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Cover illustration from the Collection of different views of the Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800
Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional
Cover illustration from the Collection of different views of the Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800
Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional

View of the orchard at noon, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on laid paper. 1800 - 1809
Gómez de Navia, José; López Enguidanos, Tomás; Maré, Cipriano; Calcografía Nacional
View of the orchard at noon, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on laid paper. 1800 - 1809
Gómez de Navia, José; López Enguidanos, Tomás; Maré, Cipriano; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional

Cover illustration from the Collection of different views of the Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on laid paper. 1800
Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional
Cover illustration from the Collection of different views of the Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on laid paper. 1800
Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional

View of the monument to Holy Week, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Alegre, Manuel; Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional
View of the monument to Holy Week, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Alegre, Manuel; Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional

View of the main nave of the temple and of the Corpus Christi procession, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Alegre, Manuel; Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional
View of the main nave of the temple and of the Corpus Christi procession, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Alegre, Manuel; Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional

General View of the Royal Monastery of San Lorenzo de El Escorial from Alto del Romeral
Taille douce: etching and engraving on wove paper. 1800 - 1809
Gómez de Navia, José; Maré, Cipriano; López Enguidanos, Tomás; Calcografía Nacional
General View of the Royal Monastery of San Lorenzo de El Escorial from Alto del Romeral
Taille douce: etching and engraving on wove paper. 1800 - 1809
Gómez de Navia, José; Maré, Cipriano; López Enguidanos, Tomás; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional

Patio of the Evangelists, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Alegre, Manuel; Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional
Patio of the Evangelists, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Alegre, Manuel; Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional

The Finding of Moses
Taille douce: etching and engraving on continuous paper. 1791 - 1800
Henriquez, Benoît Louis; Gentileschi, Orazio; Martínez, Antonio; Calcografía Nacional
The Finding of Moses
Taille douce: etching and engraving on continuous paper. 1791 - 1800
Henriquez, Benoît Louis; Gentileschi, Orazio; Martínez, Antonio; Calcografía Nacional

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

Alcestis and Admetus
Taille douce: etching and engraving on wove paper. Ca. 1757
Preciado de la Vega, Francisco; Vanni, Niccolo
Alcestis and Admetus
Taille douce: etching and engraving on wove paper. Ca. 1757
Preciado de la Vega, Francisco; Vanni, Niccolo

As King of Naples and Sicily, Charles of Bourbon actively promoted the excavations at Herculaneum and Pompeii, and helped bring attention to them through prints that stimulated archaeological research. Only the first volume of Le antichità was published during his Neapolitan reign, but from Spain he continued to encourage the appearance of the other volumes.

Charles III (as Charles VII of Naples and Sicily)
Taille douce: etching and engraving on ivory laid paper. Ca. 1745
Cepparuli, Francesco
Charles III (as Charles VII of Naples and Sicily)
Taille douce: etching and engraving on ivory laid paper. Ca. 1745
Cepparuli, Francesco

Derived from a portrait by Giuseppe Bonito, this print presents the most emblematic image of the King of Naples and Sicily. It shows the sovereign in military attire, perhaps in reference to his victory over the Austrians in the Battle of Velletri of 1744, which definitively secured the Italian territories he was to reign over.

The Finding of Moses
Taille douce: etching and engraving on wove paper. 1791 - 1800
Henriquez, Benoît Louis; Martínez, Antonio; Calcografía Nacional; Gentileschi, Orazio
The Finding of Moses
Taille douce: etching and engraving on wove paper. 1791 - 1800
Henriquez, Benoît Louis; Martínez, Antonio; Calcografía Nacional; Gentileschi, Orazio

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

View of the main cloister, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Alegre, Manuel; Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional
View of the main cloister, Royal Monastery of San Lorenzo de El Escorial
Taille douce: etching and engraving on wove paper. 1800 - 1809
Alegre, Manuel; Gómez de Navia, José; Maré, Cipriano; Calcografía Nacional

These are part of Colección de diferentes vistas del Magnífico Templo y Real Monasterio de San Lorenzo de El Escorial (Collectionof Different Views of the Magnificent Temple and Monastery of San Lorenzo de El Escorial). One of Spain’s principle goals during the Enlightenment was to spread knowledge of its monumental and artistic wealth through engravings. Calcografía Nacional

Narcissus
Taille douce: etching and engraving, Etching on wove paper. Ca. 1757
Cepparuli, Francesco; Morghen, Giovanni Elia
Narcissus
Taille douce: etching and engraving, Etching on wove paper. Ca. 1757
Cepparuli, Francesco; Morghen, Giovanni Elia

During his reign in Naples, Charles of Bourbon founded two institutions related to the excavations at Pompeii and Herculaneum. These were the Herculaneum Royal Academy, which published Le antichità, and the Herculanense Museum.

The Actor and the Mask
Taille douce: etching and engraving, Etching on wove paper. Ca. 1757
Vanni, Niccolo; Aloja, Joseph
The Actor and the Mask
Taille douce: etching and engraving, Etching on wove paper. Ca. 1757
Vanni, Niccolo; Aloja, Joseph

During his reign in Naples, Charles of Bourbon founded two institutions related to the excavations at Pompeii and Herculaneum. These were the Herculaneum Royal Academy, which published Le antichità, and the Herculanense Museum. Such a modern approach to the study of antiquities is reflected in this print of a mural, where the paint losses are shown in order not to give a false impression of

Charles III, King of Spain
Taille douce: etching and engraving on ivory laid paper. 1788
Ximeno y Planes, Rafael; Selma, Fernando
Charles III, King of Spain
Taille douce: etching and engraving on ivory laid paper. 1788
Ximeno y Planes, Rafael; Selma, Fernando

This portrait is closely based on Charles III in hunting Dress by Francisco de Goya. The monarch, wearing a dress coat, has the same pose as in the painting, leaning forward slightly and with sloping shoulders. The modelling of the face is also the same. The print was published in 1788 in the revised edition of the Bibliotheca hispana vetus (1672) by Nicolás Antonio.

Charles IV, King of Spain
Taille douce: etching and engraving on laid paper. 1788
Salvador Carmona, Juan Antonio
Charles IV, King of Spain
Taille douce: etching and engraving on laid paper. 1788
Salvador Carmona, Juan Antonio

La estampa de Carlos IV, dibujada y grabada por Juan Antonio Salvador Carmona, hace pareja con la del retrato de Maria Luisa de Borbón (G01709 y G02527). Estampación a partir de 1788 y principios del siglo XIX. Se conocen cuatro estados. El primero, dentro de un marco el retrato de tres cuartos casi frontal, con el sombrero encima de la mesa; a la derecha del marco objetos alegóricos de las artes

Carlos IV, Prince of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio; Corradi, Viuda de
Carlos IV, Prince of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio; Corradi, Viuda de

La estampa de Carlos IV, dibujada y grabada por Juan Antonio Salvador Carmona, hace pareja con la del retrato de Maria Luisa de Borbón (G01709 y G02527). Estampada entre 1778 y 1788 fecha en la que sube al trono. Se conocen cuatro estados. El primero, dentro de un marco el retrato de tres cuartos casi frontal, con el sombrero encima de la mesa; a la derecha del marco objetos alegóricos de las arte

Europe
Taille douce: etching and engraving on continuous paper. Ca. 1786
Salvador Carmona, Juan Antonio; Calcografía Nacional
Europe
Taille douce: etching and engraving on continuous paper. Ca. 1786
Salvador Carmona, Juan Antonio; Calcografía Nacional

Estampa grabada por Juan Antonio Salvador Carmona que forma parte de una serie (G01573-G01576): Alegorías de las partes del mundo por la que recibió el título de Grabador de Cámara el 20 de febrero de 1786: "Las quatro partes del Mundo, originales de Lucas Jordán que existen en la referida colección del Real Palacio, las grabó en mayor tamaño del de un pliego de la expresada marca y las dedicó al

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