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Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor
Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor

The cycle of the Four Seasons has a long tradition in figurative art. The personifications of the different periods of the year were accompanied by the element that identified them, all associated with the rural world. As part of a sarcophagus lid, this pair of reliefs makes clear reference to the passing of time.

Prometheus models the first man
White marble. Ca. 185
Roman Sculptor
Prometheus models the first man
White marble. Ca. 185
Roman Sculptor

This fragment of a Roman sarcophagus depicts the Titan, Prometheus, modelling a statue of a nude youth. Minerva touches its head with a butterfly (psyche in Greek, meaning soul), bringing it to life. The action takes place in a natural setting, with a naked river nymph and a clothed tree nymph.

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120 and E00182) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. The front shows the armistice celebrated between Aqueans and Trojans to celebrate the marriage of

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120 and E00180) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. The front shows the armistice celebrated between Aqueans and Trojans to celebrate the marriage of

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120, E00180, E00182) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. the front shows the armistice celebrated between Aqueans and Trojans to celebrate the marria

Grief
Marble. 1907
Llimona y Bruguera, Joseph
Grief
Marble. 1907
Llimona y Bruguera, Joseph

Desolation and defeat, yearning and loneliness are all conveyed through the sensual female nude that seems to emerge softly from the block of marble. The girl’s face is not shown and remains hidden beneath her long hair. Grief is a key example of modernista funerary sculpture and there are obvious links with the work of Auguste Rodin (1840-1917).

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00180 and E00182) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. The front shows the armistice celebrated between Aqueans and Trojans to celebrate the marriage of

Apotheosis of Claudius
White marble. I century
Calamech, Andrea (Also Called Calamecca); Roman Sculptor
Apotheosis of Claudius
White marble. I century
Calamech, Andrea (Also Called Calamecca); Roman Sculptor

The eagle and weapons are part of a funerary monument from the period of Emperor Augustus (27 B.C.-14 A.D.). This sculpture was found with many other works in the country villa of Marcus Valerius Messalla Corvinus (64 B.C.-13 A.D.), a well-known general and colleague in arms of Emperor Augustus. It probably adorned the upper part of a rectangular marble pedestal containing the urn with the general

Cinerary urn
White marble. 140 - 150
Roman Sculptor
Cinerary urn
White marble. 140 - 150
Roman Sculptor

This urn served as a recipient for the bones and ashes generated by a public incineration ceremony. The round shape at the back of the urn allowed it to be stored in a semicircular niche in the funerary buildings whose rows of such small hollows led them to be called columbari (dovecotes) in modern times. A beautiful detail of its rich relief ornamentation are the two animals on opposite sides of

Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor
Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor

The cycle of the Four Seasons has a long tradition in figurative art. The personifications of the different periods of the year were accompanied by the element that identified them, all associated with the rural world. As part of a sarcophagus lid, this pair of reliefs makes clear reference to the passing of time.

Piotr Ilich Chaikovski
Bronze. 1962
Velázquez, Carlos
Piotr Ilich Chaikovski
Bronze. 1962
Velázquez, Carlos

Cabeza de bronce de Piotr Ilich Chaikovski, sobre peana de mármol, que se inspira en la máscara funeraria del músico ruso. Lleva la dedicatoria "Al. Dr. D. Ruperto / Sánchez Arcas con / admiración y afecto / Carlos Velázquez / 1962". Esta obra es un regalo que el artista hizo al padre de la legataria, el ginecólogo Ruperto Sánchez Arcas, quien atendió en 1962 el parto del hijo del escultor, al que

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