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Faun
Marble. XVII century
Anonymous
Faun
Marble. XVII century
Anonymous

Formaba parte de una serie de relieves decorativos todos ellos con cabezas de faunos o ménades. Algunos conservan una orla con racimos de uvas. En el álbum de la colección del marqués del Carpio, aparecen dibujados quince relieves de la misma serie, rodeados de un marco redondo y provistos de una peana, como para ser colocados sobre alguna cornisa o consola.Barrón (1908) los catalogó como trabajo

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

A Bacchante
Marble. XVII century
Anonymous
A Bacchante
Marble. XVII century
Anonymous

This was part of a series of decorative reliefs with the heads of fauns or maenads. Some wear a wreath with bunches of grapes. Drawings of fifteen of these reliefs appear in the album of the Marquis of el Carpio´s collection with round frames and a foot, as if they were designed to be placed on a cornice or console. Barrón (1908) catalogued them as Italian works from between the16th a

A Bacchante (?)
Marble. XVII century
Anonymous
A Bacchante (?)
Marble. XVII century
Anonymous

This was part of a series of decorative reliefs with the heads of fauns or maenads. Some wear a wreath with bunches of grapes. Drawings of fifteen of these reliefs appear in the album of the Marquis of el Carpio´s collection with round frames and a foot, as if they were designed to be placed on a cornice or console. Barrón (1908) catalogued them as Italian works from between the16th a

Faun
Marble. XVII century
Anonymous
Faun
Marble. XVII century
Anonymous

Formaba parte de una serie de relieves decorativos todos ellos con cabezas de faunos o ménades. Algunos conservan una orla con racimos de uvas. En el álbum de la colección del marqués del Carpio, aparecen dibujados quince relieves de la misma serie, rodeados de un marco redondo y provistos de una peana, como para ser colocados sobre alguna cornisa o consola.Barrón (1908) los catalogó como trabajo

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

The Emperor Lucius Verus (?)
White marble, Travertine, Giallo antico marble, Vert antique. XVII century
Anonymous
The Emperor Lucius Verus (?)
White marble, Travertine, Giallo antico marble, Vert antique. XVII century
Anonymous

This relief is similar to a gem (known from an engraving) that was in Cardinal Massimo’s collection and subsequently that of the Marquis of El Carpio. It exemplifies the survival of classical models which were recreated in the early Modern Age to decorate palaces. Made from meticulously carved, coloured marbles, the work’s chromatic variety brings it close to painting in a deliberate and striking

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