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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Gi

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Gi

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Gi

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Gi

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Gi

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Gi

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Gi

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Gi

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Gi

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Gi

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 of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Gi

Es una litografía de Florentino Decraene (1793-1852) que reproduce el lienzo de Bartolomé Esteban Murillo (P00996) conservado en el Museo Nacional del Prado. Está encuadernada en un álbum facticio sobre obras de Murillo del coleccionista Pennant.Esta estampa se entregaba con el cuadernillo II acompañado de un texto explicativo de Juan Agustín Ceán Bermúdez. Iba encuadernada en el tomo I de la serie dirigida por José de Madrazo, Colección lithográphica de cuadros del rey de España el señor don Fe

Aunque la estampa está firmada por F. Taylor, esta litografía que reproduce el óleo de Velázquez (P01167), se atribuye a Isidore-Justine-Séverin Taylor (1789-1879) (Vega, J.: Museo del Prado. Catálogo de estampas, Museo del Prado, 1992, p. 275, n. 1402). El título que aparece en la estampa es Consummatum Est. Esta estampa se entregaba con el cuadernillo CLXXXVI acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo,

Es una litografía de Léon-Auguste Asselineau (1808-1889) que reproduce el óleo de Pieter Brueghel el joven según copia de Jan Brueghel el viejo conservado en el Museo Nacional del Prado (P01410). Esta estampa se entregaba con el cuadernillo CLXXXVIII acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Fernando VII, editada por el Real Establecimiento

Es una litografía de Léon-Auguste Asselineau (1808-1889) que reproduce el óleo de Pieter Brueghel el joven según copia de Jan Brueghel el viejo conservado en el Museo Nacional del Prado (P01410). Esta estampa se entregaba con el cuadernillo CLXXXVIII acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Fernando VII, editada por el Real Establecimiento

Es una litografía de Léon-Auguste Asselineau (1808-1889) que reproduce el óleo de Pieter Brueghel el joven según copia de Jan Brueghel el viejo conservado en el Museo Nacional del Prado (P01410). Esta estampa se entregaba con el cuadernillo CLXXXVIII acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Fernando VII, editada por el Real Establecimiento

Aunque la estampa está firmada por F. Taylor, esta litografía que reproduce el óleo de Velázquez (P01167), se atribuye a Isidore-Justine-Séverin Taylor (1789-1879) (Vega, J.: Museo del Prado. Catálogo de estampas, Museo del Prado, 1992, p. 275, n. 1402). El título que aparece en la estampa es Consummatum Est. Esta estampa se entregaba con el cuadernillo CLXXXVI acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo,

Aunque la estampa está firmada por F. Taylor, esta litografía que reproduce el óleo de José de Ribera (P01071), se atribuye a Isidore-Justine-Séverin Taylor (1789-1879) (Vega, J.: Museo del Prado. Catálogo de estampas, Museo del Prado, 1992, p. 274, n. 1400).Esta estampa se entregaba con el cuadernillo CLXXXIV acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España e