A rare handwritten note linked to Francisco de Goya emerged from a private library of Spanish nobility. Created in the late 18th to early 19th century, the compact sheet measures 250 by 119 millimeters and carries a personal message from a father to his son, written in a close and informal voice. The document captures a moment of personal well-being and a wish to honor a friend, with language that speaks of restoration and gratitude. On the back, a brief inscription identifies the recipient as Don Francisco Javier de Goya and mentions a Madrid address used for provenance. This artifact, tied to the Goya narrative, has not changed hands at auction and has drawn attention for its intimate glimpse into the artist’s family life. It stands as a window into the private correspondence of a master whose public works are widely studied by scholars. [Citation: Ansón]
Among the items offered that day were several engravings from Goya’s Caprichos series. The consignments included pieces numbered 4, 18, 25, 41, 46, 49, and 80, each with titles that hint at humor and moral commentary. The engravings carried price ranges around seven hundred to eight hundred euros, attracting interest but drawing no bids. The Caprichos are celebrated for their sharp wit and bold technique, offering a look at the artist’s critique of social mores and human folly. [Citation: Ansón]
Other works by Goya and his contemporaries were also presented, including Le Chien de Goya by Antonio Saura, with a starting estimate near thirty-five thousand euros, and Adoration of the Shepherds by Bayeu, listed around thirty thousand euros. These offerings illustrate the breadth of the catalog on that sale day and the varied response from potential buyers. [Citation: Ansón]
Pietà without a Receiver
Another notable item in the catalog was Goya y Lucientes’ painting titled Pietà. It did not find a buyer at the Madrid sale, despite a substantial opening valuation that reflected its significance within the artist’s religious repertoire. The absence of offers kept the work in its current status while highlighting the challenges that certain mature masterworks face in the market. [Citation: Ansón]
Art historical analysis places the Pietà in a late 18th century context, with scholars dating the composition to around 1774. The piece shows a direct link with later depictions in the Virgin cycle and is associated with the Aula Dei charterhouse in Zaragoza. The study of its technique and iconography continues to illuminate Goya’s development as a painter who balanced sacred themes with a personal, painterly sensibility. The painting’s condition is described as stable, with the original frame and materials preserved, offering scholars a clear view of the artist’s early workshop practices. A closer look through imaging reveals a male figure and a small angel, suggesting reutilization of an earlier canvas and a recurring visual vocabulary that appears in other works from the same period. [Citation: Ansón]