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Religion: NT. Purification of the temple. Christ driving the money-changers from the temple with a whip.

Christ Driving the Money Changers from the Temple, c. 1570-75

El Greco (Domenikos Theotokopoulos)

G341

Portrait.

Self-Portrait with Dr. Arrieta, 1820

Francisco José de Goya y Lucientes

G306

Romanesque relief-carved stone Calvary group showing Christ on the cross between standing figures of the Virgin Mary on the left and St. John the Evangelist on the right; Christ appears with a perizonium around his waist, his legs buckling to the left and his head raised but with heavy eyelids; Mary's hair is covered by a simple veil which encloses her left elbow and is held in her right hand, looking down, with her left hand raised to her face; Mary's mantle clings to her legs in a series of "damp fold" drapery swirls, and ruffles over her pointed shoes; John holds a book in the crook of his left arm, and with his right hand (fingers now missing) gestures up towards the body of Christ; John's bare feet protrude from under a long garment with a crinkled neckline; just visible above the surviving section of the patibulum of the cross are two small, rounded shapes that most likely formed the tips of a wing, presumably of an angel; five metal pins at top of lower portion for secure installation of heads of John and Mary and torso and head of Christ

Crucifixion, c. 1180

Spain

G340

%C2%A9 Salvador Dali%2C Gala-Salvador Dali Foundation %2F Artists Rights Society %28ARS%29%2C New York

Portrait of Juan de Pareja, the Assistant to VelĂĄzquez, 1960

Salvador Dali; Depicted: Juan de Pareja

G376

Woman in a white gown seated next to the sea. Picasso's Classical period.

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Woman by the Sea, 1922

Pablo Picasso

G371

Penitent Magdelene, c. 1650–65

Bartolomé Esteban Murillo

G341

Holy Family, 1613

Luis TristĂĄn

G341

%C2%A9 2014 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Woman in an Armchair, 1927

Pablo Picasso

G376

modified telephone; lobster receiver

%C2%A9 Salvador Dali%2C Gala-Salvador Dali Foundation %2F Artists Rights Society %28ARS%29%2C New York

Aphrodisiac Telephone, 1938

Salvador Dali

G376

Head of a woman.

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris

Head of a Woman, 1938

Joan MirĂł

G376

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Baboon and Young, 1951

Pablo Picasso

G376

Religious. New Testament. Jesus Christ seated wearing a crown of thorns, meditating quietly on the Passion. Cross building tools are on the floor surrounding him (hammer, awl, nails and broom).

Man of Sorrows, c. 1560

Luis de Morales (called El Divino)

G341

Lion; standing on its four paws, the tail arched over the back; surface decorated with very fine granulation and tiny ringlets of twisted wire; gold

Statuette of a lion, 11th-12th century

Unknown

G243

view under an archway into an open-air arena; group of matadors wearing colorful outfits and black hats; three horses at right, with one man at far right in saddle; at center left, man in red adjusts shoe of matador in lavender and gold with another matador smoking a cigar; man in shadow at left; received unframed

Before the Bullfight, c. 1900

Joaquin Sorolla y Bastida

G355

standing infant with arms out, PL arm slightly upraised; thick, short hair; standing on rocky element; wearing brown and gilt garment trimmed in dark brown fur; gilt shoulder cloth

John the Baptist as a Child, one of a pair, c. 1640

Attributed to Felipe de Ribas

G341

standing infant with PL arm upraised; striding forward with PR leg; wearing gold, red and black garment tied with sash, and gold and red shoulder cloth; long dark hair; standing on five winged putto heads

Christ Child, one of a pair, c. 1640

Attributed to Felipe de Ribas

G341

man with short black hair, dressed in white cowl, holding a soft-covered book in his PL hand and a brush or quill in his PR hand, seated in an armchair; man tilts his head to PL, where black text extends between man's head and a small angel in URC; received in gilt and painted frame

The Venerable Miguel GerĂłnimo Carmelo, 1628-1630

Francisco de ZurbarĂĄn

G341

seated figure of Mary with long, thick brown hair, wearing rich robes of gold, blue and red, holding nude baby Jesus on her lap, breastfeeding; Jesus' brown hair is styled in ringlets close to his head

Virgin of the Milk (Virgen de la leche), c. 1500

Circle of Gil de Siloe

G340

image of a young man with a halo and bobbed blonde hair wearing a red tunic and blue leggings riding a white horse; man also wears an oversized red cloak with a grey lining which he extends to cover the shoulders of a man in white loincloth with brown hair and beard and worn white headscarf, walking behind horse; young man extends sword back toward walking man

Saint Martin and the Beggar, c. 1375-85

Jaume Serra; Artist: Pere Serra

G343

two five-story buildings on a city street; tile roofs; pedestrians on street; donkey or horse and cart at right; predominately blues and purples with touches of yellow and red

Azul, San Sebastian, c. 1900

Dario de Regoyos

G359

central panel: seated Madonna with blonde wavy hair, wearing two strands of pearls, dark green dress with gold trim, and white cape; blonde baby Jesus wearing white garment with text around neckline, being held by Madonna; pink and green checkerboard floor; shield in LLC with trees and X's in green right panel: top half with image in grey and white of seated man holding a book with a small lamb on top of it; bottom half with image in grey and white of kneeling woman wearing crown, with hands held in prayer, with a spoked wheel behind her left panel: top half with image in grey and white of seated elderly man with beard, holding an open book in his PL hand and resting a large X-shaped cross on floor and on PR shoulder; bottom half with image in grey and white of man in outdoors kneeling on one knee, with hands in prayer; man accompanied by two dogs; stag in URC each portrait and center panel have gilt frame with foliate arched panel above it; black "frame"; exterior is reddish brown with multicolored spots--faux leather effect

Triptych of the Virgin and Child with Saints Andrew, John, Catherine, and Eustace, c. 1470-1480

Fernando Gallego

G340

a. body; b.right arm; c. left arm; d-g. nails. [Culture formerly "Probably Sevilla, Spain" - FLB, 03/15/2016]

Corpus, c. 1700

Master of Guadalcanal

G341

standing black figure with short curly black hair, wearing a gold robe and gold shoes; man has arms outstretched, holding open book in PL hand

Saint Benedict of Palermo, c. 1734

Attributed to José Montes de Oca

G341

Still life. Cubist.

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris

The Spanish Playing Cards, 1920

Joan MirĂł

Not on View

Seated Harlequin, c. 1920

Juan Gris

G367

Still Life. Cubist.

Still Life, 1917

Juan Gris

G367

Hispano-Moresque Deep Basin with coat-of-arms of Aragon and Sicily.

Deep basin, after 1450

Spain

G243

Barber's bowl, ceramic-earthenware, Spanish, XVIIIc cracked down the middle of piece; cat. card dims diam of top at widest 14-3/8"

Barber's bowl, early 18th century

Spain

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

La filiacion, 1797-1798

Francisco José de Goya y Lucientes

Not on View
Plate 2

Rightly or Wrongly, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 34

On Account of a Knife, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 12

This is What You Were Born For, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 57

The Healthy and The Sick, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 6

It Serves You Right, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 14

It's a Hard Step, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 28

Rabble, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 5

Y son fieras (And they are like wild beasts), 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 52

They Do Not Arrive In Time, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View

Mort de Pepe Illo (2nd compostion), plate E from Tauromaquia, 1816 (1876 edition)

Francisco José de Goya y Lucientes

Not on View
Plate 2

Por Temor no Pierdas Honor (Do not lose honour through fear), 1816-1819

Francisco José de Goya y Lucientes

Not on View
Plate 68

What Madness!, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 51

Thanks To The Millet, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 75

Charlatan's Show, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 45

And This Too, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

De MĂ©moire d'Homme (In Living Memory), 1950

Pablo Picasso; Author: Poems by Tristan Tzara; Publisher: Bordas, Paris, France; Lithographer: Printed by Mourlot Freres, Paris (lithographs); Printer: George Girard, Paris, France (text and typography)

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ni asi la distingue, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

¿Está Vm
 pues, Como digo
 eh! Cuidado! si no!..., 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Tu que no puedes, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Mala noche, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Aquellos polbos, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

De que mal morira?, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Tantalo, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Tragala perro, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Pobrecitas!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

ÂżNo hay quien nos desate?, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Estan calientes, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Miren que grabes!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Que se la llevaron, 1799

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Chiton, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

El amor y la muerte, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Muchachos al avĂ­o, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Brabisimo!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ensayos, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Nohubo remedio, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Si querbĂł el Cantaro, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

No te escaparĂ s, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

No grites, tonta, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Subir y bajar, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Mejor es holgar, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Unos ĂĄ otros, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Devota profesion, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ya van desplumados, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Volaverunt, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

The Sleep of Reason Produces Monsters, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

El Vergonzoso, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Porque esconderlos?, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Nadie nos ha visto, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Nadie se conoce, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ni mas ni menos, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Lo que puede un Sastre!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Mucho hay que chupar, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Y aun no se van!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ya tienen asiento, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Obsequio ĂĄ el maestro, 1797-1798

Francisco José de Goya y Lucientes

Not on View
group of grotesque or cartoonish abstract, overlapping figures on a green field with a blue sky; bird-like figure in ULQ in flight; bright colors of blue, green, yellow, reds and black

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris

Chez le Roi de Pologne, plate III from "Ubu Roi", 1966

Joan MirĂł; Publisher: TĂ©riade, Paris, France

Not on View
PL hand with fingers outstretched; dark crosshatched shading

Left Hand, 17th century

Antonio del Castillo

Not on View
bullfighter pulling on bull's PR horn and tail; two men standing at right

El Mismo vuelca un Toro en la Plaza de Madrid, plate 16 from Tauromaquia, 1816

Francisco José de Goya y Lucientes

Not on View
dark image; red jug with long neck and loop handle at left; two green apples and one red apple (tomato?) with a whitish fruit--partially hidden--behind them at left in front of jug; nuts of various sizes and types at bottom center--some on stems; bunches of grapes in lower corners; nuts on stems with leaves at right below center and to right of jug; grapevine in URQ with bunches of grapes; fruit or nut with bristly shell/skin in ULC

Still life with grapes, apples, chestnuts, almonds, acorns and a red clay bottle, 17th century

El Labrador (Juan Fernandez)

Not on View
image of a figure bound in chains, bent over with hands clasped together; ankles bound in heavy shackles; head with shaggy beard and hair turned to the L

Tan bĂĄrbara la seguridad como el delito, 1778-1818 (published 1867)

Francisco José de Goya y Lucientes

Not on View
image of bottle with collage element of wine bottle label printed in red, black and gold; black scribbled lines on ground

%C2%A9 Manolo Valdes

Botello de vino, 1994

Manolo Valdes; Publisher: Marlborough Graphics, New York

Not on View
bull at left being speared through its upper back and PR shoulder by a man on horseback at right, wearing a costume with cape and feathered hat and carrying a sword on his PL hip; grey ground

El Cid Campeador lanceado otro toro (El Cid Campeador Spearing Another Bull), 1816

Francisco José de Goya y Lucientes

Not on View
two men flanking a bull, each stabbing it with staffs, in the shoulder and PR side, in a spare grey landscape with trees at center middle ground

Otro modo de cazar ĂĄ pie (Another Way of Hunting on Foot), 1816

Francisco José de Goya y Lucientes

Not on View
abstract image; two horizontal painterly yellow forms, one above and one below a horizontal black ovoid shape with linear "spikes"

%C2%A9 Marcos Bontempo

Untitled, 2012

Marcos Bontempo

Not on View
pink paper; text on recto and verso in black with some blue marks above letters; two gilt medallions on each side with floral motifs

Page from the Andalusian Pink Qur'an, 13th century

Spain

Not on View
abstract image; painterly yellow circle with black torso-like form with arms and delicate hands extending downward

%C2%A9 Marcos Bontempo

Untitled, 2012

Marcos Bontempo

Not on View
38 engravings; contained in an Arches wove wrapper inside a cardboard folder with lettering on the front; slip case: papier peigne and cloth-covered protective boards with lettering on the spine

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Carmen, 1949

Pablo Picasso; Author: Prosper Mérimée; Publisher: La BibliotÚque Française; Printer: Atelier LacouriÚre et Frélaut, Paris, France (engravings, aquatints); Printer: Imprimerie Union, Paris , (text and type)

Not on View
Plate 22

Even Worse, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 72

The Consequences, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 66

Strange Devotion!, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View

Caida de un Picador de su Caballa Debajo de Toro, plate 26 from Tauromaquia, 1816 (1876 edition)

Francisco José de Goya y Lucientes

Not on View

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