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Clementina Sobieska
Oil on canvas. First half of the XVIII century
Anonymous
Clementina Sobieska
Oil on canvas. First half of the XVIII century
Anonymous

The Birth of the Virgin
Ink, Grey-brown wash on grey paper. XVII century
Anonymous
The Birth of the Virgin
Ink, Grey-brown wash on grey paper. XVII century
Anonymous

Este dibujo representa el estilo gráfico de Giordano, y se relaciona con el lienzo Nacimiento de la Virgen de la iglesia veneciana de Santa Maria della Salute, fechado en 1667, ya que son idénticas algunas figuras, como las dos mujeres del primer término, mientras que varía el resto; puede ser indicativo de que el dibujo fuera copia de un apunte perdido de Giordano, preparatorio para el cuadro de

Pensive Muse
White marble, Travertine. 69 - 90
Anonymous; Roman Sculptor
Pensive Muse
White marble, Travertine. 69 - 90
Anonymous; Roman Sculptor

In classical Antiquity the subjects of sculptures were identified by their attributes or gestures. In this case the figure’s pensive pose suggests that of one of the Muses, Polyhymnia or Clío, depicted in sarcophagus scenes as listening attentively to the god Apollo’s music. Based on late Hellenistic models, this figure was made in the Flavian period, possibly to decorate a library.

Cicero
White marble. I century
Anonymous; Roman Sculptor
Cicero
White marble. I century
Anonymous; Roman Sculptor

A brilliant orator and politician, Cicero (106-43 BC) became the literary reference for the values of Roman culture. This bust retains the original inscription with his name and age at his death in Roman numerals. The head is later and reproduces a well known model that was in the Mattei collection in Rome (now in London).

Hercules
Marble. 75 - 100
Anonymous
Hercules
Marble. 75 - 100
Anonymous

Hercules, who was deified for his superhuman labours, wears a hero’s band around his hair. With his beard and dignified appearance he resembles the Greek philosophers who venerated the hero as a model to be followed. The head reproduces a Greek statue of the late fourth century BC.

Boy wearing an Ivy Wreath
White marble. 115 A.C. - 100 a.C.
Anonymous
Boy wearing an Ivy Wreath
White marble. 115 A.C. - 100 a.C.
Anonymous

This is a late Hellenistic head set on a bust, the tiger skin transforming the subject into a young Dionysus. The ivy wreath, over which another bronze one would have been placed, tends to confirm this identification although the hairstyle is not the habitual type for depictions of the god of wine. This may be the head of one of the so-called “mute servants” that decorated Roman residences.

Julius Caesar
White marble. XVI century
Anonymous
Julius Caesar
White marble. XVI century
Anonymous

The biography by Suetonius and ancient coins provide some information about the appearance of Julius Caesar (100-44 BC). An orator, lawyer, writer and exceptional strategist, he played a key role in the transition from the Republic to the Empire in Rome. This bust, which belonged to Diego Hurtado de Mendoza, corresponds to the so-called Chiaramonti type due to its similarity with the one in the Va

Trapezophorum (table leg)
Carrara marble. I century
Anonymous
Trapezophorum (table leg)
Carrara marble. I century
Anonymous

This decorative element consists of a Roman cartibulum leg to which a bovine head crowned by a platform with volutes was added in the 17th century. The piece was restored in 1999. Paradoxically, this unpublished and practically unknown piece must have been very interesting in earlier centuries, and its rare iconography inspired the fantasy of those who described it. Once restored, it was in Christ

La gallega de la moneda
Crayon lithography, Pen lithography, Lithographic aquatint on wove paper. 1826 - 1837
Blanco, Enrique; Anonymous; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
La gallega de la moneda
Crayon lithography, Pen lithography, Lithographic aquatint on wove paper. 1826 - 1837
Blanco, Enrique; Anonymous; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

Case for rock crystal gondola or galley with three winged serpents
Velvet, Metal, Leather, Wood. 1570 - 1600
Anonymous
Case for rock crystal gondola or galley with three winged serpents
Velvet, Metal, Leather, Wood. 1570 - 1600
Anonymous

This case takes the form of the vessel for which it was made, Gondola or galley with three winged serpents (O114). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structures are lined with wool

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, with a low knop between round brackets of enamelled gold. Oval in shape, it has a rounded profile and a rich openwork cluster of enamelled gold leaves. The enamels are opaque and consist of light touches

Rock crystal salver with gadrooned decoration
Silver gilt, Rock crystal / hyaline quartz. Ca. 1600
Anonymous
Rock crystal salver with gadrooned decoration
Silver gilt, Rock crystal / hyaline quartz. Ca. 1600
Anonymous

Oval salver made up of seven pieces of rock crystal joined by mounts and mouldings of openwork silver. The central piece is oval, engraved with striking radial gadroons and a strip of festoons with two plant sprays and rows of seeds at the ends. It rests on a moulded oval foot of silver gilt. The brim of the salver is composed of a double moulding linked by four T-shaped elements with a pierced ce

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