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GOYA Y LUCIENTES Francisco José de (1746-1828)
The item was sold for 15 796 €
Fees include commission and taxes.
GOYA Y LUCIENTES Francisco José de (1746-1828)
La Tauromachie. Collection of forty prints representing different manners and feints of the art of fighting bulls, invented and engraved in etching, in Madrid.
Paris: Loizelet, s.d. [1876]. Oblong folio (493 x 320 mm), [3] ff. including f.
title in red, 40 etchings by Goya, including the 33 plates of the original edition, and 7 unpublished plates (dimensions: 355 x 245 mm).
Red half-basin with corners, gilt fillets on the boards, spine titled and decorated in gold, marbled edges, marbled paper endpapers.
Third edition, enriched with respect to the previous ones by 7 plates initially rejected, of this famous complete suite of Francisco de Goya's Tauromachie.
The original edition of the suite, which appeared in 1816, includes 33 plates - the 7 compositions rejected by the artist will also be absent from the second edition, published in 1855.
This third edition, published posthumously in 1876, is the first to reinstate the 7 plates initially discarded, making it the most complete edition of the suite published up to that point, with 40 engravings by Goya, numbered in the upper right-hand copper plate, on laid paper.
This series was inspired to the Spanish artist both by his past as a bullfighter and by the work on bullfighting published in 1777 by his friend, the poet Nicolas Fernandez de Moratin. However, it was not until some forty years later, in 1815-1816, that Goya carried out a long preparatory work to produce this superb suite in which he stages the prowess of his friend Pedro Romero and the death of Pepe Hillo. However, he was not satisfied with his first attempt. Since the copper plates he used for the engraving were particularly expensive, as they were imported from England, he had to turn the plates over for seven of the plates and engrave a new composition on the reverse.
There is also a portrait of Goya, drawn and engraved by Eugène
Loizelet, which was also used as the title page of the edition.
MAGNIFICENT AND RARE COLLECTION OF 40 ENGRAVED PLATES BY GOYA.
REFERENCES Thomas Harris, Goya: engravings and lithographs, 1983, I, pp. 16, 173- 176 and II, no. 204-243| Sanchez and Gallego. Goya: the Complete Etchings and Lithographs, pp. 146-173.
PROVENANCE Horace Finaly Library (title f. slightly browned, slight transfers to verso of plates, spotting in margins of pl. 9, 10, 15, slight foxing on pl. 11 and 12| spine and morocco damaged).
La Tauromachie. Collection of forty prints representing different manners and feints of the art of fighting bulls, invented and engraved in etching, in Madrid.
Paris: Loizelet, s.d. [1876]. Oblong folio (493 x 320 mm), [3] ff. including f.
title in red, 40 etchings by Goya, including the 33 plates of the original edition, and 7 unpublished plates (dimensions: 355 x 245 mm).
Red half-basin with corners, gilt fillets on the boards, spine titled and decorated in gold, marbled edges, marbled paper endpapers.
Third edition, enriched with respect to the previous ones by 7 plates initially rejected, of this famous complete suite of Francisco de Goya's Tauromachie.
The original edition of the suite, which appeared in 1816, includes 33 plates - the 7 compositions rejected by the artist will also be absent from the second edition, published in 1855.
This third edition, published posthumously in 1876, is the first to reinstate the 7 plates initially discarded, making it the most complete edition of the suite published up to that point, with 40 engravings by Goya, numbered in the upper right-hand copper plate, on laid paper.
This series was inspired to the Spanish artist both by his past as a bullfighter and by the work on bullfighting published in 1777 by his friend, the poet Nicolas Fernandez de Moratin. However, it was not until some forty years later, in 1815-1816, that Goya carried out a long preparatory work to produce this superb suite in which he stages the prowess of his friend Pedro Romero and the death of Pepe Hillo. However, he was not satisfied with his first attempt. Since the copper plates he used for the engraving were particularly expensive, as they were imported from England, he had to turn the plates over for seven of the plates and engrave a new composition on the reverse.
There is also a portrait of Goya, drawn and engraved by Eugène
Loizelet, which was also used as the title page of the edition.
MAGNIFICENT AND RARE COLLECTION OF 40 ENGRAVED PLATES BY GOYA.
REFERENCES Thomas Harris, Goya: engravings and lithographs, 1983, I, pp. 16, 173- 176 and II, no. 204-243| Sanchez and Gallego. Goya: the Complete Etchings and Lithographs, pp. 146-173.
PROVENANCE Horace Finaly Library (title f. slightly browned, slight transfers to verso of plates, spotting in margins of pl. 9, 10, 15, slight foxing on pl. 11 and 12| spine and morocco damaged).