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1-42 of 1,896 results for Leonardo Alenza y Nieto
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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
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
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
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
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
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
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
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
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
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
A Bear Walking, Leonardo da Vinci Italian, silverpoint on light buff prepared paper
A Bear Walking
Leonardo da Vinci
ca. 1482–85
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
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
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
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
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
Keyed Trumpet in G, Leonardo Massarenti Italian, Brass, Italian
Keyed Trumpet in G
Leonardo Massarenti
ca. 1840
Number 24, Leonardo Drew American, Wood, rusted and patinated iron and cotton waste
Number 24
Leonardo Drew
1992
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
The Head of the Virgin in Three-Quarter View Facing Right, Leonardo da Vinci Italian, Black chalk, charcoal, and red chalk, with some traces of white chalk (?); some remains of framing lines in pen and brown ink at upper right (not by Leonardo)
The Head of the Virgin in Three-Quarter View Facing Right
Leonardo da Vinci
1510–13
Fan, Fernando Coustellier y Vital, Hand-colored etching on paper; painted parchment (verso); ivory, silver, French, Paris
Fan
Fernando Coustellier y Vital
Between 1816 and 1830