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The 2nd of May 1808 in Madrid or “The Fight against the Mamelukes”
Etching, Aquatint on laid paper.
Galván y Candela, José María
The 2nd of May 1808 in Madrid or “The Fight against the Mamelukes”
Etching, Aquatint on laid paper.
Galván y Candela, José María

Esta estampa copia una pintura de Goya conservada en el Museo del Prado, P00748. Se trata de la estampa número 11 del segundo volumen de la colección El Grabador al Aguafuerte, que se puso a la venta [+]

Sumerian Head
Diorite. Ca. 2120 a.C.
Anonymous
Sumerian Head
Diorite. Ca. 2120 a.C.
Anonymous

This is one of the largest known Sumerian heads. It is quite similar to portraits of Gudea, the most famous and intelligent ruler of Lagasch. There is very little information about the origins of this [+]

Horus falcon
Basalt, Agate. 664 A.C. - 332 a.C.
Anonymous
Horus falcon
Basalt, Agate. 664 A.C. - 332 a.C.
Anonymous

The falcon was identified with Horus, “the exalted, the one who is above”. One of the oldest gods in Egyptian mythology, Horus was associated with royalty as the guide of monarchs. The pharaoh was alw [+]

Small Kouros
Marble. Ca. 545 a.C.
Naxian Sculptor
Small Kouros
Marble. Ca. 545 a.C.
Naxian Sculptor

The kouroi (“young people”), statues of nude men with long hair and a somewhat stiff posture, based on Egyptian art, are the most representative sculptures in marble of the Greek Archaic Period. They [+]

Head of a Horse
Marble. Ca. 515 a.C.
Greek Sculptor From Attica
Head of a Horse
Marble. Ca. 515 a.C.
Greek Sculptor From Attica

The original context for this partially conserved life-size sculpture of a horse’s head is now unknown. Only a few clues remain to clarify it. García y Bellido determined that it was from late [+]

Frieze with Two Riders Racing
Terracotta. 500 A.C. - 475 a.C.
Anonymous
Frieze with Two Riders Racing
Terracotta. 500 A.C. - 475 a.C.
Anonymous

Panel from an Italian-Etruscan temple. This piece would have covered the temple’s horizontal wooden wall. As many as one hundred identical reliefs have been found at some locations in Etruria, where t [+]

Thot as a Baboon
Basalt. IV a.C. century
Anonymous
Thot as a Baboon
Basalt. IV a.C. century
Anonymous

This baboon was acquired by the Marquis of El Carpio in Rome, from an unidentified source. A drawing in the Carpio album indicates that missing parts were added. He sits with his legs flexed and his t [+]

Nectanebo I
Stone. 380 A.C. - 362 a.C.
Anonymous
Nectanebo I
Stone. 380 A.C. - 362 a.C.
Anonymous

Nactanebo (380-362 BC), first monarch of the XXX dynasty. The five royal names appear in the right column of the dorsal pillar. Horus name (Horus of the strong arm). The King of the Upper and the Lowe [+]

Sardonyx cup with eagle's head
Gold, Ruby, Diamond, Emerald, Ágata sardónice, Enamel. 323 A.C. - 321 a.C.
Belle, Josias (?); Hellenistic Workshop (?); Taller Parisino
Sardonyx cup with eagle's head
Gold, Ruby, Diamond, Emerald, Ágata sardónice, Enamel. 323 A.C. - 321 a.C.
Belle, Josias (?); Hellenistic Workshop (?); Taller Parisino

The vessel, similar to O44, is formed by three fragments of agate and five enamelled gold mounts. The body is an ancient piece of stone with a broad gold mount on the edge decorated with an enamelled [+]

Sardonyx ewer
Ágata sardónice. 323 A.C. - 321 a.C.
Hellenistic Workshop
Sardonyx ewer
Ágata sardónice. 323 A.C. - 321 a.C.
Hellenistic Workshop

This was the most valuable object in the whole of the Grand Dauphin’s collection. Its mounting is now lost. It is a monolithic piece in the form of a jug with a bell-shaped body and tall neck that ope [+]

Demetrius I Poliorcetes
Bronze. 307 A.C. - 300 a.C.
Hellenistic Workshop
Demetrius I Poliorcetes
Bronze. 307 A.C. - 300 a.C.
Hellenistic Workshop

The monumental dimensions of the bronze head, compatible with a statue approximately 3.5 m high, as well as its individualized features suggests a portrait rather than a mythological image. Schrö [+]

Herm
White marble. Ca. 150 a.C.
Roman Sculptor
Herm
White marble. Ca. 150 a.C.
Roman Sculptor

This is a Roman copy of an Attic work of about 410-400 B. C. representing Hermes in the form of a pillar. In Athens, the different types of hermae included those donated by councillors so they could b [+]

Muse
Marble. 150 A.C. - 125 a.C.
Greek Sculptor
Muse
Marble. 150 A.C. - 125 a.C.
Greek Sculptor

This Greek statue of a Muse shows her wearing the high cothurni of the theatre on her feet, and she may have originally carried an instrument in her left arm. The dress she wears, a long chiton with a [+]

Eros (?)
Marble. 140 A.C. - 130 a.C.
Greek Sculptor
Eros (?)
Marble. 140 A.C. - 130 a.C.
Greek Sculptor

Hellenistic original. The movement of the body and its composition in an inverted “S” shape recall the statues of Praxiteles. Nevertheless, the proportions are thinner and the treatment of the flesh i [+]

Cup in the form of a kneading trough
Gold, Serpentine, Bloodstone, Enamel. I a.C. century
Anonymous; Roman Sculptor
Cup in the form of a kneading trough
Gold, Serpentine, Bloodstone, Enamel. I a.C. century
Anonymous; Roman Sculptor

A high cup formed by an ancient fragment of serpentine and a foot and stem of heliotrope. The bowl, with a rectangular mouth, is joined by a ring mount and enamelled leaves to the balustroid stem, wit [+]

Young Man
White marble. First quarter of the I a.C. century
Greek Sculptor
Young Man
White marble. First quarter of the I a.C. century
Greek Sculptor

The soft, sensual appearance of the torso, with details such as swollen nipples and delicately rounded chest and belly regions, is typical of late Hellenistic sculpture. Its typology coincides with th [+]

Dionysus and his Entourage
White marble. Ca. 50 a.C.
Hellenistic Workshop
Dionysus and his Entourage
White marble. Ca. 50 a.C.
Hellenistic Workshop

The static figure of Dionysus appears in the midst of the uncontrolled dance of his entourage, leaning on a small satyr, his servant. The relief highlights the contrast between his thoughtful posture [+]

Krater with reliefs of a Centaur Fighting
White marble, Italian marble. Ca. 50 a.C.
Roman Sculptor
Krater with reliefs of a Centaur Fighting
White marble, Italian marble. Ca. 50 a.C.
Roman Sculptor

The central part of a late Hellenistic marble krater. The receptacle has high reliefs which show the mythical fight of the lapiths against the centaurs, understood in the fifth century B. C. as a symb [+]

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