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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

The Flagellation
Red chalk on dark yellow paper. After 1656
Anonymous
The Flagellation
Red chalk on dark yellow paper. After 1656
Anonymous

Es copia concluida y de muy buena calidad de un cuadro de Maratti, hoy perdido, en la Capilla Ludovisi de la Iglesia de San Isidoro Agrícola de Roma, pintado por el artista en 1656. De esta obra se conoce un grabado de J. Thiboust y en 1979 se encontró en el mercado londinense un lienzo del mismo tema, que posiblemente perteneció a la decoración de la citada iglesia romana (Texto extractado de Men

Venus and Adonis
Black chalk, Pencil on dark yellow paper. 1676
Anonymous
Venus and Adonis
Black chalk, Pencil on dark yellow paper. 1676
Anonymous

Dibujo en el que se representa a Venus sentada a la derecha con Cupido; ante ella, arrodillado, Adonis. Lleva una inscripción con el nombre de Mola y una fecha en 1676, por lo que no se puede referir a Pier Francesco Mola, muerto en 1666, sino tal vez a su hijo (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p. 201).

Sappho
Marble. S XVI - XVII century
Anonymous
Sappho
Marble. S XVI - XVII century
Anonymous

Cabeza femenina con el pelo sujeto por una cinta y cubierto por un pañuelo. Por delante de las orejas caen dos pares de rizos sobre las mejillas. Este prototipo creado en Grecia fue tradicionalmente identificado como Safo, aunque también como ninfa o musa.Cacciotti (1994) opina que la cabeza del Museo del Prado pudo pertenecer a la colección Giustiniani, basándose en la identificación de un grabad

Dionysus (Bacchus)
White marble. 190 - 210
Anonymous
Dionysus (Bacchus)
White marble. 190 - 210
Anonymous

This Roman work is based on a classical Greek model by the School of Polyclitus (c. 400 B. C.) known as the Dresden Ephebe. The statue of the athlete was transformed into the god of wine in the Roman period and a new head was added with a Dionysian band, an ivy wreath and grapes. The hands holding a goblet and grapes were added in the seventeenth century.

Ganymede
White marble. 160 - 170
Anonymous
Ganymede
White marble. 160 - 170
Anonymous

This decorative roman work is based on Hellenistic iconography that arose in the third century B.C. It shows the moment before Zeus, who has taken the form of an eagle, abducts the mythical shepherd of Troy in order to drink the wine of Olympus. Considered the most handsome mortal, Ganymede shepherded his father´s flocks. He is represented with an elaborate hairdo characteristic of Roman cupbearer

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

Portrait said to be of Lycurgus
White marble. Early II century
Anonymous
Portrait said to be of Lycurgus
White marble. Early II century
Anonymous

This poorly preserved Roman copy of a Greek original from around 290 b.c.e. belongs to a rather irregular group of five Roman copies of a scupture baselessly identified with Lycurgus of Sparta. It presents an older man with a thick beard and relatively long hair whose ends were sculpted to face inward on the sides and back. His amiable expression is the result of damage to the brows and does not c

Thot as a Baboon
Basalt. IV a.C. century
Anonymous
Thot as a Baboon
Basalt. IV a.C. century
Anonymous

This baboon was acquired by the Marquis of El Carpio in Rome, from an unidentified source. A drawing in the Carpio album indicates that missing parts were added. He sits with his legs flexed and his tail on the ground, running around his body. His two forearms rest on his thighs with his hands on his knees.During the reign of Charles III, this figure was erroneously considered a bear, and in the A

Venus
Marble. 80 - 90
Anonymous; Roman Sculptor
Venus
Marble. 80 - 90
Anonymous; Roman Sculptor

Originally in the collection of the 7th Marquis del Carpio, Spanish Ambassador in Rome (1676-82) and Viceroy of Naples (1682-87), this sculpture consists of a nude, Greco-Roman torso with some surviving folds of drapery, completed in the Baroque style by a Roman sculptor in the last quarter of the seventeenth century. It depicts Venus’s birth as she rises from the waves, supported by a dolphin and

Nectanebo I
Stone. 380 A.C. - 362 a.C.
Anonymous
Nectanebo I
Stone. 380 A.C. - 362 a.C.
Anonymous

Nactanebo (380-362 BC), first monarch of the XXX dynasty. The five royal names appear in the right column of the dorsal pillar. Horus name (Horus of the strong arm). The King of the Upper and the Lower Egypt (sic). Nebty, “two ladies” name (He who beautifies the two lands). Golden Horus name (He who does what the gods love). Throne name, praenomen, preceded by the title of King of Upper and Lower

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.

Porphyry vase
Porphyry, Wood. Ca. 1650
Anonymous
Porphyry vase
Porphyry, Wood. Ca. 1650
Anonymous

This large vase is decorated with a mask in the middle section. It lacks the lid and base, which are known from a drawing of 1682 now in London. It belonged to Gaspar de Haro y Guzmán, Marquis of Carpio (1619-1687) who was Spanish ambassador in Rome then Viceroy of Naples in 1683, assembling an exceptional art collection in Italy.

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

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