The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

Refine results
24 results
Marsilio Cassotti and his Wife Faustina
Oil on canvas. 1523
Lotto, Lorenzo
Marsilio Cassotti and his Wife Faustina
Oil on canvas. 1523
Lotto, Lorenzo

Having trained in Venice, probably with Giovanni Bellini, Lorenzo Lotto worked in Treviso (1503-1506), Recanati (1506- 1508) and Rome (c. 1508-1510) before settling in Bergamo.There, between 1513 and 1526, he painted for influential families such as the Tassi, Bonghi, Brembati and Cassotti.The Cassotti, wealthy textile merchants originating from Valle Imagna, used the arts to demonstrate their soc

Tadea Arias de Enríquez
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de
Tadea Arias de Enríquez
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de

This portrait presents the lady at full length, dressed in the fashion of the time in a tulle gown with lace details. Goya perfectly captures the translucence of the fabric, through which we see the shimmer of the pink skirt the sitter wears underneath. At her waist the lady wears a wide black tulle band, which is also semi-transparent, and on the waistband she has pinned a lovely cameo brooch. He

Tomás de Iriarte
Oil on canvas. Ca. 1785
Inza, Joaquín
Tomás de Iriarte
Oil on canvas. Ca. 1785
Inza, Joaquín

An in-depth study of Joaquín Inza is yet to be conducted that would allow us to gauge his role and importance in the panorama of Spanish art in the second half of the eighteenth century. Inza is known for his portraits of the royal family and of aristocrats and intellectuals from the period, and is now regarded as an estimable and discrete painter with a precise, austere style, although som

Infanta Isabel Clara Eugenia and Magdalena Ruiz
Oil on canvas. 1585 - 1588
Sánchez Coello, Alonso
Infanta Isabel Clara Eugenia and Magdalena Ruiz
Oil on canvas. 1585 - 1588
Sánchez Coello, Alonso

Alonso Sánchez Coello was court painter to Philip II and he united two different pictorial styles developed in the mid sixteenth century by Titian and Anthonis Mor respectively. Sánchez Coello´s images are austere in their presentation, yet they include certain symbolic elements that place the sitters in a suitable context easily legible to the viewer. The sitters´ dress and certain

Bust of Henry IV of France (1595-1610)
Vitreous paste. Early Finales del siglo XVI - XVII century
Anonymous
Bust of Henry IV of France (1595-1610)
Vitreous paste. Early Finales del siglo XVI - XVII century
Anonymous

Este camafeo formó parte de un vaso robado en 1918.

Bust of a woman in 16th century dress
Cowry. Early Finales del siglo XVI - XVII century
Anonymous
Bust of a woman in 16th century dress
Cowry. Early Finales del siglo XVI - XVII century
Anonymous

Este camafeo formó parte de un vaso robado en 1918.

Square-footed jasper cup with cameos
Gold, Agate, Chalcedony, Cowry, Silver gilt, Ruby, Emerald, Jasper, Enamel. 1687 - 1689
Royel, Jean (?)
Square-footed jasper cup with cameos
Gold, Agate, Chalcedony, Cowry, Silver gilt, Ruby, Emerald, Jasper, Enamel. 1687 - 1689
Royel, Jean (?)

Vessel similar to O38, except that the cover is missing. The precious stones on the jasper ring are complete, and the remaining cameos consist of a Roman-style bust of a crowned man and a woman’s head by the same maker, both of cornelian; another head, perhaps Hercules, in chalcedony; and a male bust crowned with laurel, with another female bust in the background, of agate, similar to a cameo pres

Bust of a women
Agate. Early Finales del siglo XVI - XVII century
Anonymous
Bust of a women
Agate. Early Finales del siglo XVI - XVII century
Anonymous

Este camafeo formó parte de un vaso robado en 1918. Según se puede apreciar en la fotografía HF0835/024, el vaso estaba compuesto por un cuerpo globular, formado por dos tazones aplanados de ágata unidos por una ancha banda central de plata dorada donde se engarzan diez camafeos mediante sobrepuestos esmaltados en forma de hojas caladas y cintas, enmarcados por hilos entorchados, también esmaltado

Agate goblet crowned by a bust
Gold, Agate, Enamel. 1590 - 1630
Anonymous
Agate goblet crowned by a bust
Gold, Agate, Enamel. 1590 - 1630
Anonymous

Vessel comprising pieces of agate with different patterns of veining, some possibly ancient, linked by adornments in different designs, in enamelled gold. The body is semi-spherical and is joined to the lid through an adornment consisting of two decorated bands, the first with small motifs, enamelled in white and green, and the second with ovolos in translucent red enamelling, imitating ruby caboc

Egg-shaped agate vessel with cameos on the foot, stem and finial
Gold, Agate, Chalcedony, Cowry, Silver gilt, Enamel. Ca. 1630
Vangrol, Jean
Egg-shaped agate vessel with cameos on the foot, stem and finial
Gold, Agate, Chalcedony, Cowry, Silver gilt, Enamel. Ca. 1630
Vangrol, Jean

Vessel made up of two pieces of chalcedony and an enamelled gold mount. The body is formed by a deep hemispherical base and a smaller lid of the same shape surmounted by a delicate pyramidal openwork structure of pointed leaves, pavilions, fruits and rows of beads. Inserted in this are three cameos and numerous children’s heads with enamel wings. The stem, also openwork, displays three large cameo

Jasper bowl with cameos on the cover and foot
Gold, Agate, Chalcedony, Vitreous paste, Jasper, Lapis lazuli, Enamel. S XV - XVI century
Taller Italiano (?); Ladoireau, Pierre
Jasper bowl with cameos on the cover and foot
Gold, Agate, Chalcedony, Vitreous paste, Jasper, Lapis lazuli, Enamel. S XV - XVI century
Taller Italiano (?); Ladoireau, Pierre

This vessel had a pair, now lost (I1416), which must have been very similar and by the same hand as O37, the work of the silversmith Pierre Ladoyreau or Ladoireau, who made part of the silver furnishings at Versailles. It comprises two pieces of red jasper and two large mounts with twenty cameos. The body is in the form of a bowl with a diminished arch profile, a round mouth, and a lobulated ring

Male bust with laurel wreath
Agate. Early Finales del siglo XVI - XVII century
Anonymous
Male bust with laurel wreath
Agate. Early Finales del siglo XVI - XVII century
Anonymous

Este camafeo formó parte de un vaso robado en 1918. Según se puede apreciar en la fotografía HF0835/024, el vaso estaba compuesto por un cuerpo globular, formado por dos tazones aplanados de ágata unidos por una ancha banda central de plata dorada donde se engarzan diez camafeos mediante sobrepuestos esmaltados en forma de hojas caladas y cintas, enmarcados por hilos entorchados, también esmaltado

Philosophy
Agate. Early Finales del siglo XVI - XVII century
Anonymous
Philosophy
Agate. Early Finales del siglo XVI - XVII century
Anonymous

Este camafeo formó parte de un vaso robado en 1918. Según se puede apreciar en la fotografía HF0835/026, el vaso estaba compuesto por un cuerpo globular, formado por dos tazones aplanados de ágata unidos por una ancha banda central de plata dorada donde se engarzan diez camafeos mediante sobrepuestos esmaltados en forma de hojas caladas y cintas, enmarcados por hilos entorchados, también esmaltado

Bust of a woman
Chalcedony. Early Finales del siglo XVI - XVII century
Anonymous
Bust of a woman
Chalcedony. Early Finales del siglo XVI - XVII century
Anonymous

Este camafeo formó parte de un vaso robado en 1918. Según se puede apreciar en las fotografía HF0835/026, el vaso estaba compuesto por un cuerpo globular, formado por dos tazones aplanados de ágata unidos por una ancha banda central de plata dorada donde se engarzan diez camafeos mediante sobrepuestos esmaltados en forma de hojas caladas y cintas, enmarcados por hilos entorchados, también esmaltad

Bust of a man
Cowry. Early Finales del siglo XVI - XVII century
Anonymous
Bust of a man
Cowry. Early Finales del siglo XVI - XVII century
Anonymous

Este camafeo formó parte de un vaso robado en 1918.

Cameos
Agate, Chalcedony, Vitreous paste, Cowry. Early Finales del siglo XVI - XVII century
Anonymous
Cameos
Agate, Chalcedony, Vitreous paste, Cowry. Early Finales del siglo XVI - XVII century
Anonymous

The thirteen cameos that have been preserved come from at least two different stolen vessels (nos. 52 and 58 in Arbeteta’s catalogue). Of various sizes and materials, they mostly depict busts of men, women and children. One of the cameos (O-41/5) represents Philosophy, recognisable by the gesture of pointing upwards with the left hand. Several reproduce effigies of historical personages. One examp

Casket covered with cameos
Amethyst, Gold, Agate, Cowry, Silver gilt, Sardonyx, Silk, Velvet, Lapis lazuli, Peridot, Enamel. 1630 - 1650
Anonymous
Casket covered with cameos
Amethyst, Gold, Agate, Cowry, Silver gilt, Sardonyx, Silk, Velvet, Lapis lazuli, Peridot, Enamel. 1630 - 1650
Anonymous

Casket with a rectangular body and hipped flat-topped lid. Rising from a silver gilt base is a framework of gold, according to the 1689 Versailles inventory, with white enamelling. The entire surface is covered with velvet, though the pile is now very worn, on which there are 113 appliqués of cameos and smooth bevelled stones or cabochons, framed by borders of festoons and thorns enamelled

Bust of a child
Chalcedony. Early Finales del siglo XVI - XVII century
Anonymous
Bust of a child
Chalcedony. Early Finales del siglo XVI - XVII century
Anonymous

Este camafeo formó parte de un vaso robado en 1918.

Up