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Religion: NT. Purification of the temple. Christ driving the money-changers from the temple with a whip.

Christ Driving the Money Changers from the Temple, c. 1570-75

El Greco (Domenikos Theotokopoulos)

G341

Portrait.

Self-Portrait with Dr. Arrieta, 1820

Francisco José de Goya y Lucientes

G306

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Baboon and Young, 1951

Pablo Picasso

G376

Religious. New Testament. Jesus Christ seated wearing a crown of thorns, meditating quietly on the Passion. Cross building tools are on the floor surrounding him (hammer, awl, nails and broom).

Man of Sorrows, c. 1560

Luis de Morales (called El Divino)

G341

Holy Family, 1613

Luis TristĂĄn

G341

Penitent Magdelene, c. 1650–65

Bartolomé Esteban Murillo

G340

%C2%A9 Salvador Dali%2C Gala-Salvador Dali Foundation %2F Artists Rights Society %28ARS%29%2C New York

Portrait of Juan de Pareja, the Assistant to VelĂĄzquez, 1960

Salvador Dali; Depicted: Juan de Pareja

G376

Romanesque relief-carved stone Calvary group showing Christ on the cross between standing figures of the Virgin Mary on the left and St. John the Evangelist on the right; Christ appears with a perizonium around his waist, his legs buckling to the left and his head raised but with heavy eyelids; Mary's hair is covered by a simple veil which encloses her left elbow and is held in her right hand, looking down, with her left hand raised to her face; Mary's mantle clings to her legs in a series of "damp fold" drapery swirls, and ruffles over her pointed shoes; John holds a book in the crook of his left arm, and with his right hand (fingers now missing) gestures up towards the body of Christ; John's bare feet protrude from under a long garment with a crinkled neckline; just visible above the surviving section of the patibulum of the cross are two small, rounded shapes that most likely formed the tips of a wing, presumably of an angel; five metal pins at top of lower portion for secure installation of heads of John and Mary and torso and head of Christ

Crucifixion, c. 1180

Spain

G340

Lion; standing on its four paws, the tail arched over the back; surface decorated with very fine granulation and tiny ringlets of twisted wire; gold

Statuette of a lion, 11th-12th century

Unknown

G243

Head of a woman.

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Head of a Woman, 1938

Joan MirĂł

G376

modified telephone; lobster receiver

%C2%A9 Salvador Dali%2C Gala-Salvador Dali Foundation %2F Artists Rights Society %28ARS%29%2C New York

Aphrodisiac Telephone, 1938

Salvador Dali

G376

Still life. Cubist.

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The Spanish Playing Cards, 1920

Joan MirĂł

G367

Woman in a white gown seated next to the sea. Picasso's Classical period.

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Woman by the Sea, 1922

Pablo Picasso

G371

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Woman in an Armchair, 1927

Pablo Picasso

G376

Still Life. Cubist.

Still Life, 1917

Juan Gris

G367

Hispano-Moresque Deep Basin with coat-of-arms of Aragon and Sicily.

Deep basin, after 1450

Spain

G243

UL corner is the Duque's Coat of Arms. This is also found on the set of Chinese Export china made for him (85.42.4.1-158), without the papal decoration.

Portrait of the Duque de Agrada, c. 1805

Unknown Spanish, late 17th - early 18th century

G209

standing infant with PL arm upraised; striding forward with PR leg; wearing gold, red and black garment tied with sash, and gold and red shoulder cloth; long dark hair; standing on five winged putto heads

Christ Child, one of a pair, c. 1640

Attributed to Felipe de Ribas

G341

standing infant with arms out, PL arm slightly upraised; thick, short hair; standing on rocky element; wearing brown and gilt garment trimmed in dark brown fur; gilt shoulder cloth

John the Baptist as a Child, one of a pair, c. 1640

Attributed to Felipe de Ribas

G341

seated figure of Mary with long, thick brown hair, wearing rich robes of gold, blue and red, holding nude baby Jesus on her lap, breastfeeding; Jesus' brown hair is styled in ringlets close to his head

Virgin of the Milk (Virgen de la leche), c. 1500

Circle of Gil de Siloe

G340

a. body; b.right arm; c. left arm; d-g. nails. [Culture formerly "Probably Sevilla, Spain" - FLB, 03/15/2016]

Corpus, c. 1700

Master of Guadalcanal

G341

view under an archway into an open-air arena; group of matadors wearing colorful outfits and black hats; three horses at right, with one man at far right in saddle; at center left, man in red adjusts shoe of matador in lavender and gold with another matador smoking a cigar; man in shadow at left; received unframed

Before the Bullfight, c. 1900

Joaquin Sorolla y Bastida

G355

Seated Harlequin, c. 1920

Juan Gris

G367

image of a young man with a halo and bobbed blonde hair wearing a red tunic and blue leggings riding a white horse; man also wears an oversized red cloak with a grey lining which he extends to cover the shoulders of a man in white loincloth with brown hair and beard and worn white headscarf, walking behind horse; young man extends sword back toward walking man

Saint Martin and the Beggar, c. 1375-85

Jaume Serra; Artist: Pere Serra

G343

central panel: seated Madonna with blonde wavy hair, wearing two strands of pearls, dark green dress with gold trim, and white cape; blonde baby Jesus wearing white garment with text around neckline, being held by Madonna; pink and green checkerboard floor; shield in LLC with trees and X's in green right panel: top half with image in grey and white of seated man holding a book with a small lamb on top of it; bottom half with image in grey and white of kneeling woman wearing crown, with hands held in prayer, with a spoked wheel behind her left panel: top half with image in grey and white of seated elderly man with beard, holding an open book in his PL hand and resting a large X-shaped cross on floor and on PR shoulder; bottom half with image in grey and white of man in outdoors kneeling on one knee, with hands in prayer; man accompanied by two dogs; stag in URC each portrait and center panel have gilt frame with foliate arched panel above it; black "frame"; exterior is reddish brown with multicolored spots--faux leather effect

Triptych of the Virgin and Child with Saints Andrew, John, Catherine, and Eustace, c. 1470-1480

Fernando Gallego

G342

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Text page from Sueño y Mentira de Franco (The Dream and Lie of Franco), 1937

Pablo Picasso; Author: Poem by Pablo Picasso

Not on View

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L'Aigle et la femme dans la nuit (Eagle and Woman at Night), 1938

Joan MirĂł; Printer: Atelier Lacouriere; Publisher: Pierre Loeb, Paris and Pierre Matisse, New York

Not on View

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Minotaure aveugle guidé par une fillette, III, 1934

Pablo Picasso

Not on View

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Dream and Lie of Franco, Plate 2, January 8 and 9, June 7, 1937

Pablo Picasso; Printer: Atelier Roger LacouriĂšre, Paris, France (etchings)

Not on View
Frontispiece

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Le Dedans & Le Dehors, 1966

Joan MirĂł; Publisher: Guy LĂ©vis Mano, Paris

Not on View
Blue-green paper album cover with printed paper title

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Cover from Sueño y Mentira de Franco (Dream and Lie of Franco), January 8 and 9, June 7, 1937

Pablo Picasso; Author: Pablo Picasso; Publisher: Pablo Picasso

Not on View

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Daphnis and Chloé, November 1933

Joan MirĂł; Printer: Printed at Atelier Lacouriere; Publisher: TĂ©riade, Paris, France

Not on View

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Montroig 3, 1974

Joan MirĂł; Publisher: Edicions PolĂ­grafa, Barcelona

Not on View

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Poem for Diane Bouchard, 1947

Joan MirĂł

Not on View

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Dream and Lie of Franco, Plate 1, January 8, 1937

Pablo Picasso; Printer: Atelier Roger LacouriĂšre, Paris, France (etchings)

Not on View

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Portrait of Ambrose Vollard, II, 1937 (printed and published 1939)

Pablo Picasso

Not on View
Bilbao Mirrors, pair, marble mosaic veneer, delicate shade of pink; gilded bead and reed molding next to glass. In the open work crest, wire scrolls, leaves and flowers surround oblong insert of veneer. The engaged columns in paneled inserts are surmounted by flower basket finials with characteristic leaf pendants below.

Bilbao mirror, one of a pair, c. 1790

Spain

Not on View

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Faun Uncovering a Woman, 1936

Pablo Picasso

Not on View

The Famous American, Mariano Cebellos, 1825

Francisco José de Goya y Lucientes; Printer: Cyprien Gaulon

Not on View
contemporary binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Franco Goya y Lucientes, Pintor, 1797-1798

Francisco José de Goya y Lucientes

Not on View

Giardino del Palazzo Vendramin, 19th-20th century

Martin Rico (Martin Rico y Ortega)

Not on View

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Maja, 1957

Antonio Saura

Not on View
Altar Frontal, depicting Saints Peter, John the Evangelist and Matthew, crimson velvet embroidered in gold metal threads with the saints depicted in polychrome silks on a silver metal enbroidered field.

Altar Frontal, c. 1550

Spain

Not on View
Brocade: ground of deep salmon ribbed silk, with large serpentine vine design in silver and salmon

Panel, 18th century

Spain

Not on View

Panel, 17th century

Spain

Not on View
Veil of silk blonde lace; made in strips and united by stitch called point de raccroc or "fine joining" consisiting of fresh stitch formed by needle between two pieces to be united; silk reseau, worked with broad flat strand.

Mantilla or veil, 19th century

Spain

Not on View

Scene from Don Quixote, 19th century

Daniel Urrabieta Vierge

Not on View

Indolence, 20th century

Miguel Mackinlay

Not on View

Madame X at the Grand Prix, c. 1899-1904

Ramon Casas

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

A Disheveled Woman, 1901

Pablo Picasso

Not on View
Panel of mustard yellow cut and uncut velvet brocade of armorial and rampant lion design, edged with gold braid and bordered with plain mustard yellow velvet.

Panel, 17th century

Spain

Not on View
Round doily of knitting.

Doily, 20th century

Spain

Not on View
Rectangle of ivory satin brocaded with figures of courtiers and ladies, rampant dogs and stags, couchant lions under palm trees, and large peacock, the latter with velvet necks and "eyes," separated from each other by stylized Renaissance fountains. The whole lined with apricot satin and edged with silk fringe of yellow, gold, ivory and turquoise. Last 8" cut away, leaving lining and fringe intact.

Panel, 17th century

Spain

Not on View
red velvet panel

Panel, 17th century

Spain

Not on View
Barber's bowl, ceramic-earthenware, Spanish, XVIIIc cracked down the middle of piece; cat. card dims diam of top at widest 14-3/8"

Barber's bowl, early 18th century

Spain

Not on View
Bizarre brocade work in ivory satin with green and red floral decoration; silk, gold, and silver threads

Panel, c. 1703

Spain

Not on View
Illustrated book, unbound with 31 plates, housed in green paper over boards chemise, and green paper over boards slipcase; artist and author name on spine of chemise

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Histoire naturelle: Eaux-fortes originales pour les textes de Buffon (Natural History: Original Etchings for Buffon's Text), 1936 (published 1942)

Pablo Picasso; Author: Georges Louis Leclerc, Comte de Buffon; Printer: Atelier Roger LacouriĂšre, Paris, France , (prints); Printer: Fequet et Baudier, Paris, France , (text); Publisher: Martin Fabiani, Paris

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Corps Perdu (Lost Body), 1950

Pablo Picasso; Author: Poems by AimĂ© CĂ©saire; Publisher: Éditions Fragrance , Paris; Printer: Pierre Bouchet, Paris, France (text and typography); Printer: Atelier Roger LacouriĂšre, Paris, France (prints)

Not on View
125 Lithographs in red of varying sizes, two on cover and 123 for the text; binding: loose in Arches wove wrappers with 2 lithographs on the front and back cover and spine; beige paper-covered protective boards with title panel pasted to the spine; slip case: beige paper-covered slip case

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Le Chant des Morts (The Song of the Dead), September 30, 1948

Pablo Picasso; Author: Poems by Pierre Reverdy; Publisher: TĂ©riade, Paris, France; Printer: Draeger FrĂšres, Paris, France , (text and type); Lithographer: Printed by Mourlot Freres, Paris (lithography)

Not on View

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The Horse, from Histoire Naturelle (Natural History), 1942

Pablo Picasso; Author: Georges Louis Leclerc, Comte de Buffon; Publisher: Martin Fabiani, Paris

Not on View
12 etchings by Picasso and 67 wood engravings after drawings by Picasso

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Le chef d'oeuvre Inconnu (The Unknown Masterpiece), 1931

Pablo Picasso; Author: Honoré de Balzac; Publisher: Ambroise Vollard; Woodcutter: Wood engraving by Georges Aubert, Paris, France; Printer: Louis Fort, Paris, France (etchings); Printer: Georges Aubert, Paris, France (wood engravings); Printer: Aimé Jourde, Paris, France , (text and typography)

Not on View

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L'Arbre des voyageurs (The Traveler's Tree), 1930

Joan Miró; Author: Tristan Tzara; Publisher: Éditions de la Montagne, Paris; Book Binder: Georges Leroux

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

The Cow from Histoire Naturelle (Natural History), 1942

Pablo Picasso; Author: Georges Louis Leclerc, Comte de Buffon; Publisher: Martin Fabiani, Paris

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

The Donkey, from Histoire Naturelle (Natural History), 1942

Pablo Picasso; Author: Georges Louis Leclerc, Comte de Buffon; Publisher: Martin Fabiani, Paris

Not on View

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Women, 1948

Joan Miró; Publisher: Maeght Éditeur, Paris

Not on View
Bible. New Testament. The Flight into Egypt. Mary, Joseph and the Christ Child. The Miraculous Field of Wheat. Matthew 2:13.

The Flight into Egypt, 1669

José Moreno

Not on View
inscribed female figures; earthenware and white pigments

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Vase, 1950

Pablo Picasso; Maker: Madoura Pottery, Vallauris, France

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Venus and Cupid, 1949

Pablo Picasso

Not on View

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Femme torero. Dernier baiser?, June 12, 1934

Pablo Picasso; Publisher: Atelier Roger LacouriĂšre, Paris, France; Printer: Atelier Roger LacouriĂšre, Paris, France

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Les Trois Amies (The Three Friends), 1927

Pablo Picasso

Not on View

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La Grande corrida, avec femme torero, September 8,1934

Pablo Picasso; Publisher: Atelier Roger LacouriĂšre, Paris, France; Printer: Atelier Roger LacouriĂšre, Paris, France

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

The Studio, 1948

Pablo Picasso

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Figure with Striped Blouse, 1949

Pablo Picasso

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

La filiacion, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Si sabrĂĄ mas el discipulo?, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Por que fue sensible, 1797-1798

Francisco José de Goya y Lucientes

Not on View
Plate 10

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Silencio, Silencio, 1970

Juan Genoves

Not on View

Garrotted Man, 1810-1813

Francisco José de Goya y Lucientes

Not on View
Plate 2

Rightly or Wrongly, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 7

What Courage, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 34

On Account of a Knife, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 26

One Can't Look, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 8

It Always Happens, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 16

They Make Use of Them, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 50

Unhappy Mother, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 9

They Don't Like It, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 39

ÂĄGrande hazaña! ÂĄCon muertos! (A Heroic Feat! With Dead Men!), 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 13

Bitter to be Present, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 12

This is What You Were Born For, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 10

Nor (Do-these) Either, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 24

They Can Still Be Of Use, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 40

Algun Partido Saca (He Gets Something Out Of It), 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 19

There isn't Time Now, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 57

The Healthy and The Sick, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View

Cover for Los Desastres de la Guerra, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 27

Charity, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 25

These Too, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
From "L' Homme se Balancant."; accessioned 1916

L' Homme GarottĂš, 18th century

Francisco José de Goya y Lucientes

Not on View
Plate 30

Estragos de la guerra (Ravages of war), 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 49

A Woman's Charity, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 17

They Do Not Agree, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 18

Bury Them and Keep Quiet, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 15

Y no hay remedio (And it cannot be helped)., 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 6

It Serves You Right, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 4

Las mugeres dan valor (The Women Give Courage), 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 21

It Will Be The Same, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 14

It's a Hard Step, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 37

This is Worse, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 58

It's No Use Crying Out, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 20

Get Them Well and On to the Next, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 3

The Same, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
After Velasquez. Probably included with bound set of Caprichos in MIA collection.

Infante Don Fernando, 1778

Francisco José de Goya y Lucientes; Artist: after Diego Rodriguez Velazquez

Not on View
Plate 35

One Can't Tell Why, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 23

The Same Elsewhere, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 1

Sad Foreboding of What is Going to Happen, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 28

Rabble, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 5

Y son fieras (And they are like wild beasts), 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 11

Two Heads Are Better Than One, 1816-1819

Francisco José de Goya y Lucientes

Not on View
Plate 14

Alegrias Antinejo, QuÚ Mañana Seras Ceniga (Foolishness at the Carnival), 1816-1819

Francisco José de Goya y Lucientes

Not on View
Plate 79

Truth Has Died, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 52

They Do Not Arrive In Time, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 59

What is the Use of a Cup?, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 77

May The Cord Break, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 78

He Defends Himself Well, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 43

This Too, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 3

Andarse por las ramas (To go amongst the Branches, i.e., to Talk through one's Hat), 1816-1819

Francisco José de Goya y Lucientes

Not on View

Mort de Pepe Illo (2nd compostion), plate E from Tauromaquia, 1816 (1876 edition)

Francisco José de Goya y Lucientes

Not on View
Plate 2

Por Temor no Pierdas Honor (Do not lose honour through fear), 1816-1819

Francisco José de Goya y Lucientes

Not on View
Plate 71

Against The Common Good, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 41

They Escape Through The Flames, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 55

The Worst Is To Beg, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Matted with print P.84.6., plate 33 from Los Caprichos

Al Conde Palatino, 18th Century

Francisco José de Goya y Lucientes

Not on View
Plate 68

What Madness!, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View

Al Conde Palatino, 1918-1928

Francisco José de Goya y Lucientes

Not on View
Plate 32

Por Que? (Why?), 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 10

Unbridled Folly, 1816-1819

Francisco José de Goya y Lucientes

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Le Singe, 1936

Pablo Picasso

Not on View
Plate 76

The Carnivorous Vulture, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 51

Thanks To The Millet, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 75

Charlatan's Show, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Le Combat, 1937

Pablo Picasso

Not on View
Plate 17

Él Que No te Ama, Burlandote te Difama, 1816-1819

Francisco José de Goya y Lucientes

Not on View
Plate 13

Modo de Volar (A Way of Flying), 1816-1819

Francisco José de Goya y Lucientes

Not on View
Plate 60

There Is No One To Help Them, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 45

And This Too, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 46

Esto es malo (This is bad), 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 61

Perhaps They Are Of Another Breed, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View
Plate 53

There Was Nothing To Be Done and He Died, 1810–1820 (published 1863)

Francisco José de Goya y Lucientes

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

De MĂ©moire d'Homme (In Living Memory), 1950

Pablo Picasso; Author: Poems by Tristan Tzara; Publisher: Bordas, Paris, France; Lithographer: Printed by Mourlot Freres, Paris (lithographs); Printer: George Girard, Paris, France (text and typography)

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ni asi la distingue, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Se repulen, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

¿Está Vm
 pues, Como digo
 eh! Cuidado! si no!..., 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Tu que no puedes, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Correccion, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Mala noche, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Aquellos polbos, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

De que mal morira?, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Que sacrificio!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Tantalo, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Buen viage, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Bien tirada estĂĄ, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

El de la rollona, 1797-1798

Francisco José de Goya y Lucientes

Not on View
Binding: paper with collotype (?) designs in brown, red, and blue; brown label attached, printed lettering; endpapers: white wove; slip case: paper over cardboard inner sleeve, blue, stamped lettring; lined with designs matching book sides, slip case of paper over cardboard, blue; type: Linotype Caslon; 118 pp.

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Lysistrata, 1934

Pablo Picasso; Author: Aristophanes; Translator: Gilbert Seldes; Publisher: The Limited Editions Club; Printer: The Limited Editions Club (text, typography, and reproductions); Printer: Atelier LacouriÚre et Frélaut, Paris, France (etchings)

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Duendecitos, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Tragala perro, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Quien lo creyera!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Pobrecitas!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Tal para qual, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

ÂżNo hay quien nos desate?, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Soplones, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

AllĂĄ vĂĄ eso, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Estan calientes, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Miren que grabes!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Quien mas rendido?, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Que se la llevaron, 1799

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Chiton, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Sopla, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

El amor y la muerte, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Muchachos al avĂ­o, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Brabisimo!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ensayos, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Nohubo remedio, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Linda maestra!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Las rinde el Sueño, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Hilan delgado, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Bellos consejos, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Si querbĂł el Cantaro, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

No te escaparĂ s, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

No grites, tonta, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

A caza de dientes, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Subir y bajar, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Mejor es holgar, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Unos ĂĄ otros, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Devota profesion, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ya es hora, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Si amanece; nos Vamos, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

¥Qual la descañonan!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Donde vĂĄ mamĂ ?, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Todos CaerĂĄn, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ya van desplumados, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Volaverunt, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

The Sleep of Reason Produces Monsters, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Esto si que es leer, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

El Vergonzoso, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Le descañona, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Porque esconderlos?, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Y se le quema la Casa, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Nadie nos ha visto, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Nadie se conoce, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Los Chinchillas, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ni mas ni menos, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Que pico de Oro!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Lo que puede un Sastre!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Asta su Abuelo, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Mucho hay que chupar, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Y aun no se van!, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ya tienen asiento, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Dios la perdone: Y era su madre, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Ruega por ella, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Obsequio ĂĄ el maestro, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Despacha, que dispiértan, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Hasta la muerte, 1797-1798

Francisco José de Goya y Lucientes

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

Aguarda que te unten, 1797-1798

Francisco José de Goya y Lucientes

Not on View
Dalmatic of red velvet with orphreys embroidered in gold thread and colored silks in a design of vases and floral arabesques. The medallion appliqued to the front represents the Virgin with the Baptist as a man. The side seams are finished with finely fringed braid in alternate red and yellow sections.

Dalmatic, 16th century

Spain

Not on View
group of grotesque or cartoonish abstract, overlapping figures on a green field with a blue sky; bird-like figure in ULQ in flight; bright colors of blue, green, yellow, reds and black

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris

Chez le Roi de Pologne, plate III from "Ubu Roi", 1966

Joan MirĂł; Publisher: TĂ©riade, Paris, France

Not on View
two five-story buildings on a city street; tile roofs; pedestrians on street; donkey or horse and cart at right; predominately blues and purples with touches of yellow and red

Azul, San Sebastian, c. 1900

Dario de Regoyos

Not on View
group of figures seen from behind, watching a bullfight; head of a bull visible through bars of railing at center

At the Bullfight, c. 1825-1845

Leonardo Alenza y Nieto

Not on View
PL hand with fingers outstretched; dark crosshatched shading

Left Hand, 17th century

Antonio del Castillo

Not on View
five sketches--four of seated men; sketch in ULC of a man seated, holding a pen, accompanied by a small angel; sketches at bottom center and LLC of seated men holding pens and tablets; sketch in LRC of a standing man with a pen; seated man in URC

Angelic Vision of a Bearded Man (Saint Jerome?), 17th century

Attributed to Alonso Cano

Not on View
Peter seated at center with shackles on his wrists and ankles broken, with arms held open, PR arm raised and PL arm down with hand near his PL thigh; Peter has curly hair and beard; angel at right touches Peter on shoulder and holds PL arm toward open doorway at right with view of buildings; two sleeping soldiers in foreground--figure on left holds his head in his PL hand, figure on right wears helmet and leans on his shield

Liberation of Saint Peter, 16th-17th century

Patricio Cajes

Not on View
bullfighter pulling on bull's PR horn and tail; two men standing at right

El Mismo vuelca un Toro en la Plaza de Madrid, plate 16 from Tauromaquia, 1816

Francisco José de Goya y Lucientes

Not on View
Four bulls with legs splaying, seemingly superimposed on top of each other; reddish-brown ink on tan paper; plain dark ground. Unsigned

Al toro y al aire darles calle (Make Way for Bulls and Wind), unpublished plate from "Los Proverbios" (The Proverbs), c. 1824 (published 1877)

Francisco José de Goya y Lucientes

Not on View
dark image; red jug with long neck and loop handle at left; two green apples and one red apple (tomato?) with a whitish fruit--partially hidden--behind them at left in front of jug; nuts of various sizes and types at bottom center--some on stems; bunches of grapes in lower corners; nuts on stems with leaves at right below center and to right of jug; grapevine in URQ with bunches of grapes; fruit or nut with bristly shell/skin in ULC

Still life with grapes, apples, chestnuts, almonds, acorns and a red clay bottle, 17th century

El Labrador (Juan Fernandez)

Not on View
image of a figure bound in chains, bent over with hands clasped together; ankles bound in heavy shackles; head with shaggy beard and hair turned to the L

Tan bĂĄrbara la seguridad como el delito, 1778-1818 (published 1867)

Francisco José de Goya y Lucientes

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Paysage a Vallauris, 1953

Pablo Picasso

Not on View
binding: mottled calf, gilt tooled with a green panel on spine lettered: CAPRICH DE GOYA; endpapers: contemporary Spanish marbled papers

El si pronuncian y la mano alargen al primero que llega, 1797-1798

Francisco José de Goya y Lucientes

Not on View
standing woman at center in a dark dress; man, holding his hat in his PR hand, looks very closely at woman's face with a small lens in his PL hand; two seated women in background

Ni asi la Distingue (Even so he cannot recognize her), from Los Caprichos, 1799

Francisco José de Goya y Lucientes

Not on View

%C2%A9 Artists Rights Society %28ARS%29%2C New York %2F ADAGP%2C Paris

Untitled, plate 7 from 'Joan Miró' by Jacques Prévert and Georges Ribemont-Dessaignes, 1956

Joan MirĂł; Publisher: Maeght, Paris

Not on View
thin bearded man with long limbs, lying on rocks with head bent upward against rock-pillow, hands on abdomen and feet on ground; small roaring lion at right

Death of Saint Jerome, 16th century

Blas de Prado

Not on View

%C2%A9 Estate of Pablo Picasso %2F Artists Rights Society %28ARS%29%2C New York

Joie de Vivre, c. 1956

Pablo Picasso

Not on View
white thread and silver metallic woven band

Trim, 19th century

Spain

Not on View
red and gold woven metallic band

Trim, 19th century

Spain

Not on View
gold metallic serpentine loop band

Trim, 19th century

Spain

Not on View
gold metallic fringe

Trim, 19th century

Spain

Not on View
silver metallic openwork lace in oak leaf design

Trim, 19th century

Spain

Not on View
silver metallic woven braid, crenalated design

Trim, 19th century

Spain

Not on View