Fraud Blocker Skip to main content

1746 Collection (#11)

In the year 1746, amidst a tumultuous period in history, several significant events unfolded

Background image1746 Collection: Alcantara, 14th Count of Miranda del Castaar

Alcantara, 14th Count of Miranda del Castaar
GOYA Y LUCIENTES, Francisco de (1746-1828); ALCANTARA LOPEZ DE ZUIGA, Pedro (18th century). 14th Count of Miranda del Castaar

Background image1746 Collection: The Count of Floridablanca

The Count of Floridablanca
GOYA Y LUCIENTES, Francisco de (1746-1828). The Count of Floridablanca. Detail. Oil on canvas

Background image1746 Collection: Apparition of the Virgin of the Pillar

Apparition of the Virgin of the Pillar
GOYA Y LUCIENTES, Francisco de (1746-1828). Apparition of the Virgin of the Pillar. Sketch for the painting of the same title

Background image1746 Collection: Self-Portrait, Goya

Self-Portrait, Goya

Background image1746 Collection: Bayeu Y Subias

Bayeu Y Subias
BAYEU Y SUBIAS, Ramn (1746-1793); BAYEU Y SUBIAS, Francisco (1734-1795); GOYA Y LUCIENTES, Francisco de (1746-1828)

Background image1746 Collection: Picnic on the Banks of the Manzanares

Picnic on the Banks of the Manzanares
GOYA Y LUCIENTES, Francisco de (1746-1828). Picnic on the Banks of the Manzanares. SPAIN. San Lorenzo de El Escorial

Background image1746 Collection: Fisherman with Rod

Fisherman with Rod
GOYA Y LUCIENTES, Francisco de (1746-1828). Fisherman with Rod. Tapestry of the Royal Tapestry Factory from a cartoon

Background image1746 Collection: Boys Climbing a Tree

Boys Climbing a Tree
GOYA Y LUCIENTES, Francisco de (1746-1828). Boys Climbing a Tree. 1791-1792. Oil on canvas

Background image1746 Collection: The Duchess of Alba Arranging Her Hair

The Duchess of Alba Arranging Her Hair
GOYA Y LUCIENTES, Francisco de (1746-1828). The Duchess of Alba Arranging Her Hair. Drawing

Background image1746 Collection: No one has seen us. Plate 79 of Los Caprichos

No one has seen us. Plate 79 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). No one has seen us. Plate 79 of Los Caprichos, etching, burnished aquatint

Background image1746 Collection: The Countess of Chinchon

The Countess of Chinchon
GOYA Y LUCIENTES, Francisco de (1746-1828). The Countess of Chinchon. Portrait of Manuel Godoys wife, niece of King Charles IV

Background image1746 Collection: Isidoro Maiquez. Detail

Isidoro Maiquez. Detail

Background image1746 Collection: Bullet Production

Bullet Production

Background image1746 Collection: The Washerwomen

The Washerwomen
GOYA Y LUCIENTES, Francisco de (1746-1828). The Washerwomen. SPAIN. San Lorenzo de El Escorial

Background image1746 Collection: The Clothed Maja. Detail of the face and the arms

The Clothed Maja. Detail of the face and the arms
GOYA Y LUCIENTES, Francisco de (1746-1828). The Clothed Maja. Detail of the face and the arms. Oil on canvas

Background image1746 Collection: For not having written for fools

For not having written for fools
GOYA Y LUCIENTES, Francisco de (1746-1828). For not having written for fools. Drawing from the Album C

Background image1746 Collection: El Diablo los junta

El Diablo los junta
GOYA Y LUCIENTES, Francisco de (1746-1828). El Diablo los junta. Sanguine drawing. Drawing

Background image1746 Collection: He fell for the trick

He fell for the trick
GOYA Y LUCIENTES, Francisco de (1746-1828). He fell for the trick. Drawing from the series Prisiones, Suplicios y Libertad

Background image1746 Collection: Gran mano para hurtar sonajas (porque era tr mulo)

Gran mano para hurtar sonajas (porque era tr mulo)
GOYA Y LUCIENTES, Francisco de (1746-1828). Drawing

Background image1746 Collection: Strange Dream. Drawing from Album B

Strange Dream. Drawing from Album B
GOYA Y LUCIENTES, Francisco de (1746-1828). Strange Dream. Drawing from Album B. Drawing

Background image1746 Collection: Soon she will be free

Soon she will be free
GOYA Y LUCIENTES, Francisco de (1746-1828). Soon she will be free. Wash drawing from the topic Prisiones, Suplicios y Libertad

Background image1746 Collection: Despierta inocente

Despierta inocente
GOYA Y LUCIENTES, Francisco de (1746-1828). Despierta inocente. Wash drawing from the topic Prisiones, Supliciosly Libertad

Background image1746 Collection: Modern Judith?

Modern Judith?
GOYA Y LUCIENTES, Francisco de (1746-1828). Modern Judith? 1797 - 1798. Sanguine. Drawing

Background image1746 Collection: Abducting horse. Plate 10 of Proverbs

Abducting horse. Plate 10 of Proverbs
GOYA Y LUCIENTES, Francisco de (1746-1828). Abducting horse. Plate 10 of Proverbs, etching, aquatint and drypoint. Engraving

Background image1746 Collection: Plate 16 of Proverbs. Preparatory drawing

Plate 16 of Proverbs. Preparatory drawing

Background image1746 Collection: Happy fantasy. Plate 12 of Proverbs

Happy fantasy. Plate 12 of Proverbs
GOYA Y LUCIENTES, Francisco de (1746-1828). Happy fantasy. Plate 12 of Proverbs, etching, aquatint and drypoint. Engraving

Background image1746 Collection: There they go, plucked. Plate 20 of Los Caprichos

There they go, plucked. Plate 20 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). There they go, plucked. Plate 20 of Los Caprichos, etching, burnished and drypoint

Background image1746 Collection: Los Caprichos. Preparatory drawing for plate 72

Los Caprichos. Preparatory drawing for plate 72
GOYA Y LUCIENTES, Francisco de (1746-1828). Los Caprichos. Preparatory drawing for plate 72 of Los Caprichos. Drawing

Background image1746 Collection: Edad con desgracias

Edad con desgracias
GOYA Y LUCIENTES, Francisco de (1746-1828). Edad con desgracias. Paintbrush and sepia ink drawing. Drawing

Background image1746 Collection: Los Caprichos. Preparatory drawing for plate 32

Los Caprichos. Preparatory drawing for plate 32
GOYA Y LUCIENTES, Francisco de (1746-1828). Los Caprichos. Preparatory drawing for plate 32 of Los Caprichos. Drawing

Background image1746 Collection: They ve already got a seat. Plate 60 of Los Caprichos

They ve already got a seat. Plate 60 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). They ve already got a seat. Plate 60 of Los Caprichos, etching and burnished

Background image1746 Collection: Because she was susceptible. Plate 32 of Los Caprichos

Because she was susceptible. Plate 32 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Because she was susceptible. Plate 32 of Los Caprichos, etching. Engraving

Background image1746 Collection: Blow. Plate 69 of Los Caprichos

Blow. Plate 69 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Blow. Plate 69 of Los Caprichos, etching, aquatint, drypoint and burin

Background image1746 Collection: Yes, he broke the pot. Plate 25 of Los Caprichos

Yes, he broke the pot. Plate 25 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Yes, he broke the pot. Plate 25 of Los Caprichos, etching, aquatint

Background image1746 Collection: Riddle of fear. Plate 2 of Proverbs

Riddle of fear. Plate 2 of Proverbs
GOYA Y LUCIENTES, Francisco de (1746-1828). Riddle of fear. Plate 2 of Proverbs, etching, aquatint and drypoint. Engraving

Background image1746 Collection: Poor little girls!. Plate 22 of Los Caprichos

Poor little girls!. Plate 22 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Poor little girls!. Plate 22 of Los Caprichos, etching and burnished aquatint

Background image1746 Collection: Here comes the bogeyman. Plate 3 of Los Caprichos

Here comes the bogeyman. Plate 3 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Here comes the bogeyman. Plate 3 of Los Caprichos, etching and burnished aquatint

Background image1746 Collection: Be quick, they are waking up. Plate 78 of Los Caprichos

Be quick, they are waking up. Plate 78 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Be quick, they are waking up. Plate 78 of Los Caprichos. Etching

Background image1746 Collection: God forgive her: and it was her mother. Plate 16 of Los Capr

God forgive her: and it was her mother. Plate 16 of Los Capr
GOYA Y LUCIENTES, Francisco de (1746-1828). God forgive her: and it was her mother. Plate 16 of Los Caprichos, etching

Background image1746 Collection: he fleeces him. Plate 35 of Los Caprichos

he fleeces him. Plate 35 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). She fleeces him. Plate 35 of Los Caprichos, etching and burnished aquatint

Background image1746 Collection: Hobgoblins. Plate 49 of Los Caprichos

Hobgoblins. Plate 49 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Hobgoblins. Plate 49 of Los Caprichos, etching and aquatint. Etching; Engraving

Background image1746 Collection: You will not escape

You will not escape

Background image1746 Collection: What use is one cup

What use is one cup
GOYA Y LUCIENTES, Francisco de (1746-1828). What use is one cup. Etching

Background image1746 Collection: When day breaks we will be off, Plate 71 of Los Caprichos

When day breaks we will be off, Plate 71 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). When day breaks we will be off. etching, burnished

Background image1746 Collection: Carnival Scene, Plate 6 of Los Caprichos

Carnival Scene, Plate 6 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Los Caprichos. Plate 6 of Los Caprichos, etching and aquatint. Carnival scene. Etching;

Background image1746 Collection: Francisco de Goya y Lucientes, painter. Capricho plate 1

Francisco de Goya y Lucientes, painter. Capricho plate 1
GOYA Y LUCIENTES, Francisco de (1746-1828). Francisco de Goya y Lucientes, painter. Capricho plate 1, etching, aquatint

Background image1746 Collection: Can t anyone untie us? Plate 75 of Los Caprichos

Can t anyone untie us? Plate 75 of Los Caprichos

Background image1746 Collection: Tantalus, Plate 9 of Los Caprichos

Tantalus, Plate 9 of Los Caprichos
GOYA Y LUCIENTES, Francisco de (1746-1828). Tantalus. Plate 9 of Los Caprichos, etching and burnished aquatint. Etching;



All Professionally Made to Order for Quick Shipping

In the year 1746, amidst a tumultuous period in history, several significant events unfolded. Charles and Flora McDonald found themselves caught up in the aftermath of the Battle of Culloden, a brutal conflict that forever changed Scotland's fate. Meanwhile, Johann Sebastian Bach continued to compose masterpieces as a renowned German composer and organist. As tensions simmered after the Battle of Culloden, Charles and Flora McDonald embarked on a daring escape from Ruthven Barracks. Their bravery and resilience became emblematic of their unwavering loyalty to Bonnie Prince Charlie. Incarceration awaited many who supported Bonnie Prince Charlie's cause, with countless women finding themselves imprisoned for their allegiance. Their stories serve as testaments to their strength in the face of adversity. Amidst these turbulent times, Charles sought refuge at Doune Castle in 1746. This picturesque location served as both sanctuary and backdrop for his endeavors during this pivotal year. Artistic expressions also emerged during this era; Goya captured the essence of these events through his poignant postcards that depicted scenes from Culloden Battlefield. These visual representations provided glimpses into the grim realities faced by those involved. The Battle of Culloden itself remains etched in history as one of Scotland's most devastating conflicts. The battlefield serves as hallowed ground where brave warriors fought valiantly for their beliefs. Ultimately, 1746 stands as a testament to human resilience amidst political turmoil and societal upheaval, and is an era marked by courage, artistic expression, and unwavering loyalty – reminding us that even in our darkest moments, hope can still shine through.