HARRIS SCHRANK FINE PRINTS » Francisco Goya

Picador Caught By A Bull

Harris Schrank — Tue, 03 Aug 2010 22:23:53 +0000

Francisco Goya (1746-1828), Picador Caught by a Bull, lithographic crayon and scraper, 1825. Harris 284, Delteil 287, from the edition of 100 [signed Goya in the plate lower left], printed by Gaulon, Bordeaux, from the set The Bulls of Bordeaux. In exceptionally fine condition, the matrix flawless, slight light stain, the full sheet (remains of prior hinging edges verso); 12 1/4 x 16 1/4, the sheet 15 1/2 x 20 1/8 inches.

A fine rich, black impression, printed on a cream wove paper.

Provenance: H.J. Thomas (Lugt 1378); estate of Albert Gordon. Lugt writes of Thomas: “Monsieur Henri Thomas ne « fait » pas l’œuvre de tel ou tel maître, son but est que ses cartons offrent, en épreuves exceptionnelles, un ensemble de ce que l’art de la gravure a produit de plus remarquable à toutes les époques et dans toutes écoles.

Goya was perhaps the first major artist to make use of the lithographic technique, in 1819 at the age of 73. His earliest experiments were with transfer lithography, using pen on transfer paper, but his “mature” work, after 1824, was done directly on the lithographic stone. He initially made five Bordeaux lithographic bulls, but discarded one of the lithographs after having taken a proof and, apparently, been dissatisfied with it.

In late 1825 Goya wrote to his friend Joaquin Ferrer, who was living in Paris at the time, sending an impression of the first of the Bulls (Corrida de novillos) and asking him if this and the other three bullfighting lithographs could be sold in Paris. Ferrer wrote that another edition of the Caprichos would have greater appeal. Goya responded “I understand and accept what you tell me about the prints of bulls but I rather had in mind that they should be seen by art connoisseurs who abound in that great court [Paris} and the great number of people who have seen them, not counting Spaniards, thought it would be easy [to sell them].” So Goya’s Bulls of Bordeaux did not appeal to the French taste of the period.

Goya wrote Ferrer that “I’ve no more sight, no hand, nor pen nor inkwell, I lack everything – all I’ve got left is will.” But with the creation of the Bulls of Bordeaux, Goya had produced one of the great monuments of printmaking.

Detail

Bien Tirada Esta (It is nicely stretched)

Harris Schrank — Fri, 23 Jul 2010 22:20:15 +0000

Goya - Bien Tirada Esta

Francisco Goya (1746-1828), Bien Tirada Esta (It is nicely stretched), etching, burnished aquatint and burin, 1799. Reference: Harris 52, Delteil 54; plate 17 from Los Caprichos, The First Edition (of 12). In very good condition, with margins; 8 1/2 x 6 1/8, the sheet 12 1/2 x 7 3/8 inches.

A fine impression, printed in sepia on soft but strong laid paper, as specified by Harris for the First Edition impressions. Printed in two shades of aquatint, which vary only slightly (in the later impressions the aquatint shades contrast more as the paler aquatint wears faster). The burin work at the bottom of the old lady’s skirt is visible but not overly pronounced (as is the case in the later impressions). The aquatint contrasts brilliantly with the highlights of the figures, as it should.

After the impressions of the First Edition (about 300) the Caprichos was printed posthumously in 11 additional editions, none of which are comparable in quality to the lifetime impressions.

Goya’s commentary on this print: “Oh! The bawdy old woman is no fool! She knows quite well what is wanted, and that the stockings must fit tightly.” Pierre Gassier’s French translation of this commentary (taken from the Biblioteca Nacional, Madrid translation of Goya’s commentary) played on the French word “bas” meaning stocking or low), i.e., “A prostitute pulls on her stocking (bas) to make her legs more attractive, but there’s really no place lower (plus bas) that she can fall.” Whatever the wording, the general meaning is fairly clear, as is the visual contrast between the two women.

Que Sacrificio! (What a Sacrifice!)

Harris Schrank — Thu, 15 Jul 2010 20:30:03 +0000

Francisco Goya (1746-1828), Que Sacrificio! (What a Sacrifice!), etching, burnished aquatint and drypoint, 1799. Reference: Harris 49, Plate 14 from the First Edition of Los Caprichos (of 12); edition of about 300. In very good condition (slight thinning spots inherent in paper verso, hints of light foxing esp. verso). The full sheet with full margins, 7 7/8 x 6, the sheet 12 5/8 x 8 1/2 inches.

A fine impression, printed in sepia on a hand made, soft but strong laid paper.

In this impression one can distinguish the aquatint, which was applied in only one pale tone, from white of the paper in the old man’s head and shoulders, and the head of the girl. In the later impressions (including of course the posthumous impressions of the succeeding eleven editions) these contrasts are lost.

Goya’s commentary: “That’s how things are! The fiance is not very attractive, but he is rich, and at the cost of the freedom of an unhappy girl, the security of a hungry family is acquired. It is the way of the world.”

Todos Caeran (All Will Fall), Plate 19, Caprichos, First Edition

Harris Schrank — Wed, 03 Mar 2010 18:15:38 +0000

Francisco Goya (1746-1828) , Todos Caeran (All Will Fall), etching and burnished aquatint, 1799. Reference: Harris 54, Delteil 56. Plate 19 from the First Edition (of 12); the first edition size was approximately 300. The matrix in excellent condition, defects outside image (with the binding holes left, reinforced plate mark, repaired tears around edges, fold top corner).The full sheet, 8 1/2 x 5 3/4, the sheet 11 3/4 x 8 inches.

A fine impression, printed in sepia ink on a fine quality, soft but strong laid paper. In this impression the fine grain aquatint contrasts vividly with the highlights on the bird woman standing in the tree, the upper part of the praying woman at the left, and the sky behind the figures at the right, as indicated by Harris as characteristics of the fine impressions of the First Edition; in the subsequent (posthumous) editions the aquatint softens and breaks up, and the fine burnishing effects in the bird upper left disappear.

This plate refers to the bird hunting practice common in Goya’s time, but still employed in recent times, of setting up a wired bird anti-decoy or frightener in a tree which hunters could get to flap its wings. Smaller birds would fly below it, and would dive and scatter when the decoy fluttered. These smaller birds would then be caught in netting or twigs set up by the hunters.

In Goya’s print the bird at the top of the tree is a decoy, and is attracted by other birds. Commentators have noted this bird’s resemblance to the Dutchess of Alba, and the bird just behind it to Goya’s own self portrait (now in the Met in NY). An early text (the Ayala text) notes “soldiers, commoners, and monks, fly around a lady who is half-hen; they all fall, and the women hold them down by the wings, make them throw up and pull out their guts.” This is what’s happening at the bottom of the composition: two women (identified as prostitutes) work on a captured male bird – the bird is already plucked by one while the other pushes a rod into the bird’s anus; an older woman at the left prays. This illustrates the common fate of all those deluded by love: all must fall.

Goya’s commentary on this print: “And those who are about to fall will not take warning from the example of those who have fallen! But nothing can be done about it: all will fall.”

Detail

Se Repulen – They Spruce Themselves Up – Caprichos 1st Edition

Harris Schrank — Tue, 06 Oct 2009 18:40:33 +0000

Francisco Goya (1746-1828), Se Repulen (They Spruce Themselves Up), etching, burnished aquatint and burin, 1799. References: Harris 86, Delteil 88. Plate 51, Los Caprichos, First Edition (of 12), edition size was approximately 300. In very good condition, with wide margins. Printed on fine quality, soft but strong laid paper, 8 3/8 x 6, the sheet 12 x 8 inches.

A fine impression, printed in sepia ink, with the 2 layers of aquatint contrasting well between each other and the white sky. The burnishing on the figures and the cloud to the right creates an effective half-tone. (These subtleties are lost in the later, posthumous, impressions from the eleven subsequent editions of Los Caprichos.)

This is one of the series of portrayals of witches in the Caprichos. Goya’s commentary: This business of having long nails is so pernicious that it is forbidden even in Witchcraft.

Detail

La Tauromaquia – First Edition Complete Set of 33 Etchings

Harris Schrank — Fri, 07 Aug 2009 03:39:57 +0000

Francisco de Goya Y Lucientes (1746-1828), La Tauromaquia, the complete set of 33 etchings with aquatint, drypoint and engraving, 1814-16. First Edition, with the explanatory text page, impressions printed in sepia ink on laid paper, one with watermark SERRA, nine with watermark MORATO. References: Delteil 224-256, Harris 204-236, 247 x 353mm, the sheets approx. 298 x 411 mm. Published in Madrid by the artist, with wide margins, in very good condition, some plates with unobtrusive printing creases, with black cloth-covered binding with artist’s name in gilt.

Fine impressions of this great rarity.

Provenance:

M. Murillo (19th C.), bookseller, Madrid (not in Lugt, with his label inside back cover)

Archibald Philip Primrose, 5th Earl of Rosebery (1847-1929), The Durdans, Epsom, Surrey (not in Lugt, his stamp on the front fly-leaf)

Philip Hofer (1898-1984), Curator, Houghton Library, Harvard University (not in Lugt, with his book plate inside front cover)

Much has been written about Goya’s intent in creating the Tauromaquia set (of course including many articles and books by Philip Hofer, a prior owner of this set). Goya was nearing 70 as he began the plates, and to a certain degree he recalls his youth in them – growing up he knew or at least had seen many of the great bullfighters, and later claimed to have done some bullfighting himself. He began the set with portraits of contempory bullfighting, and the great moments he personally recalled, but then added historical figures as well, going back to medieval times, and 16th Century figures, so the set became a sort of review – although certainly not an accurate history – of bullfighting through the years. Goya is unconcerned with the historical validity of the costuming or even the setting, and as he redid certain plates and worked from his original drawings, he simplified the compositions radically, so that only the most essential shapes and characters appear. Many commentators have identified the plates of the Tauromaquia set as forerunners of impressionism, and expressionism, which they surely are; we would also suggest their evolution also evokes the modernist temper of abstraction, for in these plates one can see Goya re-ordering a finite number of shapes in different ways, in each instance revealing a new and fascinating aesthetic form.

The First Edition of La Tauromaquia was published in very small numbers, both as a set and as single plates; the initial edition is thought to have been much smaller than that of the Caprichos (which was about 300). Long after Goya’s death the Calcographia produced additional editions, starting with a small one in 1855 (on wove), a Third in 1876 (on laid), up to a Seventh in 1937. The plates of La Tauromaquia deteriorated substantially after the First Edition, so it is only be viewing the prints of the lifetime First Edition that one can fully appreciate the splendid technical and aesthetic achievement that Goya’s Tauromaquia represents.

Dos a Uno, Meten La Paja en el Culo (If Two to One Stuff Your Arse with Straw)

Harris Schrank — Sat, 20 Jun 2009 14:59:35 +0000

Francisco Goya (1746-1828), Dos a Uno, Meten La Paja en el Culo (If Two to One Stuff Your Arse with Straw), also titled Disparate Conocido (The Well-Known Folly), etching and burnished aquatint, c. 1816. Reference: Tomas Harris 266. A proof before letters, before the First Edition impressions made by Francois Lienard for L’Art, published in 1877. On a fine laid Japan paper, in very good condition, with margins, 9 3/4 x 13 1/2, the sheet 10 15/16 by 15 inches. Archival mounting (with mylar non-attached hinging, window mat.

Provenance: ex Collection: Tomas Harris, with his ink stamp lower margin right verso (visible recto, not in Lugt). (Harris was, of course, the well known collector, Goya scholar and author of, among other things, the definitive Goya catalogue raisonne.)

This is before First Edition impressions, in which the letters were added (they had the title “Que Guerrero”, and below “Quel Guerrier!”, with “Goya inv. et sc.” and “L’Art” to the left and “F. Lienard Imp. Paris” to the right).

A fine impression of this great rarity, printed in a dark brownish/black ink.

Only one contemporary proof is known, in Madrid. This is one of the trial proofs made before 1877, on very thin Japan, more lightly inked than the first edition (1877) impressions and, according to Tomas Harris, almost identical to the working proof. The edition impressions are generally well printed but lack the fine clarity and aquatint contrasts of this proof.

The man at the left is running from the two scarecrow figures, and holds his hand in mock terror as if intended to amuse the crowd of dark figures behind him.