Aquellos polbos, Plate 23 from: Los Caprichos
etching with burnished aquatint, drypoint and engraving, circa 1798-99 on laid paper, without watermark, a very good impression from the First Edition, published by the artist, Madrid, 1799, the burnished highlights contrasting well with the evenly printed dark background
Plate 216 x 146 mm.
Sheet 298 x 203 mm.
Presumably Manuel Fernández Durán y Pando, Marqués de Perales del Río (1818-1886), Madrid.
Don Pedro Fernández-Durán (1846-1930), Madrid; with his stamp (Lugt 747b); presumably by descent from the above.
Don Tomas de la Maza y Saavedra (1896-1975); gift from the above.
With Herman Shickman Fine Arts, New York.
With Stuart Denenberg, Los Angeles.
Private American Collection; acquired from the above.
Delteil 60; Harris 58
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Lot Essay

'The title alludes to the proverb: ‘From that dust comes this mud.’ In this scene, a woman brought up on charges by the Inquisition and seated, hands bound, on a platform, listens to her sentence: the death penalty, as indicated by the flames painted on the cap she is wearing. In attendance are numerous clerics with satisfied expressions, some looking with pleasure at the condemned woman, who shields herself from their gaze by bowing her head. A contemporary commentary condemns as unconscionable this punishment of a woman who has offered her services for little money to ‘the whole world’. This allusion to her clients no doubt includes the clergy, ‘that dust’ of the caption, who were responsible for creating victims of their own.’

S.L. Stepanek, J. Tomlinson, J. Wilson-Bareau, M.B. Mena Marqués, et al, Goya: Order & Disorder, Museum of Fine Arts, Boston, 2014, p. 297.
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