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Isabel Clara Eugenia
Oil on canvas. 1591 - 1592
Anonymous; Kraek, Jan ( Also Called Giovanni Caracca)
Isabel Clara Eugenia
Oil on canvas. 1591 - 1592
Anonymous; Kraek, Jan ( Also Called Giovanni Caracca)

Tras la muerte de Felipe II la corte quedó sumida en el luto, y así se hizo retratar su hija Isabel Clara Eugenia en esta obra. Viste saya negra de la que asoman manguillas de raso blanco con bordaduras en oro. El tocado es más complejo, con flores -jazmines- y cintas rojas con perlas. Se reconocen algunas joyas como el famoso rubí, diamante y perla que heredó de Ana de Austria y que luce en su re

Saint Peter weeping
Oil on canvas. 1620 - 1630
Anonymous
Saint Peter weeping
Oil on canvas. 1620 - 1630
Anonymous

After denying that he was a follower of Christ, Saint Peter repented of his actions. This canvas deploys the chromatic restraint and compositional rigour of Velázquez’s early works, combined here with a freer and more relaxed although equally deft pictorial handling.

The Emperor Charles V with a Dog
Oil on canvas. Second half of the XVI century
Anonymous
The Emperor Charles V with a Dog
Oil on canvas. Second half of the XVI century
Anonymous

Venetian Lady
Oil on canvas. Mid-XVIIcentury
Anonymous
Venetian Lady
Oil on canvas. Mid-XVIIcentury
Anonymous

The seated model is sumptuously dressed, with silver-lamé collar and cuffs, a pearl choker and a very dark green dress with silver decorations on her skirt and gold ones on the bodice and sleeves. She has flowers in her hair and long earrings. The heavy crimson velvet curtain behind her is echoed by a matching mat on the buffet. The scene opens onto an urban background that recalls the city

Philip II
Oil on canvas mounted on panel. XVI century
Anonymous
Philip II
Oil on canvas mounted on panel. XVI century
Anonymous

Portrait of an Unidentified Boy
Oil on oak panel. Ca. 1570
Anonymous
Portrait of an Unidentified Boy
Oil on oak panel. Ca. 1570
Anonymous

This more-than-half-length portrait presents a boy dressed in black with a white shirt. He rests his left hand on his waist while holding his gloves in his right. A gold chain around his neck is matched by another at his waist that bears a sword with a gilded hilt. It has been suggested that this panel may represent François, Duke of Alençon (b. 1554, d. 1584), son of Henri II of Fra

Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous
Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous

This is a modest bottega product illustrating the passage on the birth of Christ (Luke 2: 8-20) which lends itself particularly well to a nocturnal setting. It is a replica, not of the Adoration of the Shepherds Jacopo executed in 1590 for San Giorgio Maggiore in Venice, as previously believed, but of the painting depicting the same theme housed at the Louvre (inv. 430), which is an entirely autog

Noah after the Flood
Oil on canvas. Second half of the XVI century
Anonymous
Noah after the Flood
Oil on canvas. Second half of the XVI century
Anonymous

If we compare this painting with the Animals Entering the Ark (P22), we find that the iconographic elements which identify the subject have been shifted to a middle plane -Noah thanking God for bringing the flood to an end by means of a burnt offering (Genesis 8: 20-22) and the appearance of the rainbow as a symbol of the covenant between God and man (Genesis, 9: I-17)- while the foreground depict

Coffered Ceiling
Polychromed, Carved. Ca. 1400
Anonymous
Coffered Ceiling
Polychromed, Carved. Ca. 1400
Anonymous

The principal beams are decorated with secular scenes, including dances, jousts or men fighting monsters, and with the coats-of-arms of Castile and León and those of the Luna and Rojas families. Other decoration includes sacred scenes (the Last Supper and the Last Judgement, for example). Between the transversal beams are panels with alternating castles and lions and elongated hexagonal pan

Queen Isabella the Catholic
Oil on panel. Ca. 1490
Anonymous
Queen Isabella the Catholic
Oil on panel. Ca. 1490
Anonymous

This portrait of Isabella I of Castile (1451-1504) is one of the earliest known depictions of the Catholic Queen, shown wearing a jewel she received from her father in a clear reference to dynastic continuity. The panel was painted in the Low Countries or possibly in Britain, where it is documented at a very early date. Given that Isabella never left Spain, it must have been painted from models or

Octagonal coffer with engraving and cameos
Albumen on photographic paper. Ca. 1879
Delabarre, Pierre -Sculptor- (Circle Of); Anonymous; Laurent y Minier, Juan
Octagonal coffer with engraving and cameos
Albumen on photographic paper. Ca. 1879
Delabarre, Pierre -Sculptor- (Circle Of); Anonymous; Laurent y Minier, Juan

The Judgement of Paris
Pencil, Grey-brown wash on white paper. XVIII century
Anonymous
The Judgement of Paris
Pencil, Grey-brown wash on white paper. XVIII century
Anonymous

A la derecha sentado sobre unas rocas y vestido de pastor, Paris, en su mano ofrece la manzana de oro a Venus, en pie, entre Juno, sentada de espaldas, y Minerva.El dibujo lleva una atribución a Graziani y otra a Novelli. Enlaza con el estilo de este último, pero una cierta debilidad en las líneas hacen pensar que pueda tratarse de una copia y no de un original del artista. (Texto extractado de Me

The Story of Niobe
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on paper attached to canvas. 1575 - 1580
Anonymous
The Story of Niobe
Pencil, Pencil ground, Grey-brown ink, White lead, Wash on paper attached to canvas. 1575 - 1580
Anonymous

This is one of the few copies to survive showing the whole of Polidoro´s famous frieze with the Story of Niobe, painted below the windows of the first floor of the Palazzo Milesi, Via della Maschera d´Oro, Rome. The decoration of the façade of the Palazzo Milesi in 1526-27 is the last in Polidoro´s great sequence of palace façade decorations carried out in Rome in the first half of t

The Worship of the Golden Calf
Pencil ground, Grey wash, White lead on brown paper. Ca. 1600
Anonymous
The Worship of the Golden Calf
Pencil ground, Grey wash, White lead on brown paper. Ca. 1600
Anonymous

The composition of this drawing corresponds to the middle and lower sections of Tintoretto´s great canvas of The Worship of the Golden Calf, which hangs on the left-hand wall of the choir of the church of the Madonna dell´Orto, Venice (Pallucchini and Rossi, 1982, I, p. 182, cat. no. 236; II, p. 446, fig. 307). The upper part of the composition -which does not appear in this drawing- represents ab

The Emperor Constantine the Great
White carrara marble. 312 - 325
Anonymous
The Emperor Constantine the Great
White carrara marble. 312 - 325
Anonymous

Numerous portraits of Constantine of this type were produced to mark his victory over Maxentius at the Battle of the Milvian Bridge in 312 A. D. Coins of the period depict him as invictus (unconquerable) with a nimbus in the manner of the Sun, considered at that time to be the centre of the universe, like the Emperor.

Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous
Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous

A medallion portraying the young Charles of Bourbon (1716-1788), recently proclaimed King of Naples and Sicily, who would become King Charles III of Spain in 1759. Shown in profile with a large wig and dressed all’antica, his breastplate bears a head of Medusa, an allusion to the mythological heroes, and the golden fleece, the symbol of the Order of the same name.

Nectanebo I
Stone. 380 A.C. - 362 a.C.
Anonymous
Nectanebo I
Stone. 380 A.C. - 362 a.C.
Anonymous

Nactanebo (380-362 BC), first monarch of the XXX dynasty. The five royal names appear in the right column of the dorsal pillar. Horus name (Horus of the strong arm). The King of the Upper and the Lower Egypt (sic). Nebty, “two ladies” name (He who beautifies the two lands). Golden Horus name (He who does what the gods love). Throne name, praenomen, preceded by the title of King of Upper and Lower

María Ignacia Álvarez de Toledo y Gonzaga Caracciolo, Marchioness of Astorga
Marble. Late XVIII century
Anonymous
María Ignacia Álvarez de Toledo y Gonzaga Caracciolo, Marchioness of Astorga
Marble. Late XVIII century
Anonymous

The 10th Marchioness of Villafranca del Bierzo (1757-1795), who was also painted by Goya, was the first wife of the 16th Marquis of Astorga, an important art collector. The Marchioness has a curious hairstyle fashionable at this period and wears the sash of the Order of María Luisa, a privilege reserved for thirty women of the upper Spanish nobility. Her coat-of-arms appears on the back of

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