Francisco José de Goya y Lucientes

The artist's son, Javier Goya y Bayeu (by 1828);
his son, Mariano Goya y Goicochea (by 1854);
Federico de Madrazo and/or Roman Garretta y Huerta (by circa 1855-1860);
Paul Lebas, Paris,
his sale, Paris, Hôtel Drouot, 3 April 1877, lot 34 ('Les Portefaix') to Baron de Beurnonville,
his sale, Paris, Hôtel Drouot, 16-19 February 1885, in lot 49, to Emile Louis Dominique Calando, Paris (L.837),
sale, following his death, Paris, Hôtel Drouot, 11-12 December 1899, in lot 71, to Auger (an assumed buyer's name, signifying Calando's son, Emile Pierre Calando, who bought back most of the Goya drawings from his father's collection, which were offered for sale for family reasons),
Emile Pierre Calando, until sold around around 1947, to the dealer Catroux, acting for Jacques Dubourg,
by inheritance to the present owners

Paris, Musée Jacquemart-André, Francisco Goya y Lucientes 1746-1828, 1961-62, no. 176

P. Gassier and J. Wilson, Goya, his life and work, London 1971, p. 294, no. 1481;
P. Gassier, The Drawings of Goya: The Complete Albums, London 1973, p. 488, no. F.60 [326], p. 498, under no. F.92, reproduced p. 438;
J. Wilson-Bareau, Goya drawings from his private albums, exhib. cat., London, Hayward Gallery, 2001, pp. 186-7, under no. 65

Laid down on the original pink album sheet, which is hinged to the mount at the top. Small repaired tear, centre left edge, and light brown stain on that tear. Small dark brown mark, bottom centre. One or two other light foxing marks, but overall condition good and strong. Sold unframed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

See note to the previous lot. 

The theme of men carrying heavy bundles occurs twice in this very varied album; the other example is the drawing, album F no. 92, also formerly in the Calando and Dubourg collections, and now in the Louvre.  As Pierre Gassier observed, in the present drawing, Goya portrays these men "like anonymous beasts of burden", while in the Louvre sheet, the single porter is "so much weighed down by his huge load that his faceless body is reduced to a pair of hands and legs supporting his monstrous burden."¹   He also suggested that given how much the two men in the present drawing are struggling to carry their loads, they might be bearing ore or other heavy materials from a mine, further commenting that "Its relief and movement make this very spare drawing one of the finest in the album."²  Whether or not Gassier's assumption regarding the nature of these burdens is true, the image remains a powerful one of heroic labour, a theme which, as Juliet Wilson-Bareau has noted, was one that Goya often combined with attacks on those who exploited the vulnerable peasantry.³

1.  Gassier, op. cit. 1973, p. 498
2.  Ibid., p. 488
3.  Wilson-Bareau, loc. cit.