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Still Life with Artichokes, Flowers and Glass Vessels
Oil on canvas. 1627
Hamen y León, Juan Van Der
Still Life with Artichokes, Flowers and Glass Vessels
Oil on canvas. 1627
Hamen y León, Juan Van Der

This magnificent painting once belonged to Diego Mexía Felípez de Guzmán, Marquis of Leganés, in whose collection it was inventoried in 1655. This collection of nearly 1300 paintings comprised works by some of the most important European painters of the time, including a great number of Flemish still lifes and genre paintings. Van der Hamen was represented by nine still

Altarpiece of Saint Christopher
Tempera on panel. Late XIII century
Anonymous
Altarpiece of Saint Christopher
Tempera on panel. Late XIII century
Anonymous

This small altarpiece, divided into three horizontal and three vertical rows, is dedicated to Saint Christopher, who protects against sudden death. His image occupies the central row, which is topped by the Crucifixion. Saint Christopher was a third-century martyr known as "Christ´s Carrier", because of his legend. Born as Offerus or Reprebus, he wished to use his enormous strength and uncom

The Guils Frontal
Tempera on panel. Late XIII century
Anonymous
The Guils Frontal
Tempera on panel. Late XIII century
Anonymous

At the centre, the Pantocrator (Christ in majesty) is shown in a mandorla surrounded by the Tetramorph, the symbols of the four Evangelists. At either side, the upper register shows scenes from the life of Saint Stephen -on the left, his stoning, and on the right his burial- while the lower register depicts two pairs of apostles. The frontal is from the church of San Esteban in Guils de Cerdanya (

Garland with a Landscape
Oil on canvas. 1680 - 1700
Ykens, Catharina II
Garland with a Landscape
Oil on canvas. 1680 - 1700
Ykens, Catharina II

Little is known regarding two artists called Catarina Ykens, both garland painters, and it is uncertain whether this painting is by Catarina Ykens I or Catarina Ykens II, to whom it is usually attributed. In either case, both were among the few women painters active in Early Modern Europe. Of the approximately 1,300 Flemish paintings in the Prado, only six were painted by women, four of them by Cl

The Taking of Christ
Oil on panel. 1490
Osona, Rodrigo de; Osona, Francisco de
The Taking of Christ
Oil on panel. 1490
Osona, Rodrigo de; Osona, Francisco de

This and five other panels at the Prado Museum (P6897, P6898, P6899, P6900, P6901), are some of the finest examples of the collaboration between Rodrigo and Francisco de Osona. They were probably designed as part of an altarpiece. The placement and physiognomy of the figures are in keeping with the style of this family of painters from Valencia. The diverse treatment of the paintings suggests the

Ivory Christ on a Rock Crystal Cross
Silver gilt, Copper alloy, Rock crystal / hyaline quartz, Ivory. 1300 - 1330
Anonymous
Ivory Christ on a Rock Crystal Cross
Silver gilt, Copper alloy, Rock crystal / hyaline quartz, Ivory. 1300 - 1330
Anonymous

An ivory Christ with copper arms that were probably added at a later date. The cross consists of various pieces of rock crystal joined by metal rods covered with painted parchment. The clasps are of enameled and nielled silver. This is a German work, probably from the area of Renania, although the figure of Christ derives from French models and the cross bears similarities to some Venetian works.

The Saint John the Baptist Altarpiece
Wood. Last quarter of the XIII century
Anonymous
The Saint John the Baptist Altarpiece
Wood. Last quarter of the XIII century
Anonymous

This altarpiece consists of two separate elements: the principal part, which would have hung on the wall above the altar and below and, in front of it, the frontal or antipendium. The former, which is pentagonal, is divided vertically into three sections. The central one housed images of the titular saint and the Crucifixion above, now lost. Both parts of the altarpiece, which comes from Leó

Enthroned Virgin and Child
Wood. Last third of the XIII century
Anonymous
Enthroned Virgin and Child
Wood. Last third of the XIII century
Anonymous

Virgen entronizada, de un tipo evolucionado dentro de las esculturas en madera de vírgenes castellanas. Corresponde al tipo de Niño sentado sobre la rodilla izquierda de la Virgen, colocando los pies sobre la derecha. Sobre el velo lleva la corona de reina. El Niño viste túnica y manto, bendiciendo con la mano derecha, hoy perdida, y con la izquierda sostiene un libro cerrado. Es uno de los tipos

Christ the Saviour
Wood. Ca. 1300
Anonymous
Christ the Saviour
Wood. Ca. 1300
Anonymous

Esta figura ha perdido el brazo derecho, aunque A. Franco (1997: 27) lo indentifica sin ninguna duda con la imagen de Cristo bendiciendo y sosteniendo el Libro de la Vida. Según la misma autora, corresponde a una tipología claramente castellana, que se caracteriza por vestir túnica rozagante, bajo la que asoman los pies descalzos, sujeta con zíngulo a la cintura. Sobre ella dispone un manto recogi

Small urn in faceted rock crystal
Rock crystal / hyaline quartz. XIII century
Metellino, Giovanni Battista (Workshop Of); Anonymous (?)
Small urn in faceted rock crystal
Rock crystal / hyaline quartz. XIII century
Metellino, Giovanni Battista (Workshop Of); Anonymous (?)

A vessel cut in a single piece with no mounts, with a high foot in the form of a truncated cone, a bulbous bowl, an everted neck and a cover with a basket-handle arch profile surmounted by an acorn. The facets with sharply edged arrises are characteristic of mediaeval European work, as are the thick sides and the extreme simplicity of the forms. Arbeteta proposes two possibilities for this piece.

Philip II's Tabletop
Africano marble, White marble, Agate, Jasper, Lapis lazuli. Before 1587
Roman Sculptor
Philip II's Tabletop
Africano marble, White marble, Agate, Jasper, Lapis lazuli. Before 1587
Roman Sculptor

This tabletop was sent from Rome by Cardinal Alessandrino, nephew of Pope Pius V, to Philip II of Spain in 1587. Of unusual proportions, it is designed to create the impression that the inlay is made of precious stones. The bronze mounts date from the reign of Isabel II. Like the Table of don Rodrigo Calderon (O00448), this tabletop rests on four of the twelve lions that Velazquez commissioned fro

Cameo with a Hebrew inscription
Agate. XIII century
Anonymous
Cameo with a Hebrew inscription
Agate. XIII century
Anonymous

This extremely interesting piece is one of the thirteen preserved cameos that originally came from at least two different vessels stolen in 1918 (I-1405 and I-1407). It shows a crowned and bearded figure upon a curule seat or throne, his face turned and his arm extended to the viewer’s right, with the hand open in a gesture of invitation. The sovereign depicted may be a personage linked to the his

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