拍品 170

170

GOYA Y LUCIENTES, Francisco de (1746-1828)

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GOYA Y LUCIENTES, Francisco de (1746-1828)

Los Desastres de la Guerra. Madrid: Real Academia de Nobles Artes de San Fernando, 1863.

成交價英鎊 50,000

估價

英鎊 40,000 – 英鎊 60,000

拍品終止拍賣: 2021年12月15日

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GOYA Y LUCIENTES, Francisco de (1746-1828)

Los Desastres de la Guerra. Madrid: Real Academia de Nobles Artes de San Fernando, 1863.

成交價英鎊 50,000

拍品終止拍賣: 2021年12月15日

成交價英鎊 50,000

拍品終止拍賣: 2021年12月15日

細明相關文章更多來自

GOYA Y LUCIENTES, Francisco de (1746-1828)
Los Desastres de la Guerra. Madrid: Real Academia de Nobles Artes de San Fernando, 1863.
The first edition of Goya's impassioned 'Disasters of War.' When in 1807 French troops started to flood into Spain and the country quickly descended into a chaotic and bloodthirsty war, Goya’s highly ambiguous dictum 'El sueño de la razon produce monstruos' must have felt like a prophesy. The phrase, published in Los Caprichos in 1799 (see previous lot) seemed to describe the aftermath of the French Revolution and the rise of Napoleon perfectly: the dream of reason had indeed produced monsters. Whether Goya was too disillusioned or just too pragmatic to openly take sides is impossible to tell. In the course of the Peninsular War, he painted a portrait of the French General Guye, received commissions and the Royal Order from Joseph Bonaparte and, when all was over, portrayed the victorious Duke of Wellington. In 1808, right at the beginning of the conflict, the Spanish General Palafox invited the artist to travel to Saragossa to depict the ruined city and immortalise the people, who had so courageously defended it during the siege by the French. It may have been during this journey across the war-torn country that Goya first thought of creating a series of prints about the war.

The Disasters of War, as we know the series today, was created by Goya presumably over the course of ten years and in three distinct phases. The earliest plates, some of which bear the date 1810, depict scenes from the actual war, the battles and skirmishes, the executions, rapes and mutilations, the wounded and the dead. The second group concentrates on the famine caused by the war in 1811-12, which left tens of thousands of Madrileños dead. The third and final part consists of a group of grotesques, satires and allegories reminiscent of Los Caprichos, expressing Goya’s disdain for Fernando VII’s reactionary and vengeful rule after he had regained power following Napoleon’s defeat in 1814. It seems likely that Goya had wanted to publish the first two groups of etchings in 1814, but was prevented from doing so by Fernando’s post-war tyranny. In 1820, the revolt of Rafael del Riego and the restoration of the liberal Constitution promised liberty at last. It may have been then that Goya once again thought of publishing the series and complemented it with the caprichos enfaticos, as he called them. Yet three years later, Fernando’s absolute rule was re-established, General Riego was executed and Goya soon emigrated to France. Los Desastres de la Guerra were never published in his lifetime. When the fight for freedom was over and won, and victory had brought nothing but Fernando’s vindictive restoration, Goya certainly seemed to have lost all faith. One of the caprichos enfaticos at the end of the series (plate 69) shows a skeleton scribbling one single word as it sinks into the grave: Nada ('Nothing'). This is the second issue of the first edition, with captions corrected. Harris 121-200, 1b.

Oblong folio (240 x 345mm sheets). Lithographic title with place and date in ink manuscript, 2pp. letterpress biographical essay, the complete set of 80 etchings with burnished aquatint, drypoint and engraving on heavy wove paper, 26 with part of a J.G.O. and Palmette watermark, the rest without watermark, with margins (tiny hole in image of pl.8 due to paper flaw, title and letterpress with extremely faint spotting, otherwise the plates clean and fresh). Contemporary blue-green morocco, front cover cover panelled in black and blind enclosing artist's name and title lettered in gilt, gilt edges and turn-ins, white silk moire endpapers (front free endpaper loose, extremities lightly rubbed).

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拍品 171

GAUSS, Carl Friedrich (1777-1855)

Disquisitiones arithmeticae. Leipzig: Gerh[ard] Fleischer, 1801.

估價英鎊 10,000 – 英鎊 15,000

成交價英鎊 27,500

拍品 173

MARSHMAN, Joshua (1768-1837)

The Works of Confucius […] To Which is Prefixed A Dissertation on the Chinese Language and Character. Serampore: Printed at the Mission Press, 1809.

估價英鎊 2,000 – 英鎊 3,000

成交價英鎊 10,000

拍品 174

VALCK, Gerard (1652-1726)

[Suite of 22 engravings of ships]. Amsterdam: G. Valck, [c.1700].

估價英鎊 7,000 – 英鎊 10,000

成交價英鎊 10,625

拍品 176

HIYAMA Tansai (publisher, fl.1815-1823)

Saimei Tenno Roku-nen To [Korea and Japan at the Time of Empress Saimei’s Reign (660 CE)]. Japan: [Edo period, c.1823].

估價英鎊 1,000 – 英鎊 1,500

成交價英鎊 625

拍品 178

DALTON, John (1766-1844)

A New System of Chemical Philosophy. Manchester: S. Russell for R. Bickerstaff [Vol. I, part 1], 1808; Russell and Allen for R. Bickerstaff [Vol. I, part 2], 1810; the executors of S. Russell for George Wilson [Vol. II], 1827.

估價英鎊 10,000 – 英鎊 15,000

成交價英鎊 15,000

拍品 179

KRAZEISEN, Karl (1794-1878)

Bildnisse augezeichneter Griechen und Philhellenen. Munich: for the author, 1828-[1831]

估價英鎊 12,000 – 英鎊 18,000

成交價英鎊 15,000

拍品 180

BRAID, James (1795-1860)

Neurypnology; or, the Rationale of Nervous Sleep, Considered in Relation with Animal Magnetism. London: John Churchill; Edinburgh: Adam & Charles Black, 1843.

估價英鎊 1,500 – 英鎊 2,500

成交價英鎊 1,125

拍品 181

[BABBAGE, Charles (1791-1871)] – Luigi Federico MENABREA (1809-1896)

'Notions sur la machine analytique de M. Charles Babbage.' In Bibliothèque universelle de Genève. Nouvelle série 41 (Paris: 1842): pp.352-376.

估價英鎊 8,000 – 英鎊 12,000

成交價英鎊 10,000

拍品 182

BOLYAI, Farkas (1775-1856)

A’ Marosvasarhelyt 1829-be nyomtatott Arithemetika Elejének részint röviditett, reszint bovitett, általán jobbitott, 's tisztáltabb kiadása. Marosvasarhely: Kali Simon, 1843.

估價英鎊 6,000 – 英鎊 9,000

成交價英鎊 7,500