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Francisco De Goya Collection (#3)

Francisco de Goya, a renowned Spanish artist from the 18th and 19th centuries, left an indelible mark on the art world with his diverse range of works

Background imageFrancisco De Goya Collection: Carnival fantasy, plate 14 of Proverbs, 1819-23, pub. 1864 (etching)

Carnival fantasy, plate 14 of Proverbs, 1819-23, pub. 1864 (etching)
IND82114 Carnival fantasy, plate 14 of Proverbs, 1819-23, pub. 1864 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); 24.6x35.7 cm; Private Collection; Index Fototeca

Background imageFrancisco De Goya Collection: The same Mariano Ceballos, mounted on a bull, breaks short spears in the ring at Madrid

The same Mariano Ceballos, mounted on a bull, breaks short spears in the ring at Madrid
IND81924 The same Mariano Ceballos, mounted on a bull, breaks short spears in the ring at Madrid, plate 24 of The Art of Bullfighting, pub

Background imageFrancisco De Goya Collection: Destres of the war: Vaines complaints (preparatory drawing, 1810-1820)

Destres of the war: Vaines complaints (preparatory drawing, 1810-1820)
LRI4606740 Destres of the war: Vaines complaints (preparatory drawing, 1810-1820) by Goya y Lucientes, Francisco Jose de (1746-1828); Prado, Madrid

Background imageFrancisco De Goya Collection: Ensayos, plate from Los Caprichos, 1799 (etching & aquatint)

Ensayos, plate from Los Caprichos, 1799 (etching & aquatint)
3112270 Ensayos, plate from Los Caprichos, 1799 (etching & aquatint) by Goya y Lucientes, Francisco Jose de (1746-1828); 32x22 cm; Private Collection; (add.info)

Background imageFrancisco De Goya Collection: Charles V, Holy Roman Emperor and King of Spain as Charles I (1500-58)

Charles V, Holy Roman Emperor and King of Spain as Charles I (1500-58) spearing a bull in the ring at Valladolid
IND81910 Charles V, Holy Roman Emperor and King of Spain as Charles I (1500-58) spearing a bull in the ring at Valladolid, plate 10 of The Art of Bullfighting, pub

Background imageFrancisco De Goya Collection: The Tyrant: Portrait of the Actress Rosario Fernandez

The Tyrant: Portrait of the Actress Rosario Fernandez
IND54189 The Tyrant: Portrait of the Actress Rosario Fernandez by Goya y Lucientes, Francisco Jose de (1746-1828); 2, 06 x 1, 30 cm; Real Academia de Bellas Artes de San Fernando, Madrid

Background imageFrancisco De Goya Collection: The wrong woman Anthropophagy Scene, a witch has a child. Grey wash by Francisco Goya y Lucientes

The wrong woman Anthropophagy Scene, a witch has a child. Grey wash by Francisco Goya y Lucientes (1746-1828) Sun
JLJ4974507 The wrong woman Anthropophagy Scene, a witch has a child. Grey wash by Francisco Goya y Lucientes (1746-1828) Sun

Background imageFrancisco De Goya Collection: Pedro Romero killing the halted bull, plate 30 of The Art of Bullfighting, pub. 1816 (etching)

Pedro Romero killing the halted bull, plate 30 of The Art of Bullfighting, pub. 1816 (etching)
IND81930 Pedro Romero killing the halted bull, plate 30 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

Background imageFrancisco De Goya Collection: The famous Martincho (probably Antonio Ebassum) places the banderillas

The famous Martincho (probably Antonio Ebassum) places the banderillas, playing the bull with the movement of his body
IND81915 The famous Martincho (probably Antonio Ebassum) places the banderillas, playing the bull with the movement of his body, plate 15 of The Art of Bullfighting, pub

Background imageFrancisco De Goya Collection: A Spanish mounted knight in the ring breaking short spears without the help of assistants

A Spanish mounted knight in the ring breaking short spears without the help of assistants
IND81913 A Spanish mounted knight in the ring breaking short spears without the help of assistants, plate 13 of The Art of Bullfighting, pub

Background imageFrancisco De Goya Collection: Court of the Inquisition (engraving)

Court of the Inquisition (engraving)
IND52912 Court of the Inquisition (engraving) by Goya y Lucientes, Francisco Jose de (1746-1828); Real Academia de Bellas Artes de San Fernando, Madrid, Spain; Index Fototeca

Background imageFrancisco De Goya Collection: Pepe Hillo making the pass of the recorte, plate 29 of The Art of Bullfighting, pub. 1816 (etching)

Pepe Hillo making the pass of the recorte, plate 29 of The Art of Bullfighting, pub. 1816 (etching)
IND81929 Pepe Hillo making the pass of the recorte, plate 29 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

Background imageFrancisco De Goya Collection: Title-page of The Art of Bullfighting, listing the title of the plates, pub. 1816 (etching)

Title-page of The Art of Bullfighting, listing the title of the plates, pub. 1816 (etching)
IND81900 Title-page of The Art of Bullfighting, listing the title of the plates, pub. 1816 (etching) by Goya y Lucientes, Francisco Jose de (1746-1828); Private Collection; Index Fototeca

Background imageFrancisco De Goya Collection: The Devout Profession, plate 70 of Los caprichos, 1799 (etching) (see also 175022)

The Devout Profession, plate 70 of Los caprichos, 1799 (etching) (see also 175022)
IND81689 The Devout Profession, plate 70 of Los caprichos, 1799 (etching) (see also 175022) by Goya y Lucientes, Francisco Jose de (1746-1828); 21x16.6 cm; Private Collection; Index Fototeca

Background imageFrancisco De Goya Collection: Bullfights: The Death of Pepe Illo (3rd Composition), 1816, printed 1876 (engraving)

Bullfights: The Death of Pepe Illo (3rd Composition), 1816, printed 1876 (engraving)
XOS5866434 Bullfights: The Death of Pepe Illo (3rd Composition), 1816, printed 1876 (engraving) by Goya y Lucientes, Francisco Jose de (1746-1828); 24.2x34.7 cm; Cleveland Museum of Art, OH, USA

Background imageFrancisco De Goya Collection: The daring of Martincho (probably Antonio Ebassum) in the ring at Saragossa

The daring of Martincho (probably Antonio Ebassum) in the ring at Saragossa, plate 18 of The Art of Bullfighting, pub
IND81918 The daring of Martincho (probably Antonio Ebassum) in the ring at Saragossa, plate 18 of The Art of Bullfighting, pub

Background imageFrancisco De Goya Collection: A Spanish knight kills the bull after having lost his horse, plate 9 of The Art of Bullfighting

A Spanish knight kills the bull after having lost his horse, plate 9 of The Art of Bullfighting, pub. 1816 (etching)
IND81909 A Spanish knight kills the bull after having lost his horse, plate 9 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

Background imageFrancisco De Goya Collection: They (the Moors) play another bull with the cape in an enclosure

They (the Moors) play another bull with the cape in an enclosure, plate 4 of The Art of Bullfighting, pub
IND81904 They (the Moors) play another bull with the cape in an enclosure, plate 4 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes

Background imageFrancisco De Goya Collection: The same man (Martincho, probably Antonio Ebassum) throws a bull in the ring at Madrid

The same man (Martincho, probably Antonio Ebassum) throws a bull in the ring at Madrid
IND81916 The same man (Martincho, probably Antonio Ebassum) throws a bull in the ring at Madrid, plate 16 of The Art of Bullfighting, pub

Background imageFrancisco De Goya Collection: The forceful Rendon stabs a bull with the pike, from which pass he died in the ring at Madrid

The forceful Rendon stabs a bull with the pike, from which pass he died in the ring at Madrid
IND81928 The forceful Rendon stabs a bull with the pike, from which pass he died in the ring at Madrid, plate 28 of The Art of Bullfighting, pub

Background imageFrancisco De Goya Collection: Origin of the harpoons or banderillas, plate 7 of The Art of Bullfighting, pub. 1816 (etching)

Origin of the harpoons or banderillas, plate 7 of The Art of Bullfighting, pub. 1816 (etching)
IND81907 Origin of the harpoons or banderillas, plate 7 of The Art of Bullfighting, pub. 1816 (etching) by Goya y Lucientes



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Francisco de Goya, a renowned Spanish artist from the 18th and 19th centuries, left an indelible mark on the art world with his diverse range of works. One of his most famous paintings is "The Naked Maja, " created around 1800. This provocative piece showcases Goya's ability to capture sensuality and beauty in a bold and unapologetic manner. In contrast to this sensual masterpiece, Goya also demonstrated his talent for portraiture with his painting of Field Marshal Arthur Wellesley, the 1st Duke of Wellington. Painted in 1814, this portrait exudes power and authority as it immortalizes one of history's great military leaders. Goya's artistic prowess extended beyond traditional subjects; he delved into social commentary through pieces like "Little Prisoner" from 1867. This haunting image depicts a young boy held captive, symbolizing the injustices prevalent during that time period. Another thought-provoking work by Goya is "Ridiculous Dream, " painted between 1819-1823. Through surreal imagery and symbolism, he explores the absurdity of human desires and aspirations. Throughout his career, Goya used various mediums to express himself. Plate 80 from Los Caprichos series titled "It is time" reflects his mastery over etching techniques while conveying a powerful message about societal norms. Religion was another recurring theme in Goya's oeuvre; exemplified by works such as "Saint Ambrose" created between 1796-1799. In this piece, he captures the essence of spirituality through meticulous attention to detail. Goya's satirical side shines through in pieces like "Sopla (Blow)" from Los Caprichos series where he humorously critiques societal behavior using biting wit and clever visual metaphors.