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This print reproduces Alfonso Bergaz’s sculpture of Charles III, which was installed on a large pedestal in the main square in Burgos in 1784 on the initiative of Antonio Tomé, a wealthy merchant and the city’s consul. In addition to the monarch’s regal, military presentation, which evokes classical art, the face is notably realistic and has a liveliness singled out at the time as the sculp
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for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active.The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the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 o
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for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active.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
The print is based on a painting by Antonio González Velázquez. Charles III wears the habit of a master of his own Order, and is accompanied by the allegories of Merit and Virtue. Devout and family-minded, the monarch created the Order to give thanks to the Immaculate Conception for the birth of his grandson.
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for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active.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
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for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active.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
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
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
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
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
This is the portrait of Francisco Antonio Lorenzana, Archbishop of Toledo, engraved by Manuel Salvador Carmona in 1800. It was included in the Missale Gothicum secundum regulam Beati Isidori Hispalensis Episcopi printed in Rome by Antonio Fulgoni in 1804. It reproduces the painting by Agustín Esteve, which is currently in the Count of Finat’s collection in Madrid with slight additions. It s
Estampa grabada por Manuel Salvador Carmona que reproduce el óleo pintado por Antón Raphael Mengs, conservado en el Museo Nacional del Prado (P02200). La lámina de cobre se la encargó a Carmona la Secretaría de Estado en 1782. Fue adquirida en 1875 por la Calcografía Nacional de Madrid, donde se conserva en la actualidad (R. 3796). El Museo conserva otros dos ejemplares de esta estampa (G02889 y G
