Disasters of War Forgeries, falsely attributed to a dead Goya, in the Pomona College Museum of Art
NOTE: Footnotes are enclosed as: [FN ].
http://embarkweb1.campus.pomona.edu/OBJ?sid=268&rec=92&port=0&art=0&page=92
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Los Desastres de la Guerra (The Disasters of War) / Que valor! (What courage!), Plate 7: young woman standing on mound of corpses, lighting cannon fuse; from a bound album of working proofs, presented by the artist to Ceán Bermúde, 1810-12, Etching, drypoint, burin and burnisher, AN37955001, © The Trustees of the British Museum, Department: Prints & Drawings, Registration number: 1975,1025.421.9, Bibliographic reference Delteil 126 Harris 127.I.3
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1333694&partId=1&searchText=goya&page=6
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Francisco de Goya y Lucientes died in 1828.
Upon Goya's death, his career as an artist and printmaker, was over. Works of visual art, such as etchings require a living artist to create them, much less print and approve the subsequent images printed from their etching plates.
Yet, the Pomona College Museum of Art would have the public believe and act on the belief that they have a "complete set of 80 etchings published as Los Desastres de la Guerra (The Disasters of War) in 1863"[FN 1] in their January 17 - May 14, 2017 Goya: The Disasters of War exhibition.
Remember Francisco de Goya y Lucientes died in 1828. The dead don't etch.
Then to add insult to injury, the Pomona College Museum of Art's so-called Goya: The Disasters of War collection is not even posthumous impressions from Francisco de Goya y Lucientes's original etching plates. Francisco de Goya y Lucientes' original Disasters of War etching plates were posthumously [1863] reworked and altered with aquatint [making them darker] and new lines [creating new compositions] with printed titles [correcting Goya's spelling] by the Royal Academy of Madrid. This was obscenely done to fit the sensibilities of mid-19th-century perspective, that despite Goya's attempt to bring light to these atrocities, dark subject matter should look dark.
The posthumous reworking and alterations of Goya's lifetime etching plates, with aquatint, etched lines outlining the images and titles by the Royal Academy in Madrid, is confirmed, in part, by very -same- curator for this exhibition: Janis A. Tomlinson, twenty two years ago, in her 1992 Goya In the Twilight of Enlightenment catalogue published by Yale University Press. After Goya's lifetime Disasters of War etching plates were acquired by the Academy of Fine Art of San Fernando in 1862, the author wrote:
- "To make the first edition of the series most of the plates were altered, completing the lines framing the scenes, adding scratches, and even brunienclo areas of aquatint (7) and tinkering with drypoint (1, 77), chisel (38) or etching (43, 57). Besides printing was performed following the style of the time by the effects of entrapado, a procedure which passes a muslin cloth over the plate and inked on the surface leaving a certain amount of ink that produces a very soft toned overall. The result was far from the force and clarity that can be seen in the many state tests are preserved."[FN 2]
On page 661 of the Seventh Edition of Black's Law Dictionary, -forgery- is defined as: "The act of fraudulently making a false document or altering a real one to be used as if genuine."[FN 3]
In 1863, the Royal Academy of Madrid had printed 500 posthumous forgeries from each of these 80 posthumously reworked and altered etchings plates [totaling 40,000] that were subsequently falsely attributed as original works of visual art i.e., etchings to a dead Francisco de Goya y Lucientes [d 1828].
After these 40,000 posthumous forgeries from 80 posthumously reworked and altered etching plates were printed, these etching plates were steel-plated, permanently codifying not only the posthumous changes made to them by the Royal Academy of Madrid but the wear and tear from their massive posthumous printing.
Then as if that was not enough, from 1892 to 1937 or later, the Royal Academy of Madrid printed an additional 40,000 forgeries [now totaling 80,000] from the posthumously reworked, altered and steel-plated plates then continued to falsely attributed them as original works of visual art i.e., etchings to a dead Francisco de Goya y Lucientes.
Francisco de Goya y Lucientes printed some 480 original works of visual art i.e., etchings total from his Disasters of War etching plates before his death, yet the Pomona College Museum of Art would have the public believe:
- "Los Desastres de la Guerra were not published during Goya's lifetime, possibly because the artist feared that some of the prints were politically dangerous or, perhaps, because he knew that the nation was too tired of war to be responsive. The prints finally appeared in 1863, revealing a theme that would continue to be expressed in the art of the twentieth century: the suffering of civilians when war is no longer confined to the battlefield."[FN 4]
Ironically, this fact that Francisco de Goya y Lucientes’ printed lifetime Disasters of War etchings is confirmed on the Norton Simon Museum website:
- "The Norton Simon Museum presents The Disasters of War, an exhibition of etchings by the Spanish artist Francisco de Goya y Lucientes (1746-1824). Goya created the series as a response to the brutality and desolation inflicted by the war between Spain and France (1808-1814), and his images do not offer a noble and heroic view of battle. Rather, they are an overwhelming, devastating description of war's barbarism. Created from 1810 to 1820, the set of prints featured in the exhibition is one of just two complete sets of rare working proofs printed during Goya's lifetime. The only other complete set is in the British Museum."[FN 5]
This is the very same collector Norton Simon [of his namesake museum] who gifted, to Pomona College Museum of Art, their so-called Disasters of War collection of non-disclosed posthumous forgeries from posthumously reworked and altered plates falsely attributed to a dead Francisco de Goya y Lucientes.
The Pomona College Museum of Art and the Norton Simon Museum are located in the United States of America. Under U.S. Copyright Law 106A, the Rights of Attribution "shall not apply to any reproductions."[FN 6]
Rhetorically, if the Rights of Attribution does not apply to reproductions, would posthumous forgeries, much less posthumous impressions be any different?
Additionally, both the Pomona College Museum of Art and the Norton Simon Museum are located in the State of California. Under California Civil Code 1741-1745, it states: "California law provides for disclosure in writing of information concerning - whether the multiple is a reproduction [when] offered for sale or sold at wholesale or retail for one hundred dollars ($100) or more, exclusive of any frame."[FN 7] Failure to give disclosure may include but not limited to: refund, interest, treble damages, attorney fees, and $1,000 fine per occurrence.
On page 670 of the Seventh Edition of Black's Law Dictionary, fraud is defined as: "a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment."[FN 8]
On page 670 of the Seventh Edition of Black's Law Dictionary, fraud is defined as: "a knowing misrepresentation of the truth or concealment of a material fact to induce another to act to his or her detriment."[FN 8]
So, should museums, many of which collect monetary considerations including but not limited to: admission fees, city-state-federal grants, corporate sponsorship, outright sales and tax write-offs, want to argue that they should be held to a lesser standard of full and honest disclosure than artists who do business in the State of California?
Then to go from the ridiculous to the sublime, Pomona College's Academic Honesty code addresses if a Pomona College student brought something to class they did not create and tried to pass it off as if they did and got caught:
- "Pomona College is an academic community in which all members are expected to abide by ethical standards, both in their conduct and in their exercise of responsibilities toward other members of the community. The College expects students to understand and adhere to basic standards of honesty and academic integrity. These standards include, but are not limited to, the following: 1) In projects and assignments prepared independently, students never represent the ideas or the language of others as their own., 2) Students do not destroy or alter either the work of other students or the educational resources and materials of the College., 3) Students neither give nor receive assistance with examinations., 4) Students do not represent work completed for one course as original work for another or deliberately disregard course rules and regulations., [and] 5) In laboratory or research projects involving the collection of data, students accurately report data observed and do not alter these data for any reason."[FN 9]
Now, should the Pomona College, its' Museum of Art and their collection of non-disclosed posthumous forgeries [from posthumously [1863] reworked and altered plates], falsely attributed to a dead Francisco de Goya y Lucientes [d 1828], be held to a lesser standard of academic honesty than their students?
LAW, ETHICS AND THE VISUAL ARTS
On page 816-817 of Kluwer Law International’s published 1998 Law, Ethics and the Visual Arts, Third Edition by John Henry Merryman and Albert E. Elsen wrote about “Counterfeit Art.” Under the subtitle -Truth-, the authors wrote: “The most serious harm that good counterfeits do is to confuse and misdirect the search for valid learning. The counterfeit objects falsifies history and misdirects inquiry.”[FN 10]
Additionally, under the subtitle -Resource Allocation-, the authors wrote: “Museum and art historical resources are always limited. What gets acquired, displayed, conserved and studied is the result of a continuous process of triage, in which some objects can be favoured only at the expenses of others. Counterfeit objects distort the process.”[FN11]
Finally, under the subtitle -Fraud-, the authors wrote: “There remains the most obvious harm of all: counterfeit cultural objects are instruments of fraud. Most are created in order to deceive and defraud, but even “innocent” counterfeits can, and often will, be so used. The same considerations of justice and social order that make deliberate fraud of others kinds criminal apply equally to fraud through the medium of counterfeit art...”[FN 12]
In closing, these links additionally document that this fraud does not operate in a vacuum:
- http://garyarseneau.blogspot.com/2013/07/posthumous-impressions-from-reworked.html
- http://garyarseneau.blogspot.com/2012/06/goya-forgeries-in-university-of.html
- http://garyarseneau.blogspot.com/2010/03/dead-dont-etch-goya-disasters-of-war.html
Particularly when there are over 80,000 of these non-disclosed posthumous forgeries from reworked and altered plates falsely attributed as original works of visual art i.e., etchings to a dead Francisco de Goya y Lucientes with the title: Disasters of War in museum collections everywhere.
FOOTNOTES:
1. https://www.pomona.edu/museum/exhibitions/2017/goyas-war
2. Publisher: Yale University Press; 1st edition (October 28, 1992), ISBN-10: 0300054629, ISBN-13: 978-0300054620
3. Copyright © 1999, By West Group, ISBN 0-314-22864-0
5. https://www.nortonsimon.org/exhibitions/1990-1999/the-disasters-of-war-etchings-by-francisco-goya-/
6. http://www.copyright.gov/title17/92chap1.html106a
7. http://codes.lp.findlaw.com/cacode/CIV/5/d3/4/1/1/s1738
8. Copyright © 1999, By West Group, ISBN 0-314-22864-0
9. http://catalog.pomona.edu/content.php?catoid=7&navoid=394
10. © Kluwer Law International 1998, ISBN 90-411-0697-9
11. Ibid
12. Ibid
PRINCIPALS:
Kathleen S. Howe
Sarah Rempel and Herbert S. Rempel '23 Director, Professor of Art
Montgomery Art Center
333 N. College Way
Claremont, CA 91711-6344
(909) 621-8283
Janis A. Tomlinson
Director, University Museums; Professor, Art History
Art of Spain
Ph.D. University of Pennsylvania
University of Delaware
209 Mechanical Hall
Newark, DE 19716
302-831-8003
Hope Alswang
Executive Director & CEO
Executive Director & CEO
Norton Simon Museum
411 West Colorado Boulevard
Pasadena, California 91105
626.449.6840
POSTHUMOUS FORGERIES VERSUS LIFETIME ETCHINGS
Examples of Pomona College Museum of Art's collection of posthumous forgeries from reworked and altered plates versus British Museum's collection of lifetime etchings "made by Francisco de Goya.'
Los Desastres de la Guerra, 1st edition, plate 1, Tristes presentimentos…, 1863, 19th c, 6 7/8 in. x 8 11/16 in. (17.5 cm. x 22 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints
Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.72
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Tristes presentimientos de lo que ha de acontecer (Sad forebodings of what is going to happen) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.3, Title (object)Tristes presentimientos de lo que ha de acontecer (Sad forebodings of what is going to happen)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 1: despairing man on his knees; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c. 1810-1813 Etching, burin, drypoint and burnisher, Producer name Print made by: Francisco de Goya, School/style Spanish, Date 1810-1813 (c.), Materials paper, Technique etching term details drypoint term details, Dimensions Height: 176 millimetresWidth: 218 millimetres, Inscriptions Inscription Content, Numbered on plate. Titled by the artist in pencil within platemark, below image. Curator's comments The album is in the original mottled calf binding with marbled endpapers and gold tooling, with a manuscript title page by Bermúdez with annotation (by Carderera?) at the base. There is also a manuscript insert, in two different hands; (see 1975,1025.421.1-2 for more detail). The album is also signed by Goya on the closed sheet edges. It contains the full set of eighty plates plus two unpublished, some touched with graphite, with an additional three touched impressions of H. 26-8 pasted in at the back, also with pencilled titles by Goya.The preparatory drawing for this plate is in the Museo del Prado, Madrid (D.3964).For conservation reasons, prior permission is required to view this album in the Study Room. Please contact prints@britishmuseum.org
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1396149&partid=1&
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Los Desastres de la Guerra, 1st edition, plate 12, Para eso habeis nacido…, 1863, 19th c, 6 5/16 in. x 9 1/4 in. (16 cm. x 23.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.47
http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=137&port=0&art=0&page=137
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Para eso habeis nacido (This is what you were born for) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.14, Title (object)Para eso habeis nacido (This is what you were born for)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 12: man being sick over heap of corpses; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813, Etching, lavis, drypoint and burin, Producer name Print made by: Francisco de Goya biography, School/styleSpanish, Date 1810-1813 (c.), Materials paper, Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 160 millimetresWidth: 230 millimetres, Inscriptions Inscription Content, Signed and numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4241)., Bibliography Blas & Matilla 2000 12 bibliographic details Delteil 131 bibliographic detailsHarris 1964 132.I.3 bibliographic details
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333680&partid=1&
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Los Desastres de la Guerra, 1st edition, plate 14, Duro es el paso!, 1863, 19th c, 6 1/8 in. x 6 1/2 in. (15.5 cm. x 16.5 cm., Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.95
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Duro es el paso! (It's a hard step!) / Los Desastres de la Guerra (The Disasters of War), Object typeprintbook term details, Museum number1975,1025.421.16, Title (object)Duro es el paso! (It's a hard step!)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 14: condemned man being guided up(?) ladder onto gibbet; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, burnished lavis, drypoint and burin, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materials paper, Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 143 millimetres Width: 165 millimetres, Inscriptions Inscription Content, Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4384)., Bibliography Delteil 133 bibliographic detailsHarris 1964 134.I.2 bibliographic details Blas & Matilla 2000 14
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Los Desastres de la Guerra, 1st edition, plate 28, Populacho (Rabble), 1863, 19th c, 6 7/8 in. x 8 7/16 in. (17.5 cm. x 21.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.94
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Populacho (Rabble) / Los Desastres de la Guerra (The Disasters of War), Object typeprintbook term details, Museum number1975,1025.421.30, Title (object) Populacho (Rabble)Title (series) Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 28: man and woman beating and abusing naked victim, bound at feet, lying face down on ground; with spectators; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, lavis, drypoint, burin and burnisher, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materials paper, Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 176 millimetres Width: 215 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4246)., Bibliography Delteil 147 bibliographic detailsHarris 1964 148.I.2 bibliographic details Blas & Matilla 2000 28
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Los Desastres de la Guerra, 1st edition, plate 32, Por qué? (Why?), 1863, 19th c, 6 1/8 in. x 8 1/16 in. (15.5 cm. x 20.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints
Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.90
http://embarkweb1.campus.pomona.edu/OBJ?sid=1714&rec=159&port=0&art=0&page=159
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Por que? (Why?) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.34, Title (object)Por que? (Why?)Title (series) Los Desastres de la Guerra (The Disasters of War), Description Plate 32: man, strung from tree, being garrotted by three soldiers; two pulling his legs, the other with his leg pushing down on his shoulders; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, lavis, drypoint, burin and burnisher, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materials paper Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 154 millimetres Width: 205 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Bibliography Delteil 151 bibliographic details Harris 1964 152.I.3 bibliographic details Blas & Matilla 2000 32
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333725&partid=1&
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Los Desastres de la Guerra, 1st edition, plate 37, Esto es peor (This is worse), 1863, 19th c, 6 1/8 in. x 8 1/16 in. (15.5 cm. x 20.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.53
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Esto es peor (This is worse) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.39, Title (object)Esto es peor (This is worse)Title (series) Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 37: male corpse impaled on tree stump, soldiers dragging and hacking at corpses beyond; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, lavis and drypoint, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materials paper Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 155 millimetres Width: 205 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Bibliography Delteil 156 bibliographic detailsHarris 1964 157.I.3 bibliographic details Blas & Matilla 2000 37
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Los Desastres de la Guerra, 1st edition, plate 39, Grande hazaña!…, 1863, 19th c, 6 1/8 in. x 8 1/16 in. (15 1/2 cm. x 20.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes)
(Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.54
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Grande hazaña! Con muertos! (An heroic feat! With dead men!) / Los Desastres de la Guerra (The Disasters of War), Object typeprintbook term details, Museum number1975,1025.421.41, Title (object)Grande hazaña! Con muertos! (An heroic feat! With dead men!)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 39: three corpses bound to tree stump, all castrated; one with arms amputated and decapitated, the head impaled on a branch; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, lavis and drypoint, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materialspaper, Techniqueopen-bite term detailsetching term detailsdrypoint term details, DimensionsHeight: 155 millimetresWidth: 204 millimetres, Inscriptions Inscription Content Signed and numbered on plate. Titled by the artist in pencil within platemark, below image., Bibliography Blas & Matilla 2000 bibliographic details Delteil 158 bibliographic detailsHarris 1964 159.I.3
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Los Desastres de la Guerra, 1st edition, plate 52, No llegan á tiempo…, 1863, 19th c, 6 1/8 in. x 8 1/16 in. (15.5 cm. x 20.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes)
(Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints
Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.92
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] No llegan á tiempo (They do not arrive in time) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.54, Title (object)No llegan á tiempo (They do not arrive in time)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 52: woman collapsed dead(?), held by another three; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1811-1813 Etching, lavis, drypoint and burin, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1811-1813 (c.), Materials paper, Technique open-bite term details etching term details drypoint term details, Dimensions Height: 155 millimetres Width: 204 millimetres, Inscriptions Inscription Content, Numbered on plate. Titled by the artist in pencil below plate., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4254)., Bibliography Delteil 171 bibliographic detailsHarris 1964 172.I.3 bibliographic details Blas & Matilla 2000 52
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Los Desastres de la Guerra, 1st edition, plate 61, Si son de otro linage…, 1863, 19th c, 6 1/8 in. x 8 1/16 in. (15.5 cm. x 20.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes)
(Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints
Medium and Support: Drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.107
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Si son de otro linage (Perhaps they are of another breed) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.63, Title (object)Si son de otro linage (Perhaps they are of another breed)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 61: starving man begging for help for his family around him, mocked by officer and wealthy figures to right; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1811-1813 Etching, lavis, drypoint, burin and burnisher, Producer namePrint made by: Francisco de Goya biography School/styleSpanish, Date1811-1813 (c.), Materials paper, Technique open-bite term details etching term details drypoint term details, DimensionsHeight: 153 millimetres Width: 205 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4334)., Bibliography Delteil 180 bibliographic detailsHarris 1964 181.I.3 bibliographic details Blas & Matilla 2000 61
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Los Desastres de la Guerra, 1st edition, plate 40, Algun Partido Saca…, 1863, 19th c, 6 7/8 in. x 8 7/16 in. (17.5 cm. x 21.5 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, Medium and Support: Etching and drypoint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.100
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Algun partido saca (He gets something out of it) / Los Desastres de la Guerra (The Disasters of War), Object type printbook term details, Museum number1975,1025.421.42, Title (object)Algun partido saca (He gets something out of it)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 40: figure holding onto the neck of large dog; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1810-1813 Etching, drypoint and burin, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1810-1813 (c.), Materials paper Technique etching term details drypoint term details, DimensionsHeight: 176 millimetres Width: 221 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.4250)., Bibliography Delteil 159 bibliographic detailsHarris 1964 160.I.2 bibliographic details Blas & Matilla 2000 40
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1333628&partid=1&
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Los Desastres de la Guerra, 1st edition, plate 71, Contra el bien…, 1863, 19th c, 6 7/8 in. x 8 11/16 in. (17.5 cm. x 22 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes)
(Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints Medium and Support: Etching on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.75
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Contra el bien general (Against the common good) / Los Desastres de la Guerra (The Disasters of War), Object type print book term details, Museum number 1975,1025.421.73, Title (object)Contra el bien general (Against the common good)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 71: demon with bat's wing ears sitting on chair writing in volume, with imploring figures below to right; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1814-1815 Etching and burnisher, Producer namePrint made by: Francisco de Goya biography, School/styleSpanish, Date1814-1815 (c.), Materials paper Technique etching term details, Dimensions Height: 174 millimetres Width: 218 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsLit.: M.P. McDonald, exhib.cat., BM, London, `Renaissance to Goya: Prints and drawings from Spain`, 2012, fig.26, p.250.The preparatory drawing for the print is in the Museo del Prado, Madrid (D.3976)., Bibliography Delteil 190 bibliographic detailsHarris 1964 191.I.2 bibliographic details Blas & Matilla 2000 71
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
Los Desastres de la Guerra, 1st edition, plate 77, Que se rompe…, 1863, 19th c, 6 7/8 in. x 8 11/16 in. (17.5 cm. x 22 cm.), Francisco de Goya (aka Francisco de Goya y Lucientes), (Fuendetodos, Spain, March 30, 1746 - April 16, 1828, Bordeaux, France), Object Type: Prints, Medium and Support: Etching and aquatint on Paper, Credit Line: Gift of Norton Simon, Accession Number: P74.77
NON-DISCLOSED POSTHUMOUS FORGERY FROM A REWORKED AND ALTERED PLATE
[Francisco de Goya y Lucientes] Que se rompe la guerda (May the cord break) / Los Desastres de la Guerra (The Disasters of War), Object type print book term details, Museum number1975,1025.421.79, Title (object)Que se rompe la guerda (May the cord break)Title (series)Los Desastres de la Guerra (The Disasters of War), DescriptionPlate 77: man balancing on threadbare tight rope, crowd below; from a bound album of working proofs, presented by the artist to Ceán Bermúdez. c.1814-1815 Etching, burnished aquatint or lavis, drypoint and burnisher, Producer name Print made by: Francisco de Goya biography, School/styleSpanish, Date1814-1815 (c.), Materials paper Technique open-bite (?) term details fetching term details drypoint term details aquatint (?) term details, DimensionsHeight: 177 millimetres Width: 216 millimetres, Inscriptions Inscription Content Numbered on plate. Titled by the artist in pencil within platemark, below image., Curator’s commentsThe preparatory drawing for the print is in the Museo del Prado, Madrid (D.3982)., Bibliography Delteil 196 bibliographic detailsHarris 1964 197.I.3 bibliographic details Blas & Matilla 2000 77
http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectid=1334049&partid=1&
LIFETIME ETCHING BY FRANCISCO GOYA Y LUCIENTES
POMONA COLLEGE MUSEUM OF ART COLLECTION OF NON-DISCLOSED POSTHUMOUS FORGERIES FROM REWORKED AND ALTERED PLATES:
[http://embarkweb1.campus.pomona.edu/OBJ?sid=2246&rec=209&port=0&art=0&page=209]
POMONA COLLEGE MUSEUM OF ART COLLECTION OF NON-DISCLOSED POSTHUMOUS IMPRESSIONS:
[http://embarkweb1.campus.pomona.edu/OBJ?sid=2246&rec=209&port=0&art=0&page=209]
- NOTE: Los Disparates a.k.a. The Follies were posthumously printed in 1864 by the Royal Academy in Madrid. Since Francisco de Goya y Lucientes's Disasters of War plates were posthumously reworked and altered by the Royal Academy of Madrid, are we to believe or suspend disbelief the same posthumous reworking and altering wasn't done to these Los Disparates plates? The public may never know because there are no Goya lifetime printed Los Disparates etchings unlike for his Disasters of War.
posted by Gary Arseneau at
10:14 PM
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