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More than 10,000 results for Anonymous, Italian, Florentine, second half of the 16th century

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Drapery Study, Anonymous, Italian, Florentine, second half of the 16th century Italian, Red chalk — Drapery Study
Anonymous, Italian, Florentine, second half of the 16th century
17th century

State Baptism of a Child of Noble Blood, Anonymous, Italian, Florentine, second half of the 16th century Italian, Pen and brown ink, brush with brown and red wash, over red chalk and traces of black chalk; squared in black and red chalk — State Baptism of a Child of Noble Blood
Anonymous, Italian, Florentine, second half of the 16th century
ca. 1612

Figure Studies; Landscape (recto); Copy after Antique Style Hercules Statue (verso), Anonymous, Italian, Florentine, second half of the 16th century Italian, Red chalk; some black chalk — Figure Studies; Landscape (recto); Copy after Antique Style Hercules Statue (verso)
Anonymous, Italian, Florentine, second half of the 16th century
1580–1620

Design for a Chalice Surmounted by a Maltese Cross, Anonymous, Italian, Florentine, second half of the 16th century Italian, Red chalk and leadpoint — Design for a Chalice Surmounted by a Maltese Cross
Anonymous, Italian, Florentine, second half of the 16th century
1580–1620

Hunters in a Landscape, Anonymous, 16th century, Wool, silk (14 warps per inch; 5-6 per cm), British, probably London — Hunters in a Landscape
Multiple artists/makers
ca. 1575–95

The Crucifixion, Master of the Codex of Saint George Italian, Tempera on wood, gold ground, Italian — The Crucifixion
Master of the Codex of Saint George
ca. 1330–35

Virgin and Child with Saint Joseph, Netherlandish Painter, second half of 16th century Netherlandish, Oil on oak panel — Virgin and Child with Saint Joseph
Netherlandish Painter, second half of 16th century
second half 16th century

Virgin and Child, Master of the Female Half-Lengths Netherlandish, Oil on wood, Netherlandish — Virgin and Child
Master of the Female Half-Lengths
ca. 1525–50

Design for a Frame with Putti and Sirens, Anonymous, Italian, second half of the 16th century Italian, Pen and brown ink, brush and brown wash, over black chalk; selectively pricked for transfer — Design for a Frame with Putti and Sirens
Anonymous, Italian, second half of the 16th century
1550–1600

Flora, Anonymous, Italian, second half of the 16th century Italian, Engraving — Flora
Multiple artists/makers
ca. 1560–70

Standing Bearded Man Holding a Book, Anonymous, Italian, second half of the 16th century Italian, Red chalk, highlighted with white gouache, on blue-green paper — Standing Bearded Man Holding a Book
Anonymous, Italian, second half of the 16th century
1530–60

Design for a Wall Elevation with Grotesques, Anonymous, Italian, second half of the 16th century Italian, Pen and brown ink, brush and brown wash; some stylus ruling; highlighted with white gouache; on blue paper — Design for a Wall Elevation with Grotesques
Anonymous, Italian, second half of the 16th century
Pellegrino Tibaldi
ca. 1540–70

Frieze with Acanthus Rinceau with Grotesques, Anonymous, Italian, second half of the 16th century Italian, Pen and black ink with traces of metalpoint and red chalk — Frieze with Acanthus Rinceau with Grotesques
Anonymous, Italian, second half of the 16th century
16th century

Design for a Cartouche with the "IHS" Monogram of the Society of Jesus, Putti, Fantastick Creatures, at the Borders, a Central Scene of the Virgin and Child with a Monastic Figure, and the Family Arms of a Cardinal, Anonymous, Italian, second half of the 16th century Italian, Pen and brown ink, brush and brown wash, outlines partly pricked for transfer — Design for a Cartouche with the "IHS" Monogram of the Society of Jesus, Putti, Fantastick Creatures, at the Borders, a Central Scene of the Virgin and Child with a Monastic Figure, and the Family Arms of a Cardinal
Anonymous, Italian, second half of the 16th century
1550–1600

Design for a Frieze with Central Cartouche Containing Medici Arms with Papal Tiara, Anonymous, Italian, second half of the 16th century Italian, Pen, brown ink and wash, highlighted with white, on blue paper — Design for a Frieze with Central Cartouche Containing Medici Arms with Papal Tiara
Anonymous, Italian, second half of the 16th century
1550–99

Two Male Figures in Half-Length Conversing, Anonymous, Italian, Bolognese, second half of the 16th century Italian, Red chalk — Two Male Figures in Half-Length Conversing
Anonymous, Italian, Bolognese, second half of the 16th century
late 16th century

Colonnade and Fountain with a Crowned Armorial Shield, Anonymous, Italian, second half of the 18th century Italian, Pen and dark brown ink with gray wash — Colonnade and Fountain with a Crowned Armorial Shield
Anonymous, Italian, second half of the 18th century
ca. 1750–1800

Tabernacle frame, Spruce. Gilt; orange bole., Florentine — Tabernacle frame
Florentine
ca. 1404

One of a pair of pilaster panels, Poplar, Florentine — One of a pair of pilaster panels
Florentine
1385

One of a pair of pilaster panels, A single piece of poplar. Gilt; red-brown bole., Florentine — One of a pair of pilaster panels
Florentine
1385

Hercules and Achelous, Master of the Martyrdom of St. Sebastian Austrian, Ivory, probably Austrian — Hercules and Achelous
Master of the Martyrdom of St. Sebastian
probably mid-17th century

A Medieval Bakery, from the Book of Problems of Pseudo-Aristotle, translated into the French by Évrart de Conty, Master of the Second Roman de la Rose of the Duke of Berry, working late fourteenth-early fifteenth century, Ink, colors, and gold on vellum, French (Paris) — A Medieval Bakery, from the Book of Problems of Pseudo-Aristotle, translated into the French by Évrart de Conty
Master of the Second Roman de la Rose of the Duke of Berry,
ca. 1400

Revolving Chair, United Society of Believers in Christ’s Second Appearing (“Shakers”) American, Maple, white oak, pine, birch, American, Shaker — Revolving Chair
United Society of Believers in Christ’s Second Appearing (“Shakers”)
1840–70

Studies of Putti, Anonymous, Italian, Paduan, second half of the 15th century Italian, Pen and brown ink — Studies of Putti
Anonymous, Italian, Paduan, second half of the 15th century
1450–99

The Lamentation, Master of the Codex of Saint George Italian, Tempera on wood, gold ground, Italian — The Lamentation
Master of the Codex of Saint George
ca. 1330–35

Terracotta volute-krater (bowl for mixing wine and water), Painter of the Woolly Satyrs (namepiece), Terracotta, Greek, Attic — Terracotta volute-krater (bowl for mixing wine and water)
Painter of the Woolly Satyrs
ca. 450 BCE

Rearing Horse in Rear Three-Quarter View, Anonymous, Italian, Florentine, 16th century Italian, Black and white chalk prepared with violet wash — Rearing Horse in Rear Three-Quarter View
Anonymous, Italian, Florentine, 16th century
16th century

Two Women with Sun and Bird (recto); Two Men Fighting and a Fallen Horse (verso), Anonymous, Italian, Florentine, 16th century Italian, Pen and dark brown ink over black chalk (recto); pen and dark brown ink (verso). Later framing outline in pen and dark brown ink on recto — Two Women with Sun and Bird (recto); Two Men Fighting and a Fallen Horse (verso)
Anonymous, Italian, Florentine, 16th century
16th century

Studies for a Nude Woman Seen from the Front (recto); Four Standing Male Nudes, Venus, and Cupid (verso), Anonymous, Italian, Florentine, 16th century Italian, Pen and brown ink — Studies for a Nude Woman Seen from the Front (recto); Four Standing Male Nudes, Venus, and Cupid (verso)
Anonymous, Italian, Florentine, 16th century
16th century

Three Men, Anonymous, Italian, Florentine, 16th century Italian, Pen and brown ink on gray paper — Three Men
Anonymous, Italian, Florentine, 16th century
16th century

Noli me tangere, Anonymous, Italian, Florentine, 16th century Italian, Black chalk, highlighted with white chalk, on blue paper — Noli me tangere
Anonymous, Italian, Florentine, 16th century
1580–1610

Drawing for a Standard with Christ in Glory Flanked by Putti, Anonymous, Italian, Florentine, 16th century Italian, Black chalk highlighted with white gouache, with some brown ink wash on blue paper, laid down — Drawing for a Standard with Christ in Glory Flanked by Putti
Anonymous, Italian, Florentine, 16th century
16th century

Study of a Kneeling Figure (recto); Design for a Festival Chariot (verso), Anonymous, Italian, Florentine, 16th century (ca. 1530-1540) Italian, Red chalk, over a faint study of a hand in black chalk (recto); pen and brown ink (verso) — Study of a Kneeling Figure (recto); Design for a Festival Chariot (verso)
Anonymous, Italian, Florentine, 16th century
1530–40

Head of a Young Woman in Three-quarter View Facing Right, with Lowered Eyes, Anonymous, Italian, Florentine, 16th century Italian, Black and red chalks with slight reworking by the artist in pen and brown ink on off-white paper — Head of a Young Woman in Three-quarter View Facing Right, with Lowered Eyes
Anonymous, Italian, Florentine, 16th century
1550–1600

Close Helmet for Foot Combat, the Master of the Castle Mark Italian, Steel, gold, leather, Italian, Milan — Close Helmet for Foot Combat
the Master of the Castle Mark
ca. 1600–1610

Cassone (one of a pair), Italian (Florentine?) Painter , second quarter 15th century Italian, Tempera on lindenwood, molded and gilt ornament, Italian, probably Florence — Cassone (one of a pair)
Italian (Florentine?) Painter
second quarter 15th century

Cassone (one of a pair), Italian (Florentine?) Painter , second quarter 15th century Italian, Tempera on lindenwood, molded and gilt ornament, Italian, probably Florence — Cassone (one of a pair)
Italian (Florentine?) Painter
second quarter 15th century

Manuscript Leaf with Saint John the Evangelist and Saint John the Baptist in an Initial M, from an Antiphonary, Master of the Riccardiana Lactantius, Tempera, ink, and gold on parchment, Italian — Manuscript Leaf with Saint John the Evangelist and Saint John the Baptist in an Initial M, from an Antiphonary
Master of the Riccardiana Lactantius
second half 15th century

Manuscript Leaf with the Trinity in an Initial T, from an Antiphonary, Master of the Riccardiana Lactantius, Tempera, ink, and gold on parchment, Italian — Manuscript Leaf with the Trinity in an Initial T, from an Antiphonary
Master of the Riccardiana Lactantius
second half 15th century

Tester bed, Italian (Florentine) Painter Italian, Walnut, partly painted and gilded, paintings on canvas, Italian, Tuscany and Florence — Tester bed
Italian (Florentine) Painter
late 16th–second quarter 17th century