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Variazioni su di un tema di Romano BILENCHI. Versione di Mario LUZI. Con tre illustrazioni di Gian Luigi Giovanola. Testo a fronte. Alle ultime pagine un componimento autografo scritto a penna dall'Autore dedicato a Picasso, datato Roma, XII 1960, intitolato ''Picasso. Tauromaquia (La pique cassée)''. (With a hand-written poem by Guillen written in blue ink on 3 pages, dedicated to Picasso, dated Rome XII-1960) Volume n. 3 della collana "Poeti stranieri tradotti da poeti italiani". Libro a cura di Vanni Scheiwiller e impresso a Milano dalla Tipografia U. Allegretti di Campi il 9 febbraio 1961. 16mo. pp. 28. Dedica e firma autografe dell'Autore, datata Roma 27/II/1961 (Inscribed and signed by the Author, dated Rome 27/II/1961). Ottimo (Fine). . Prima edizione di 1000 es. numerati. .
In -4°, pp. (40), 146, (6), pergamena coeva, difetti al dorso. Prima edizione. Nato a Saragozza, l’autore insegnò a Napoli e Roma prima di partire per Cuba, dove avrebbe passato la vecchiaia. Il libro, interessante e curioso, si occupa di prostituzione e della sua accettabilità dottrinaria, argomento rispetto al quale l’autore è fortemente contrario. Lo scritto replica a un manoscritto (poi stampato a Catania, “Resolutio theologica moralis in qua occasione cuiusdam casus occurrentis afferitur et propugnatur, licite permitti posse Meretrices”, 1677) del francescano Giovanni dell’Olmo, che difendeva il diritto delle prostitute a entrare nelle dimore nobiliari napoletane. La polemica svela molto sui costumi del sesso a pagamento all’epoca. Born in Saragoza, the author was a professor in Naples and Rome before leaving to Cuba. This curious book deals with prostitution and its doctrinaire acceptability (that the author is strongly against to). This work replies to a manuscript (then printed in Catania, “Resolutio theologica moralis in qua occasione… licite permitti posse meretrices”, 1677) of a franciscan preacher, Giovanni dell’Olmo, who supports permission to prostitutes to enter in neapolitan noble palaces. This controversy reveals many facts about prostitution at time.
Colletion of 22 volumes (in total 24 volumes have been published ever, this collection lacks only vol.3 & 19), together more than 3700pp. with some illustrations in text and some folding maps and plates out-of-text, 24cm., most texts are in Catalan, uniform hardcover bindings with spine in green leather and title in gilt (except for vols.23-24: brown leather), few stamps (at blanco front endpaper and on titlepage), some traces of humidity on volumes 1 and 5 and 9 and 18 (mainly on cloth boards), good condition, rare and almost complete set, [contains a.o. Volume XII (1924): AMADES J. & ROIG E.: Vocabulari de l'Art de la navigacio i la pesca (116pp. with illustrations), vol.XIV (1926): ROIG E. & AMADES J.: Vocabulari de la pesca (83pp. with ills.), Vol.XV (1927): AMADES J.: Essers fantastics (80pp. with some ills.), vol.20 (1932): GRIERA A.: La casa catalana (pp.13-332 with ills. & plates out of text), vol.21 (1935): Indexs generals dels vint primeirs volums (xii + 356pp.), vol.22 (1934): AMADES J.: Vocabulari dels vells oficis de transport i llurs derivats (pp.59-239 with ills.), etc.], total weight is 15kg., T91037
Original Wraps. 4to. [6, 20, 24] pages per issue. 28 cm. Three numbers per year. Complete run for volumes 1-22, lacking volume 22 nr 3. Early issue typically 6 pages in length, later issues typically 20 or 24 pages in length. 65 issues total. Four issues are stapled photocopies: vol 1. Nr 1, vol. 3 nr. 2, vol. 5, nr 1, vol. 5 nr 2. Letterhead varies. Points East; Newsletter on the Jewish experience in China and elsewhere in Asia as well as on the activities of Institute members. Articles on the history of Jews in Kaifeng, Baghdadi Jews in Shanghai and Hong Kong, Jews of Russia in China, Jewish Refugees in China during the Nazi Period, the Contemporary Period; reports on events and conferences, interviews, etc. Some issues contain illustrations. Subjects: Jews - China - Periodicals. Jews - Study and teaching - China - Periodicals. Jews. Jews - Study and teaching. Periodicals. OCLC lists 26 holdings, but many are incomplete. Three hole punch at left edge of all issues; otherwise very clean and fresh. Very good + condition. (SEF-53-23)
A very attractive copy of the first edition of one of the most important 17th-century French novels. Complete with the final blank Ee2. 12mo. Contemporary calf, spine gilt. Wear to extremities of binding and gilding on spine somewhat abraded, but structurally solid and still attractive. Large margins. Internally bright and fine except for a couple minor spots. Barbier I, 691c; Brunet V, 59; Graesse VI (1), 226; Rothschild III, 2451. Very rare, especially in a contemporary binding.
Prima edizione rara. In-4°; pp. (32) 328, testatine e capilettera nel testo incise su legno; da p. 249 al termine, musica per la Missa Pro defunctis, Feria quinta in coena domini, Feria sexta in Pasceve, Sabbato sancto, e nel testo numerose parti di musica.Il theatro ecclesiastico è dedicato alle rappresentazioni canore che avevano luogo in chiesa, per le quali si offre un trattato di canto e di coro, con spiegazioni relative alla tecnica canora vera e propria, e di come per le diverse festività ecclesiastiche e a seconda del luogo si dovevano allestire i cori. Legatura in piena pella con tassello, titolo e fregi in oro al dorso. Alcuni foro di tarlo al dorso.
Black octavo, gilt to spine, gilt and gilt design to front board, 284 p, b&w illus ; 22 cm. In Spanish. Limited edition. Presumably signed and inscribed by translator (difficult to read but appears tp be that of Malke Donatti). #80/93 copies || "Los hilos conductores de la trama fueron la obra de Wilhelm en la versiÛn alemana y la estupenda traducciÛn inglesa de Cary F. Baynes"--Page vii./ Traducido de la ediciÛn alemana de Richard Welhelm: I Ging, das Buch der Wandlungen. Y cotejada con la ediciÛn inglesa: The I Ching, or book of changes. Spirituality, Chinese.
An excellent copy of the rare first edition of this important work on European politics written during the War of the Spanish Succession. Numerous references to America. Two folding genealogical tables. WorldCat cites two copies of the 1713 second edition, but no copies of this 1712 first edition. Sabin cites the greatly abridged 1713 English translation (21208) but not this original edition. 12mo. A PRISTINE COPY, in the publisher's marbled wraps. Near fine.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid (circa 1870).Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Plate 55: old woman prettifying herself at mirror, maid and two male servants watching; from an album of the fourth edition. 1799 Etching, burnished aquatint and drypoint.From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia.A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 90; Delteil 92.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della seconda edizione di dodici, stampata dalla calcografia di Madrid. Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Plate 56: figures falling through air, including satyr; from a bound album of the second edition impressions. 1799 Etching and burnished aquatint.From the second edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia.A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 91; Delteil 93.
Signed [Joe] and inscribed by author upon front free endpaper. iv, 337 pages. Footnotes. Index. Black and white photographic plates. Halow [1927-2014] " Worked as a court reporter during the U.S. Army's courts-martial at Dachau where he witnessed some of the most gripping testimony from some of the most sensational trials of the postwar years. He soon saw the flaws and abuses of these trials: reliance upon ex post facto law and broad conspiracy theories; abuse of prisoners during interrogation; and the encouragement of perjured testimony by concentration camp survivors. Four decades later he reviewed the long-classified records of these trials and found astounding confirmation of his misgivings about them." - dust jacket. Book clean and unmarked with light wear. Average wear, tape repair and touch-ups to dust jacket now preserved in archival-grade Brodart. Book
In-4°, due volumi, (5), CCXLII, 413, due carte pieghevoli (La Florida en el ano 1591, La Florida en el ano 1765), tavole; pp 801 Rilegatura in mezza pergamena con tasselli al dorso. Pedro Menendez de Aviles fu il primo governatore spagnolo della Florida, capo generale dell’Armada contro l’Inghilterra In-4°, two volumes, (5), CCXLII, 413, two folded maps (La Florida en el ano 1591, La Florida en el ano 1765), plates, pp 801. Half parchemine binding. Pedro Menendez de Aviles was the first Spanish governor of Florida, Chief General of the Armada against England
In -8°. Due voll. rilegati insieme, pp. 64; 96, pergamena coeva
Features: The "White Avengers" - III; A German Venice; Hassoo the Traitor; A Record Trip in the Yoho Valley; The Raiding of Robben Island; A Lonely Trans-African Tramp - II; A Bolt from the Blue; Across America on an Automobile; How I became a Lion-Tamer; The Bird-Charmer of Paris; The Strange Story of John Evans; On Foot to Thibet (Tibet) - I; The Stronghold of the Snakes; My Spanish Servants; The Mystery of the Cross-Marked Trail; Sword-Fishing; Caught in a Death-Trap; The Haunted House by the Creek; On Foot to Thibet (Tibet) - II; At Sea with a Lioness; A Railway Race with Robbers; Through the Copland Pass; The Tale of the Tiger-People; The Voyage of the "Vaskapu"; Two Remarkable Walking Competitions; The Story of Vasili the Fisherman; "Up a Tree"; A Lonely Trans-African Tramp - III; "Dead or Alive"; In Search of a Treasure Island; The Fairy-Tale Castle; Trooper Lovelace, T.T.P. - III; In the Far North-West - II; The Medicine Wagon; A Wonderer in Asia Minor - II; The "Bandit Hunters" - The Disappearing Islands; The "Mountain Mystery"; A Californian Rabbit-Drive; Two Bachelor Girls in Madeira; A Home in a Tree-Top; The Great Feuds of Kentucky - I; With Pen and Camera in Nigeria - III; The Legend of Manaia; The "Boy Police"; Amidst Snow and Swamp in Central Africa - I; Christopher the Bear; The Monkey Gods of India; How We Settled the Tie; The Last Fire-Dance of the Sabobas; The Story of Kusanga; A Training School for Cowboys; Trooper Lovelace, T.T.P. - IV; The Hold-Up at Hugo; On the Trail in Texas and New Mexico - I; Peasants at Play; The Great Feuds of Kentucky - II; An Open-Air School in France; The Grey Scourge; Mistletoe Farming; The Bear and the Barrel; The Hut in the Jungle; The Romance of Seal-Hunting; The Haunted Ferry; A City inside a Palace; What Happened to Ferguson; Christmas in Many Lands; The Great Feuds of Kentucky - III; Amidst Snow and Swamp in Central Africa - II; The Squatter's Cup; Riding on the Sea; On the Trail in Texas and New Mexico - II; Down the Wire; The Alligator Pool; A Race with a Flood; A Maori Wedding; My Debut at Kimberley; The Wild Ponies of Exmoor; The Quest for the "Biggest Bear"; Fun on a Liner; Two Ladies and a Pony-Cart in Central Japan - I; Captured by Filipinos - I;; The Dog-Derby of the Far North; My Turkish Wife; Into Unknown Papua - I; The Strike; The "Servant Problem" in East Africa; A Battle with Ice-Floes. Average wear. Binding intact. A sound copy. Book
Acquaforte e bulino, circa 1810/15. Il titolo dell’opera è tratto da una scrittura a mano in una prova di stampa dell’opera che Goya include nell’album dei “Disastri della guerra” che donò al suo amico Ceán Bermúdez e che ora è conservato al British Museum di Londra. Il disegno preparatorio dell’opera è conservato al Prado di Madrid. Esemplare nel terzo stato di quattro, inserito nella Gazette des Beaux-Arts (1867); si tratta della prima vera edizione dell’opera, conosciuta altrimenti solo attraverso due prove di stampa. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cfr. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris ritiene che la matrice di rame si trovi in una collezione privata di Parigi. Bibliografia Harris 26 III/IV; Delteil 31. Etching and engraving, circa 1810/15. The title of this work is taken from the handwritten title of a state proof that Goya included in the album of his Disasters of War prints which he gave to his friend Ceán Bermúdez and which is now in the British Museum, London. The preparatory drawing for this etching is in the Prado Museum, Madrid. Example of the third state of four, form the Gazette des Beaux-Arts (1867), firts edition of this work, before known only for proof states. "A seated prisoner raises his clasped hands, both fastened with chains, in a gesture of supplication. We cannot see his features since his face is hidden beneath his long, dark hair. His feet are fastened in large shackles. Both the chains and the shackles are of considerable size, underlining their importance in any interpretation of the print. In fact, just as the title of the etching shows, the painter is comparing the excessive zeal employed in preventing the prisoner from escaping to the brutality of the crime he is accused of. It is possible that the way in which the prisoner is secured in this work by Goya was habitual at the time, an idea which is supported by certain passages of Forensic Discourses (Discursos forenses), by Juan Meléndez Valdés (Ribera del Fresno, Badajoz, 1754- Montpellier, 1814), whose portrait Goya painted in 1797. This book, published in Madrid in 1821, speaks of the cumbersome chains and shackles used to hold one María Vicente, put to death on the 23rd April 1798. Goya could well have known of her story: "But it is said that Doña María Vicente must have been treated, as the noblewoman that she is, in a very different manner, and not locked in shackles; and even thus fettered it was the judge's responsibility to examine their state and quality beforehand, to order them put on correctly". The painter has made extensive use of the etching technique here, building up the background with short, horizontal lines, whilst leaving large areas on the prisoner's clothing untouched and white, underlining his innocence. This etching would have been made at the same time as two others: The custody of a prisoner does not call for torture and If he is guilty, let him die quickly. In these images, Goya openly expresses his repulsion of the way in which prisoners were treated, as well as his opposition to the death penalty, echoing the ideas of Cesare Beccaria (Milan, 1738- Milan, 1794). In the pages of the work entitled Dei deliti e delle pene, published between 1763 and 1764, the Milanese talks of the need to modify the penal system, to lessen the severity of punishments and to seek out mechanisms for preventing crime. It is possible that these etchings also contributed to the debate on the abolition of torture which was being discussed in the Courts of Cádiz. Goya reiterates this same topic in some of the prints in his Disasters of War series, such as no. 15, And it can't be helped, no. 31, That's tough!, no. 32, Why?, no. 34, On account of a knife, no. 35, One can't tell why and no. 36, Not in this case either. Despite the gritty subject matter, the figure depicted in this etching possesses great dignity, recalling some earlier precedents which Goya may have been familiar with. One of these is an anonymous print based on Interior of a Prison (16th century, Museum of Fine Arts, Boston), by Giulio Romano (Rome, 1499-Mantua, 1596). When he was making this print, Goya may also have had in mind the disturbing, gloomy ambience of the prisons of Giambattista Piranesi (Mogliano Veneto, Treviso, 1720- Roma, 1778)." (cf. https://fundaciongoyaenaragon.es/eng/obra/tan-barbara-la-seguridad-como-el-delito/712). Tomás Harris believes that the plate for this etching may be in a private collection in Paris. Literature Harris 26 III/IV; Delteil 31. Harris 26, III/IV; Delteil 31.
A portfolio of five color etchings, each signed and numbered by the artist. Printed on fine wove paper. Folio. Loose as issued in paper folding case. Fine and bright. Edition limited to 92 copies.
Quarto in offwhite printed stiff paper wraps; 34, 120, 64, 174, 27, 9, 57 and 16 pp (various pagings; total of 501 pages) 23 cm, bib. Very scarce. In Spanish. Only "380 ejemplares" printed--colophopn. Review copy. Series: Centro Intercultural de DocumentaciÛn. CIDOC cuaderno.; no. 60. "Tupamaros, also known as the MLN-T (Movimiento de LiberaciÛn Nacional-Tupamaros or Tupamaros National Liberation Movement), was a left-wing urban guerrilla group in Uruguay in the 1960s and 1970s. The MLN-T is inextricably linked to its most important leader, Ra˙l Sendic, and his brand of social politics. JosÈ Mujica, who later became president of Uruguay, was also a member." -- Wikipedia || Movimiento de LiberaciÛn Nacional (Uruguay) Movimiento de LiberaciÛn Nacional (Uruguay) Movimiento de LiberaciÛn Nacional (Uruguay) Uruguay -- Politics and government -- 1904- Uruguay.
Hardcover black quartos with gilt title on spine. 3 volumes, b/w plates, 24 cm.Includes bibliographical references and index. In Spanish. Scarce in cloth. || Series: Sociedad de bibliofilos madrileÒos. t. 7-9; || Spanish fiction -- Classical period, 1500-1700. Picaresque literature, Spanish -- Early works to 1800. Women in literature. || At head of title: Licenciado Francisco LÛpes de Ubeda./ Seal of the society on t.p. and, enlarged, on last leaf./ Includes reproduction of original t.p.: Libro de entretenimiento, de la Picara Ivstina, en el qual debaxo de graciosos discursos, se encierran prouechosos auisos ... Compvesto por el licenciado Francisco de Vbeda, natural de Toledo. Medina del Campo, C. Lasso Vaca, 1605./ Vol. 3: Estudio crÌtico, glosario, notas y bibliografÌa, por Julio Puyol y Alonso.
Quarto in black boards in glossy illus. black DJ; illus.; 210 p., 29 cm. In Spanish and some English.
Octavo in stapled, printed wraps; 112p. Recipes. Rare. No copies located in WorldCat. Worthy of restoration or conservation. The "A" of "Aguifero may possibly be another letter. || Mexico Food. Comida Mexicana. Women Chefs, cooks.
2 vols., 8vo., First Edition thus, with 2 portrait frontispieces, 14 facsimiles and 196 maps and plans (a number double-page) in the text; strongly bound in sand boards, blue crushed morocco backs, backs with raised bands, second and third compartments framed in blind and lettered in gilt, all other compartments framed in gilt and blind, gilt tops, marbled endpapers, boards mildly age-marked, backstrips unevenly sunned to green else a very good, bright, clean copy. This first two-volume edition is an entirely new setting (not merely a rearrangement) of the original four-volume edition of 1933-34. It is unabridged and retains all the maps and plans of the first edition, but the illustrations are reduced to the two frontispieces. SCARCE IN THIS CONDITION. Woods A40(d); ICS A40(d).
In -12°, pp. 365, (3), piena pergamena coeva con titolo manoscritto al dorso. Umanista, scrittore e poeta portoghese, Francisco Botello (1670-1747) compose le sue opere prevalentemente in lingua spagnola. Educato a Madrid, viaggiò per diversi paesi d’Europa e fu anche impiegato all’Ambasciata portoghese a Roma, presso la Santa Sede. A Roma fu invitato fra l’altro a unirsi all’Accademia dell’Arcadia, offerta che declinò. Questo poema epico, qui nella sua rara prima edizione, è dedicato alla fondazione del Portogallo. Fu ristampato con l’approvazione dell’autore solo nel 1731.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 63, Delteil 65.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 113, Delteil 115.
Opera tratta dai Los Caprichos, per la prima volta pubblicati nel 1799.Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870.Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato.Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. In questo soggetto Goya affronta il tema del mondo alla rovescia. Nella scena ci sono tre personaggi, il centro dell'attenzione è l'uomo che sta mangiando, e che cerca di evitare tutti gli sguardi, vergognandosi dei tratti osceni del suo viso. L'artista ha chiaramente indicato il suo pensiero disegnando la cintura di un paio di pantaloni sopra la testa del personaggio. I nasi assumono una presenza notevole sul viso, e nel linguaggio popolare "nasi" è un chiaro eufemismo sessuale. Il modo in cui il viso è costruito, in modo che sopracciglia, occhi e naso evochino l'apparato genitale maschile, rafforzerebbe lo stesso senso. Altri commenti insinuano che la figura, nel piano superiore, con i suoi grandi pugni serrati, stia commettendo sodomia con la figura che tiene il vaso da cui mangia l'uomo vergognoso. L'anno 1799 è uno dei momenti chiave nella vita e nel lavoro di Francisco de Goya. Oltre ad essere nominato primo pittore da camera di Goya, a godere di un crescente prestigio come ritrattista e ad inaugurare la cappella di San Antonio de la Florida, che aveva decorato, il 6 febbraio il Diario de Madrid pubblicò un annuncio in cui venivano messe in vendita le ottanta stampe che compongono la serie dei Caprichos. Etching with burnished aquatint and engraving, 1799.From the fourth edition of twelve of the so-called Los Caprichos series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, usual wide margins, in very good conditions.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape.Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship.The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. In this print Goya approaches the theme of the world upside down. In the scene there are three characters, being the focus of attention the man who is eating, and tries to avoid all eyes, ashamed of the obscene features of his face. The artist has clearly indicated his thinking by drawing above the character's head the waistband of a pair of pants. The noses take on a notable presence on the face, and in popular language "noses" is a clear sexual euphemism. The way the face is constructed, so that eyebrows, eyes and nose evoke the male genital apparatus, would reinforce the same sense. Other comments insinuate that the figure, in the upper plane, with his large clenched fists, is committing sodomy with the figure holding the vessel from which the shameful man eats. The year 1799 is one of the key moments in the life and work of Francisco de Goya. In addition to being named first chamber painter, enjoying a growing prestige as a portrait painter and the inauguration of the chapel of San Antonio de la Florida, which he had decorated, on February 6 the announcement of the sale of the eighty prints that form the series of the Caprichos was published in the Diario de Madrid. Here, Goya focuses his social criticism on the bestiality of a deformed man whose head emerges from his breeches. Among the slight variations between the print and the preparatory drawing, the most striking is that, in the former, he wears his trousers, but in the latter, he does not. As a result, the latter came to be known as The satire of man’s lechery. Moreover, this is the only drawing in the series to mix red-ink wash with pen. Valentín Carderera’s handwritten commentaries on the Caprichos, which are in both the Biblioteca Nacional and the Museo del Prado, further clarify this subject. The first reads: Men with large noses also tend to have large arrows [here, “arrow” is a euphemism for penis] and fat gandumbas [testicles]. As they are often sodomites, this one is depicted with his breeches on his head, with his pudenda hanging out as he lies on top of a poor devil and pulls up his skirts. The second commentary completes the information: There are men whose face is the most indecent part of their body, and it would be good if those whose face is that disgraceful and ridiculous would stick it in their breeches. Example fomr the HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980) collection (Lugt 5031). Harris 89; Delteil 91.
