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The Port of Amsterdam in Winter
Oil on canvas. 1656 - 1660
Dubbels, Hendrick Jacobsz
The Port of Amsterdam in Winter
Oil on canvas. 1656 - 1660
Dubbels, Hendrick Jacobsz

This is one of the few winter scenes painted by Hendrick Dubbels still preserved today. In the Museum`s catalogues it is described as a scene with skaters, although only three of the many characters depicted here are actually skating, and one is putting on skates. The 1873 and 1878 editions state that, despite the signature, some consider this to be by Bonaventura Peeters; the 1885 publication men

Weapons and Hunting Equipment
Oil on canvas. Ca. 1700
Victoria, Vicente
Weapons and Hunting Equipment
Oil on canvas. Ca. 1700
Victoria, Vicente

Although this painting bears a curious apocryphal signature in large letters at the lower left corner of the canvas, Pérez Sanchez (1983) attributed it to Victoria in 1983 on the basis of its Valencian provenance and that clergyman’s (he was a canon) reputation for making works of this sort. But, while other collections have similar pieces, this attribution raises doubts that may eventually

Saint Peter weeping
Oil on canvas. Ca. 1700
Giordano, Luca
Saint Peter weeping
Oil on canvas. Ca. 1700
Giordano, Luca

Pintura de devoción privada en la que Giordano presenta a San Pedro arrepentido derramando lágrimas de aflicción, después de haber negado a Cristo por tres veces. Con la mirada elevada al cielo, las manos entrelazadas sobre el pecho en gesto de piadosa oración y actitud de profundo recogimiento, el Apóstol implora perdón por su pecado. Sobre la piedra del primer término, en la que han quedado marc

Warning against stealing Books
Oil on canvas. Ca. 1700
Anonymous
Warning against stealing Books
Oil on canvas. Ca. 1700
Anonymous

Christ attended by Angels
Oil on canvas. Ca. 1705
Magnasco, Alessandro; Peruzzini, Antonio Francesco
Christ attended by Angels
Oil on canvas. Ca. 1705
Magnasco, Alessandro; Peruzzini, Antonio Francesco

Christ served by angels, c.1705, features a wealth of details, including numerous figures that blend into the woody setting by the riverside and a variety of contrasting effects caused by the play of light through its dense foliage. It has always been attributed to Alessandro Magnasco, and it was with that attribution that the Museo del Prado acquired it from Julius H. Weitzner in London in 1967.

Allegory of Smell
Oil on canvas. 1775
Lagrenée L'aîné, Louis-Jean-François
Allegory of Smell
Oil on canvas. 1775
Lagrenée L'aîné, Louis-Jean-François

Lagrenèe, a member of the Paris Royal Academy of Painting and Sculpture, trained under Carle van Loo (1705-1765). He travelled in Italy, and worked for the French and Russian courts. This painting is one of a series -the Five Senses- which included the Allegory of Touch, also in the Prado. Both were commissioned by a British nobleman.

The Assumption of the Virgin
Oil on canvas. Ca. 1700
Ribera, Juan Vicente de
The Assumption of the Virgin
Oil on canvas. Ca. 1700
Ribera, Juan Vicente de

Aparte de su interés formal y estético, es obra muy interesante desde un punto de vista iconográfico, ya que funde en uno solo el tema de la salida del sepulcro de la Virgen y su asunción o elevación al cielo, sin las figuras de los apóstoles que habitualmente presencian este acontecimiento. Además, el artista concibe el sepulcro a manera de una gran urna funeraria cerrada, convirtiéndolo en peana

Philip V of Spain
Oil on canvas. Ca. 1700
García de Miranda, Juan
Philip V of Spain
Oil on canvas. Ca. 1700
García de Miranda, Juan

Saint Teresa of Avila in Glory
Oil on canvas. 1760 - 1770
Bayeu, Francisco
Saint Teresa of Avila in Glory
Oil on canvas. 1760 - 1770
Bayeu, Francisco

This is a preparatory sketch for a mural of Saint Teresa on clouds, accompanied by other Carmelite nuns. The saint is received by the Virgin, who points to the Holy Trinity. The composition reflects the influence of the Baroque style of Luca Giordano (1634-1705), modified by the aesthetic of Corrado Giaquinto (1703-1766).

Charles II, King of Spain, on Horseback
Oil on canvas. Ca. 1693
Giordano, Luca
Charles II, King of Spain, on Horseback
Oil on canvas. Ca. 1693
Giordano, Luca

Luca Giordano (1634-1705) made an equestrian portrait of Charles II for the Hall of Mirrors at Madrid’s Alcázar palace to emphasize the dynastic continuum in which Charles II constituted the latest link in a chain that had begun with Titian’s portrait of Charles V: Charles V at Mühlberg. The loss of Titian’s work in the fire that ravaged the Alcázar in 1734 makes it impossible t

Air
Oil on canvas. Ca. 1700
Palomino y Velasco, Acisclo Antonio
Air
Oil on canvas. Ca. 1700
Palomino y Velasco, Acisclo Antonio

Air, one of the four elements, is embodied by the goddess, Juno, who sits in a carriage drawn by the peacocks that customarily symbolize her. She is accompanied by the nymph, Iris, who frames the scene with her marvelous rainbow. On earth, under a leafy tree, two cupids play with soap bubbles, alluding to the ethereal nature of the element in question. Along with paintings of the other elements ma

Catherine of Braganza, Queen consort of England, Scotland and Ireland
Oil on canvas. Second half of the XVII century
Nocret, Jean
Catherine of Braganza, Queen consort of England, Scotland and Ireland
Oil on canvas. Second half of the XVII century
Nocret, Jean

Catherine of Braganza (1638 -1705) was queen consort of England, of Scotland and of Ireland from 1662 to 1685, as the wife of King Charles II. This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these paintings must have decorated the Queen´s Gallery in the Alc&

Fire
Oil on canvas. Ca. 1700
Palomino y Velasco, Acisclo Antonio
Fire
Oil on canvas. Ca. 1700
Palomino y Velasco, Acisclo Antonio

The allegory takes place in a setting of dark foliage that partly conceals a grotto -the forge of Vulcan- while the sea horizon on the other side is dominated by the crater of a volcano. In the foreground Venus, accompanied by Cupid and some putti, pays a visit to her husband´s forge. The work belongs to a series of the Four Elements executed by several painters for the Buen Retiro palace.

Water
Oil on canvas. Ca. 1700
Ezquerra, Jerónimo Antonio
Water
Oil on canvas. Ca. 1700
Ezquerra, Jerónimo Antonio

This wooded landscape with the ocean in the background is the setting for a group of maritime allegories. In the foreground, a male figure next to some rapids personifies one of the great rivers that exist in Nature, as was the customary representation during the Classical period. Various elements and animals related to water, such as turtles and seashells, are visible beside him. In the backgroun

Sacerdote de Isis
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
Sacerdote de Isis
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

The Adoration of the Shepherds
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous
The Adoration of the Shepherds
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Second half of the XVI century
Anonymous

Until recently, the drawing was placed under the name of Luca Giordano (1634-1705), however the style suggests an artist working in the circle of Federico Zuccari.

Saint Michael defeating Satan
Pencil, Pencil ground on yellow laid paper. Ca. 1700
Palomino y Velasco, Acisclo Antonio
Saint Michael defeating Satan
Pencil, Pencil ground on yellow laid paper. Ca. 1700
Palomino y Velasco, Acisclo Antonio

This drawing depicts an armed Saint Michael, standing on clouds, with a round shield and a flaming sword that plunges the devil into hell.The work is very typical of Palomino. It was a preparatory drawing for one of the pendentives in the parish church of Dos Barrios (Toledo) brought to light by Pérez Sánchez. It most likely dates from around 1700. The broken, nervous stroke is also

Philip V on horseback
Bronze. 1702
Vaccaro, Lorenzo
Philip V on horseback
Bronze. 1702
Vaccaro, Lorenzo

In this sculptural group conceived in the classical manner Philip V wears a Roman-style cuirass and a curly wig of the French type. Vaccaro’s bronze is a small-scale version of his equestrian monument of the Spanish monarch erected in the square of the Gesù Nuovo in Naples in 1705. Cast by the Neapolitan silversmith Antonio Perrella, that work was destroyed by the Austrian troops in 1707.

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