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Showing 5,768 results for Antonio Carnicero

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Title page to the 'Colección de la principales suertes de una corrida de toros', Antonio Carnicero Spanish, Etching on blue paper — Title page to the 'Colección de la principales suertes de una corrida de toros'
Antonio Carnicero
1790

Suerte I: Bull entering the bullring after a law officer on horseback; two toreros standing to right, Anonymous, Spanish, 19th century Spanish, Woodcut — Suerte I: Bull entering the bullring after a law officer on horseback; two toreros standing to right
Anonymous, Spanish, 19th century
Antonio Carnicero
ca. 1850–80

Suerte II: Picador on horseback about to stab a bull with a pique; two toreros behind him to left (two impressions on the same sheet), Anonymous, Spanish, 19th century Spanish, Woodcut — Suerte II: Picador on horseback about to stab a bull with a pique; two toreros behind him to left (two impressions on the same sheet)
Anonymous, Spanish, 19th century
Antonio Carnicero
ca. 1850–80

Suerte III: Picador stabbing a bull; two toreros running to right, Anonymous, Spanish, 19th century Spanish, Woodcut — Suerte III: Picador stabbing a bull; two toreros running to right
Anonymous, Spanish, 19th century
Antonio Carnicero
ca. 1850–80

Suerte VI: The torero's assistant sets dogs on the bull, Anonymous, Spanish, 19th century Spanish, Woodcut — Suerte VI: The torero's assistant sets dogs on the bull
Anonymous, Spanish, 19th century
Antonio Carnicero
ca. 1850–80

Suerte XI: The death of the bull, Anonymous, Spanish, 19th century Spanish, Woodcut — Suerte XI: The death of the bull
Anonymous, Spanish, 19th century
Antonio Carnicero
ca. 1850–80

Suerte X: A torero prepares to stab the bull, Anonymous, Spanish, 19th century Spanish, Woodcut — Suerte X: A torero prepares to stab the bull
Anonymous, Spanish, 19th century
Antonio Carnicero
ca. 1850–80

18 scenes depicting the Principal Maneveurs of Bullfighting'

Anonymous, Spanish, 19th century

Antonio Carnicero

ca. 1850–1900

Study for the Equestrian Monument to Francesco Sforza, Antonio Pollaiuolo Italian, Pen and brown ink, light and dark brown wash; outlines of the horse and rider pricked for transfer. — Study for the Equestrian Monument to Francesco Sforza
Antonio Pollaiuolo
early to mid 1480s

"Antonius" Violin, Antonio Stradivari Italian, Maple, spruce, ebony, Italian (Cremona) — "Antonius" Violin
Antonio Stradivari
1711

"Francesca" Violin, Antonio Stradivari Italian, Maple, spruce, ebony, mother of pearl, Italian (Cremona) — "Francesca" Violin
Antonio Stradivari
1694

"Gould" Violin, Antonio Stradivari Italian, Maple, spruce, ebony, Italian (Cremona) — "Gould" Violin
Antonio Stradivari
1693

Perseus with the Head of Medusa, Antonio Canova Italian, Marble, Italian, Rome — Perseus with the Head of Medusa
Antonio Canova
Count Jan and Countess Valeria Tarnowski
1804–6

Madonna and Child with Angels, Antonio Rossellino Italian, Marble with gilt details on halo and dress, Italian, Florence — Madonna and Child with Angels
Antonio Rossellino
ca. 1455–60

Piazza San Marco, Canaletto (Giovanni Antonio Canal) Italian, Oil on canvas — Piazza San Marco
Canaletto (Giovanni Antonio Canal)
late 1720s

Adonis, Antonio Corradini Italian, Carrara marble, Italian, Venice — Adonis
Antonio Corradini
ca. 1723–25

Miquelet Gun Made for Charles IV of Spain (reigned 1788–1808), Antonio Guisasola Spanish, Steel, gold, silver, wood (walnut), Spanish, Eibar — Miquelet Gun Made for Charles IV of Spain (reigned 1788–1808)
Antonio Guisasola
Juan Navaro
dated 1796

Vase, Antonio Prieto American, born Spain, Stoneware, American — Vase
Antonio Prieto
ca. 1950–55

Covered sweetmeat dish, Antonio Salviati Italian, Topaz-tinted and opaque brownish white nonlead glass. Blown, pattern molded, "vetro a fili". — Covered sweetmeat dish
Antonio Salviati
probably late 19th century

Cruet and Stopper, Antonio Salviati Italian, Transparent topaz-tinted and dark amethyst nonlead glass. Blown, pattern molded, trailed, applied and impressed parts. — Cruet and Stopper
Antonio Salviati
late 19th century

Footed vessel (saltcellar?), Antonio Salviati Italian, Topaz-tinted nonlead glass. Blown, pattern molded, applied and impressed parts, gilt. — Footed vessel (saltcellar?)
Antonio Salviati
late 19th century

Accellino di Meliaduce Salvago (ca. 1420–before 1506), Antonio Tamagnini Italian, Marble, Italian, Genoa — Accellino di Meliaduce Salvago (ca. 1420–before 1506)
Antonio Tamagnini
late 15th century

Tomb of Antonio Canova, Antonio Fabris Italian, Bronze, Italian, Venice — Tomb of Antonio Canova
Antonio Fabris
1827

Madonna and Child with Angels, Antonio Rossellino Italian, Painted and gilt stucco; wood frame (not original to relief), Italian, Florence — Madonna and Child with Angels
Antonio Rossellino
third quarter 15th century

The crucified Christ, Antonio Susini Italian, Bronze, Italian, Florence — The crucified Christ
Antonio Susini
Giambologna
Model: early 17th century; cast: 18th or 19th century

Maximillian II, Holy Roman Emperor (1527–1576), Antonio Abondio Italian, Silver, Italian — Maximillian II, Holy Roman Emperor (1527–1576)
Antonio Abondio
1575

Empress Maria (1520–1603), Antonio Abondio Italian, Silver, Italian — Empress Maria (1520–1603)
Antonio Abondio
1575

Saint Jerome in the Wilderness, Antonio Rossellino Italian, Marble, Italian, Florence — Saint Jerome in the Wilderness
Antonio Rossellino
ca. 1470

Venus Italica, Antonio Canova Italian, Carrara marble, Italian, Rome — Venus Italica
Antonio Canova
probably ca. 1822–23, variant of marble first executed 1810

Paris, Antonio Canova Italian, Marble, Italian, Rome — Paris
Antonio Canova
ca. 1822–23, original marble version completed November 1812

Footed vase, Antonio Salviati Italian, Colorless, opaque turquoise blue, copper flecked (goldstone or aventurine), and opalescent white nonlead glass. Blown, mold blown, trailed, "vetro a retorti", gilt. — Footed vase
Antonio Salviati
late 19th–early 20th century

Vase, Antonio Salviati Italian, Opalescent bluish white and marbled multicolored brownish nonlead glass (strong brownish marbling on the exterior, faint bluish marbling on the interior). Blown, trailed. — Vase
Antonio Salviati
late 19th century

Vase, Antonio Salviati Italian, Transparent topaz-tinted and opaque brownish white nonlead glass. Blown, pattern molded, "vetro a fili", trailed. — Vase
Antonio Salviati
probably late 19th century

Bottle, Antonio Salviati Italian, Colorless (slightly gray) and opaque white nonlead glass; pewter mount. Blown, "vetro a fili", trailed. — Bottle
Antonio Salviati
late 19th century

Violin, Antonio Gragnani Italian, Spruce, maple, ebony, Italian — Violin
Antonio Gragnani
1783

Cupid and Psyche, Antonio Canova Italian, Plaster, Italian, Rome — Cupid and Psyche
Antonio Canova
1794

The risen Christ, Antonio Susini Italian, Bronze, Italian, Florence — The risen Christ
Antonio Susini
Giambologna
1596

Saint John the Baptist, Antonio Pollaiuolo Italian, Partly enameled gold set with diamonds and pearls, Italian, Florence — Saint John the Baptist
Antonio Pollaiuolo
probably ca. 1460–80

Head and wings of an angel and forehead of another, Antonio Rossellino Italian, Marble, Italian, Florence — Head and wings of an angel and forehead of another
Antonio Rossellino
ca. 1475–90

Reclining Naiad, Antonio Canova , and his studio Italian, Carrara marble, Italian, Rome — Reclining Naiad
Antonio Canova
John Bligh, 4th Earl of Darnley
1819–24