Francisco Goya

Francisco De Goya Caprichos Hasta la muerte 2nd edition original art print

ca.1881-1886

Francisco De Goya (Spain, 1746-1828) ¨Si quebró el Cantaro¨ Series Caprichos. Estampa 25, ca.1797-1799 etching, aquatint, dry point on laid paper 11.6 x 8.1 in. (29.3 x 20.5 cm.) 1st...

Francisco De Goya (Spain, 1746-1828) 'El de la rollona". Serie Caprichos. Estampa 04, ca. 1797-1799 burnished aquatint, etching on laid paper 12.6 x 8.6 in. (32 x 21.8 cm.) 1st Editi...

Francisco De Goya (Spain, 1746-1828) ¨Si quebró el Cantaro¨'Tal para cual¨ Serie Caprichos. Estampa 05, ca.1797-1799 etching, aquatint, dry point on laid paper 12.4 x 8.7 in. (31.3 ...

Francisco De Goya (Spain, 1746-1828) ¨Muchachos al avío¨ Series Caprichos. Estampa 11, ca.1797-1799 etching, aquatint, dry point on laid paper 12.4 x 8.7 in. (31.3 x 22 cm.) 1st Edi...

Francisco De Goya (Spain, 1746-1828) ¨Correccion¨ Serie Caprichos. Estampa 46, ca.1797-1799 etching, aquatint on laid paper 11.6 x 8.1 in. (29.3 x 20.5 cm.) 1st Edition Iron without ...

Francisco De Goya (Spain, 1746-1828) 'Mucho hay que chupar (Caprichos. Estampa 45)', ca.1797-1799 burnished aquatint, etching on vellum paper 12.2 x 8.4 in. (30.8 x 21.1 cm.) 2nd Edi...

'Le Compliment ou La Matinee du Jour de L'an, Dediee aux Peres de Famille' (The Compliment, or New Year's Morning, Dedicated to the Fathers of the Family) and it's pair 'Les Bouquets...

This artwork "Woman with Fruits" c.1980 is an original color aquatint by noted 20th century Bolivian Artist Norha Beltran. It is hand signed and numbered...

A Cart Race Hand colored etching & aquatint, 1788 Signed in the plate (see photo) Published by William Hollande, London Inscribed in the plate with title, artist's name and publication line 'Rowlandson. 1788./ London. Pubd 1789 by Wm Holland No 50. Oxford Street.' Reference: M.Dorothy George, 'Catalogue of Political and Personal Satires in the British Museum', VI, 1938) British Museum Satires 7607 Grego, 'Rowlandson', i. 260, Grego II.392 Provenance: Chris Beetles Ltd., London (label), 2003 Jeffrey M. Kaplan, Washington, D.C. (label) Condition: Excellent Archival framing by Chris Beetles Ltd., London Note: The British Museum has two impressions, one trimmed the other full sheet as this example. Accession Number: 1868,0711.35 The Metropolitan Museum has an impression: Accession number 59.533.314 Fitzwilliam Museum: Accession number: 34.14-286 Cleveland Museum of Art accession number: 1958.10 Image description per BM: Three ramshackle two-wheeled carts drawn by wretched horses race (right to left) against a background formed by the church... Note: The British Museum has two impressions, one trimmed the other full sheet as this example. Accession Number: 1868,0711.35 The Metropolitan Museum has an impression: Accession number 59.533.314 Fitzwilliam Museum: Accession number: 34.14-286 Cleveland Museum of Art accession number: 1958.10 Image description per BM: Three ramshackle two-wheeled carts drawn by wretched horses race (right to left) against a background formed by the clouds of dust which they have raised, with a row of gabled houses (right) inscribed 'St Giles', terminating in a church spire (left), and probably representing Broad St. Giles. The occupants of the carts are Irish costermongers typical of St. Giles. The foremost horse gallops, urged on by the shouts of a standing man brandishing a club. The other occupants, two women and a man, cheer derisively the next cart, whose horse has fallen, one woman falling from it head-first, another lies on the ground. The driver lashes the horse furiously. The third cart, of heavier construction, is starting. The horses are partly obscured by the clouds of dust, but denizens watch from casement windows and a door. Two ragged urchins (right) cheer the race; a dog barks. "It was said that the amount of copper Thomas Rowlandson etched would sheathe the British Navy. An inveterate gambler, for much of his life Rowlandson had to produce a flood of his comic prints to stay ahead of financial losses.A wealthy uncle and aunt raised Rowlandson after his textile-merchant father went bankrupt. His career developed quickly. He entered London's Royal Academy Schools in 1772, visited Paris in 1774, exhibited at the Royal Academy in 1775, and won a silver medal in 1777. He left school in 1778 to set up in business. Rowlandson's depictions of life in Georgian England exposed human foibles and vanity with sympathy and rollicking humor. During the 1780s he consolidated the delicate style he used for his coarse subjects. He worked mainly in ink and watercolor, his rhythmic compositions, flowing line, and relaxed elegance inspired by French Rococo art...

Etching with aquatint on cream laid paper with a partial Arches watermark, 5 3/8 x 4 inches (135 x 100 mm), full margins. Signed illegibly in pencil in the lower right margin.

Etching and aquatint on antique laid paper, wide margins. Signed, dated and inscribed "Edition of 100" in pencil, lower margin. Second state (of 2)....

Etching and aquatint on hand made F.J. Head & Co watermarked cream laid paper, full margins. Signed and dated in pencil, lower right margin. From the edition of 160 (from a total of ...