Place made
Madrid; published 1799, Madrid
Geographical location
Madrid, Spain
Medium
etching, burnished aquatint on paper
Edition
1st edition
State
Harris (1968) 161 II, first edition
Dimensions
21.0 x 15.0 cm (plate)
31.0 x 21.8 cm (sheet)
19.1 x 13.7 cm (image)
Credit line
South Australian Government Grant 1980
Accession number
807G44
Signature and date
Not signed. Not dated.
Provenance
Samuel Rogers (b.1763-d.1855); John Chaloner Smith (b.1827-d.1897) Dublin; William Rothenstein (1894-1945), London, owned 1894-1945; Laurie Deval & Percy Muir (1945-c.1979), owned 1945-c.1979; purchased by the Gallery from Frederick Mulder & Christopher Mendez, London, owned 1979-80.
Catalogue raisonne
Del. 63 i/ii; Harris 61 III first edition
Media category
Print
Collection area
European prints
  • ESSAY – 807G44

    In the late 1790s Francisco Goya, Spain’s leading painter, turned to printmaking as an outlet for more personal and imaginative subjects.  Los caprichos, the first of his four great etched serie…

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  • Biography Goya

    The work of Francisco Goya (1746-1828) has often been seen as the product of two conflicting personalities.  According to this view, Goya was a confident, ambitious artist who rose from humble r…

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  • LABEL – 807G44

    In the late 1790s Francisco Goya, Spain’s leading painter, turned to printmaking as an outlet for more personal and imaginative subjects.  Los caprichos, the first of his four great etched series, uses fantasy and satire to draw attention to human follies and vices.  Created in a climate of political instability, Goya’s eighty plates also provide veiled social criticism of the times, alluding to greed, corruption, foolishness and evil, particularly amongst the clergy and aristocracy. 

     

    They’ve already got a seat is one of the more amusingly absurd images from Los Caprichos.  Young girls with petticoats and chairs on their head are oblivious to the laughter of men in the background.  It seems to refer to the silliness of some young girls and may be an ironic play on the Spanish expression ‘sentar la cabeza’ (to seat one’s head), which means to be sensibly organised.

     

     

  • Five Centuries of Genius: European Master Printmaking

    Art Gallery of South Australia, 5 May 2000 – 2 October 2000
  • Dark Visions: the etchings of Goya

    Art Gallery of South Australia, 30 August 1996 – 10 November 1996
    Dunedin Public Art Gallery, 20 September 1997 – 30 November 1997
    Waikato Museum of Art and History, 12 January 1998 – 28 February 1998
    Queensland Art Gallery | Gallery of Modern Art, 9 April 1998 – 24 May 1998
    Rockhampton Art Gallery, 5 June 1998 – 26 July 1998
    Cairns Art Gallery, 7 August 1998 – 20 September 1998
    Art Gallery of New South Wales, 30 September 1998 – 29 November 1998
  • Francisco Goya 1746 – 1828

    A bad night

    1797-98
    etching, burnished aquatint on paper
    Accession no: 807G54
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, engraving on paper
    Accession no: 807G65
  • Francisco Goya 1746 – 1828

    All will fall

    1797-98
    etching, burnished aquatint on paper
    Accession no: 807G37
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G36
  • Francisco Goya 1746 – 1828
    aquatint on paper
    Accession no: 807G57
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, engraving on paper
    Accession no: 807G77
  • Francisco Goya 1746 – 1828
    aquatint on paper
    Accession no: 807G50
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G66
  • Francisco Goya 1746 – 1828

    Blow

    1797-98
    etching, aquatint, drypoint, engraving on paper
    Accession no: 807G87
  • Francisco Goya 1746 – 1828

    Bravissimo!

    1797-98
    etching, burnished aquatint, drypoint on paper
    Accession no: 807G56
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G73
  • Francisco Goya 1746 – 1828

    Correction

    1797-98
    etching, burnished aquatint on paper
    Accession no: 807G64
  • Francisco Goya 1746 – 1828
    etching, aquatint, drypoint on paper
    Accession no: 807G88
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G84
  • Francisco Goya 1746 – 1828
    etching, aquatint, drypoint on paper
    Accession no: 807G25
  • Francisco Goya 1746 – 1828
    etching, aquatint, drypoint, engraving on paper, mounted on paper support
    Accession no: 807G18
  • Francisco Goya 1746 – 1828
    etching, aquatint, drypoint on paper
    Accession no: 807G34
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G21
  • Francisco Goya 1746 – 1828

    Hobgoblins

    1797-98
    etching, burnished aquatint on paper
    Accession no: 807G67
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G39
  • Francisco Goya 1746 – 1828

    Hush

    1797-98
    etching, aquatint, engraving on paper
    Accession no: 807G46
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, engraving on paper
    Accession no: 807G86
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, engraving on paper
    Accession no: 807G35
  • Francisco Goya 1746 – 1828

    It is time

    1797-98
    etching, burnished aquatint, drypoint, engraving on paper
    Accession no: 807G53
  • Francisco Goya 1746 – 1828

    It is time

    1797-98
    etching, burnished aquatint on paper
    Accession no: 686G14
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, engraving on paper
    Accession no: 807G29
  • Francisco Goya 1746 – 1828
    etching, aquatint, drypoint on paper
    Accession no: 807G81
  • Francisco Goya 1746 – 1828

    Love and death

    1797-98
    etching, burnished aquatint, engraving on paper
    Accession no: 807G28
  • Francisco Goya 1746 – 1828
    etching, aquatint, engraving on paper
    Accession no: 807G55
  • Francisco Goya 1746 – 1828

    Nanny's boy

    1797-98
    etching, burnished aquatint on paper
    Accession no: 807G22
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, drypoint, engraving on paper
    Accession no: 807G59
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G24
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, engraving on paper
    Accession no: 807G61
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G42
  • Francisco Goya 1746 – 1828
    etching, aquatint on paper
    Accession no: 807G58
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, engraving on paper
    Accession no: 807G30
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G40
  • Francisco Goya 1746 – 1828

    She fleeces him

    1797-98
    etching, burnished aquatint on paper
    Accession no: 554G5
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, drypoint, engraving on paper
    Accession no: 807G49
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G52
  • Francisco Goya 1746 – 1828

    Swallow it, dog

    1797-98
    etching, burnished aquatint, drypoint on paper
    Accession no: 807G76
  • Francisco Goya 1746 – 1828

    Tantalus

    1797-98
    etching, burnished aquatint on paper
    Accession no: 807G27
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, drypoint on paper
    Accession no: 807G47
  • Francisco Goya 1746 – 1828

    The Chinchillas

    1797-98
    etching, burnished aquatint, engraving on paper
    Accession no: 807G68
  • Francisco Goya 1746 – 1828

    The filiation

    1797-98
    etching, aquatint on paper
    Accession no: 807G75
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G63
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, drypoint on paper
    Accession no: 807G38
  • Francisco Goya 1746 – 1828
    etching, aquatint on paper
    Accession no: 807G72
  • Francisco Goya 1746 – 1828
    etching, aquatint on paper
    Accession no: 807G19
  • Francisco Goya 1746 – 1828

    They are hot

    1797-98
    etching, burnished aquatint on paper
    Accession no: 807G31
  • Francisco Goya 1746 – 1828
    etching, aquatint on paper
    Accession no: 807G26
  • Francisco Goya 1746 – 1828

    They have flown

    1797-98
    etching, aquatint, drypoint on paper
    Accession no: 807G79
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G20
  • Francisco Goya 1746 – 1828
    etching, aquatint, drypoint, engraving on paper
    Accession no: 807G62
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G44
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, drypoint, engraving on paper
    Accession no: 807G41
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G74
  • Francisco Goya 1746 – 1828
    etching, aquatint, drypoint, engraving on paper
    Accession no: 807G51
  • Francisco Goya 1746 – 1828

    Trials

    1797-98
    etching, aquatint, engraving on paper
    Accession no: 807G78
  • Francisco Goya 1746 – 1828

    Two of a kind

    1797-98
    etching, burnished aquatint on paper
    Accession no: 807G23
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, drypoint on paper
    Accession no: 807G85
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, engraving on paper
    Accession no: 807G71
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, drypoint on paper
    Accession no: 807G32
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, drypoint, engraving on paper
    Accession no: 807G70
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, drypoint, engraving on paper
    Accession no: 807G69
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, engraving on paper
    Accession no: 807G89
  • Francisco Goya 1746 – 1828
    etching, aquatint, drypoint on paper
    Accession no: 807G83
  • Francisco Goya 1746 – 1828
    etching, aquatint, drypoint on paper
    Accession no: 807G45
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, engraving on paper
    Accession no: 807G80
  • Francisco Goya 1746 – 1828

    Why hide them?

    1797-98
    etching, burnished aquatint, drypoint on paper
    Accession no: 807G48
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint, engraving on paper
    Accession no: 807G33
  • Francisco Goya 1746 – 1828
    etching, aquatint, drypoint on paper
    Accession no: 807G43
  • etching, burnished aquatint, drypoint on paper
    Accession no: 807G82
  • Francisco Goya 1746 – 1828

    You who cannot

    1797-98
    etching, burnished aquatint on paper
    Accession no: 807G60
  • Francisco Goya 1746 – 1828
    etching, burnished aquatint on paper
    Accession no: 807G90