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The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules -Lithographer- (The Original Work, According To Inscriptions, Attributed To Dyck, Anthony Van); Rubens, Peter Paul (After); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules -Lithographer- (The Original Work, According To Inscriptions, Attributed To Dyck, Anthony Van); Rubens, Peter Paul (After); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproducti [+]

The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules -Lithographer- (The Original Work, According To Inscriptions, Attributed To Dyck, Anthony Van); Rubens, Peter Paul (After); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules -Lithographer- (The Original Work, According To Inscriptions, Attributed To Dyck, Anthony Van); Rubens, Peter Paul (After); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproducti [+]

The Surrender of Jülich
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules -Lithographer- (After Leonardo, Jusepe); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Surrender of Jülich
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules -Lithographer- (After Leonardo, Jusepe); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproducti [+]

Philip III on Horseback
Crayon lithography, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules -Lithographer- (After Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Philip III on Horseback
Crayon lithography, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules -Lithographer- (After Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Pierre-Jules Jollivet (1794-1871) que reproduce el lienzo de Velázquez conservado en el Museo Nacional del Prado (P1176). Esta estampa se entregaba con el cuadernillo LXVIII acomp [+]

Prince Baltasar Carlos on Horseback
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1825
Jollivet, Pierre-Jules -Lithographer- (After Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Prince Baltasar Carlos on Horseback
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1825
Jollivet, Pierre-Jules -Lithographer- (After Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproducti [+]

Philip IV on Horseback
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules -Lithographer- (After Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Philip IV on Horseback
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules -Lithographer- (After Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproducti [+]

Philip III on Horseback
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules -Lithographer- (After Velázquez, Diego Rodríguez de Silva y); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
Philip III on Horseback
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules -Lithographer- (After Velázquez, Diego Rodríguez de Silva y); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Pierre-Jules Jollivet que reproduce el lienzo de Velázquez conservado en el Museo Nacional del Prado (P1176). Estampa encuadernada en el segundo volumen, cuadernillo LXVIII, con u [+]

Prince Baltasar Carlos on Horseback
Drypoint, Etching on white wove paper. 1778
Goya y Lucientes, Francisco de -Engraver And Drawer- (After Velázquez, Diego Rodríguez de Silva y)
Prince Baltasar Carlos on Horseback
Drypoint, Etching on white wove paper. 1778
Goya y Lucientes, Francisco de -Engraver And Drawer- (After Velázquez, Diego Rodríguez de Silva y)

Entre 1777 y 1778 diversos ilustrados manifestaron su preocupación por la falta de grabadores que acometieran el proyecto de reproducir las pinturas que se conservaban en las colecciones españolas, fu [+]

Prince Baltasar Carlos on Horseback
Drypoint, Etching on ivory laid paper. 1778
Goya y Lucientes, Francisco de -Engraver And Drawer- (After Velázquez, Diego Rodríguez de Silva y)
Prince Baltasar Carlos on Horseback
Drypoint, Etching on ivory laid paper. 1778
Goya y Lucientes, Francisco de -Engraver And Drawer- (After Velázquez, Diego Rodríguez de Silva y)

Entre 1777 y 1778 diversos ilustrados manifestaron su preocupación por la falta de grabadores que acometieran el proyecto de reproducir las pinturas que se conservaban en las colecciones españolas, fu [+]

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 la [+]

King Sebastian of Portugal
Oil on canvas. 1572
Morales, Cristóbal de
King Sebastian of Portugal
Oil on canvas. 1572
Morales, Cristóbal de

The adolescent King Sebastian is depicted with all of the customary conventions associated with formal portraits of the Habsburgs. These portraits´ models of authority and power, which perfectly embod [+]

The Relief of Genoa by the 2nd Marquis of Santa Cruz
Oil on canvas. 1634 - 1635
Pereda y Salgado, Antonio de
The Relief of Genoa by the 2nd Marquis of Santa Cruz
Oil on canvas. 1634 - 1635
Pereda y Salgado, Antonio de

Here, the doge of the Republic of Genoa emerges through the gates of the city in order to receive Don Álvaro de Bazán, the Marquis of Santa Cruz, who has arrived as the commander of a fl [+]

Charles III
Oil on canvas. Ca. 1765
Mengs, Anton Raphael
Charles III
Oil on canvas. Ca. 1765
Mengs, Anton Raphael

This image of King Charles III was paired with a portrait of his wife, Maria Amalia of Saxony (P2201), although the image of the queen was not painted in her presence. Instead, it was invented on the [+]

Philip IV in Armour, with a Lion at his Feet
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y (Workshop Of)
Philip IV in Armour, with a Lion at his Feet
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y (Workshop Of)

In its present state the painting reveals two different phases of creation. The apparent age of the sitter and the notable similarities with his appearance in Velázquez`s portrait of the elderl [+]

Juan Francisco de Pimentel, Count of Benavente
Oil on canvas. Ca. 1648
Velázquez, Diego Rodríguez de Silva y (Attributed To)
Juan Francisco de Pimentel, Count of Benavente
Oil on canvas. Ca. 1648
Velázquez, Diego Rodríguez de Silva y (Attributed To)

Juan Francisco Alfonso de Pimentel Ponce de León, 10th Count and 7th Duke of Benavente (1584-1652), is portrayed more than half length with a whole host of attributes that confirm is supreme mi [+]

Philip III on Horseback
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y
Philip III on Horseback
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y

This was one of the paintings decorating the Hall of Realms at Madrid´s Buen Retiro Palace, where various discourses (territorial, mythological, military, and so on) combined to make up the decoration [+]

An Artillery General
Oil on canvas. Ca. 1660
Rizi, Francisco
An Artillery General
Oil on canvas. Ca. 1660
Rizi, Francisco

The baton in the sitter’s right hand and the cannon indicate that he is an artillery general, while the insignia hanging from his neck denotes his membership of the Order of Calatrava. Stylistically t [+]

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