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David with the head of Goliath
Oil on canvas. XVII century
Anonymous
David with the head of Goliath
Oil on canvas. XVII century
Anonymous

Saint John the Baptist
Oil on canvas. XVI century
Anonymous
Saint John the Baptist
Oil on canvas. XVI century
Anonymous

San Juan Bautista visto de frente, con barba y cabellos largos y ondulados. Está vestido con una túnica sin mangas en color verde sobre la que se superpone un manto de color rojo que parte del hombro izquierdo y cruza por delante. Con sus manos sujeta una vara larga con la cruz y tiene el dedo índice de la mano derecha extendido haciendo referencia al texto Ecce Agnus Dei. La figura recibe la luz

Saint Peter weeping
Oil on canvas. XVII century
Anonymous
Saint Peter weeping
Oil on canvas. XVII century
Anonymous

River Landscape with Riders and a Tower
Oil on canvas. XVII century
Anonymous
River Landscape with Riders and a Tower
Oil on canvas. XVII century
Anonymous

On entering the Museum this painting was inventoried as a product of the Sevillian school, though the 1876 catalogue lists it as a work executed in the style of Jan Both. Valdivieso (1973) considers it to be an eighteenth-century Italian work, while Barghahn (1986) identifies it as one of the landscapes in the Palace of the Buen Retiro inventory, though in fact neither the measurements nor the des

Christ and the Woman of Samaria
Oil on panel. XVI century
Anonymous
Christ and the Woman of Samaria
Oil on panel. XVI century
Anonymous

Portrait of a Man
Oil on panel. Ca. 1620
Anonymous
Portrait of a Man
Oil on panel. Ca. 1620
Anonymous

The 1910 catalogue states that Bredius attributed this painting to Jacop Gerritsz. Cuyp (1594-1652), ascription that was officially accepted by the Museum in 1985. However, neither the typology nor the style correspond to Cuyp`s portraits. Moreover, the oval-shaped panel is characteristic of Amsterdam portraitists. Fred Meijer thus believes that this could be the work of a painter who belonged to

The Viol Player
Oil on panel. Ca. 1540
Anonymous
The Viol Player
Oil on panel. Ca. 1540
Anonymous

In this half-length portrait, the young man wears a red cap and holds a musical instrument that combine features of both the vihuela and the violin. While only partially visible, its fretted neck suggests it belongs to the family of the bowed vihuela or viola da gamba, but its bow and part of the pegbox are closer in appearance to those of the violin family, suggesting it is a hybrid of both. Thes

Clementina Sobieska
Oil on canvas. First half of the XVIII century
Anonymous
Clementina Sobieska
Oil on canvas. First half of the XVIII century
Anonymous

Penitent Magdalene
Oil on canvas. XVII century
Anonymous
Penitent Magdalene
Oil on canvas. XVII century
Anonymous

Portrait of a Knight of the Order of Calatrava
Oil on canvas. 1570 - 1590
Anonymous
Portrait of a Knight of the Order of Calatrava
Oil on canvas. 1570 - 1590
Anonymous

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

Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous
Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous

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

Saint John the Evangelist
Oil on panel. XVI century
Anonymous
Saint John the Evangelist
Oil on panel. XVI century
Anonymous

Naval Battle
Oil on canvas. 1660 - 1670
Anonymous
Naval Battle
Oil on canvas. 1660 - 1670
Anonymous

The painting may illustrate an episode from the Anglo-Dutch wars. Its condition makes it difficult to ascertain its authorship. The handling and arrangement of the clouds point to a late date, around 1660-70. Jan Kelch attributes it to the circle of Reinier Nooms, known as Zeeman (1623/24-1664). However, Sabine Craft-Giepmans and Marijke van Kinkelder argue that the handling of space and the manne

The Aldobrandini Garden at Frascati
Oil on canvas. XVII century
Anonymous
The Aldobrandini Garden at Frascati
Oil on canvas. XVII century
Anonymous

The earliest documentary reference to this painting appears in the 1772 inventory of the Palace of the Buen Retiro, in which the setting is attributed to Viviano Codazzi (1603/4-1672) and the figures to Aniello Falcone (1607-1656). However, this architectural view has traditionally been considered part of the set of landscapes -with hermits and bucolic scenes- commissioned in Rome to decorate the

Old Man with Book
Oil on panel. XVII century
Anonymous
Old Man with Book
Oil on panel. XVII century
Anonymous

Traditionally this painting has been considered a copy of the original by Gerard Dou which, according to Somof (1901) and Martin (1913), was in the State Hermitage Museum in St Petersburg, but whose present whereabouts is unknown. The oval format of the Hermitage picture would appear to belie this hypothesis. Moreover, the presence of a pillar on the right in the background suggests it may be a co

The Betrothal of the Virgin
Oil on copperplate. XVII century
Anonymous
The Betrothal of the Virgin
Oil on copperplate. XVII century
Anonymous

Saint Joseph
Oil on canvas. XVII century
Anonymous
Saint Joseph
Oil on canvas. XVII century
Anonymous

The Battle of Milvian Bridge
Pencil, White lead, Wash on paper. XVI century
Anonymous
The Battle of Milvian Bridge
Pencil, White lead, Wash on paper. XVI century
Anonymous

Antonio Ponz, en su Viage a España (1782) describe en el Palacio del Buen Retiro un dibujo con este tema, que quizá fuese este: "36 Por un pasillo se va desde este Oratorio a la pieza, que llaman del Despacho, en donde se ha tenido siempre en la mayor estimacion un dibuxo de la batalla de Constantino con Maxencio, reputándolo por original de Rafael de Urbino, y como tal puesto en los inventarios d

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