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Still Life with Fruit and Game
Oil on canvas. 1651
Anonymous
Still Life with Fruit and Game
Oil on canvas. 1651
Anonymous

Unlike its pendant (P7762), which reflects a more urban setting, the present painting conveys a more rustic atmosphere. A roughly woven basket with fruit—especially grapes, which drape over the front— [+]

Anne Marie Louise d'Orléans, Duchess of Montpensier
Oil on canvas. Before 1689
Anonymous
Anne Marie Louise d'Orléans, Duchess of Montpensier
Oil on canvas. Before 1689
Anonymous

This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these pain [+]

Louis of France, the Grand Dauphin
Oil on canvas. 1700 - 1750
Anonymous
Louis of France, the Grand Dauphin
Oil on canvas. 1700 - 1750
Anonymous

The eldest son of Louis XIV and the Spanish Infanta María Teresa of Austria, Louis was born in 1661, receiving the title of Dauphin as heir to the French throne. Married to Maria Anna Victoria [+]

Charles II, King of England
Oil on canvas. Ca. 1660
Anonymous
Charles II, King of England
Oil on canvas. Ca. 1660
Anonymous

This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these pain [+]

Marie Louise d'Orléans
Oil on canvas. XVII century
Anonymous
Marie Louise d'Orléans
Oil on canvas. XVII century
Anonymous

María Luisa de Orleans, first wife of Carlos II. Daughter of Felipe I of Orleans (brother of Luis XIV of France) (P2301, P2345, P2380) and Henriette, princess of England (P2400); granddaughter [+]

James II of England
Oil on canvas. 1675 - 1700
Anonymous
James II of England
Oil on canvas. 1675 - 1700
Anonymous

This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these pain [+]

The Agony in the Garden
Black chalk, Pencil, Grey-brown wash on dark yellow paper. Mid-XVIIIcentury
Anonymous
The Agony in the Garden
Black chalk, Pencil, Grey-brown wash on dark yellow paper. Mid-XVIIIcentury
Anonymous

En el centro, arrodillado, Jesucristo en oración. A su izquierda, se acerca el ángel con el cáliz sobre una nube. Al fondo, los apóstoles dormidos y los guerreros guiados por Judas. (Texto extractado [+]

Niobe Receiving Offerings
Pencil, Grey-brown ink, Wash on paper. XVI century
Anonymous
Niobe Receiving Offerings
Pencil, Grey-brown ink, Wash on paper. XVI century
Anonymous

The figures occur in the center and right of the central scene from the Story of Niobe, formerly on the facade of the Palazzo Milesi, Rome. The decorative pen-and-wash technique and Salviatesque style [+]

Two design for an upright decorative panel with two putti
Black chalk, White chalk on grey paper. XVI century
Anonymous
Two design for an upright decorative panel with two putti
Black chalk, White chalk on grey paper. XVI century
Anonymous

[+]

The Agony in the Garden
Black chalk, Grey wash on dark yellow paper. XVIII century
Anonymous
The Agony in the Garden
Black chalk, Grey wash on dark yellow paper. XVIII century
Anonymous

Las figuras, de pequeño tamaño en relación al espacio; Cristo arrodillado en unas rocas, con los brazos abiertos, a su derecha, en alto, vuela el ángel con el cáliz en las manos. En la parte baja, los [+]

Putti supporting roundels framed in decorative strap-work
Pencil, Grey-brown ink, Wash on paper. XVI century
Anonymous
Putti supporting roundels framed in decorative strap-work
Pencil, Grey-brown ink, Wash on paper. XVI century
Anonymous

These two drawings, mounted together, carry a traditional attribution to Baglione (c.1575-1643/44), which is surely incorrect, if one compares the style which that of the St. Jerome in the Prado (D01 [+]

Putti supporting roundels framed in decorative strap-work
Pencil, Wash on paper. XVI century
Anonymous
Putti supporting roundels framed in decorative strap-work
Pencil, Wash on paper. XVI century
Anonymous

These two drawings, mounted together, carry a traditional attribution to Baglione (c.1575-1643/44), which is surely incorrect, if one compares the style which that of the St. Jerome in the Prado (D015 [+]

The death of Lucretia
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
The death of Lucretia
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

This drawing and D1728, which are variants of the same composition, were connected by the Suidas with Cambiaso´s painting of Lucretia, datable c. 1575, formerly in a private collection, Lugano, then i [+]

The Last Supper
Pencil, Grey-brown ink, Charcoal on dark yellow paper. Mid-XVIIIcentury
Anonymous
The Last Supper
Pencil, Grey-brown ink, Charcoal on dark yellow paper. Mid-XVIIIcentury
Anonymous

La mesa, paralela al plano de la composición. En el centro, Jesucristo alza su mano derecha para bendecir el cáliz y sostiene el pan con la otra. A su alrededor se agrupan los apóstoles.El dibujo pres [+]

A Bacchante (?)
Marble. XVII century
Anonymous
A Bacchante (?)
Marble. XVII century
Anonymous

This was part of a series of decorative reliefs with the heads of fauns or maenads. Some wear a wreath with bunches of grapes. Drawings of fifteen of these reliefs appear in the album of the Marquis o [+]

A Bacchante
Marble. XVII century
Anonymous
A Bacchante
Marble. XVII century
Anonymous

This was part of a series of decorative reliefs with the heads of fauns or maenads. Some wear a wreath with bunches of grapes. Drawings of fifteen of these reliefs appear in the album of the Marquis o [+]

Trapezophorum (table leg)
Carrara marble. I century
Anonymous
Trapezophorum (table leg)
Carrara marble. I century
Anonymous

This decorative element consists of a Roman cartibulum leg to which a bovine head crowned by a platform with volutes was added in the 17th century. The piece was restored in 1999. Paradoxically, this [+]

Ganymede
White marble. 160 - 170
Anonymous
Ganymede
White marble. 160 - 170
Anonymous

This decorative roman work is based on Hellenistic iconography that arose in the third century B.C. It shows the moment before Zeus, who has taken the form of an eagle, abducts the mythical shepherd o [+]

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