2 388 résultats
13369Dimensions : 567 x 383 mm marges comprises. Belle eau-forte originale avec remarque et monogamme signÂŽe et justifiÂŽe 46 / 300 ˆ la mine de plomb en marge infÂŽrieure. ''LÂŽon Salles fut l'ÂŽlÂve de d'Auguste Boulard. SociÂŽtaire des Artistes FranÂias depuis 1893 il figura au Salon de ce groupement ; mention honorable en 1894 mÂŽdaille de troisiÂme classe en 96 mÂŽdaille de bronze en 1900 ˆ l'Exposition Universelle''. in BÂŽnÂŽzit. BÂŽnÂŽzit IX Dictionnaire des peintres p. 250 - Delteil II Manuel de l'amateur d'estampes p. 434. Infimes altÂŽrations en marge de la planche. Du reste trÂs belle condition. b42961 unknown
19230006147Madrid: Calcografia for the Real Academia 1923. 5th Edition 1 of 100. Print. Very Good. PRINTS. Francisco Jose de Goya y Lucientes 1746-1828. "Ni por esas Neither do these Los Desastres de la Guerra The Disasters of War Plate 11." Madrid: Calcografia for the Real Academia 1923. 5th edition limited to 100. Aquatint copper-plate etching with lavis drypoint and burin lettered and faintly numbered in plate. Printed black on thin laid paper with vertical chain-lines and Joseph Guarro castle watermark along bottom edge. Sheet: 13 1/4 x 10 5/8 inches. Plate: 8 1/4 x 6 3/8 inches. "War always weakens and often completely shatters the crust of customary decency which constitutes a civilization. Beneath it lies - What Look through Goya's 'Disasters' and find out. The abyss of bestiality and diabolism and suffering is almost bottomless." - Aldous Huxley "The Complete Etchings of Goya" p. 12. "The Disasters of War" produced between 1810 and 1820 was not published until March of 1863 thirty-five years after Goya's death. The 80-to-85 plate series is Goya's caustic though humanitarian witness to the Peninsular War between Spain and Napoleon's French Empire which lasted from 1808 to 1814. Reaching beyond the particulars of Spain's immediate situation Goya instead condemned war's general irrationality and brutality the result of which as seen today in Palestine is always suffering pain and death. As such Goya's series of etchings transcends time and space touching on the eternal nature of man's inhumanity to man. It is considered the seminal work for social protest art. "The Disasters of War" was the title the Royal Academy of Fine Arts of San Fernando gave to the first published edition of Goya's etchings; Goya also referred to the series as "Ravages" and wrote a title on an early album of proofs given to a friend that read "Fatales consecuencias de la sangrienta guerra en Espana con Buonaparte y otros caprichos enfaticos Fatal consequences of the bloody war in Spain with Bonaparte and other emphatic whims." This plate captioned "Ni por esas Neither do these" forms a small sub-series with Plates 9 and 10 all of which deal with sexual violence as a war tactic and its title is a direct continuation of the previous two. Robert Hughes long the art critic for Time Magazine described this print in his 2003 biography of Goya as: "Compositionally the most developed of the three rape scenes an image that shows to a sublime degree what power Goya could develop when his talent for showing awful events in terms of utter compositional starkness was fully at work. The man a French soldier is dragging his victim backward over some obstacle. There is a brutal tension in their arms which creates the unifying diagonal of the design: the man pulling the woman's body helplessly extended. On the earth at her feet is a naked baby torn from her and thrown away. Behind them a second soldier is overwhelming another woman who holds up her hands in a useless prayer of supplication." And to the left of the composition a church haunts this scene of war between two ostensibly Christian countries like a specter. While in the lower right corner of the print almost lost in the darkness is a man hunched over in despair. One infers the man is related to one of the women and is on the verge of witnessing the rape that is likely to follow. Hofer translates the print's captioned title simply as "Or these" and Hughes as "Nor those." Goya's friend Juan Agustín Cean Bermudez 1749-1829 composed the series's piquant titles from Goya's own notes though another hand actually etched them. Their laconic power has been lasting: the contemporary artist John Baldessari 1931-2020 borrowed this print's title for an exhibition and catalog of his own. The print's copperplate is today found in the Calcografia while the original drawing from around 1810 to 1814 is in the collection of the Prado and is numbered 167. The preparatory drawing is in reverse in sepia pen and ink with red crayon retouches. Harris Harris describes the 5th edition of "Disasters" as having a "tendency to over-ink the plates" with "a curious spotty effect." But that same gritty blown-out visuality of the edition movingly parallels Goya's disturbed war-crime imagery in a manner similar to Xerox-ed punk flyers that use the disintegration of the surface image to reflect social disintegration. This print's paper is toned in sections from past matting and has four small pieces of tape on its verso from framing. Otherwise in very good condition. References: Beruete y Moret 113. Delteil 130. Harris 131. Hofer 11. Hofmann 155. Hughes "Goya" pp. 291-292. Huxley "The Complete Etchings of Goya" p. 12. LeFort 155. Loga 695. Mayer III.11. Madrid: Calcografia for the Real Academia unknown
HH1936Paris Goupil & Cie Manzi Joyant & Cie 1910. Hardcover. Die OHLn Mappe st. beschädigt. Gr.Folio 10 p. 50 planches 5 Bde.Okr.in OHLn. Mappe <br/> <br/> Paris, Goupil & Cie, Manzi, Joyant & Cie, 1910 hardcover
Das Werkverzeichnis d. Gemälde, Zeichnungen u. Radierungen. Sämtliche Arbeiten sind abgebildet. - Freitag 3790.
64466aafParis, Librairie Renouard, 1877, gr. in-8vo, 139 p., qqs rousseurs, reliure privée demi-cuir. Bel exemplaire.
86180aafTokyo, Iwanami Shoten 1980, in-4°, 686 p. / 587 p., fully illustrated, reliures en toile originales, / original clothbound (no jacket). Fine copy
198217636Barcelona Editorial Gustavo Gili 1982
0006131Madrid: Calcografia for the Real Academia c.19th Century. Unclear. Print. Fair. PRINTS. Francisco Jose de Goya y Lucientes 1746-1828. "No Grites Tonta. Don't Scream Stupid. Caprichos Plate 74." Madrid: Calcografia for the Real Academia c.19th century. Following Harris this print seems to be a seventh edition with black instead of blue ink or perhaps a working proof. This is the case because the following characteristics do not line-up cleanly with Harris's notes on editions: 1. the paper is laid. 2. without watermarks. 3. the plate is unbevelled. 4. the ink is black. Burnished etched print with aquatint on thick white or possibly cream chain-laid paper with black ink. Image of a woman being surprised by hobgoblins with satrical caption. Spanish language. Sheet: 12 1/4 x 8 1/2 inches. Plate: 8 3/4 x 6 inches. 1 oz. 2 pp. Minute tear at top edge of sheet reinforced with Japanese tissue. The sheet has rippling and foxing around the edges but when framed this is not noticeable. It mostly affects the sheet around the image. Good to Fair. REFERENCES: Beruete y Moret 94. Delteil 111. Harris 109. Lefort and Hofmann 74. Loga 694. Mayer II.74. "Goya wrote of this Capricho 'Poor Paquilla! She was looking for the footman and runs into the goblin but don't be afraid: it's plain that Martinico is in a good mood and won't do her any harm.' A preparatory drawing of the print in red crayon is in the Prado No. 78. The copperplate is in the Calcografia. Madrid: Calcografia for the Real Academia unknown
671Paris: Office du Livre / Editions Vilo 1973-1975. Two volumes complete. The definitive catalogue raisonne of Goya's drawings. Large 4to publisher's cloth. Fine in near fine djs. An excellent set. <br/><br/> Paris: Office du Livre / Editions Vilo, 1973-1975 hardcover
190276514Paris: Librairie de l'Art Ancien et Moderne Ancienne Maison Rouam & Cie 1902. Large 4to 31x23 cm. Orig. printed publisher's wrappers. uncut still unopened vi192 pp. With illustrations in text and 14 plates with tissue-guards: 1 frontispiece-portrait engraved by Dezarrois 1 lithograph by Fuchs 8 other engraved plates by Flameng Lafond Jacquemart De Los Rios etc. 1 helio-engraving and 2 photo-engravings all after Goya and 1 original etching "Un Mendiant" long held to be by Goya but nowadays we believe it to have been made by a follower quite close to Goya possibly Eugenio Lucas. - pp. 99 - 188: "Catalogue raisonné de l'oeuvre peint et dessiné de l'oeuvre gravé et de l'oeuvre lithographié. - Very good copy of the only edition - see pictures Librairie de l'Art Ancien et Moderne (Ancienne Maison Rouam & Cie) unknown
192249586Paris: Chez l'Auteur 1922. Near fine. First edition of Delteil's two-part fully illustrated catalogue raisonnée of Goya's etchings and engravings bound in a single volume. 12.25'' x 9.5''. Later beige cloth with gilt-lettered black morocco spine label. Original paper wrappers bound in. Printed by Frazier-Soye. 289 black and white plates by Goya with 3 additional plates of doubtful attribution. Text in French. Minimal wear to cloth. Light soil and small closed tears to original front cover and rear endpapers. Chez l'Auteur unknown
1950101569Paris Gallimard, coll. "La Galerie de la Pléiade" 1950 1 vol. relié in-4, cartonnage éditeur d'après la maquette de Paul Bonet, 177 pp., nombreuses illustrations en noir et en couleurs contrecollées. Édition originale numérotée (Huret, 335). Dos légèrement passé, sinon bonne condition.
1950101569Paris Gallimard, coll. "La Galerie de la Pléiade" 1950 1 vol. relié in-4, cartonnage éditeur d'après la maquette de Paul Bonet, 177 pp., nombreuses illustrations en noir et en couleurs contrecollées. Édition originale numérotée (Huret, 335). Dos légèrement passé, sinon bonne condition.
19911865577Madrid.: Ayuntamiento de Madrid. 1991. Hardcover. Good. 33 cm. 1 carpeta 18 p. 38 h. de lám. Encuadernación en tapa dura de editorial en plena piel. Goya Francisco de 1746-1828. Introducción Luis Montañés. Dibujo. Montañés Fontenla Luis. 1926-2011. Edición especial para el Ayuntamiento de Madrid . Dibujo. Diseño. Artes aplicadas y artesanía. Goya Francisco de 74 Goya Francisco de 74 Ayuntamiento de Madrid. hardcover
1967R260157534EDITORIAL GUSTAVO GILI, S.A., BARCELONA. 1967. In-Folio. Cartonnage d'éditeurs. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 22 planches de gravures en noir et blanc + 8 pages de texte. Toile beige imprimée d'un dessin en marron et blanc. Rhodoïd légèrement passé. Ouvrage de 48 x 33 cm. Texte en espagnol.. . . A l'italienne. Classification Dewey : 750-La peinture et les peintres
20032-8434309629Poligrafa Ediciones Sa 2003. Hardcover. New. 416 pages. 12.25x10.50x1.50 inches. Poligrafa Ediciones Sa hardcover
19842111902158300928Kobun do 1984. Soft Cover. Fine. Number of books: 1 Kobun do paperback
Malraux, AndréNot in perfect condition. unknown
1798196911798. Plena pasta valenciana con dos tejuelos hierros y nervios. hardcover
19712007220126New York; Tudor Publishing 1971 1971-01-01. Hardcover. Good. 4 volume complete set. Hardcovers and dust jackets. Light wear and soiling to jackets. Good bindings and covers. Foxing to page ends. Interior pages are clean and unmarked with minor edge toning in the margins. This is an oversized or heavy book which requires additional postage for international delivery outside the US. New York; Tudor Publishing [1971] hardcover
2000BN207322Galerie Morpheus 2000. 2000. Galerie Morpheus Fantastic Art Calendar 2001 <br/><br/>Galerie Morpheus Fantastic Art Calendar 2001 Clive Barker; Wayne Barlowe; Zdzislaw Beksinski; Gerard Di-Maccio; Ernst Fuchs; Francisco Goya; H.R. Giger; Richard Huck; Judson Huss; Mark Ryden; De Es Schwertberger; Robert Venosa Galerie Morpheus unknown
1980BN254421München : Prestel Verlag 1980. 1980. Goya : das Zeitalter der Revolutionen 1789 - 1830 ; Hamburger Kunsthalle 17. Oktober 1980 - 4. Januar 1981. Hrsg.: Werner Hofmann <br/><br/>Goya : das Zeitalter der Revolutionen 1789 - 1830 ; Hamburger Kunsthalle 17. Oktober 1980 - 4. Januar 1981. Hrsg.: Werner Hofmann Hofmann Werner und Francisco José de Goya y Lucientes München : Prestel Verlag unknown
1989BN252871Museum of Fine Arts Boston 1989. 1989. Goya and the Spirit of Enlightenment Margaret Jupe Herausgeber <br/><br/>Goya and the Spirit of Enlightenment Margaret Jupe Herausgeber Sayre Eleanor A. Alfonso E. Pérez Sánchez and Francisco José de Goya y Lucientes Museum of Fine Arts Boston unknown
2005BN254174Köln : DuMont-Literatur-und Kunst-Verl. 2005. 2005. Goya : Prophet der Moderne ; erscheint anlässlich der Ausstellung "Goya - Prophet der Moderne" einem gemeinsamen Projekt der Nationalgalerie Staatliche Museen zu Berlin und des Kunsthistorischen Museums Wien in Kooperation mit dem Museo Nacional del Prado Madrid ; Alte Nationalgalerie Berlin 13. Juli - 3. Oktober 2005 ; Kunsthistorisches Museum Wien 18. Oktober 2005 - 8. Januar 2006. hrsg. von Peter-Klaus Schuster und Wilfried Seipel gemeinsam mit Manuela B. Mena Marqués. Übers.: Ricarda Geib . <br/><br/>Goya : Prophet der Moderne ; erscheint anlässlich der Ausstellung "Goya - Prophet der Moderne" einem gemeinsamen Projekt der Nationalgalerie Staatliche Museen zu Berlin und des Kunsthistorischen Museums Wien in Kooperation mit dem Museo Nacional del Prado Madrid ; Alte Nationalgalerie Berlin 13. Juli - 3. Oktober 2005 ; Kunsthistorisches Museum Wien 18. Oktober 2005 - 8. Januar 2006. hrsg. von Peter-Klaus Schuster und Wilfried Seipel gemeinsam mit Manuela B. Mena Marqués. Übers.: Ricarda Geib . Schuster Peter-Klaus und Francisco José de Goya y Lucientes Köln : DuMont-Literatur-und Kunst-Verl. unknown
1983BN151064Würzburg : Edition Popp 1983. 1983. Francisco de Goya. Pierre Gassier. Die Übers. aus d. Franz. besorgte Roswitha Beyer <br/><br/>Francisco de Goya. Pierre Gassier. Die Übers. aus d. Franz. besorgte Roswitha Beyer Gassier Pierre und Francisco José de Goya y Lucientes Würzburg : Edition Popp unknown
