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Saint Jerome
Oil on canvas. Ca. 1630
Anonymous
Saint Jerome
Oil on canvas. Ca. 1630
Anonymous

La obra forma parte de una serie de cuatro lienzos que representan a los Padres de la Iglesia occidental, procedente del convento de Nuestra Señora de la Soledad de Madrid. Son copias de un conjunto realizado en Italia con mucha probabilidad durante el breve pontificado de Gregorio XV Ludovisi (1621-1623) cuyos originales, solo en parte localizados, pueden adscribirse a Giovanni Lanfranco (San Amb

Saint Ambrose
Oil on canvas. Ca. 1630
Anonymous
Saint Ambrose
Oil on canvas. Ca. 1630
Anonymous

La obra forma parte de una serie de cuatro lienzos que representan a los Padres de la Iglesia occidental, procedente del convento de Nuestra Señora de la Soledad de Madrid. Son copias de un conjunto realizado en Italia con mucha probabilidad durante el breve pontificado de Gregorio XV Ludovisi (1621-1623) cuyos originales, solo en parte localizados, pueden adscribirse a Giovanni Lanfranco (San Amb

Altar frontal with Scenes from the Childhood of Christ
Tempera on panel. First third of the XIII century
Anonymous
Altar frontal with Scenes from the Childhood of Christ
Tempera on panel. First third of the XIII century
Anonymous

This altar frontal is divided into two levels separated by arches enclosing the Adoration of the Magi, above, and the Presentation in the Temple, below. Both the structure and composition are unusual for this period. Each figure is identified with an inscription. The frontal comes from the church of Nuestra Señora de Peñalba in Arnedillo (La Rioja).

Saint Augustine
Oil on canvas. Ca. 1630
Anonymous
Saint Augustine
Oil on canvas. Ca. 1630
Anonymous

La obra forma parte de una serie de cuatro lienzos que representan a los Padres de la Iglesia occidental, procedente del convento de Nuestra Señora de la Soledad de Madrid. Son copias de un conjunto realizado en Italia con mucha probabilidad durante el breve pontificado de Gregorio XV Ludovisi (1621-1623) cuyos originales, solo en parte localizados, pueden adscribirse a Giovanni Lanfranco (San Amb

Man wearing an Ermine Collar
Oil on canvas. Ca. 1555
Anonymous
Man wearing an Ermine Collar
Oil on canvas. Ca. 1555
Anonymous

Stylistically very close to Titian, this well painted canvas is not in fact by his hand. The sitter’s elevated social status is indicated by his carefully painted clothes while the inscription states that he was 37 when this portrait was executed.

Marianne of Austria, Queen of Spain
Oil on canvas. Second half of the XVII century
Anonymous
Marianne of Austria, Queen of Spain
Oil on canvas. Second half of the XVII century
Anonymous

Marianne of Austria (1634–1696) was the daughter of the Holy Roman Emperor Ferdinand III of Austria and his wife Maria. In 1649, at 15 years old, she was betrothed to her uncle Philip IV, the Great, who was 44 years old at the time. She had five children with him: Princess Margaret Theresa (1651–1673), later Empress of Germany; another girl who died a few days after her birth; Prince Philip Prospe

Saint Gregory the Great
Oil on canvas. Ca. 1630
Anonymous
Saint Gregory the Great
Oil on canvas. Ca. 1630
Anonymous

La obra forma parte de una serie de cuatro lienzos que representan a los Padres de la Iglesia occidental, procedente del convento de Nuestra Señora de la Soledad de Madrid. Son copias de un conjunto realizado en Italia con mucha probabilidad durante el breve pontificado de Gregorio XV Ludovisi (1621-1623) cuyos originales, solo en parte localizados, pueden adscribirse a Giovanni Lanfranco (San Amb

Portrait of a Gentleman
Albumen, Gouache / tempera on cardboard, photographic paper. Second half of the XIX century
Anonymous
Portrait of a Gentleman
Albumen, Gouache / tempera on cardboard, photographic paper. Second half of the XIX century
Anonymous

Esta fotografía se había identificado erróneamente como un autorretrato del pintor Carlos Luis de Ribera (1815-1891) a la acuarela y como tal fue publicado en 1983. Previamente, la obra había formado parte de la exposición monográfica sobre el pintor Ribera que tuvo lugar en el Museo del Romanticismo en 1955, donde figuró como un pastel sobre cartulina: personaje vestido de negro apoyado sobre un

Ecce Homo
Pencil, Ink on dark yellow paper. Early XVII century
Anonymous
Ecce Homo
Pencil, Ink on dark yellow paper. Early XVII century
Anonymous

En el anverso se la hoja se representa un Ecce Homo de pie, casi de perfil, inclinado a la derecha. De comienzos de siglo y de nada fácil emplazamiento estilístico. Pegado en otro papel con fragmento de una carta, en que se habla de la venta de cuadros en Cádiz:Estos lienzos lo cierto es que son / moderada la estimacion que les doy.../ a 15 pesos pues cosas ay en Cadiz que.../ van lexos del meritt

Boar
White marble. Ca. 20
Anonymous; Roman Sculptor
Boar
White marble. Ca. 20
Anonymous; Roman Sculptor

Probablemente en el siglo XVII, un autor desconocido dividió mediante un corte longitudinal el torso de la estatua de un jabalí de tamaño natural en dos partes; luego, las completó y montó cada una de las dos mitades sobre un tablero liso de mármol de color. Aún hoy se percibe fácilmente que la cabeza del animal estaba levemente girada hacia la derecha. Originalmente el pesado cuerpo no descansaba

Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous
Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous

A medallion portraying the young Charles of Bourbon (1716-1788), recently proclaimed King of Naples and Sicily, who would become King Charles III of Spain in 1759. Shown in profile with a large wig and dressed all’antica, his breastplate bears a head of Medusa, an allusion to the mythological heroes, and the golden fleece, the symbol of the Order of the same name.

Head of a Male Goat
White marble. 15 - 30
Anonymous
Head of a Male Goat
White marble. 15 - 30
Anonymous

This head of a goat, formerly in the collection of the Marquis of Carpio (1629-1687), is a fragment of a sculpture depicting a common subject in Antiquity, in which a small rider (Bacchus, Cupid or Venus) is mounted on the animal. On the right of the head are remains of a hand that would have been clutching the goat’s hair.

Foot and stem fittings of a glass with several missing figures
Gold, Enamel, Epoxy. 1675 - 1700
Anonymous
Foot and stem fittings of a glass with several missing figures
Gold, Enamel, Epoxy. 1675 - 1700
Anonymous

According to Laurent’s photographs, the vessel, a high cup made in about 1530-40, consisted of four pieces and four enamelled gold mounts, of which two remain. On the cover, among leaves, spirals and masks, there were three statuettes in white enamel of semi-nude women raising their left arms. Above, a half-length satyr with a Baroque (i.e. irregular) pearl on his breast held the women’s arms with

Case for missing vessel with various figures
Fabric, Leather, Wood. 1690 - 1711
Anonymous
Case for missing vessel with various figures
Fabric, Leather, Wood. 1690 - 1711
Anonymous

This case takes the form of the vessel for which it was made, a Missing vessel with various figures (O50). 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 and silk

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