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The Birth of the Virgin
Pencil, Pencil ground, Grey-brown wash, White lead on tinted paper. First half of the XVI century
Bagnacavallo (Attributed To)
The Birth of the Virgin
Pencil, Pencil ground, Grey-brown wash, White lead on tinted paper. First half of the XVI century
Bagnacavallo (Attributed To)

A former owner of this impressive drawing believed it to be from the hand of the Bolognese painter Bartolomeo Bagnacavallo, who, according to Vasari, travelled to Rome together with Biagio Pupini (act [+]

Cupid
Pencil, Grey-brown ink, White lead, Wash on tinted paper. Second third of the XVI century
Salviati, Francesco (Francesco De' Rossi) (Attributed To)
Cupid
Pencil, Grey-brown ink, White lead, Wash on tinted paper. Second third of the XVI century
Salviati, Francesco (Francesco De' Rossi) (Attributed To)

According to the opinion of Turner, the style is typical of Salviati, especially in the treament of the curvilinear flames that spurt out from the torch´s end. [+]

Female Saint Seated on a Cloud
Black chalk, White chalk on tinted paper. Early Finales del siglo XVI - XVII century
Tavarone, Lazzaro
Female Saint Seated on a Cloud
Black chalk, White chalk on tinted paper. Early Finales del siglo XVI - XVII century
Tavarone, Lazzaro

Traditionally attributed to the Sienese Francesco Vanni (1563-1610), this drawing was subsequently placed in the collection as the work of the eighteenth-century Roman painter Pompeo Batoni (1708-1787 [+]

Two Nude Putti in a Cornice
Pencil, Grey-brown ink, Wash on tinted paper. Second half of the XVI century
Anonymous
Two Nude Putti in a Cornice
Pencil, Grey-brown ink, Wash on tinted paper. Second half of the XVI century
Anonymous

The motif of paired putti standing derives from the thrones with Prophets on Michelangelo´s Sistine ceiling. [+]

Two Winged Putti Standing to Either Side of a Trophy of Arms
Pencil, Grey-brown ink, Wash on tinted paper. Mid-XVIcentury
Anonymous
Two Winged Putti Standing to Either Side of a Trophy of Arms
Pencil, Grey-brown ink, Wash on tinted paper. Mid-XVIcentury
Anonymous

The drawing carries old attributions on the reverse of the mount to Nicolo dell´Abate and Pordenone. On the modern museum matte, A. Gere has noted it may be from the School of Perino del Vaga, p [+]

Horsemen fighting outside a walled city
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Second half of the XVI century
Anonymous
Horsemen fighting outside a walled city
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Second half of the XVI century
Anonymous

The identification of the bearded man bottom left, perhaps a priest or an Old Testament prophet, seems to hold the key to identification of the subject of this interesting drawing. The artist shows kn [+]

Entombment of Christ
Red chalk, White lead on tinted paper. First quarter of the Último cuarto del siglo XVI - XVII century
Procaccini, Camillo (Attributed To)
Entombment of Christ
Red chalk, White lead on tinted paper. First quarter of the Último cuarto del siglo XVI - XVII century
Procaccini, Camillo (Attributed To)

Traditionally attributed to Federico Barocci (ca. 1535-1612), the mount bears a note in Brun´s (?) hand saying that he had bought the drawing in the early 1870s and the Carderera had particularly prai [+]

Battle Scene, with Soldiers Raising the Standard
Pencil, Grey ink, Grey wash, Grey-brown ink, White lead on tinted paper. XVI century
Anonymous
Battle Scene, with Soldiers Raising the Standard
Pencil, Grey ink, Grey wash, Grey-brown ink, White lead on tinted paper. XVI century
Anonymous

The central figures of the composition raise the banner with the shield of Pope Clement VII (Giulio de Médicis). The execution is loose and the drawing is evidently the work of a follower. It i [+]

Design for the Decoration of the Front Wall of a Chapel
Pencil, Chalk ground, Grey-brown ink, Wash on yellow paper. Third quarter of the XVI century
Urbino, Carlo
Design for the Decoration of the Front Wall of a Chapel
Pencil, Chalk ground, Grey-brown ink, Wash on yellow paper. Third quarter of the XVI century
Urbino, Carlo

Although Parmigianinesque in style, the Prado drawing is clearly not of the same quality as Parmigianino´s undoubtedly authentic work. There are strong analogies in handling and technique with a numbe [+]

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 Virgin and Child seated in a landscape, adored by St. John the Evangelist
Black chalk, Red chalk on tinted paper. Second half of the XVI century
Anonymous
The Virgin and Child seated in a landscape, adored by St. John the Evangelist
Black chalk, Red chalk on tinted paper. Second half of the XVI century
Anonymous

As pointed out by Giuseppe Scavizzi in a note on the mount, this is a copy after Barocci´s so-called Madonna di S. Giovanni in the Galleria Nationale delle Marche, Urbino, carried out in c. 1565. [+]

Boy with two sheep
Touches of white chalk, Charcoal on tinted paper. XVII century
Cavedone, Giacomo
Boy with two sheep
Touches of white chalk, Charcoal on tinted paper. XVII century
Cavedone, Giacomo

In Bruns´s (?) collection as by the Venetian Jacopo Bassano (c. 1510-1592). P. Pouncey´s seems to be the recent anonymous hand that has noted on the modern museum mount: Cavedone? While the figures re [+]

The Adoration of the Shepherds
Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Late XVI century
Balducci, Giovanni
The Adoration of the Shepherds
Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Late XVI century
Balducci, Giovanni

This attractive compositional study is typical of Balducci´s style of drawing from the 1580s, the period of the artist´s early maturity. The pictorial effect is enhanced by the hot, brick-red ground, [+]

The Virgin and Child
Pencil ground, Grey ink, Grey-brown ink, White lead, Wash on tinted paper. XVI century
Farinati, Paolo
The Virgin and Child
Pencil ground, Grey ink, Grey-brown ink, White lead, Wash on tinted paper. XVI century
Farinati, Paolo

Although formerly placed in the collection as Anonymous Italian seventeenth century, the old attribution to Farinati is surely correct. The handling is similar to that of the drawing D01772, and both [+]

Design for a compartment: four figures bringing a deer to sacrifice on a fire on which a bull is burning
Pencil, Grey-brown ink, White lead, Wash on tinted paper. Second half of the XVI century
Boscoli, Andrea (Attributed To)
Design for a compartment: four figures bringing a deer to sacrifice on a fire on which a bull is burning
Pencil, Grey-brown ink, White lead, Wash on tinted paper. Second half of the XVI century
Boscoli, Andrea (Attributed To)

The drawing is surely by a sixteenth-century Florentine artist, as is shown by its similarity in handling and technique to The age of gold by Jacopo Zucchi (1541-1589/90) in the Paul Getty Museum, Los [+]

Allegory of a royal marriage / A king seated at a table, with a young woman
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Second half of the XVI century
Anonymous
Allegory of a royal marriage / A king seated at a table, with a young woman
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Second half of the XVI century
Anonymous

Traditionally attributed to Federico Zuccaro (1540/1-1609). In a pencil note on the modern museum matte, J. A. Gere dismissed this possibility. In Turner´s opinion, there is something in the han [+]

Moses defending the daughters of Jethro
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. XVI century
Anonymous
Moses defending the daughters of Jethro
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. XVI century
Anonymous

Although the drawing closely reflects Farinati´s style, the weaknesses of handling suggest the work of a studio assistant. The story represented is told in Exodus (2, 11-22). [+]

The Holy Family with the Infant Saint John the Baptist
Pencil, Red chalk, Grey-brown wash on tinted paper. First third of the XVII century
Cavedone, Giacomo
The Holy Family with the Infant Saint John the Baptist
Pencil, Red chalk, Grey-brown wash on tinted paper. First third of the XVII century
Cavedone, Giacomo

Es dibujo de notable calidad y perfección, de escuela boloñesa del primer tercio del siglo XVII, cuyos modelos y técnicas lo enlazan claramente con el modo de hacer de Cavedone, a quien sin duda ha de [+]

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