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Portrait of Don Ramón Satué
Francisco José de Goya y Lucientes (1746-1828), oil on canvas, 1823
Goya owes his fame to his portraits of the Spanish court and to his idiosyncratic prints. He had already turned 76 when he painted this powerful portrait. Satué was a judge in the highest tribunal of Castile. The casual pose and open collar have an informality that Goya usually reserved for portraits of his most intimate friends.
- Artwork typepainting
- Object numberSK-A-2963
- Dimensionsheight 135.5 cm x width 112 cm x depth 7 cm, height 107 cm x width 83.5 cm
- Physical characteristicsolieverf op doek
Stories
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Identification
Title(s)
- Don Ramón Satué (1765-1824). Rechter van de vijfde kamer van de raad van Kastilië, gevestigd in La Corte (former title)
- Portrait of Don Ramón Satué y Allué (1765-1824)
- Don Ramón Satué (1765-1824). Alcalde de Corte (Judge of the Fifth Chamber of the Council of Castile in La Corte) (former title)
Object type
Object number
SK-A-2963
Description
Portret van Don Ramón Satué. Lid van de Sala de Alcaldes de Corte per la Audiencia Territorial de Madrid. Heupstuk, naar links, staande met de handen in de zakken.
Inscriptions / marks
signature, date and inscription, lower left: ‘D. Ramon Satue / Alcalde d corte / Pr Goya 1823’
Catalogue reference
- E.R. Meyer, Openbaar Kunstbezit IV, nr. 15 (1960)
- Sánchez Cantón, Goya, (1954), p. 130
- Peter Hecht, 'Een collectie verrijkt : Bijzondere gasten in Museum Boijmans Van Beuningen', Bulletin van de Vereniging Rembrandt 20 (2010) nr. 3, p. 6 (afb.).
- A. Erftemeijer, Een Eeuw in Beeld, Kunstbeeld, 15e jrg. , nr. 3 (maart 1991), p. 15
- Bulletin van de Vereniging Rembrandt, jrg. 15, nr. 1 (voorjaar 2005), p. 29-31
- R. Oertel, F. de Goya, 1907, p. 140
- Kunstschrift, nr. 6 (1986), p. 192, 193, afb. 9
- L. Amandry, The Collection of Dr. Carvallo at Paris II, The Burlington Magazine VI (1904/05), p. 185
- Antiek, jrg. 5,nr. 2 (1970), p. 84, 86
- R.L. Delevoy, 1954, Pl. 62
- J. Guidol, Francisco Goya, Arte Illustrata IV (1971), p. 7
- V. Bloch, Goya in Paris, Pantheon (1962), p. 179, afb. 3
- A. de Beruete y Moret, Goya, 1928, p. 84, pl. 33
- G. Luijten, ''De veelheid en de eelheid' : een Rijksmuseum Schmidt-Degener', Nederlands Kunsthistorisch Jaarboek 35 (1984), p. 352-353, afb. 2.
- A.L. Mayer, Einige Bemerk. zur Gesch. der Entw. des Malers Goya, Zeitschrift für Bild. Kunst (1922), p. 68
- I. Montijn, Juwelen van zwerfkeien, Bulletin van de Vereniging Rembrandt, nr. 2 (2000), p. 26-28
- D. Bull en A. Krekeler et al., 'An intrusive portrait by Goya', in Burlington Magazine sept.-okt. 2011
- P. Hecht, Kunstschrift, nr. 3 (1996), p. 43
- A.L. Mayer, Gesch. der Span. Malerei, 1922, cat.nr. 484
Creation
Creation
painter: Francisco de Goya
Dating
1823
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Material and technique
Physical description
olieverf op doek
Material
Dimensions
- height 135.5 cm x width 112 cm x depth 7 cm
- height 107 cm x width 83.5 cm
This work is about
Person
Subject
Acquisition and rights
Credit line
Purchased with the support of the Vereniging Rembrandt
Copyright
Provenance
? Presented by the artist to the sitter, Don Ramón Satué y Allué (1765-1824), Madrid, 1823; transferred to Satué´s native home, Fanlo, near Huesca, presumably as the property of his brother, Pedro Satué, January 1825;{The portrait was sent by the sitter´s executor and cousin, José Duaso y Latre; letter from José Duaso to Pedro Satué, 8 January 1825. Transcribed in M. García Guatas, `Nuevos datos sobre dos aragoneses retratados por Goya´, _Goya: Revista de arte_ 42 (1996), no. 252, pp. 326-30, esp. p. 330: `El retrato del difunto está para ser embiado a su casa nativa, siendo ésta una de las cosas que me confió.´}...; ? collection Marquis of Heredia, Madrid;{Heredia´s ownership is first signalled in X. Desparmet Fitz-Gerald, _L´oeuvre peint de Goya: catalogue raisonné_, 4 vols., Paris 1928-50, II, p. 225, no. 514, and is repeated in all subsequent literature, but there seems to be no evidence for it. It is almost certainly a confusion with no. 4 in the catalogue for the sale, Benito Garriga, Paris (Bloche, Haro, Escribe), 24 March 1890: `Portrait de la maîtresse de Goya´, there said to be from the `Ancienne collection du marquis de Heridia´. That is the painting now in the National Gallery of Art in Washington, inv. no. 177: 1963.4.2 (for which see P. Gassier and J. Wilson, _Goya: His Life and Work: With a Catalogue Raisonné of the Paintings, Drawings and Engravings_, London 1971, no. 835), which was listed as in the collection of Narciso Heredia y Begines de los Ríos, 1st Marquis of Heredia, in C. Yriarte, _Goya: Sa biographie, les fresques, les toiles, les tapisseries, les eaux-fortes et le catalogue de l´oeuvre_, Paris 1867, p. 138.}…; collection Benito Garriga, Madrid, by 1887;{C. Muñoz y Manzano Viñaza, _Goya: Su tiempo, su vida, sus obras_, Madrid 1887, p. 165, no. CXXVII. The Garriga collection is erroneously placed in Barcelona in L. Amaudry, `The Collection of Dr. Carvallo at Paris, II: Spanish and Other Later Pictures´, _The Burlington Magazine_ 6 (1904), pp. 179-87, esp. p. 185.} his sale, Paris (Escribe and Haro), 24 March 1890, no. 3, fr. 1,500;...; sale, Paris (Lair-Dubreuil and Haro), 27 May 1902 _sqq._, no. 21, fr. 9,500, to Dr Joachim Carvallo (1869-1936), Château de Villandry, near Tours; by whom to Duveen Brothers, London and New York, 1919;{E. Fowles, _Memories of Duveen Brothers_, London 1976, pp. 111-12.} from whom purchased by the museum, with SK-A-2964,{Jacopo Tintoretto, _Portrait of a Man with a Red Cloak_.} fl. 65,000, with the support of the Vereniging Rembrandt, 1922{According to E. Fowles, _Memories of Duveen Brothers_, London 1976, p. 112, the price for the Goya was $ 20,000.}
Documentation
- E.R. Meyer, Openbaar Kunstbezit IV, nr. 15 (1960)
- Sánchez Cantón, Goya, (1954), p. 130
- Peter Hecht, 'Een collectie verrijkt : Bijzondere gasten in Museum Boijmans Van Beuningen', Bulletin van de Vereniging Rembrandt 20 (2010) nr. 3, p. 6 (afb.).
- A. Erftemeijer, Een Eeuw in Beeld, Kunstbeeld, 15e jrg. , nr. 3 (maart 1991), p. 15
- Bulletin van de Vereniging Rembrandt, jrg. 15, nr. 1 (voorjaar 2005), p. 29-31
- R. Oertel, F. de Goya, 1907, p. 140
- Kunstschrift, nr. 6 (1986), p. 192, 193, afb. 9
- L. Amandry, The Collection of Dr. Carvallo at Paris II, The Burlington Magazine VI (1904/05), p. 185
- Antiek, jrg. 5,nr. 2 (1970), p. 84, 86
- R.L. Delevoy, 1954, Pl. 62
- J. Guidol, Francisco Goya, Arte Illustrata IV (1971), p. 7
- V. Bloch, Goya in Paris, Pantheon (1962), p. 179, afb. 3
- A. de Beruete y Moret, Goya, 1928, p. 84, pl. 33
- G. Luijten, ''De veelheid en de eelheid' : een Rijksmuseum Schmidt-Degener', Nederlands Kunsthistorisch Jaarboek 35 (1984), p. 352-353, afb. 2.
- A.L. Mayer, Einige Bemerk. zur Gesch. der Entw. des Malers Goya, Zeitschrift für Bild. Kunst (1922), p. 68
- I. Montijn, Juwelen van zwerfkeien, Bulletin van de Vereniging Rembrandt, nr. 2 (2000), p. 26-28
- D. Bull en A. Krekeler et al., 'An intrusive portrait by Goya', in Burlington Magazine sept.-okt. 2011
- P. Hecht, Kunstschrift, nr. 3 (1996), p. 43
- A.L. Mayer, Gesch. der Span. Malerei, 1922, cat.nr. 484
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