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Fruit Still Life
Oil. 1903
Pinazo Martínez, José
Fruit Still Life
Oil. 1903
Pinazo Martínez, José

Still Life with roses
Oil. 1900
Pinazo Martínez, José
Still Life with roses
Oil. 1900
Pinazo Martínez, José

Adam Sleeping
Terracotta. 1882
Samsó, Juan
Adam Sleeping
Terracotta. 1882
Samsó, Juan

This work, signed on April 14, 1882, is clearly related to classical sculpture and its interpretation in the Faun that Sergel made in Rome (Nationalmuseum, Stockholm). This is especially visible in the position of the horizontal position of the torso and legs, as well as the left arm. The Museo del Prado has two other very interesting small-format terra-cotta works by Juan Samsó (Barcelona,

The Abduction of Proserpine
Hard-paste. Ca. 1800
Anonymous
The Abduction of Proserpine
Hard-paste. Ca. 1800
Anonymous

According to Roman mythology, the god of love made Pluto fall in love with Proserpine, who went to live in the Underworld until her father Jupiter ordered her to return to her mother Ceres, goddess of agriculture, for six months a year. Ceres’s joy and sadness at her daughter’s alternating presence and absence resulted in the changing seasons, a traditional subject for the decoration of recreation

The Infant Saint John the Baptist
Ceramic paste. Ca. 1659
Morelli, Giovanni Battista
The Infant Saint John the Baptist
Ceramic paste. Ca. 1659
Morelli, Giovanni Battista

Figura infantil, con la rodilla en tierra, identificada como San Juan por la piel de animal que lleva. El modelo deriva de las figurillas de niños realizadas durante el Barroco, en concreto, del modelo de Hércules niño de Algardi. Esta es la única pieza que se ha conservado de la numerosa relación de obras de Morelli que aparecen citadas en los inventarios reales y que también cita Palomino. Quizá

Frieze with Two Riders Racing
Terracotta. 500 A.C. - 475 a.C.
Anonymous
Frieze with Two Riders Racing
Terracotta. 500 A.C. - 475 a.C.
Anonymous

Panel from an Italian-Etruscan temple. This piece would have covered the temple’s horizontal wooden wall. As many as one hundred identical reliefs have been found at some locations in Etruria, where they formed friezes up to 60 meters in length. A lack of exact parallels makes it impossible to identify the present plaque’s original location. Made from a single mold, the two figures are represented

The Blessed Raimundo Lulio
Terracotta. 1895
Samsó, Juan
The Blessed Raimundo Lulio
Terracotta. 1895
Samsó, Juan

Delicado boceto en terracota, muy bien conservado. No hay datos que indiquen si se trataba de un estudio para un monumento o si era un proyecto a desarrollar o solamente un trabajo personal.

Pietà
Terracotta. 1882
Samsó, Juan
Pietà
Terracotta. 1882
Samsó, Juan

Delicado boceto en terracota de La Piedad, muy bien conservado. Presenta una composición que trasmite el profundo sentimiento de la escena. La figura de Cristo es un cuerpo menos robusto que el modelado tradicionalmente, no se apoya en su regazo sino que cae al suelo, y la Virgen apenas lo sostiene, sino que se inclina hasta casi besarle, consiguiendo una expresión de intima sensibilidad. Se encue

Bust of Mariano Fortuny
Terracotta. 1869
D'épinay, Prosper
Bust of Mariano Fortuny
Terracotta. 1869
D'épinay, Prosper

The sculptor and caricature artist Prosper d’Épinay was a close friend of Fortuny’s and they made portraits of each other. Modelled in Rome, this bust is one of the only two portrait sculptures of Fortuny executed during his lifetime and is an early example of the admiration his personality and oeuvre aroused in his colleagues. This appreciation grew notably from 1870 onwards following the

Bonbonnière (Snuffbox)
Hard-paste. Ca. 1760
Chelsea Porcelain Manufactory
Bonbonnière (Snuffbox)
Hard-paste. Ca. 1760
Chelsea Porcelain Manufactory

Small ornaments in the form of faces or animals were typical products of the period. These little boxes were used to hold beauty spots, snuff, mint sweets or pills to disguise bad breath, and so were known by the generic name of bonbonnières (Snuffbox).

Vase
Soft-paste. Late XIX century
Sèvres Manufactory
Vase
Soft-paste. Late XIX century
Sèvres Manufactory

Jarrón grande con su tapadera, de porcelana de Sèvres, en azul y oro. Procede del legado de Ma Paz García de la Lama y Álvarez.

Circular Chinese porcelain platter. Dutch East India Company
Hard-paste porcelain. First half of the XVIII century
Anonymous
Circular Chinese porcelain platter. Dutch East India Company
Hard-paste porcelain. First half of the XVIII century
Anonymous

Chinese products, especially silks and porcelains, had long been known in the West. The earliest imported porcelains were mostly blue-and-white pieces from the period of Emperor Ming, Wan Li. Chinese makers soon grasped that Europeans knew little of porcelain and began producing export products that were accepted as authentic artworks in the West, despite their vulgar appearance and even their imp

Octagonal Chinese porcelain platter. Dutch East India Company
Hard-paste porcelain. First half of the XVIII century
Anonymous
Octagonal Chinese porcelain platter. Dutch East India Company
Hard-paste porcelain. First half of the XVIII century
Anonymous

Chinese products, especially silks and porcelains, had long been known in the West. The earliest imported porcelains were mostly blue-and-white pieces from the period of Emperor Ming, Wan Li. Chinese makers soon grasped that Europeans knew little of porcelain and began producing export products that were accepted as authentic artworks in the West, despite their vulgar appearance and even their imp

Musician figure
Hard-paste. Ca. 1750
Chelsea Porcelain Manufactory
Musician figure
Hard-paste. Ca. 1750
Chelsea Porcelain Manufactory

La figura representa a un joven ataviado a la moda dieciochesca, en pie, apoyado en un tronco de árbol en graciosa postura tocando una zanfonía; la base es cuadrada, lisa, con algunas plantas floridas en color. La figura, de gran finura de ejecución, tiene un predominio de blancos y esta pintada en azul, rojo ladrillo, verde, amarillo, malva y negro para los zapatos y el sombrero. Es una copia de

Sugar Bowl. Dutch East India Company
Hard-paste porcelain. XVIII century
Anonymous
Sugar Bowl. Dutch East India Company
Hard-paste porcelain. XVIII century
Anonymous

Los productos chinos, sobre todo las sedas y las porcelanas, se conocieron en Occidente desde época remota; durante la Edad Media, los árabes fueron los mercaderes que hicieron llegar aquí tan preciados artículos. Las porcelanas que se importaron en el primer momento fueron, sobre todo, las azul y blanco de la época del emperador Ming, Wan Li. Los fabricantes chinos comprendieron pronto que los eu

Circular Chinese porcelain platter. Dutch East India Company
Hard-paste porcelain. First half of the XVIII century
Anonymous
Circular Chinese porcelain platter. Dutch East India Company
Hard-paste porcelain. First half of the XVIII century
Anonymous

Chinese products, especially silks and porcelains, had long been known in the West. The earliest imported porcelains were mostly blue-and-white pieces from the period of Emperor Ming, Wan Li. Chinese makers soon grasped that Europeans knew little of porcelain and began producing export products that were accepted as authentic artworks in the West, despite their vulgar appearance and even their imp

Oval platter. Dutch East India Company
Hard-paste porcelain. First half of the XVIII century
Anonymous
Oval platter. Dutch East India Company
Hard-paste porcelain. First half of the XVIII century
Anonymous

Chinese products, especially silks and porcelains, had long been known in the West. The earliest imported porcelains were mostly blue-and-white pieces from the period of Emperor Ming, Wan Li. Chinese makers soon grasped that Europeans knew little of porcelain and began producing export products that were accepted as authentic artworks in the West, despite their vulgar appearance and even their imp

Wine-bottle cooler
Hard-paste. 1760
Aloncle, François-Joseph
Wine-bottle cooler
Hard-paste. 1760
Aloncle, François-Joseph

De orígenes modestos, la fábrica de porcelana de Sèvres obtuvo en 1745 un privilegio para hacer porcelana a la manera sajona y a la manera China. Fue Madame de Pompadour quien logró que se le concediera el título de manufactura real de porcelana, siendo trasladada en 1756 a una propiedad suya en Sèvres; mientras que cuando Luís XV se hizo cargo personalmente de ella, se le concedieron grandes subv

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