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María Luisa of Parma, Princess of Asturias
Oil on canvas. Ca. 1765
Mengs, Anton Raphael
María Luisa of Parma, Princess of Asturias
Oil on canvas. Ca. 1765
Mengs, Anton Raphael

Mengs painted these portraits of the heirs to the Spanish throne -the prince and princess of Asturias, Carlos de Borbón and Maria Luisa of Parma- on the occasion of their wedding. As the daughter of Philip I, Duke of Parma, and Louise Isabelle of France, and thus granddaughter of Kings Philip V and Louis XV, Maria Luisa was Queen Consort of Spain between 1788 and 1808. She wears a light-col

Queen Elisabeth of Valois, third wife of Philip II
Oil on canvas. Ca. 1605
Pantoja de la Cruz, Juan
Queen Elisabeth of Valois, third wife of Philip II
Oil on canvas. Ca. 1605
Pantoja de la Cruz, Juan

In this three-quarter portrait Queen Isabel de Valois (1546-1568) wears a black velvet gown with round sleeves from which her slashed red silk undersleeves embroidered with gold and silver thread peep out. On her head is a tilted flat cap which, like the buttons adorning the gown, is decorated with diamonds and rubies. The French queen would have dressed in this manner for solemn events, embellish

Margaret of Austria
Oil on canvas. 1606
Pantoja de la Cruz, Juan
Margaret of Austria
Oil on canvas. 1606
Pantoja de la Cruz, Juan

Margaret, who married Philip III in 1599, was the daughter of the Archduke of Bavaria. In this portrait by Pantoja de la Cruz -the most representative painter of the reign- she wears the so-called “Rich jewel”, a dynastic heirloom comprising the diamond known as “El estanque” (The Pool) and the famous large pearl known as “La peregrina” (The Pilgrim).

Marie Louise d’Orléans, Queen of Spain
Oil on canvas. Ca. 1679
García Hidalgo, José
Marie Louise d’Orléans, Queen of Spain
Oil on canvas. Ca. 1679
García Hidalgo, José

Marie Louise of Bourbon (1662–1689)—or d’Orléans, as she was the daughter of the Duke d’Orléans—is represented as the Queen of Spain. Forced to abandon depictions adhering to the conventions of French portraiture in Pierre Mignard’s circle, she is here presented according to the traditional line of Spanish court portraiture. The symbols that reveal the personality given to the sitter

Isabel de Valois holding a Portrait of Philip II
Oil on canvas. 1561 - 1565
Anguissola, Sofonisba
Isabel de Valois holding a Portrait of Philip II
Oil on canvas. 1561 - 1565
Anguissola, Sofonisba

This portrait is a full-length likeness of Philip II’s third wife, Queen Isabel de Valois. She wears a black gown with pointed sleeves and a long train that is curled around her body and billows at the back. Poking out from beneath her hanging sleeves, held in place with ruby and diamond buttons and lined in white fabric, are silver and gold undersleeves. The one-piece gown is decorated with appli

Josefa Manzanedo e Intentas de Mitjans, 2nd Marchioness of Manzanedo
Oil on panel. 1875
Madrazo y Garreta, Raimundo de
Josefa Manzanedo e Intentas de Mitjans, 2nd Marchioness of Manzanedo
Oil on panel. 1875
Madrazo y Garreta, Raimundo de

After establishing himself in Paris as portrait painter to the elegant and cosmopolitan high society of his time, Raimundo de Madrazo cultivated a particularly abundant clientele among the great ladies of the French capital. A posterior trip to America allowed him to expand his client base to include the leading families of New York. In the 1870s, when Raimundo was beginning to make a place for hi

Maria Cristina of Bourbon, Queen of Spain
Oil on canvas. 1830
López Portaña, Vicente
Maria Cristina of Bourbon, Queen of Spain
Oil on canvas. 1830
López Portaña, Vicente

This wedding portrait by Vicente López depicts Ferdinand VII’s fourth and final wife, his niece Maria Cristina. All three of his previous spouses, María Antonia of Bourbon (1784-1806), María Isabel of Braganza (1797-1818) and María Josefa Amalia of Saxony (1805-1829), had died without offspring.The more than half-length likeness shows her at the age of twenty-four in a

Bárbara de Braganza, Princess of Asturias
Oil on canvas. Ca. 1729
Ranc, Jean
Bárbara de Braganza, Princess of Asturias
Oil on canvas. Ca. 1729
Ranc, Jean

This more-than-half-length portrait depicts the queen outdoors, wearing a yellow silk gown with red robes and a blouse with ample lace cuffs. A rich group of diamonds and rubies adorns her bosom and sleeves, while a diamond brooch in her hair is complemented by matching earrings. The spray of flowers in her right hand includes a red carnation, a customary iconographic element in matrimonial-engage

Sardonyx cup with eagle's head
Gold, Ruby, Diamond, Emerald, Ágata sardónice, Enamel. 323 A.C. - 321 a.C.
Belle, Josias (?); Hellenistic Workshop (?)
Sardonyx cup with eagle's head
Gold, Ruby, Diamond, Emerald, Ágata sardónice, Enamel. 323 A.C. - 321 a.C.
Belle, Josias (?); Hellenistic Workshop (?)

The vessel, similar to O44, is formed by three fragments of agate and five enamelled gold mounts. The body is an ancient piece of stone with a broad gold mount on the edge decorated with an enamelled pattern of white and black foliage linked by festoons of blue ribbons. Resting on this is an eagle’s head in black and white enamel, with a gold beak and two rubies for eyes. A thick knop supports the

Flask with tracery and a head of Medusa in gold
Gold, Diamond, Omphacite. S XVI - XVII century
Miseroni, Giovanni Ambrogio; Anonymous
Flask with tracery and a head of Medusa in gold
Gold, Diamond, Omphacite. S XVI - XVII century
Miseroni, Giovanni Ambrogio; Anonymous

An ovate vessel in the form of an urn. It has a smooth pyriform body with a double moulding on the shoulder, a neck with a concave profile, and a round mouth. The moulded cover has the form of a cupola, while the short bell-shaped stem ends in a round foot with the same diameter as the mouth. The stone, cracked since ancient times, is held by a mount of pierced and chased gold forming a net, with

Boat-shaped agate cup with Cupid on a dragon
Gold, Agate, Ruby, Diamond, Emerald, Glass, Enamel. XVI century
Delabarre, Pierre; Roman Sculptor
Boat-shaped agate cup with Cupid on a dragon
Gold, Agate, Ruby, Diamond, Emerald, Glass, Enamel. XVI century
Delabarre, Pierre; Roman Sculptor

Vessel made up of three pieces of agate and six enamelled gold mounts. The boat-shaped bowl is decorated externally with a carved band of interlaced ovals separated by five-pointed fleurons. Running around the lip is a smooth gold mount, enamelled on the interior, with overlaid adornments of green leaves and white berries with incrustations of rubies and emeralds. At the stern is a Cupid enamelled

Gadrooned cup with an eagle’s head
Spinel, Gold, Silver gilt, Ruby, Serpentine, Diamond, Bloodstone, Enamel. 1600 - 1620
Belle, Josias (?); Workshop Of The Sarachi
Gadrooned cup with an eagle’s head
Spinel, Gold, Silver gilt, Ruby, Serpentine, Diamond, Bloodstone, Enamel. 1600 - 1620
Belle, Josias (?); Workshop Of The Sarachi

A vessel made up of five pieces, the body of serpentine and the rest of heliotrope. By means of a silver gilt volute and a circle of rubies and diamonds in the form of a collar, an eagle’s head has been added, its feathers repeated on the enamel of the mount, which also features a string of gemstones. The stem rests on a flat foot. This part is enriched by four mounts with feuillages, and another

Cup with a gold mermaid
Gold, Agate, Ruby, Diamond, Enamel. 1550 - 1575
Anonymous
Cup with a gold mermaid
Gold, Agate, Ruby, Diamond, Enamel. 1550 - 1575
Anonymous

Cup, possibly a saltcellar, comprising a gold-enamelled sculpture, studded with rubies and diamonds, and two pieces of agate. The figure is a double-tailed mermaid, with a natural-coloured gold torso and a greenish-blue, red and translucent green enamelled tail. She wears a headdress of enamelled feathers and her open arms hold aloft an agate vessel with a mount of fretted and enamelled leaves, ad

Agate urn with masks
Gold, Agate, Ruby, Diamond, Enamel. 1550 - 1600
Miseroni, Gasparo (?)
Agate urn with masks
Gold, Agate, Ruby, Diamond, Enamel. 1550 - 1600
Miseroni, Gasparo (?)

The vessel is a flask in the form of an antique urn made up of three pieces of agate and two gold mounts with diamonds and rubies. The handles, two monolithic volutes, emerge from two bearded masks, possibly representations of Silenus, and come to rest near the lip of the vessel. The lid has a lion’s head with a gold and ruby incrustation between its jaws. The round foot, possibly later, is joined

Small rock crystal ewer without a handle or lip
Gold, Rock crystal / hyaline quartz, Diamond, Enamel. 1550 - 1575
Toutain, Richard; Anonymous
Small rock crystal ewer without a handle or lip
Gold, Rock crystal / hyaline quartz, Diamond, Enamel. 1550 - 1575
Toutain, Richard; Anonymous

Vessel formed by three pieces of rock crystal and two gold mounts. The globular body is carved with gadroons and dart motifs. The short neck is adorned with ova enamelled in blue and a lower spiral moulding in black enamel embedded with a wax reserve, interrupted by red scrolls and others with leaves and white, sky blue and green enamelling, once incrusted with stones. Of these, only two diamonds

Gadrooned sardonyx cup with an eagle’s head
Gold, Ruby, Diamond, Emerald, Ágata sardónice. S IV - V century
Belle, Josias (?); Anonymous
Gadrooned sardonyx cup with an eagle’s head
Gold, Ruby, Diamond, Emerald, Ágata sardónice. S IV - V century
Belle, Josias (?); Anonymous

The vessel is formed by three pieces of agate in different tones and four enamelled gold mounts. The body is an ancient piece of sardonyx decorated with concave gadroons and darts. A broad gold mount runs around the rim, with an enamelled design of black and white foliage linked by festoons of blue ribbons, except for the lower strip, which is enamelled in green and dark blue. Resting on the edge

Boat-shaped cup with a band of birds and flowers on the mount
Gold, Agate, Ruby, Diamond, Emerald, Jasper, Enamel. 1590 - 1610
Milanese Workshop (?); Anonymous
Boat-shaped cup with a band of birds and flowers on the mount
Gold, Agate, Ruby, Diamond, Emerald, Jasper, Enamel. 1590 - 1610
Milanese Workshop (?); Anonymous

A vessel made up of three pieces of jasper and one of agate. The oval body, with a diminished arch profile, is carved with ten gadroons and engraved leaves separated by ribs with arrises. On the lower part is a broad round mount with a pattern of lambrequins (drapery) and foliage, enamelled in dark blue and opaque white with small touches of pink and black. This is joined to a button ending in its

Smoky quartz vase with mascarons and handles in the form of snakes
Gold, Cuarzo ahumado, Diamond, Emerald, Enamel. 1600 - 1610
Miseroni, Ottavio (?); Workshop Of The Miseroni
Smoky quartz vase with mascarons and handles in the form of snakes
Gold, Cuarzo ahumado, Diamond, Emerald, Enamel. 1600 - 1610
Miseroni, Ottavio (?); Workshop Of The Miseroni

A vessel composed of four pieces: a high bowl with an oval section and bell-shaped profile, a cover in the form of a flattened cupola with a turned finial, and a low foot with a support ring. All this is joined by three mounts, the largest being that on the rim, which includes two small handles formed by two pairs of arched serpents. Emerging from the lower part of the bowl until nearly half-way u

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