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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Jun 30, 2015 | David Kahn & Associes | Paris | COLLECTION SIMÉ & JEAN JANSEM, TABLEAUX, MOBILIER ET OBJETS D'ART | 140 | $****** - ****** | La Tauromaquia |
Prints & Multiples
25 x 35 cm (9.84 x 13.78 in)
Etching, aquatint, burin and drypoint
Francisco GOYA Y LUCIENTES
La Tauromaquia, complete suite of 33 plates, 1816. Etching, aquatint, burin and drypoint, approximately 25 x 35 cm, margins approximately 33 x 45 cm (Delteil 224 - 256, Harris 204 - 236 III1 /7) Very beautiful proofs of the first edition on laid paper, before the bevels, printed in sepia, in unbound sheets placed in a case with leather folio slipcase signed by E. & A. Maylander (Etienne and André Maylander , bookbinders in Paris, around 1950), small accidents on the binding. Tear in the right margin, very light dirt and traces of stains in the lower margin of plate 1, tear in the right margin extending to the edge of the square line in plate 2, very slight foxing on plates 3, 8, 12 , 13, 14, 17, slight soiling in the borders of plates 6, 9 and 10, small thinning in the center of plate 14, small thinning in the lower margins of plates 29, 30 and 32. Watermark: Morato (on half of the boards i.e. boards 1, 4, 7, 9, 13, 16, 17, 19 to 22, 24 to 27, 31 and 32). This complete and homogeneous suite of the Tauromaquia is one of the rare preserved copies of the first edition of 1816. The proofs are printed on laid paper with the Morato watermark, with all margins (33 x 45 cm) not trimmed, characteristic of the first edition, as is the weak beveling of the brass. The explanation sheet with the list of plates is absent (as in most known copies). According to Harris, “The edition appears to have been very small. This edition is the only one in which the full qualities of the plates can be appreciated. The impressions are extremely fine and are all clean-wiped” (T. Harris, Goya, Engravings and Lithoraphs, Oxford, 1964, p. 307). Produced in 1815-1816 by the man who was called “Don Francisco de los Toros”, this suite is a true hymn to the national art of bullfighting. Having himself been a bullfighter at a young age, Goya had a real passion for bullfighting and
