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La retratada, con varias sortijas y un collar de perlas, sujeta en la mano izquierda un monóculo o anteojo monocular provisto de manilla. Este ejemplar es de mayor nobleza de lo habitual, por la lujosa montura que lo engarza para sostenerlo en la mano. Estos instrumentos eran usados para corregir defectos de visión, especialmente presbicia, y eran de uso mayoritariamente femenino. La utilización d
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
As Pieter J. van Thiel suggests, this painting may be a copy made after an engraving by Jan Muller (1590) of Cornelisz. van Haarlem`s original Fortune bestowing her Favours, today at the Musée d´art et d´histoire of Geneva, which is also known through a grisaille executed by van Haarlem himself as a model for the engraving and through a copy of the original painting (Gothenburg, Götebo
This is a modest bottega product illustrating the passage on the birth of Christ (Luke 2: 8-20) which lends itself particularly well to a nocturnal setting. It is a replica, not of the Adoration of the Shepherds Jacopo executed in 1590 for San Giorgio Maggiore in Venice, as previously believed, but of the painting depicting the same theme housed at the Louvre (inv. 430), which is an entirely autog
The drawing may be Napolitan, by an artist in the orbit of Belisario Corenzio (active 1590-1646), though this is no more than a guess. The dramatic, light blue-grey wash reminded Paul Joannides of the drawings of the French painter, etcher and draftsman Jacques Bellange (c. 1575-1616).
The identification of the bearded man bottom left, perhaps a priest or an Old Testament prophet, seems to hold the key to identification of the subject of this interesting drawing. The artist shows knowledge of the style of the Veronese Bernardino India (1528-1590), though the handling is probably not sufficiently accomplished for this drawing to be by him.
The drawing may be late sixteenth-century Veronese, since it seems not too far removed in style from the drawings of Bernardino India (1528-1590).
This good drawing appears to be by an artist active in the Veneto, or nearby, around 1600. Florian Härb has kindly pointed out some echoes of Palma Giovane´s figure types, for example in the head of the soldier about to strike Christ´s back with a club. On the other hand, the fluid penwork and light greyish wash is also found in the work of the Veronese draftsman Bernardino India (1528-1590).
Estudio preparatorio en el que se representa una Inmaculada en pie sobre las nubes y el creciente de la luna, con las manos sobre el pecho y la mirada baja. A ambos lados, arrodillados, dos ángeles mancebos. Indicada una terminación en arco mixtilíneo como cuadro de altar. La atribución a Gregorio Bauzá (1590-1656) que se aceptó en la exposición de Pontevedra de 1959, es totalmente inadmisible. Es
This case takes the form of the vessel for which it was made, a Boat-shaped agate cup with two masks and cover (O16). 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 wo
A jug comprising various pieces of crystal and six adornments in gilded silver. The glass case of a reliquary, possibly Rhenish, has been used for the body, to which a base has been added, decorated with swirling flutes, all joined together with a late mannerist adornment, in a style that some specialists associate with the circle of the silversmith François I Roberday.Owing to its great va
Vessel comprising pieces of agate with different patterns of veining, some possibly ancient, linked by adornments in different designs, in enamelled gold. The body is semi-spherical and is joined to the lid through an adornment consisting of two decorated bands, the first with small motifs, enamelled in white and green, and the second with ovolos in translucent red enamelling, imitating ruby caboc
Goblet comprising two pieces and two adornments of enamelled gold and gilded silver. It has a deep body with a bell-shaped profile and a round mouth. A ring-shaped adornment made of gold, with a central strip of ovolos and bands and black inlaid enamelling joins the base, which is flat and round, to the node of the very short stem. The adornment of the edging is of gilded silver with incised point
This case takes the form of the vessel for which it was made, a Rock crystal drinking vessel with four lobes and handles with fantastical creatures (O87). 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. Thei
Cup, possibly a saltcellar, comprising a gold-enamelled sculpture, studded with rubies and diamonds, and two pieces of agate. The figure is a double-tailed mermaid, with a natural-coloured gold torso and a greenish-blue, red and translucent green enamelled tail. She wears a headdress of enamelled feathers and her open arms hold aloft an agate vessel with a mount of fretted and enamelled leaves, ad
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
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
This case takes the form of the vessel for which it was made, a Jasper tazza with stem in the form of a woman (O13). 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 woo
