A handwritten letter written by francisco goya on March 26, 1828 From Bordeaux and addressed to himself son of Francis Xavierhe stayed No buyers at the auction held in Alcalá Subastas. Published by document 30.000 €, but was not sold as it did not receive any offers. you can read on the back To Don Francisco Javier de Goya. Valverde Street, number 15. Main Hall, Madrid’.
It comes from a private collection of Spanish nobility, according to documents provided by the auction house. In this inked text on 250 x 119 millimeter paper, the painter, born in Fuendetodos, updates his son’s current status as follows: “I feel much better and hope to stay where I was before the insult and dedicate this improvement to Molina.”I am very happy with my progress as I welcome my dear passengers and told me to buy Baleriana Yerba powder; To God your Father Francisco de Goya”.
Goya’s ‘Caprichos’
This handwritten letter was not the only Goya piece to go up for auction that day, for it was alson Seven engravings of Aragonians from the ‘Caprichos’ series are on sale, especially the numbers 4 (“El de la rollona”), 18 (“And the house burns”), 25 (“If the Pitcher breaks”), 41 (“No more, no less”), 46 (“Correction”) , 49 ( “Duendecitos”) and 80 (“Ya es hora”), all for between 700 and 800 euros.
On the same day, he could not find the bidder. ‘Le Chien de Goya’ by Antonio Saura (from 35,000 Euros)nor the painting ‘Adoration of the Shepherds’ by Bayeu (30,000 Euros).
‘Pieta’ without receiver
Also on November 30 Francisco de Goya y Lucientes’ painting ‘Pieta’ went up for auction until 2011, but failed to find a buyer at an auction held in Alabarte, Madrid. because he did not receive any offers. The work of the Aragonese painter, which could not be taken abroad, was revealed with a starting price of 3 million euros and did not receive a response from any potential buyer.
This exceptional early work by Francisco de Goya As Arturo Ansón points out, it can be dated to around 1774, as it shows a direct stylistic relationship with the final scenes of the cycle “Life of the Virgin”. It was made by the Aragonese master in the Aula Dei charterhouse church in Zaragoza.
Many of the female faces seen in these murals resemble the face of the Virgin Mary and the workings of the folds of the cloak – wide and broken – very similar to the faces seen in the ‘Circumcision’. ‘Visit’ or ‘Engagement’ of said charterhouse. The preservation condition of this piece is very good, almost exceptional, it preserves the old frame and the original hemp cloth without re-lining.. A male figure and a small angel can be distinguished in the X-ray, reminiscent of San Joaquín, suggesting that Goya reused an earlier canvas to depict this scene, as he did in other compositions from the same period.