Francisco de Goya y Lucientes (Fuendetodos, Zaragoza, 1746 - Burdeos, 1828) is one of the masters of universal art. Everyone knows his great works, but the artist expressed himself with the greatest freedom and creativity in his etchings and drawings, resulting in pure pieces, born of his own invention.
Written by Javier López Serrano - expert Spanish Classical Art
In his print production, Goya mainly used techniques such as etching, aquatint, burin, drypoint and burnishing on copper plates. His technique constantly evolved, from the simplicity of the first etchings, to the rich nuances of tones and textures that he achieved in later series. He often made preparatory drawings, and after etching the plate, he would make various impressions, known as trial proofs, retouching the plate as necessary until he achieved the desired result.
The series of engravings created by Goya during his lifetime were etchings of paintings by Velázquez; Los Caprichos; Los desastres de la Guerra; La Tauromaquia; y Los Disparates. A limited number of copies were printed from each plate and several editions were made of each series during the eighteenth, nineteenth and twentieth centuries. The 228 plates created by Goya are currently preserved in the National Intaglio Engraving department (Calcografía Nacional), of the Academy of Fine Arts (Academia de Bellas Artes de San Fernando). They are no longer in use but some of them are on display at the Academy’s headquarters in Madrid.
How to look at a Goya engraving
To determine the importance and value of an original engraving by Goya (printed from one of the plates engraved directly by Goya himself), we first need to identify which series it corresponds to. Next, we need to use the physical characteristics of the print to determine when it was printed, in other words, which edition it belongs to. This is a complicated task where expert help is indispensable.
First, we need to look at the type of paper, which has to be of the correct type, quality and age, and both the paper and the plate mark (left on the paper by the copper plate) must be of a determined size. It is essential to hold it up to the light to find the manufacturer’s watermark. The paper should have a specific watermark, depending on the series and the edition it belongs to, although these are not always present, which makes identification more difficult.
Example of watermark
We will also look at the ink colour of the ink used for the print. Several shades of ink were used: sepia, russet, black, ochre…
One of the most important and complex factors to appreciate is the quality of the impression. The more they were used, the more worn the plates would become, and scratches and faults would appear. Parts etched with aquatint, for example, deteriorate more than others. In some cases the plates were re-engraved, which affected the quality of subsequent impressions. Features such as scratches can even be used to determine the impression date of a particular print.
Generally, first impressions are the best and the most sought after, but a later print can be better quality than an earlier one because of the changes that the plates undergo, and the materials used in each impression.
Finally, the value of the etchings will be determined by further factors common to other works of art such as state of preservation, aesthetic quality, provenance, and rarity. The trial proofs are highly sought after and can be very valuable.
If you love Fransisco Goya, we have some great prints in auction this week! Take a look at the auction here.