Friar Pedro Binds El Maragato with a Rope

1. One of a series of six small paintings in an inventory of Goya’s collection, Madrid, taken in 1812 for the division of property between the artist and his son Javier following the death of the artist's wife; the group of small paintings marked X8 being allotted to the son: "Seis quadros del Maragato señalados con el número ocho, en 700 [reales]" (the inventory mark has been removed from the painting and is no longer visible) [see Gassier and Wilson 1971]; presumably Javier Goya after 1812. Lafitte collection, Madrid; sale, Paris, Hôtel Drouot, March 7, 1861, bought in together with other paintings from the series for 590 francs [see Hippolyte Mireur, Dictionnaire des ventes (Paris, 1914), vol. 3, p. 360 and Despartment Fitz-Gerald 1928-1950]. Julius Böhler, Munich by 1911; sold to Martin Ryerson (died 1932), Chicago in May 1911 [see purchase receipt dated May 13, 1911]; bequeathed to the Art Institute, 1933.

Recorded by Art Institute of Chicago.

• New York, Metropolitan Museum of Art, Spanish Painting, 1928, cat. 7–12, ill.
• The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1933, cat. 166-f.
• The Art Institute of Chicago, Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 69-f.
• M. Knoedler & Co., New York, Loan Exhibition of Paintings by Goya, April 9-April 21, 1934, cat. 21.
• Columbus, Ohio, Gallery of Fine Arts, Exhibition of Spanish Art, 1936.
• The Art Institute of Chicago, Goya, 1941, pp. 46–49, cat. 76 (ill.)
• New York, Wildenstein & Co., A Loan Exhibition of Goya, For the Benefit of the Institute of Fine Arts, New York University, November 9–December 16, 1950, cat. 34.
• New York, Metropolitan Museum, Goya Drawings and Prints, May 3–30, 1955, cat. 183.
• Madrid, Museo del Prado, Goya: Truth and Fantasy. The Small Paintings, November 15, 1994-February 27, 1994, cat. 89; London, Royal Academy of Arts, March 18-June 12, 1994; Art Institute of Chicago, July 16-October 16, 1994.

• Zeferino Araujo Sánchez, Goya (Madrid, 1895), p. 100, no. 96.
• Paul Lafond, Goya (Paris, 1902), p. 110, no. 69.
• V. von Loga, Francisco Goya, 1903, p. 215, no. 485, pl. 53.
• Albert Frederick Calvert, Goya, 1908, pp. 152–153, no. 24–29.
• Hugh Stokes, Francisco Goya (New York, 1914), p. 351, no. 501–506.
• A. de Beruete y Moret, Goya: Composiciones y Figuras, vol. 2 (Madrid, 1917), no. 158-163.
• L. Estarico, Francisco Goya, trans. R. West, 1924, pp. 65, 177, no. 597, pl. 185–190.
• A. P. McMahon, “Spanish Painting: Greco to Goya,” The Arts 13 (1928), pp. 183 (ill.).
• X. Desparmet Fitz-Gerald, L’Oeuvre Peint de Goya,Catalogue Raisonné vol. 1 (Paris, 1928-1950), no. 220, pl. 171.
• The Art Institute of Chicago Bulletin 27, 1 (1933), p. 10.
• Daniel Catton Rich, “Five Centuries of Early Painting in Chicago,” Pantheon 12 (July-December 1933), pp. 93, 381.
• “America Sees First Big Goya Exhibition,” Art Digest 8 (April 15, 1934), p. 6 (ill.).

José Costa y Bonells (died l870), Called Pepito

The Metropolitan Museum of Art

Manuel Osorio Manrique de Zuñiga (1784–1792)

The Metropolitan Museum of Art

Sebastián Martínez y Pérez (1747–1800)

The Metropolitan Museum of Art

Tiburcio Pérez y Cuervo (1785/86–1841), the Architect

The Metropolitan Museum of Art

Ignacio Garcini y Queralt (1752–1825), Brigadier of Engineers

The Metropolitan Museum of Art

Josefa de Castilla Portugal y van Asbrock de Garcini (1775–about 1850)

The Metropolitan Museum of Art

Ferdinand VII (1784–1833), When Prince of Asturias

The Metropolitan Museum of Art

Condesa de Altamira and Her Daughter, María Agustina

The Metropolitan Museum of Art

Museum holdings, not sale records. Auction results are only shown when a licensed price source is connected.