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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

The Young Louis XV
Oil on canvas. 1714
Gobert, Pierre
The Young Louis XV
Oil on canvas. 1714
Gobert, Pierre

Wearing a child´s dress of branched yellow fabric with silver adornments and the sash and cross of the Order of the Saint-Esprit, the future monarch rests his right hand on a small dog that stands atop a chair partially covered by a curtain. His gesture seeks to calm the animal, who is barking at a monkey on the other side of the prince. The small simian is attempting to grab his leash, whic

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.

Louis I, Prince of Asturias
Oil on canvas. 1717
Houasse, Michel-Ange
Louis I, Prince of Asturias
Oil on canvas. 1717
Houasse, Michel-Ange

Michel-Ange Houasse, son of the painter René-Antoine Houasse (c.1645-1710), had enjoyed a long career during the reign of Louis XIV of France (r.1643-1715). From 1715 until his death, Michel-Ange worked in the court in Madrid during the reign of the first Bourbon monarch, Philip V (r.1700-24 and 1724-46), creating interesting landscape paintings, genre scenes, religious paintings and portra

José de Rozas y Meléndez de la Cueva, 1st Count of Castelblanco
Oil on canvas. Ca. 1716
Oudry, Jean Baptiste
José de Rozas y Meléndez de la Cueva, 1st Count of Castelblanco
Oil on canvas. Ca. 1716
Oudry, Jean Baptiste

The sitter was born in Lima in 1665 and was a leading figure in the court in exile of James II, former king of England and Scotland. He married three times, the second time in 1710 to Mary Drummond, depicted in the portrait that forms a pair to this one. The work reveals the influence of his master’s Largillierre’s dazzling portraits. The coat-of-arms of the sitter’s family is visible at the lower

The Virgin and Child
Oil on canvas. 1708 - 1710
Trevisani, Francesco
The Virgin and Child
Oil on canvas. 1708 - 1710
Trevisani, Francesco

Trevisani trained with his father, the architect Antonio Trevisani, and with Antonio Zanchi in Venice before moving to Rome where he studied with Carlo Maratti (1625-1713). This work, painted in his most tender style, reveals an interest in combining a delicate colour range with powerful contrasts of light that anticipates Trevisani’s subsequent move towards the Rococo, of which he was a significa

Still Life with Shellfish, Fish and Vessels
Oil on canvas. 1710 - 1740
Viladomat, Antonio
Still Life with Shellfish, Fish and Vessels
Oil on canvas. 1710 - 1740
Viladomat, Antonio

The artist has arranged the objects in the traditional manner, locating them in the immediate foreground in order to achieve greater visual impact. The result is a simple composition but one with a marked degree of lifelikeness. It is influenced by the still lifes of similar motifs painted by the Neapolitan artist Giuseppe Recco (1634-1695), albeit without their decorative quality.

The Hunt of Meleager
Oil on canvas. 1634 - 1639
Poussin, Nicolas
The Hunt of Meleager
Oil on canvas. 1634 - 1639
Poussin, Nicolas

Until very recently there was total confusion as to the origin of this painting and the circumstances surrounding its entry into the Royal Collection. Its original owner was formerly thought to have been Cassiano dal Pozzo, an erudite Italian contemporary of Nicolas Poussin whose collection did, indeed, include a work with similar characteristics. Since 2005, however, the generally accepted hypoth

Lady Mary Josephine Drummond, Countess of Castelblanco
Oil on canvas. Ca. 1716
Oudry, Jean Baptiste
Lady Mary Josephine Drummond, Countess of Castelblanco
Oil on canvas. Ca. 1716
Oudry, Jean Baptiste

The sitter was the daughter of John Drummond, Duke of Melfort, one of James II’s principal councillors in exile in San-Germain-en-Laye and his Secretary of State. Lady Mary was married there in 1710 to the Count of Castelblanco. She died in 1713. It is thought that this is a posthumous portrait, painted to form a pair with that of her husband.

Portrait of a Prince of Lorraine, possibly Charles Alexander
Oil on canvas. Ca. 1715
Gobert, Pierre
Portrait of a Prince of Lorraine, possibly Charles Alexander
Oil on canvas. Ca. 1715
Gobert, Pierre

Pese a su apariencia femenina, se trata de un retrato de varón ataviado con la indumentaria acostumbrada en la corte de Lorena para los niños de hasta cuatro años. Hubo de ser enviado como regalo por los duques de ese territorio a sus parientes españoles, siendo la duquesa Isabel Carlota de Orleans tía de la reina de España María Luisa Gabriela de Saboya. Aunque el parecido con sus hermanos Leopol

Isabella Farnese, Queen of Spain
Oil on canvas. Ca. 1715
Piane, Giovanni Maria Delle
Isabella Farnese, Queen of Spain
Oil on canvas. Ca. 1715
Piane, Giovanni Maria Delle

Isabella Farnese (1692-1766), the daughter of Odoardo II, Prince of Parma, and of Dorothea Sophie of Neuburg, married Philip V of Spain in 1714. This portrait is a replica of one made in Parma by Molinaretto, after the Queen´s arrival in Spain, copying a miniature or a portrait prior to her departure from Italy, and from which she later commissioned replicas that she had brought to Spain, giving a

Bacchus and Ariadne
Pencil, Grey-brown wash, White lead on papel verjurado, verdoso. Ca. 1715
Conca, Sebastiano
Bacchus and Ariadne
Pencil, Grey-brown wash, White lead on papel verjurado, verdoso. Ca. 1715
Conca, Sebastiano

La composición enmarcada a tinta presenta a la izquierda a Ariadna sentada; a la derecha, Baco la corona en pie y un fauno arrodillado vierte el vino en un ánfora. Al fondo, Sileno, transportado por sus compañeros. Existen varias composiciones de Conca de este tema, conocidas por lienzos y dibujos, fechadas hacia 1715. El dibujo del Prado presenta una escena diferente, pero relacionada estilística

Male nude
Oil on paper. 1714 - 1722
Creti, Donato
Male nude
Oil on paper. 1714 - 1722
Creti, Donato

This drawing is linked to his Male nude and cherub, painted as part of a series of over-door paintings commissioned by his leading patron Marcantonio Collina Sbaraglia, who gave them to the Municipality of Bologna in 1744. They were part of a set of sixteen works Creti made between 1714 and 1722, now in the Collezioni Comunali d’Arte, Bologna. The over-door paintings depict four male and four fema

The Virgin of Sorrows
Black chalk on yellow laid paper. XVII century
Anonymous
The Virgin of Sorrows
Black chalk on yellow laid paper. XVII century
Anonymous

The Virgin is depicted standing, with her arms open and her head leaning to her left. This figure was probably part of a Stations of the Cross. The drawing recalls the Madrid style with a strong Flemish influence.

Augustus
Bronze, Alabaster. 1692 - 1710
Monnot, Pierre (Attributed To)
Augustus
Bronze, Alabaster. 1692 - 1710
Monnot, Pierre (Attributed To)

Around 1700, Livio Odescalchi commissioned a statue of Augustus (63 B.C.-4 A.D.) to be paired with another of Tiberio (E00112) acquired with the collection of Christine of Sweden. Its style is more classical and less daring, and follows the ancient esthetic more faithfully. The portrait repeats the famous Primaporta type Augustus. The cream-colored alabaster looks like the marble used by the Roman

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