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Nazi-era provenance
Objects with changed or unknown ownership in continental Europe between 1933-1945. Learn more

Showing 1,844 results for Leonardo Alenza y Nieto

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The Pampered Idiot (Niño zangolotino), Leonardo Alenza y Nieto Spanish, Pen and black ink with brush and gray wash; composition outlined in pen and black ink on all sides — The Pampered Idiot (Niño zangolotino)
Leonardo Alenza y Nieto
1807–45

He Has Been Decorated (Y esta' Condecorado!), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink with traces of brush and brown wash; composition outlined in pen and dark brown ink on all sides — He Has Been Decorated (Y esta' Condecorado!)
Leonardo Alenza y Nieto
1807–45

Dust to Dust (Et in pulverem reverteris), Leonardo Alenza y Nieto Spanish, Pen and black ink with brush and gray wash; composition outlined with pen and black ink on all sides — Dust to Dust (Et in pulverem reverteris)
Leonardo Alenza y Nieto
1807–45

They Spin Well (Bien lo hilan), Leonardo Alenza y Nieto Spanish, Pen and black ink with brush and gray wash; composition outlined with pen and black ink on all sides — They Spin Well (Bien lo hilan)
Leonardo Alenza y Nieto
1807–45

She Doesn't Recognize Herself (No se conoce), Leonardo Alenza y Nieto Spanish, Pen and black ink with brush and gray wash; composition outlined with pen and black ink on all sides — She Doesn't Recognize Herself (No se conoce)
Leonardo Alenza y Nieto
1807–45

They'll Get Their Desserts (Buen pelo echará), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides — They'll Get Their Desserts (Buen pelo echará)
Leonardo Alenza y Nieto
1807–45

His Excellency is Not at Home (No recibe in Excel), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink with brush and brown wash; composition outlined with pen and dark brown ink on all sides — His Excellency is Not at Home (No recibe in Excel)
Leonardo Alenza y Nieto
1807–45

Already They Are Going (Ya se van), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides — Already They Are Going (Ya se van)
Leonardo Alenza y Nieto
1807–45

He Leaves Them in Good Shape (Buenos los deja), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides — He Leaves Them in Good Shape (Buenos los deja)
Leonardo Alenza y Nieto
1807–45

A Funeral with Honors (Valientes exequias), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides — A Funeral with Honors (Valientes exequias)
Leonardo Alenza y Nieto
1807–45

Birds of a Feather (Entre los suyos), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides; traces of black chalk under the inscription — Birds of a Feather (Entre los suyos)
Leonardo Alenza y Nieto
1807–45

He Will Not Laugh (Y el no se rie), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides — He Will Not Laugh (Y el no se rie)
Leonardo Alenza y Nieto
1807–45

At Last She Sees Clearly (Ya ve claro), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides — At Last She Sees Clearly (Ya ve claro)
Leonardo Alenza y Nieto
1807–45

They Centainly Can Use It (Bien lo han menester), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides — They Centainly Can Use It (Bien lo han menester)
Leonardo Alenza y Nieto
1807–45

The Last Song (El aria final), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides — The Last Song (El aria final)
Leonardo Alenza y Nieto
1807–45

Having a Good Time (Se regodean), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides; traces of black chalk underscript in inscription; traces of ruling in graphite along lower border of sheet — Having a Good Time (Se regodean)
Leonardo Alenza y Nieto
1807–45

Ex Cathedra (Ex Catedra), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink with some brush and gray-brown wash — Ex Cathedra (Ex Catedra)
Leonardo Alenza y Nieto
1807–45

Human Ailments (Achaques humanos), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink with brush and brown wash; reinforced in places with brush and dark brown ink — Human Ailments (Achaques humanos)
Leonardo Alenza y Nieto
1807–45

They are Polishing Him Up (Y se las pulen), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink with brush and gray-brown wash; composition outlined with pen and dark brown ink on all sides; traces of black chalk underscript under inscription — They are Polishing Him Up (Y se las pulen)
Leonardo Alenza y Nieto
1807–45

Long Live the Chains! (Vivan las caenas [cadenas]), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides — Long Live the Chains! (Vivan las caenas [cadenas])
Leonardo Alenza y Nieto
1807–45

They Strut About Elegantly (Lindamente se pavonean), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink with brush over traces of black graphite — They Strut About Elegantly (Lindamente se pavonean)
Leonardo Alenza y Nieto
1807–45

It's Raining Elves (Llueven duendes), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink, reinforced with brush and dark brown ink; composition outlined with pen and dark brown ink on all sides — It's Raining Elves (Llueven duendes)
Leonardo Alenza y Nieto
1807–45

Lost Labor (Trabajo perdido), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; composition outlined with pen and dark brown ink on all sides — Lost Labor (Trabajo perdido)
Leonardo Alenza y Nieto
1807–45

Shackled to His Treasure (Preso á su tesoro), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink with brush and brown-gray wash; composition outlined with pen and dark brown ink on all sides — Shackled to His Treasure (Preso á su tesoro)
Leonardo Alenza y Nieto
1807–45

Flying and Other Excesses (Volando y otros excesos), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; reinforced in some places with brush and heavy application of ink; outlined with pen and dark brown ink on all sides; traces of graphite — Flying and Other Excesses (Volando y otros excesos)
Leonardo Alenza y Nieto
1807–45

Greed Breaks the Bag (La codicia rompe el saco), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; outlined with pen and dark brown ink on all sides — Greed Breaks the Bag (La codicia rompe el saco)
Leonardo Alenza y Nieto
1807–45

There Was No Business (No encontraron avio), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink with brush and gray-brown wash; outlined with pen and dark brown ink on all sides — There Was No Business (No encontraron avio)
Leonardo Alenza y Nieto
1807–45

He Looks and Doesn't Recognize Himself (Se mira y no se ve), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink with traces of black chalk; outlined with pen and dark brown ink on all sides — He Looks and Doesn't Recognize Himself (Se mira y no se ve)
Leonardo Alenza y Nieto
1807–45

The Notaries Flew of With The Prey (Escribanitos volaron con la presa), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink; outlined with pen and dark brown ink on all sides; traces of black chalk — The Notaries Flew of With The Prey (Escribanitos volaron con la presa)
Leonardo Alenza y Nieto
1807–45

They Don't Fall Off Their Donkey (They Don't Admit Their Error), (No caen de su burro), Leonardo Alenza y Nieto Spanish, Pen and dark brown ink with some places reinforced with brush and dark brown ink, some brush and gray-brown wash; outlined with pen and dark brown ink on all sides — They Don't Fall Off Their Donkey (They Don't Admit Their Error), (No caen de su burro)
Leonardo Alenza y Nieto
1807–45

A Bear Walking, Leonardo da Vinci Italian, silverpoint on light buff prepared paper — A Bear Walking
Leonardo da Vinci
ca. 1482–85

Manuel Osorio Manrique de Zuñiga (1784–1792), Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas — Manuel Osorio Manrique de Zuñiga (1784–1792)
Goya (Francisco de Goya y Lucientes)
1787–88

Condesa de Altamira and Her Daughter, María Agustina, Goya (Francisco de Goya y Lucientes) Spanish, Oil on canvas — Condesa de Altamira and Her Daughter, María Agustina
Goya (Francisco de Goya y Lucientes)
1787–88

Number 24, Leonardo Drew American, Wood, rusted and patinated iron and cotton waste — Number 24
Leonardo Drew
1992

Untitled, Leonardo Drew American, Mixed media (painted wood, paper, assorted fabric pieces, loose textile and wooden fibers, threads and cords, feathers) — Untitled
Leonardo Drew
1994

Keyed Trumpet in G, Leonardo Massarenti Italian, Brass, Italian — Keyed Trumpet in G
Leonardo Massarenti
ca. 1840

Number 1A, Leonardo Drew American, Asphaltum, oil paint, and black porous point pen on joined papers — Number 1A
Leonardo Drew
1999

Number 2A, Leonardo Drew American, Asphaltum, oil paint, and black porous point pen on joined papers — Number 2A
Leonardo Drew
1999

Juan de Pareja (ca. 1608–1670), Velázquez (Diego Rodríguez de Silva y Velázquez) Spanish, Oil on canvas — Juan de Pareja (ca. 1608–1670)
Velázquez (Diego Rodríguez de Silva y Velázquez)
1650

Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso), Leonardo da Vinci Italian, Silverpoint, partly reworked by the artist with pen and dark brown ink on pink prepared paper; lines ruled with metalpoint (recto); pen and brown ink (verso) — Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso)
Leonardo da Vinci
1480–85