de medio punto, como un cuadro de altar. En él se representa a la Virgen con los brazos abiertos, asciende sostenida por cinco ángeles y dos querubines. Otros dos ángeles n [+]

Design for the Decoration of a Spandrel Containing a Cartouche / Study for the Three Protagonists in a Composition of the Sposalizio of the Virgen
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous (Follower Of Vasari, Giorgio)
Design for the Decoration of a Spandrel Containing a Cartouche / Study for the Three Protagonists in a Composition of the Sposalizio of the Virgen
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous (Follower Of Vasari, Giorgio)

It is indeed possible that this good drawing could be by the Tuscan, Marco Marchetti da Faenza (before 1528-1588), who worked in the circle of Vasari. However, the style seems a little too accomplishe [+]

Trophy of arms, with three nude captives reclining
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous (Follower Of Cambiaso, Luca)
Trophy of arms, with three nude captives reclining
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous (Follower Of Cambiaso, Luca)

Cambiaso´s autograph study of a similar composition of a trophy of arms, this time with only two captives seated on the ground amongst the accoutrements of war, is in the Faculdade das Belas Artes, Op [+]

Seminude woman
Pencil, Chalk ground, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous (Copy Zuccaro, Taddeo)
Seminude woman
Pencil, Chalk ground, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous (Copy Zuccaro, Taddeo)

As Sylvie Béguin has pointed out in a note on the mount (1980), this is a copy after a drawing by Taddeo Zuccaro in the Louvre. The Louvre drawing is a study for the circular fresco of Somnus i [+]

The Virgin and Child Enthroned, with St. Roch and St. Sebastian
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous (Follower Of Cambiaso, Luca)
The Virgin and Child Enthroned, with St. Roch and St. Sebastian
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous (Follower Of Cambiaso, Luca)

Another directly corresponding School version of this drawing was formerly in the Suida Manning Collection, New York, and is now in the Jack S. Blanton Museum of Art, at the University of Texas, Austi [+]

St. Mary Magdalene / Partial study of an ornate, architectural framework
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous (Follower Of Cambiaso, Luca)
St. Mary Magdalene / Partial study of an ornate, architectural framework
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous (Follower Of Cambiaso, Luca)

The saint is reclining nude in the desert, with an open book lying before her and her ointment jar nearby in the center foreground. The drawing is clearly related in composition to two drawings from t [+]

Beheading of St. George
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous (Follower Of Cambiaso, Luca)
Beheading of St. George
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous (Follower Of Cambiaso, Luca)

Rightly connected by the Suidas with Cambiaso´s altarpiece in S. Giorgio, Genoa, datable around 1570. An autograph study for the composition, very different in design from the finished result and show [+]

The Worship of the Golden Calf
Pencil ground, Grey wash, White lead on brown paper. Ca. 1600
Anonymous (Circle Of Tintoretto, Jacopo Robusti)
The Worship of the Golden Calf
Pencil ground, Grey wash, White lead on brown paper. Ca. 1600
Anonymous (Circle Of Tintoretto, Jacopo Robusti)

The composition of this drawing corresponds to the middle and lower sections of Tintoretto´s great canvas of The Worship of the Golden Calf, which hangs on the left-hand wall of the choir of the churc [+]

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