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The Vision of Dionisio Rickel, The Carthusian
Oil on canvas. 1626 - 1632
Carducho, Vicente
The Vision of Dionisio Rickel, The Carthusian
Oil on canvas. 1626 - 1632
Carducho, Vicente

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to t

Earthly Paradise
Oil on copperplate. Ca. 1626
Brueghel el Joven, Pieter
Earthly Paradise
Oil on copperplate. Ca. 1626
Brueghel el Joven, Pieter

En esta obra el pintor pone en escena una multitud de aves cantoras. Éstas se posan en las ramas de un árbol que, en acusada diagonal, separa la llanura del bosque; recurso típico de las composiciones de conciertos y alegorías del aire de Brueghel. A escala diminuta, en un claro entre la maleza, se reproduce la tentación de Adán y Eva; un caballo, parejas de cuadrúpedos, tigres, ciervos, dromedari

Leatherback Sea Turtle
Oil on canvas. 1597
Tapia, Pedro Juan
Leatherback Sea Turtle
Oil on canvas. 1597
Tapia, Pedro Juan

Found on the beach at Denia (Valencia) on 28 August 1597, this leatherback sea turtle was depicted in a painting in order to record its unexplected appearance on the Mediterranean coast. The painting includes a lengthy explanatory text that reflects the scientific importance of this find.

Still Life with Fish and Turtle
Oil on canvas. Ca. 1680
Recco, Giuseppe
Still Life with Fish and Turtle
Oil on canvas. Ca. 1680
Recco, Giuseppe

Giuseppe Recco, a member of one of the most famous families of Neapolitan still-life painters in the seventeenth century, was born in Naples on 12 July 1634. His vast output was consistently high in quality and is characterised by a marked cultural eclecticism, taking in a number of different still-life styles, from Spanish to northern European to Roman, with an unusual iconographic versatility.In

Abundance and the Four Elements
Oil on panel. XVII century
Brueghel The Younger, Jan
Abundance and the Four Elements
Oil on panel. XVII century
Brueghel The Younger, Jan

The Virgin and Child in a Painting surrounded by Fruit and Flowers
Oil on panel. 1617 - 1620
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Virgin and Child in a Painting surrounded by Fruit and Flowers
Oil on panel. 1617 - 1620
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

Jan Brueghel’s compositions with garlands surrounding holy figures were a reaction against Protestant ideas that refuted the cult of images. In the centre of the composition is a painted image of the Virgin, which hangs from the garland. The figures of Mary and the Christ Child were painted by Rubens.

Earth
Oil on canvas. 1675 - 1700
Anonymous
Earth
Oil on canvas. 1675 - 1700
Anonymous

This canvas by a late 17th-century painter is part of a group of four works, all at the Museo del Prado (P191, P3196, P3197 and P3198), that express the idea of the Elements through motives drawn from classical mythology. Here, the element Earth is represented with total clarity by the goddess Ceres. The summer fruit she carries, especially sheaves of wheat, and the fact that she is suckling a bab

God reprimanding Adam
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte); Bassano, Francesco
God reprimanding Adam
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte); Bassano, Francesco

It is surprising that such a significant passage was seldom represented pictorially, whereas there are many examples of the moment immediately after the expulsion from Paradise. Neither was it a frequent theme of the Bassano bottega, despite lending itself well to a display of masterful representation of animals. In fact, this is the only known version. Jacopo convincingly depicted the moment God

The Sense of Touch
Oil on panel. 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Touch
Oil on panel. 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This set of paintings on the five senses (Sight, Hearing, Smell, Taste, Touch) was one of the most successful collaborations of Peter Paul Rubens and Jan Brueghel “the Elder”. Rubens placed his figures in the magnificent courtly scenes created by Brueghel as settings for these allegories of the senses, resulting in a series of enormous quality and esthetic appeal. The subject was widely employed i

Water
Oil on canvas. Ca. 1700
Ezquerra, Jerónimo Antonio
Water
Oil on canvas. Ca. 1700
Ezquerra, Jerónimo Antonio

This wooded landscape with the ocean in the background is the setting for a group of maritime allegories. In the foreground, a male figure next to some rapids personifies one of the great rivers that exist in Nature, as was the customary representation during the Classical period. Various elements and animals related to water, such as turtles and seashells, are visible beside him. In the backgroun

Crouching Aphrodite
White marble. Mid-IIcentury
Roman Sculptor
Crouching Aphrodite
White marble. Mid-IIcentury
Roman Sculptor

Roman copy of a crouching Aphrodite who originally had both arms raised to shake her long hair with her hands. The copy is based on a late Hellenistic original created circa 100 B. C. in Rhodes which, in turn, combines the figure of the famous Crouching Aphrodite by the sculptor Doidalsas of Bithynia (c. 250 B. C.) with a standing Aphrodite Anadyomene (rising from the waters) from the same period.

Tortoise boat
Gold, Rock crystal / hyaline quartz, Enamel. Ca. 1570
Fontana, Annibale (?)
Tortoise boat
Gold, Rock crystal / hyaline quartz, Enamel. Ca. 1570
Fontana, Annibale (?)

A tall-footed cup whose bowl has the form of a ship’s hull with a pointed prow and a slightly raised stern, while below are a balustroid stem and a tortoise for a foot, all formed by three pieces of rock crystal joined by two enamelled gold mounts. The decoration of the bowl is extremely fine, and may have had a political significance. The mount on the foot was stolen in 1918. Where its authorship

Octagonal coffer covered in enamelled gold with engravings and cameos
Amethyst, Agate, Cowry, Silver gilt, Prasiolite, Garnet, Bloodstone, Iron, Lapis lazuli, Gold gilt, Peridot, Sardonyx, Enamel. 1630 - 1670
Delabarre, Pierre (Circle Of)
Octagonal coffer covered in enamelled gold with engravings and cameos
Amethyst, Agate, Cowry, Silver gilt, Prasiolite, Garnet, Bloodstone, Iron, Lapis lazuli, Gold gilt, Peridot, Sardonyx, Enamel. 1630 - 1670
Delabarre, Pierre (Circle Of)

The coffer is a key item in any study of French silverware and European collecting. Initially part of Cardinal Mazarin’s collection, on his death it was sold at auction, subsequently being acquired by the Grand Dauphin. The gold crafting links this piece to a group of works associated with the so-called Maestro of Dragons, Pierre Delabarre, a Parisian silversmith who qualified as a master craftsma

Case for tortoise boat
Velvet, Metal, Leather, Wood. 1570 - 1590
Anonymous
Case for tortoise boat
Velvet, Metal, Leather, Wood. 1570 - 1590
Anonymous

This case takes the form of the vessel for which it was made, the Tortoise boat (O78). The case is one of the most interesting in the whole collection. It is very unusual because of its decoration and the presence of four embossed gold oval medallions representing classical-type male heads. Known as “cameos”, such adornments had been fashionable in Italian bookbinding since at least 1484. Arbeteta

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