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Vase of Flowers
Oil on canvas. 1694 - 1700
Belvedere, Andrea
Vase of Flowers
Oil on canvas. 1694 - 1700
Belvedere, Andrea

Towards the edges of two moulded stone shelves rest two bronze vases with broad decorated bases and slender stems embraced, in one case by a group of tritons (P550) and, in the other by, a group of minute cherubs that support the upper section like dynamic Atlanteans (P549). These bases bear prodigious bouquets that are skilfully arranged with contrasting textures and colours that generate a marve

Vase of Flowers
Oil on canvas. 1694 - 1700
Belvedere, Andrea
Vase of Flowers
Oil on canvas. 1694 - 1700
Belvedere, Andrea

Towards the edges of two moulded stone shelves rest two bronze vases with broad decorated bases and slender stems embraced, in one case by a group of tritons (P550) and, in the other by, a group of minute cherubs that support the upper section like dynamic Atlanteans (P549). These bases bear prodigious bouquets that are skilfully arranged with contrasting textures and colours that generate a marve

Standing male nude facing front, with left hand leaning on a stone block
Conté crayon, White chalk on laid paper. Ca. 1861
Fortuny, Mariano
Standing male nude facing front, with left hand leaning on a stone block
Conté crayon, White chalk on laid paper. Ca. 1861
Fortuny, Mariano

Executed as an exercise in anatomy, this drawing dates from the end of the painter’s formative period in Rome and displays the firm, well-defined strokes of a more mature artist. The light, artificially dramatised, shapes the carefully moulded physique of the model, who has been identified as Arlecchino, the nickname given to Filippo Cuggini for his ability to reproduce puppet-like gestures when p

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

Nero and Seneca
Plaster. 1904
Barrón González, Eduardo
Nero and Seneca
Plaster. 1904
Barrón González, Eduardo

Nero and Seneca was awarded a first-prize medal at the National Fine Arts exhibition in Madrid in 1904. Barrón never produced a final version of it, in bronze or marble, making this preparatory plaster of unusual size particularly important. It reveals the exquisite handling, technical skills and mastery of the classical idiom that characterise his style. On loan for many years to Cordoba T

Dante in Thought
Plaster. 1864
Suñol y Pujol, Jerónimo
Dante in Thought
Plaster. 1864
Suñol y Pujol, Jerónimo

Los escultores españoles, en su gran mayoría, buscaron fuentes de inspiración en Italia, durante sus estancias en este país, en muchos casos pensionados por diferentes corporaciones. Suñol bebió de las fuentes clásicas y renacentistas y culminó su producción realista con una excepcional interpretación de la figura de Dante (1265-1321). Esta obra, un claro ejemplo de las influencias recibidas duran

To the Ideal
Plaster. 1896
Blay y Fábrega, Miguel
To the Ideal
Plaster. 1896
Blay y Fábrega, Miguel

Blay made this extremely delicate and highly idealized sculptural group to show that he was capable of creating works outside of the strictures of realism. As he put it: “I plan to call it White Souls, two predestined souls that reach their goal, moving forward resolutely, overcoming setbacks and wanting neither to feel the thorns on which they walk nor to pay heed to the stumbling blocks they enc

The Annunciation
Plaster. 1901
Coullaut Valera, Lorenzo
The Annunciation
Plaster. 1901
Coullaut Valera, Lorenzo

The ideal of the Virgin Mary as a feminine archetype of perfection persisted throughout the nineteenth century. An exemplary mother and wife, her resignation to her fate was interpreted as the principal model of moral behaviour for women. Coullaut transferred these ideas to the naturalist figure of a submissive woman who accepts the mission she has been charged with. This notion of selflessness is

Case for drinking vessel with six lobes and scroll-shaped handles
Metal, Fabric, Leather, Wood. 1690 - 1711
Anonymous
Case for drinking vessel with six lobes and scroll-shaped handles
Metal, Fabric, Leather, Wood. 1690 - 1711
Anonymous

This case takes the form of the vessel for which it was made, a Drinking vessel with six lobes and scroll-shaped handles (O88). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structures are lin

Case for boat-shaped agate cup with two masks and cover
Velvet, Metal, Leather, Wood. 1590 - 1600
Anonymous
Case for boat-shaped agate cup with two masks and cover
Velvet, Metal, Leather, Wood. 1590 - 1600
Anonymous

This case takes the form of the vessel for which it was made, a Boat-shaped agate cup with two masks and cover (O16). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structures are lined with wo

Case for boat-shaped agate cup with a winged siren
Metal, Fabric, Leather, Wood. 1690 - 1711
Anonymous
Case for boat-shaped agate cup with a winged siren
Metal, Fabric, Leather, Wood. 1690 - 1711
Anonymous

This case takes the form of the vessel for which it was made, a Boat-shaped agate cup with a winged siren (O6). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structures are lined with wool and

Salver of lapis lazuli
Silver gilt, Lapis lazuli. Ca. 1600
Royel, Jean (?); Workshop Of The Miseroni
Salver of lapis lazuli
Silver gilt, Lapis lazuli. Ca. 1600
Royel, Jean (?); Workshop Of The Miseroni

This footed tray is a presentation salver that forms a pair with O-60 of the Dauphin’s Treasure. Both are made from a single piece of lapis lazuli. It has a round, flat-bottomed bowl, low sides and a short turned stem resting on a small foot. A silver mount runs around the rim. Its profile, simple as it is, points to a work made in Milan, perhaps close to the Miseroni. It bears the hallmark, IR, o

Case for agate urn with masks
Metal, Fabric, Leather, Wood. 1650 - 1689
Anonymous
Case for agate urn with masks
Metal, Fabric, Leather, Wood. 1650 - 1689
Anonymous

This case takes the form of the vessel for which it was made, a Agate urn with masks (O15). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structures are lined with wool and silk or taffeta, an

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

Case for heliotrope tazza with turquoises and rubies
Velvet, Leather, Wood. 1600 - 1711
Ottoman Workshop
Case for heliotrope tazza with turquoises and rubies
Velvet, Leather, Wood. 1600 - 1711
Ottoman Workshop

This case takes the form of the vessel for which it was made, an Heliotrope tazza with turquoises and rubies (O71). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structures are lined with wool

Case for plain rock crystal vessel with a lid and foliate mount
Leather, Wood, Gamuza. 1650 - 1689
Anonymous
Case for plain rock crystal vessel with a lid and foliate mount
Leather, Wood, Gamuza. 1650 - 1689
Anonymous

This case takes the form of the vessel for which it was made, a Plain rock crystal vessel with a lid and foliate mount (disappeared during the War of Independence). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding

Case for rock crystal cup with carved masks
Silk, Metal, Leather, Wood. 1662 - 1700
Anonymous
Case for rock crystal cup with carved masks
Silk, Metal, Leather, Wood. 1662 - 1700
Anonymous

This case takes the form of the vessel for which it was made, a Rock crystal cup with carved masks (O120). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structures are lined with wool and silk

Case for egg-shaped agate vessel with cameos on the foot, stem and finial
Fabric, Leather, Wood. 1650 - 1711
Anonymous
Case for egg-shaped agate vessel with cameos on the foot, stem and finial
Fabric, Leather, Wood. 1650 - 1711
Anonymous

This case takes the form of the vessel for which it was made, an Egg-shaped agate vessel with cameos on the foot, stem and finial (O33). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structure

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