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The Kitchen
Oil on panel. 1643
Teniers The Younger, David
The Kitchen
Oil on panel. 1643
Teniers The Younger, David

This is a singular example of David Teniers´ indoor scenes. The kitchen or tavern utensils so common in his other works are completed here with a magnificent show of diverse fruit and vegetables. This converts the right part of the composition into a still life. On the left, a character shells mussels, a traditional foodstuff in the Low Countries, while another group works beside the fireplace. Th

Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo
Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo

While it is first listed in 1666 at the Alcázar, where it hung alongside Ribera’s Fable of Bacchus or Teoxenia (of which only three fragments have survived: two at the Museo del Prado and one in a private collection), this work’s subject and dimensions suggest it may originally have been commissioned for the Buen Retiro Palace. Along with Finoglia’s Triumph of Bacchus (P7309), Poussin’s Sac

Friar begging
Pencil, Watercolour on white paper. 1862 - 1867
Fortuny, Mariano
Friar begging
Pencil, Watercolour on white paper. 1862 - 1867
Fortuny, Mariano

Fortuny was particularly interested in the human types who were part of Rome’s urban landscape. Prominent among them were these Capuchin friars dressed in the characteristic brown tunic and long cloak of their religious order, who carried a bucket and stick when begging for alms. The space is hinted at chiefly by the shadow cast on the wall and the ground by the figure, whose wiry hair is depicted

Kitchen Scene
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
Kitchen Scene
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
López, Juan Antonio; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Juan Antonio López (activo en Madrid entre 1826 y 1840) que reproduce el lienzo de David Teniers conservado en el Museo Nacional del Prado (P01798). Esta estampa se entregaba con el cuadernillo CXXI e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento Litográfico, dirigida por José de

Aesop
Taille douce: etching and engraving on laid paper. 1796
Esquivel de Sotomayor, Manuel; Muntaner y Moner, Francisco; Bueno, León
Aesop
Taille douce: etching and engraving on laid paper. 1796
Esquivel de Sotomayor, Manuel; Muntaner y Moner, Francisco; Bueno, León

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. 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 reproduction of prints

Rebecca and Eliezer
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Rebecca and Eliezer
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Florentino Decraene (1793-1852) que reproduce el lienzo de Bartolomé Esteban Murillo (P00996) conservado en el Museo Nacional del Prado. Está encuadernada en un álbum facticio sobre obras de Murillo del coleccionista Pennant.Esta estampa se entregaba con el cuadernillo II acompañado de un texto explicativo de Juan Agustín Ceán Bermúdez. Iba encuadernada en el tomo I de la seri

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