23.6 x 14.4 cm
23.6 x 14.4 cm
Signature and inscriptions
Inscribed on the lower left Visiones and So (b) a previous title erased, and now illegible
Javier Goya y Bayeu (1784-1854, the artist’s son), by descent from the artist
Mariano Goya y Goicoechea (son of the above), by descent after 1854
Federico de Madrazo, acquired ca. 1855-60 (royal portrait painter and Director of the Museo del Prado, 1860-68 and 1881-1894)
Paul Lebas, Paris
Hôtel Drouot, Paris, 3 April 1877, lot 25
E. Féral, Paris, acquired from the above sale for 10.5 francs, possibly on behalf of Victor Hugo
Victor Hugo (?)
Philip Hofer, Cambridge, Massachusetts
Durlacher Brothers, New York, sold 27 February 1946
Christian Chapman, Washington D.C., acquired in June 1953, until 1985
with Richard Feigen, New York
Jan Krugier Collection, aquired from the above in May 1986
His sale, Sotheby’s, London, 5 Feb 2014, lot 27
Private collection, Europe
with Nicholas Hall, 2018
The Meadows Museum at SMU, Dallas
Cambridge, Massachusetts, Fogg Art Museum, Master Drawings lent by Philip Hofer, 1940
Hartford, The Wadsworth Atheneum, 1942
New York, Jan Krugier Gallery, Victor Hugo and The Romantic Vision, Drawings and Watercolors, 4 May – 27 July 1990; Geneva, Galerie Jan Krugier, January – February 1991
Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin – Preussischer Kulturbesitz, Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, 29 May – 1 August 1999
Venice, Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, September – December 1999
Pierre Gassier, The Drawings of Goya, The Complete Albums, London, Thames & Hudson, 1973, page 164, no. D.g., as “A Vision”.
Victor Hugo and The Romantic Vision, Drawings and Watercolors, New York, Jan Krugier Gallery; Geneva, Galerie Jan Krugier, H.O Gerngross & Co., Inc., New York, 1990, exh. cat., reproduced page 30, no. 5.
Ed. Alexander Dückers, Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin – Preussischer Kulturbesitz, G + H Verlag, Berlin, exh. cat., 1999, reproduced p. 120, no. 53.
The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection, Venice, Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, G + H Verlag, Berlin, exh. cat., 1999, reproduced p. 163, no. 74.
Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, Madrid, Museo Thyssen-Bornemisza, Museo Thyssen-Bornemisza, Madrid, 2000, exh. cat., reproduced no. 79.
A master draftsman whose drawings and late paintings featured the supernatural and the mischievous, Francisco de Goya is remembered as one of history’s most important Spanish artists. An extraordinary work on paper by the master, Visionesfeatures two unsteady peasants in an embrace, curiously watched by a horizontal onlooker who peers out from behind the man at right. The figure at left, an old and haggard woman, leans on her companion, sneaking her hand into the pocket of the unsuspecting counterpart in an attempt to rob him. All three figures hover within the composition, with the bare feet of the man seemingly lifted off and angled away from an invisible foreground.
This rare drawing originally belonged to Goya’s Private Album D, one of eight personal albums which Goya began creating in 1796. More akin to visual journals than the fragmentary studies of typical sketchbooks, these albums are unlike anything Goya had undertaken in the past. Rendered with brush and ink on pages compiled by the artist, these drawings reveal observations of individuals and small groups in various positions and occupations, often without descriptive settings. Including some 550 drawings in total, the pages from the eight albums are now dispersed in public and private collections around the world, with only one other known work from Album D remaining in private hands. Now in a private collection in New York, Bajan riñendo carries the same 18th and 19th century provenance as our Visiones. Its last public sale occurred in 2008 at Christie’s London, realizing the equivalent sum of more than $4.5 million.