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Still Life with Cardoon, Francolin, Grapes and Irises
Oil on canvas. 1628
Ramírez, Felipe
Still Life with Cardoon, Francolin, Grapes and Irises
Oil on canvas. 1628
Ramírez, Felipe

Because this work is signed and dated, it reveals the existence of a painter by the name of Felipe Ramírez, although art historians know virtually nothing else about him. This lovely example of his work makes it clear, however, that he continued the tradition of the variety of still life cultivated by Juan Sánchez Cotán (1560-1627), an artist who is considered the most origina

Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara
Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara

It has often been stated that this painting is part of a series of four, all now in the Prado, but that is probably not the case. The dimensions of all four paintings (P1619, P1620, P1621, P1622) are similar, but their provenance is not. This, and Table with Cloth, Salt Cellar, Gilt Standing Cup, Pie, Jug, Porcelain Plate with Olives and Cooked Fowl (P1622), are first documented when they were inv

Saint Benedict
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)
Saint Benedict
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)

This image of Saint Benedict of Nursia (c.480-547) was painted for the high altar in the Church of Santo Domingo el Antiguo, one of the oldest convents in Toledo founded by the Benedictine order in the seventh century. In the sixteenth century, a new church was built with funding from a wealthy patron, Doña María de Silva, who died in 1575. Diego de Castilla, the deacon of the Cathed

Table with a cloth, salt cellar, gilt tazza, pie, jug, porcelain dish with olives, and roast fowl
Oil on panel. Ca. 1611
Peeters, Clara
Table with a cloth, salt cellar, gilt tazza, pie, jug, porcelain dish with olives, and roast fowl
Oil on panel. Ca. 1611
Peeters, Clara

This painting was first recorded in 1746 in the Spanish royal collection, together with Still life with Flowers, Gilt Goblet, Almonds, Dried Fruits, Sweets, Biscuits, Wine and a Pewter Flagon (P1620). The two paintings remained in the royal collection until they entered the Prado. The suggestion made in the past that this and three other paintings in the Prado (P1619, P1620 y P1621) formed a serie

Large jade and silver gilt vessel with cover
Albumen on card, photographic paper. Ca. 1863
Clifford, Jane
Large jade and silver gilt vessel with cover
Albumen on card, photographic paper. Ca. 1863
Clifford, Jane

Esta fotografía pertenece a una serie formada por 55 piezas (HF1158, HF1213). Las fotografías pertenecen a una colección compuesta por una descripción de cada pieza del Tesoro del Delfín en papel, que en muchos casos se conserva, y por una fotografía atribuida a Jane Clifford. Las fotografías llevan una numeración en tinta roja que hace referencia al número de la pieza con el que se puede identifi

Chinese jade vessel with a silver-gilt foot
Albumen on card, photographic paper. Ca. 1863
Clifford, Jane
Chinese jade vessel with a silver-gilt foot
Albumen on card, photographic paper. Ca. 1863
Clifford, Jane

Esta fotografía pertenece a una serie formada por 55 piezas (HF1158 a HF1213). Las fotografías pertenecen a una colección compuesta por una descripción de cada pieza del Tesoro del Delfín en papel, que en muchos casos se conserva, y por una fotografía atribuida a Jane Clifford. Las fotografías llevan una numeración en tinta roja que hace referencia al número de la pieza con el que se puede identif

Chinese jade vessel with a silver-gilt foot and large jade and silver gilt vessel with cover
Albumen on card, photographic paper. Ca. 1879
Laurent y Minier, Juan
Chinese jade vessel with a silver-gilt foot and large jade and silver gilt vessel with cover
Albumen on card, photographic paper. Ca. 1879
Laurent y Minier, Juan

Small jade and silver-gilt brazier with two masks
Albumen on card, photographic paper. Ca. 1879
Laurent y Minier, Juan
Small jade and silver-gilt brazier with two masks
Albumen on card, photographic paper. Ca. 1879
Laurent y Minier, Juan

Ivory Christ on a Rock Crystal Cross
Silver gilt, Copper alloy, Rock crystal / hyaline quartz, Ivory. 1300 - 1330
Anonymous
Ivory Christ on a Rock Crystal Cross
Silver gilt, Copper alloy, Rock crystal / hyaline quartz, Ivory. 1300 - 1330
Anonymous

An ivory Christ with copper arms that were probably added at a later date. The cross consists of various pieces of rock crystal joined by metal rods covered with painted parchment. The clasps are of enameled and nielled silver. This is a German work, probably from the area of Renania, although the figure of Christ derives from French models and the cross bears similarities to some Venetian works.

Silver pax with Charles II
Gilt-bronze, Silver. Ca. 1691
Anonymous
Silver pax with Charles II
Gilt-bronze, Silver. Ca. 1691
Anonymous

Este portapaz y su pareja (O3394) en origen servían para ser besados durante la celebración de la Misa. Inicialmente, ambos tenían como efigie en la calle central un tema religioso, en este caso la representación de dos santos identificados en las cartelas inferiores como San Hipólito mártir y Santa Concordia. Las dos placas ovales quedan enmarcadas por una sencilla estructura arquitectónica en fo

Silver pax with Maria Anna of Neuburg
Gilt-bronze, Silver. Ca. 1691
Anonymous
Silver pax with Maria Anna of Neuburg
Gilt-bronze, Silver. Ca. 1691
Anonymous

In this medallion and his partner (O3392) the idealised king and queen are depicted according to the conventions of painted portraits, their faces in half-profile against a plain background with a large curtain. Charles II wears armour and the emblem of the Golden Fleece. Maria Anna, his second wife whom he married by proxy in 1689, wears an ornate, low-necked bodice with a jewelled brooch and the

Gala hat
Late XIX century
Gómez, Justo
Gala hat
Late XIX century
Gómez, Justo

Black felt bicorn hat with red-and-yellow Rosette fastened by a clip with two gilt silver cords, attached to a golden button decorated with the words “Museum of Painting and Sculpture” around a palette with brushes. On the edges, two gold-thread tassels. This bicorn was part of the uniform of the attendants of the Royal Museum of Painting and Sculpture, the predecessor of what is now the Prado Mus

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 small jade and silver-gilt brazier with two masks
Silk, Metal, Leather, Wood, Paper. 1675 - 1700
Anonymous
Case for small jade and silver-gilt brazier with two masks
Silk, Metal, Leather, Wood, Paper. 1675 - 1700
Anonymous

This case takes the form of the vessel for which it was made, a Small jade and silver-gilt brazier with two masks (O64). 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

Square-footed jasper cup with cameos
Gold, Agate, Chalcedony, Cowry, Silver gilt, Ruby, Emerald, Jasper, Enamel. 1687 - 1689
Royel, Jean (?)
Square-footed jasper cup with cameos
Gold, Agate, Chalcedony, Cowry, Silver gilt, Ruby, Emerald, Jasper, Enamel. 1687 - 1689
Royel, Jean (?)

Vessel similar to O38, except that the cover is missing. The precious stones on the jasper ring are complete, and the remaining cameos consist of a Roman-style bust of a crowned man and a woman’s head by the same maker, both of cornelian; another head, perhaps Hercules, in chalcedony; and a male bust crowned with laurel, with another female bust in the background, of agate, similar to a cameo pres

Cylindrical crystal jar with lid
Silver gilt, Rock crystal / hyaline quartz. 1200 - 1230
Anonymous; Roberday, François I
Cylindrical crystal jar with lid
Silver gilt, Rock crystal / hyaline quartz. 1200 - 1230
Anonymous; Roberday, François I

A jug comprising various pieces of crystal and six adornments in gilded silver. The glass case of a reliquary, possibly Rhenish, has been used for the body, to which a base has been added, decorated with swirling flutes, all joined together with a late mannerist adornment, in a style that some specialists associate with the circle of the silversmith François I Roberday.Owing to its great va

Rock crystal salver with pierced border and ten engraved stems
Silver gilt, Rock crystal / hyaline quartz. Ca. 1615
Anonymous
Rock crystal salver with pierced border and ten engraved stems
Silver gilt, Rock crystal / hyaline quartz. Ca. 1615
Anonymous

An oval salver or tray made up of seven pieces of rock crystal, identical in structure to O104. There are variations in the decorative composition, the work of the same Milanese workshop, recognisable by the flowers on the ends of the central spiral patterns. On this piece, however, the clearly Baroque decoration has, to borrow Arbeteta’s phrase, burst its banks. Moreover, the gentle curve of the

Rock crystal salver with pierced rim and four
Silver gilt, Rock crystal / hyaline quartz. Ca. 1615
Anonymous
Rock crystal salver with pierced rim and four
Silver gilt, Rock crystal / hyaline quartz. Ca. 1615
Anonymous

Oval salver made up of seven pieces of rock crystal joined by a silver mount. The body consists of a moulded silver gilt oval piece with an oblong slot for the foot. The engraved decoration is at the ends, leaving the central areas almost unadorned. It consists of a series of spirals ending in seeds that mark the rhythms of the composition, and four flowers or rosettes at the ends of the pattern.

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