Folio Society Published Works Number 3297
Goya - Goya: Disasters of War Limited Edition
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Goya - Goya: Disasters of War Limited Edition (Published in by The Folio Society in 2014. The first edition to reproduce Goya's own prints of these momentous etchings. Facsimile volume - Edition limited to 980 hand-numbered copies. 11.75" x 8.25". 176 pages with 85 illustrations. Printed on Insize Chagall Candido. Endpapers hand-marbled by Jemma Lewis. Bound in full leather with a gold-blocked leather titling label on the spine. Goya's signature printed on bottom page edges. Commentary volume. 11.75" x 8.25". 72 pages with 23 integrated colour illustrations. Set in Bell with DeVinne display. Printed on Veltique paper. Bound in Balmoral cloth with letterpress printed label on front board. Blocked on spine and front board. . Solander Box. Balmoral cloth with Wibalin lining. Letterpress label inset on front board. 'Fatal consequences of the bloody war in Spain with Bonaparte, and other emphatic caprices' was the title of the manuscript Francisco de Goya gave to his friend Ceán Bermúdez an art critic and collector. This collection of 85 etchings contained some of the most powerful images of the horrors of war ever created and is now considered a forerunner of modern war reportage. This facsimile is the first reproduced from those proofs and thus bears the closest likeness to Goya's conception of the Disasters. The images in the Disasters of War were created over the period of a decade. For each, Goya created preparatory drawings, mostly in red chalk, some in ink and wash. When working on the etchings he experimented with copper plates of varying size and a range of papers and inks. Almost 500 individual proofs of the Disasters survive; however, the one set which can be regarded as definitive is contained in the album that Goya gave to his great friend Ceán Bermúdez, titled on the spine – somewhat confusingly – 'Capricho de Goya'. Now housed in the British Museum, it provides information about Goya's intentions not found anywhere else. It alone bears Goya's original title for the work, his signature, written on the closed page edges of the album, and the captions for each etching, hand-written in pencil by the artist himself. This facsimile is the first reproduced from Goya's proofs, and thus bears the closest likeness to Goya's conception of the Disasters. To achieve an exact match with the originals, four printings were employed, comprised of a pale cream to match the paper shade and three different blacks which together give the intensity and tonal variety of the original prints. The antique laid paper is also as close a match as possible to that used by Goya. )
