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Curtain, Ermita de San Baudelio, Casillas de Berlanga (Soria)
Fresco painting on mural transferred to canvas. Ca. 1125
Anonymous
Curtain, Ermita de San Baudelio, Casillas de Berlanga (Soria)
Fresco painting on mural transferred to canvas. Ca. 1125
Anonymous

This set of mural paintings that adorned the interior of the early eleventh-century Mozarabe church of San Baudelio de Berlanga was taken off the walls and exported to the United States in 1926, where [+]

Auto-da-fé in the Plaza Mayor of Madrid
Oil on canvas. 1683
Rizi, Francisco
Auto-da-fé in the Plaza Mayor of Madrid
Oil on canvas. 1683
Rizi, Francisco

A large auto-da-fé took place in Madrid on 30 June 1680 in the Plaza Mayor, presided over by the young Charles II (reigned 1665-1700) and his mother, Mariana of Austria, who are shown here bene [+]

Fake Architectural Mouldings and Ornaments, with Allegorical Figures and Flowers
Tempera, Mural painting on wall covering. 1835
Martínez Salamanca y Costa, Francisco
Fake Architectural Mouldings and Ornaments, with Allegorical Figures and Flowers
Tempera, Mural painting on wall covering. 1835
Martínez Salamanca y Costa, Francisco

From the time of the Museum’s founding this small room was part of the private area known as Their Majesties’ Rest Room (now Room 39). Similar to those existing in other Bourbon palaces, it housed the [+]

Right Spandrel of the Entry Arch, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous
Right Spandrel of the Entry Arch, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous

The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The w [+]

Left Spandrel of the Entry Arch, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous
Left Spandrel of the Entry Arch, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous

The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The w [+]

Window Soffit, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous
Window Soffit, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous

The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The w [+]

Two winged putti supporting an escutcheon on top of a cornice
Pencil, Grey-brown ink, White lead, Wash on blue paper. XVI century
Garofalo (Attributed To)
Two winged putti supporting an escutcheon on top of a cornice
Pencil, Grey-brown ink, White lead, Wash on blue paper. XVI century
Garofalo (Attributed To)

It looks like an artist from central Italy between the mid to late 16th century. [+]

Design for ornament in the form of a winged lionness
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on blue paper. XVI century
Cambiaso, Luca
Design for ornament in the form of a winged lionness
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on blue paper. XVI century
Cambiaso, Luca

[+]

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

[+]

Design for an architectural decoration
Pencil, Mauve ink, Grey-brown ink, White lead, Wash on dark yellow paper. XVI century
Orsi, Lelio
Design for an architectural decoration
Pencil, Mauve ink, Grey-brown ink, White lead, Wash on dark yellow paper. XVI century
Orsi, Lelio

The decoration consists of putti carrying swags and a caryatid holding up a cornice, beneath which is a large escutcheon. Just discernible on the face of the shield to the right is a man on the back o [+]

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 [+]

Dibujo para unas volutas con la forma de una arpía
Pencil, Pencil ground, Grey-brown ink on blue paper. Last third of the XVI century
Cambiaso, Luca
Dibujo para unas volutas con la forma de una arpía
Pencil, Pencil ground, Grey-brown ink on blue paper. Last third of the XVI century
Cambiaso, Luca

The fantastic creature in the present sheet resembles those appearing as crests of helmets in some ornamental suits of armor manufactured in Northern Italy in the middle of the sixteenth century, part [+]

Two Nude Putti in a Cornice
Pencil, Grey-brown ink, Wash on tinted paper. Second half of the XVI century
Anonymous
Two Nude Putti in a Cornice
Pencil, Grey-brown ink, Wash on tinted paper. Second half of the XVI century
Anonymous

The motif of paired putti standing derives from the thrones with Prophets on Michelangelo´s Sistine ceiling. [+]

Two Winged Putti Standing to Either Side of a Trophy of Arms
Pencil, Grey-brown ink, Wash on tinted paper. Mid-XVIcentury
Anonymous
Two Winged Putti Standing to Either Side of a Trophy of Arms
Pencil, Grey-brown ink, Wash on tinted paper. Mid-XVIcentury
Anonymous

The drawing carries old attributions on the reverse of the mount to Nicolo dell´Abate and Pordenone. On the modern museum matte, A. Gere has noted it may be from the School of Perino del Vaga, p [+]

Ignudo seated to one side of a Pediment, supporting a medaillon
Pencil, Grey-brown ink, Wash on paper. XVI century
Orsi, Lelio (Attributed To)
Ignudo seated to one side of a Pediment, supporting a medaillon
Pencil, Grey-brown ink, Wash on paper. XVI century
Orsi, Lelio (Attributed To)

The drawing seems weak and undistinguished, and there is little or no stylistic evidence to support the old ascription to Orsi, thought the invention may well be Emilian, from the midto-late sixteenth [+]

Design for the Decoration of a Spandrel Containing a Cartouche / Study for the Three Protagonists in a Composition of the Sposalizio of the Virgen
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous
Design for the Decoration of a Spandrel Containing a Cartouche / Study for the Three Protagonists in a Composition of the Sposalizio of the Virgen
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. Second half of the XVI century
Anonymous

It is indeed possible that this good drawing could be by the Tuscan, Marco Marchetti da Faenza (before 1528-1588), who worked in the circle of Vasari. However, the style seems a little too accomplishe [+]

Study for a Panel of Ornament
Pencil, Grey-brown ink, Wash on yellow paper. Mid-XVIcentury
Anonymous
Study for a Panel of Ornament
Pencil, Grey-brown ink, Wash on yellow paper. Mid-XVIcentury
Anonymous

On the back of the old mount is an old attribution in an Italian hand to Nicolo dell´Abate. Another, later attribution to Giovanni da Udine is inscribed in French on the front of the mount, lowe [+]

Wine Pitcher Carried Aloft by Three Satyrs / Woman Seated on the Ground
Pencil, Chalk ground, Grey ink, Grey-brown ink, Grey-brown wash on yellow paper. Mid-XVIcentury
Zuccaro, Taddeo (Attributed To)
Wine Pitcher Carried Aloft by Three Satyrs / Woman Seated on the Ground
Pencil, Chalk ground, Grey ink, Grey-brown ink, Grey-brown wash on yellow paper. Mid-XVIcentury
Zuccaro, Taddeo (Attributed To)

The design for the pitcher is both witty in its invention and impressive in its execution. It is perhaps the study on the verso (sadly cut down from a larger composition), which provides the stronger [+]

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