Jean - Luc Baroni Ltd



Francisco José de Goya y Lucientes

Fuendetodos 1746 – 1828 Bordeaux

A Still-Life of Dead Hares



Oil on canvas.

45 x 63 cms. (17 ¾ x 24 ¾ in.)


Sold to a Private Collection.


PROVENANCE: Francisco José de Goya y Lucientes, by 1812; by family descent to his son Javier Goya; Francisco Javier de Maríategui y Sola, by 1845; by family descent to his daughter María de la Concepción de Maríategui y Sola and her husband Mariano Goya; Francisco Antonio Naváez y Bordese, conde de Yumury, Carabanchel Alto [Madrid], by 1851; thence by family descent to Francisco Antonio Naváez y Bordese, conde de Yumury, Madrid, by 1865-66; Comte Victor-François-Léonard Huyttens de Terbecq, Château Monchy-Humières, near Compiègne, by 1877; his sale, M. Le Comte de ***, Paris, 25 May 1877, Lot 24, bought back by his son Albert-Pierre de Terbecq for 80 francs; sale, Collection de M. de R..., Paris, 19 April 1882, Lot 7, sold for 400 francs with three other still-lifes from the series by Goya; Wildenstein &Co., New York; Christie’s, New York, Important Old Master Paintings, 24 January 2003, Lot 136; private collection; acquired by a Private Collection in 2003.


LITERATURE: F.J. Sánchez Cantón, “Come Vivia Goya”, in Archivio Español de Arte, XVIII, April-June 1946, p. 106; J. López-Rey, “Goya’s Still-Lifes”, in Art Quarterly, XI, Summer 1948, pp. 251, 254, 257-59 and fig. 7; X. Desparmet Fitz-Gerald, L’Œuvre peint de Goya, Paris, 1928-50, II, p. 284, no. 54; Marqués de Saltillo, Miscelánea madrileña.Goya en Madrid, su familia y allegados, Madrid, 1952, p. 48; J.A. Gaya Nuño, La Pintura española fuera de España, 1958, p. 182, no. 1133; P. Gassier &J. Wilson, The Life and Complete Work of Francisco Goya, New York, 1971 [revised English edition], p. 263, no. 909, illustrated; J. Guidol, Goya 1746-1828, translated  by K. Lyons, New York, 1971, I, pp. 145 and 323, no. 588, IV, p. 782, fig. 942; R. Torres Martín, La naturaleza muerta en la pintura española, Barcelona, 1971, p. 97; R. De Angelis, L’opera pittorica completa di Goya, Milan, 1974, no. 505, illustrated; P. Guinard &R. De Angelis, Tout l’œuvre peint de Goya, Paris, 1976, no. 505, illustrated; X. de Salas, Goya, translated by G.T. Culverwell, Milan, 1979, p. 194, no. 463, illustrated; J. Camon Aznar, Goya, Saragossa, 1982, III, p. 187; J. Baticle, Goya, Paris, 1992, p. 385; J.L. Morales y Marin, Goya.Catalogo de la pintura, Saragossa, 1994, p. 307, no. 403, illustrated; N. Glendinning, “Spanish Inventory References to Paintings by Goya 1800-1850:Originals, Copies and Valuations”, in The Burlington Magazine, CXXXVI, Febuary 1994, pp. 107 and 110, document XII; W.B. Jordan & P. Cherry, in Spanish Still-Life from Velázquez to Goya, exhibition catalogue [National Gallery], London, 1995, pp. 177-180 e 202, notes 17 and 18, illustrated, p. 176, fig. 146; JJ. Luna, in Goya, exhibition catalogue [Prado], Madrid, 1996, pp. 407-08, no. 137, illustrated in colour on p. 232; B. Vischer “Goya’s Still-Lifes in the Yumuri Inventory”, in The Burlington Magazine, CXXXIX, February 1997, pp. 121-23; I. Rose-De Viejo, “Letter to the Editor-Goya’s Still-Lifes”, in The Burlington Magazine, CXXXIX, June 1997, p. 406; B. Vischer, “Entre la vida y la muerte.Los bodegones de Goya en el Museo del Prado:’Aves muertas’ y Pavo muerto’”, in Il bodegón, Madrid, pp. 362 ff.; B. Vischer, Das Auge der Natur.goyas Stilleben, Petersberg, 2005, passim..


EXHIBITED:  New York, Wildenstein & Co., A Loan Exhibition of Goya, 1950, no. 43, illustrated; Richmond, Virginia Museum of Fine Arts, The Art of Francisco de Goya y Lucientes, 1953, no number; Milwaukee-Cincinnati, Milwaukee Art Institute &  Cincinnati Art Museum, Still-Life Pain ting since 1470, 1956, no. 25, illustrated; Houston, Museum of Fine Arts, Six Master Paintings, 1963, no number; London, The Royal Academy of Arts, Goya and His Times, 1963-64, no. 126; Newark, The Newark Museum, The Golden Age of Spanish Still-Life Painting, 1964, no 10; New York, Wildenstein & Co., The Object as Subject.Still-Life Paintings from the Seventeenth to the Twentieth Centuries, 1975, no. 31; Madrid, Museo del Prado, Goya, 1996, no. 137; Berlin, Alte Nationalgalerie, Goya-Prophet der Moderne, 2005, no. 91; Vienna, Kunsthistorisches Museum, Goya-Prophet der Moderne, 2005-06, no. 91.

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