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Francisco Pacheco, Portrait of Francisco de Quevedo, ca. 1599-1644, black chalk, red chalk and grey wash on manuscript, Madrid, Fundación Lázaro Galdiano.
Francisco Pacheco, Portrait of Luis de León, ca. 1599-1644, black chalk, red chalk and grey wash on manuscript, Madrid, Fundación Lázaro Galdiano.
Diego Velázquez, Study for the Portrait of Cardinal Borja, ca. 1643-1645, black pencil on light grained paper, Madrid, Real Academia de Bellas Artes de San Fernando.
Alonso Cano, Christ in Limbo, 1652, black pencil with brown and reddish ink on light grained paper, Madrid, Real Academia de Bellas Artes de San Fernando.
Alonso Cano, Plan for a Fountain, ca. 1640-1650, pen with sepia gouache on paper, Córdoba, Museum of Fine Arts of Córdoba.
Bartolomé Esteban Murillo, Saint Joseph with the Christ Child, ca. 1675, pen and ink with reddish brown wash on paper, Paris, Musée du Louvre.
Bartolomé Esteban Murillo, Infant Saint John the Baptist, second half of the 17th century, grey-brown wash and pen on dark yellow paper, Madrid, Museo del Prado.
Juan de Valdés Leal, Pietà, late 17th century, grey-brown wash, pencil on yellow laid paper, Madrid, Museo del Prado.
Vicente Carducho, Saint Augustine of Hippo, 1620 - 1634, black pencil, pen, brown wash, heightend with lead white, touches of red chalk on laid paper with squaring, Madrid, Museo del Prado.
Like many of Carducho’s finished drawings, this is squared for transfer onto canvas. Here the figure was probably drawn for inclusion in one of the compartments of a large altarpiece.
Vicente Carducho, Expulsion of the Moriscos, ca. 1627, pencil, pen, pencil, blue wash on yellowish laid paper, Madrid, Museo del Prado.
Francisco Rizi, Saint Dominic de Guzmán, 17th century, black pencil and red chalk on tinted paper, Madrid, Museo del Prado.
Juan Carreño de Miranda, St. Andrew, 17th century, charcoal on blue paper, New York, Metropolitan Museum of Art.
Jusepe de Ribera, Studies of Two Ears and of a Bat, undated, red chalk and brush and red wash on beige paper, New York, Metropolitan Museum of Art.
Beneath the bat, Ribera has inscribed the motto: FULGET SEMPER VIRTUS. The composition is bordered with ruled lines in black chalk.
Jusepe de Ribera, Acrobats on the Rope, ca. 1637-1640, ink and sepia wash on clear agarbane paper, Madrid, Real Academia de Bellas Artes de San Fernando.