The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

RDF
Refine results
13 results
Infernal Landscape
Oil on panel. Ca. 1565
Anonymous
Infernal Landscape
Oil on panel. Ca. 1565
Anonymous

After Bosch’s death, his style remained very successful both in the Netherlands and in Italy and Spain. This picture, painted nearly half a century after his death, is an example of the many that were produced in imitation of his style. In this case, the scene is inspired by the representation of Hell in The Garden of Earthly Delights, which also belongs to the Prado.

Portrait of a Knight of the Order of Calatrava
Oil on canvas. 1570 - 1590
Anonymous
Portrait of a Knight of the Order of Calatrava
Oil on canvas. 1570 - 1590
Anonymous

Painted by an anonymous artist, this canvas depicts the upper body of a knight against a neutral background. He insistently stares at the viewer. It may have been at the sitter’s request that the light shines brightly on everything that the painter wished to emphasise: his face, his hands and the accessories that adorn the black satin doublet he wears. The robe, tight-fitting around the torso and

Noah after the Flood
Oil on canvas. Second half of the XVI century
Anonymous
Noah after the Flood
Oil on canvas. Second half of the XVI century
Anonymous

If we compare this painting with the Animals Entering the Ark (P22), we find that the iconographic elements which identify the subject have been shifted to a middle plane -Noah thanking God for bringing the flood to an end by means of a burnt offering (Genesis 8: 20-22) and the appearance of the rainbow as a symbol of the covenant between God and man (Genesis, 9: I-17)- while the foreground depict

Man about to strike a seated soldier
Pencil, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
Man about to strike a seated soldier
Pencil, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

Insofar as it is possible to judge from its fragmentary condition (more than half the drawing is made up; the original piece of paper on which the study is made occupies the upper section only of the composition), the drawing seems to be a copy, but the model on which it would have been based remains to be identified. The fluid style of drawing in outline with large areas of light wash is, however

The Holy Family seated in an interior
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
The Holy Family seated in an interior
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

On the verso are extensive notes about the Flemish sculptor Pietro Francavilla (1548-1615). Francavilla received his early training in Paris and Innsbruck. Archduke Ferdinand of Austria provided him with a letter of introduction to Giambologna, and he transferred to Florence in c. 1570, becoming the latter´s partner. He remained in Florence for much of his career, travelling at times to other cent

Portrait of a young woman wearing a ruff
Black chalk, Red chalk on paper. Second half of the XVI century
Anonymous
Portrait of a young woman wearing a ruff
Black chalk, Red chalk on paper. Second half of the XVI century
Anonymous

The drawing is laid down onto Brun´s (?) mount, with his inscription F. BAROCCI. The attribution follows the older inscription written in the reverse, in the hand of the so-called Italian Supplier. This is a copy of Portrait of a young lady by Barocci in the Galleria degli Uffizi, Florencem datable c. 1570-75.

Women and Children, and Other Prisioners, Being Led Away by Soldiers, Some on Horseback
Pencil, Grey-brown ink on brown paper. XVI century
Anonymous
Women and Children, and Other Prisioners, Being Led Away by Soldiers, Some on Horseback
Pencil, Grey-brown ink on brown paper. XVI century
Anonymous

Although traditionally placed in the collection under the name of Polidoro da Caravaggio, I have been unable to trace the composition in that artist´s ouvre. The style of the drawing seems however to show knowledge of the School of Fontainebleau style, and there are echoes of the draftsmanship of both Rosso Fiorentino (1495-1540) and Primaticcio (1504/05-1570).

Angel in a pendentive
Pencil, Pencil ground, Grey-brown ink on yellow paper. Ca. 1600
Anonymous
Angel in a pendentive
Pencil, Pencil ground, Grey-brown ink on yellow paper. Ca. 1600
Anonymous

This fine drawing seems to show some Emilian traits of style. Alternatively, it may be Marchigian, around Lilio (c. 1570-1635).

Beheading of St. George
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
Beheading of St. George
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

Rightly connected by the Suidas with Cambiaso´s altarpiece in S. Giorgio, Genoa, datable around 1570. An autograph study for the composition, very different in design from the finished result and showing the surrounding frame, is in the Capodimonte Museum, Naples (inv. no. 1040).

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

Small rock crystal ewer without a handle or lip
Gold, Rock crystal / hyaline quartz, Diamond, Enamel. 1550 - 1575
Toutain, Richard; Anonymous
Small rock crystal ewer without a handle or lip
Gold, Rock crystal / hyaline quartz, Diamond, Enamel. 1550 - 1575
Toutain, Richard; Anonymous

Vessel formed by three pieces of rock crystal and two gold mounts. The globular body is carved with gadroons and dart motifs. The short neck is adorned with ova enamelled in blue and a lower spiral moulding in black enamel embedded with a wax reserve, interrupted by red scrolls and others with leaves and white, sky blue and green enamelling, once incrusted with stones. Of these, only two diamonds

Case for tortoise boat
Velvet, Metal, Leather, Wood. 1570 - 1590
Anonymous
Case for tortoise boat
Velvet, Metal, Leather, Wood. 1570 - 1590
Anonymous

This case takes the form of the vessel for which it was made, the Tortoise boat (O78). The case is one of the most interesting in the whole collection. It is very unusual because of its decoration and the presence of four embossed gold oval medallions representing classical-type male heads. Known as “cameos”, such adornments had been fashionable in Italian bookbinding since at least 1484. Arbeteta

Platter with the story of Hermaphroditus and cameos of the Twelve Caesars
Gold, Silver gilt, Rock crystal / hyaline quartz, Lapis lazuli, Pearls, Enamel. 1570 - 1590
Fontana, Annibale -Designer- (?); Trezzo, Jacopo Nizzola Da (?); Anonymous; Workshop Of The Sarachi
Platter with the story of Hermaphroditus and cameos of the Twelve Caesars
Gold, Silver gilt, Rock crystal / hyaline quartz, Lapis lazuli, Pearls, Enamel. 1570 - 1590
Fontana, Annibale -Designer- (?); Trezzo, Jacopo Nizzola Da (?); Anonymous; Workshop Of The Sarachi

This O- 80 Made in a single piece of rock crystal, this masterpiece is a show of technical virtuosity. Its decoration permits philosophical, political or even alchemical readings, since it can symbolise the plenitude of the human being, the Universal Monarchy, or the transmutation of alchemy. Visually, it tells the story of Hermaphroditus, based on Ovid’s Metamorphoses. The fruit of the union betw

Up