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Petit Palais, Paris

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Sepia etching of a man embracing a swooning woman beside a brick wall, with a skull and shovel at their feet.

The Caprices pl. 10 : El amor y la muerte (Delteil 47 ; Gassier-Wilson 469 ; Harris 45 III 1 ; Lefort 10)

Francisco Goya, 1799

Etching of an owl with spread wings above two bound figures tied back to back, with a tree branch and grass.

The Caprices pl. 75 : No hay quien nos desate ? (Delteil 112 ; Gassier-Wilson 608 ; Harris 110 III 1 ; Lefort 75)

Francisco Goya, 1799

Etching of a woman in white fleeing winged demons and grotesque creatures, by Goya, plate 72 of The Caprices.

The Caprices pl. 72 : No te escaparas (Delteil 109 ; Gassier-Wilson 596 ; Harris 107 III 1 ; Lefort 72)

Francisco Goya, 1799

Brown etching of two men in restraining devices, one lying and one standing, with a donkey-headed figure behind them.

The Caprices pl. 50 : Los chinchillas (Delteil 87 ; Gassier-Wilson 551 ; Harris 85 III 1 ; Lefort 50)

Francisco Goya, 1799

Sepia etching of two old women and an old man around a table, one sweeping with a broom, from Goya's Caprices.

The Caprices pl. 78 : Despacha, que dispiértan (Delteil 115 ; Gassier-Wilson 609 ; Harris 113 III 1 ; Lefort 78)

Francisco Goya, 1799

Sepia etching of four men drinking around a barrel, one leaning back laughing, with the caption Nadie nos ha visto.

The Caprices pl. 79 : Nadie nos ha visto (Delteil 116 ; Gassier-Wilson 611 ; Harris 114 III 1 ; Lefort 79)

Francisco Goya, 1799

Etching of screaming, contorted figures with raised arms, from Goya's Caprices series, plate 80.

The Caprices pl. 80 : Ya es hora (Delteil 117 ; Gassier-Wilson 613 ; Harris 115 III 1 ; Lefort 80)

Francisco Goya, 1799

Sepia print of a barefoot woman seated on the floor in a dim room, head bowed, lit by a small high window.

The Caprices pl. 32 : Por que fue sensible (Delteil 69 ; Gassier-Wilson 515 ; Harris 67 III 1 ; Lefort 32)

Francisco Goya, 1799

Etching of a powdered-wig nobleman standing over two bent men beside a shelf of bottles, titled Al Conde Palatino.

The Caprices pl. 33 : Al Conde Palatino (Delteil 70 ; Gassier-Wilson 517 ; Harris 68 III 1 ; Lefort 33)

Francisco Goya, 1799

Brown etching of a seated man being attended by two women in an interior, with a jug on a table beside them.

The Caprices pl. 35 : Le descanona (Delteil 72 ; Gassier-Wilson 520 ; Harris 70 III 1 ; Lefort 35)

Francisco Goya, 1799

Etching of an old man grinning beside a burning wooden chair, with smoke rising in a dark interior.

The Caprices pl. 18 : Y se le quema la Casa (Delteil 55 ; Gassier-Wilson 487 ; Harris 53 III 1 ; Lefort 18)

Francisco Goya, 1799

Etching of a tall shrouded ghostly figure at left, with a swordsman and fallen men at night beside a tree at right.

Disparate of fear. For fear do not lose honor, pl. 2 (H : 249)

Francisco Goya, 1823

Etching of women in striped shawls gathered on a large dark tree branch against a grey background.

Walking around the branches. Ridiculous Disparate, pl. 3 (H : 250)

Francisco Goya, 1823

Etching of a grinning grotesque man towering over a small cloaked woman, with floating distorted heads around them.

After vice comes fornication. Simpleton. Disparate of a fool, pl. 4 (H : 251)

Francisco Goya, 1823

Etching of a rider on a white horse flying with large wings beside a two-headed winged monster against a dark background.

I renounce the friend who covers with wings and kills with the beak. Flying Disparate, pl. 5 (H : 252)

Francisco Goya, 1823

Etching of an armed man with a pole driving forward while hunched figures stand before a dark stone wall.

God made us and we marvel. Furious Disparate, pl. 6 (H : 253)

Francisco Goya, 1823

Etching of a grotesque shirtless man pointing while embracing a woman, with a crowd of caricatured figures watching in shadow

She who marries badly never lacks a fault to find. Disordered Disparate, pl. 7 (H : 254)

Francisco Goya, 1823

Etching of hooded figures wrapped in sackcloth standing and bending in a row against a dark background.

Under the sackcloth, there is a soul. The bagged ones. Disparate of bagged ones, pl. 8 (H : 255)

Francisco Goya, 1823

Etching of hooded figures and cats in a dark crowded scene, with a seated bearded man and a figure holding cats.

Cat's paws and a pious habit. General Disparate, pl. 9 (H : 256)

Francisco Goya, 1823

Etching of a rearing horse throwing its rider backward, with a fallen figure on rocky ground at left.

The woman and the colt, may another tame them. The raptor horse, unbridled disparate, pl. 10 (H : 257)

Francisco Goya, 1823

Etching of a dark interior with a raised-armed woman before a group of hooded elderly women and a crouching figure.

Poor Disparate, pl. 11 (H : 258)

Francisco Goya, 1823

Etching of ruffled dancing figures, men and women, in a dark tonal setting by Goya, 1823.

If she danced at sea, she took what she found. Cheerful Disparate, pl. 12 (H : 259)

Francisco Goya, 1823

Etching of a man strapped to a large bat-like wing flying through a dark sky, with other gliding figures nearby.

Way of flying. Where there is desire there is strength, pl. 13 (H : 260)

Francisco Goya, 1823

Etching of grotesque masked carnival figures in exaggerated poses, one in a tall pointed hat, against a dark landscape.

Carnival joys, tomorrow you will be ashes. Carnival Disparate, pl. 14 (H : 261)

Francisco Goya, 1823

Dark etching of a crowd beneath a swirling cloth, with figures reaching upward on the right and a robed figure on the left.

Without recommending oneself to God or the devil. Clear Disparate, pl. 15 (H : 262)

Francisco Goya, 1823

Etching of hooded and cloaked figures in a dark night scene, with a pointing man at right and a winged form above.

Wounds heal but not bad words. Triple Disparate, pl. 16. (H : 263)

Francisco Goya, 1823

Dark etching of grotesque figures gathered around a seated old woman and a small dog, with a laughing man pointing.

Loyalty. He who does not love you, slanders you by mocking. Quiet folly, pl. 17 (H : 264)

Francisco Goya, 1823

Etching of hooded figures gathered at night around a reclining body, with a kneeling woman looking up at an old man pointing.

God creates them and they get together. Funeral folly, pl. 18 (H : 265)

Francisco Goya, 1823

Engraved interior of a vaulted hall with a crowd in period dress around a central table set for a funeral banquet.

Funeral procession of Charles the third of that name, Duke of Lorraine, held at Nancy in the year 1608, third of the…

Friedrich Brentel, 1609

Engraved view of a Gothic church interior with hooded mourners, soldiers, candles and heraldic shields for a funeral.

Funeral procession of Charles the third of that name, Duke of Lorraine, held at Nancy in the year 1608, sixth of the…

Friedrich Brentel, 1609