Philip IV on Horseback
Jollivet, Pierre-Jules -Lithographer- (Author of the original work: Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de -Director-; Real Establecimiento Litográfico de Madrid -Printer-
- Jollivet, Pierre-Jules -Lithographer- (Author of the original work: Velázquez, Diego Rodríguez de Silva y)
- Madrazo y Agudo, José de - Director
- Santander (Spain), 1781 - Madrid (Spain), 1859 - Director
- Real Establecimiento Litográfico de Madrid - Printer
- Madrid (Spain), 1825 - Madrid (Spain), 1837 - Printer
Not on display
The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcelón and Nicolás Barsanti, who reproduced The Labors of Hercules after the fresco that Luca Giordano had painted between 1777 and 1785.
On November 16, 1789, Charles IV authorized the founding of the Company for the engraving of paintings from the Royal Palaces in order to spread knowledge of the wealth of the Royal Collections in a manner comparable to other European countries. This private enterprise received royal protection and its partners were noblemen from Madrid, including the Duke of Osuna and José Nicolás de Azara, who contacted the French and Italian engravers charged with the task. At first, the artistic direction was handled by Manuel Salvador Carmona and Francisco Bayeu, who respectively supervised engravings and drawings. According to the collection’s Subscription Plan, the prints were published in series of six issues, beginning in February 1794. The price for subscribers was 288 reals per issue, while non-subscribers were charged 360 reals. An additional “100 prints without words” were pulled and these were sold at twice the price of the others (Continuación del Memorial Literario, intructivo y curioso de la Corte de Madrid. Vol. I, [August], Imprenta Real, 1793, pp. 257-63).
Flagging sales and increasing costs gradually weakened the Company’s economic stability, calling for increased private support. The poor quality of the drawings and their predominantly religious subject matter, as Azara argued, as well as a certain degree of disorganization- an absence of order or classification, as well as unequal formats -made it difficult to bind these prints or to hang them together in cabinets, and all this led the project into bankruptcy in barely ten years. In 1800, it was proposed to the king that Calcografía Nacional defray the project’s costs, and in 1812 the plates and other materials were deposited at the Royal Press. Finally, in 1818, the plates themselves entered Calcografía Nacional (Vega, J., Museo del Prado. Catálogo de estampas, Museo del Prado, 1992, pp. 222-223).
In all, 74 copper plates were engraved from a total of 95 drawings commissioned for the collection. Calcografía Nacional received 50 plates, including the 24 that had already been published by the Company and 26 more. The remaining 24 had actually been engraved, but the engravers had never delivered them to the Company (Carrete, J., El grabado calcográfico en la España Ilustrada, 1978, pp. 28-31).
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Tags
1826 1829 Armor Baton, Captain General's Crayon lithography Gloves
Hat Lithographic aquatint Print Scraper Wove paper
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- Inventory number
- G002286
- Authors
- Jollivet, Pierre-Jules -Lithographer- (Author of the original work: Velázquez, Diego Rodríguez de Silva y); Madrazo y Agudo, José de -Director-; Real Establecimiento Litográfico de Madrid -Printer-
- Title
- Philip IV on Horseback
- Date
- 1826 - 1829
- Technique
- Lithographic aquatint; Crayon lithography; Scraper
- Support
- Wove paper
Second support: Wove paper - Dimension
- Height: 606 mm; Width: 460 mm; Alto segundo soporte: 750 mm; Ancho segundo soporte: 540 mm; Alto de la mancha: 390 mm; Ancho de la mancha: 344 mm
- Series
- “Colección litográfica de cuadros del rey de España el señor don Fernando VII”, Madrid, Real Establecimiento litográfico, 1829-1832, t. I.
- Provenance
- Collection of Edward Gordon Douglas-Pennant, I Baron Penrhyn of Llandegai (1800-1886), United Kingdom; heirs of Edward Gordon Douglas-Pennant, United Kingdom; Eduardo Moreda; Artemis Fine Arts Limited, London; acquisition 2000.
Bibliography +
Biblioteca Nacional (España)Sección de Estampas, Iconografía hispana: catálogo de los retratos de personajes, Biblioteca Nacional, 1966, pp. ,2948-89.
Biblioteca Nacional de España, Repertorio de grabados españoles en la Biblioteca Nacional, Ministerio de Cultura, Secretaría General Técnica..., 1981, pp. 57, n. 1107-1.
Origen de la litografía en España: el Real Establecimiento Litográfico, Fábrica Nacional de Moneda y Timbre, Madrid, 1990, pp. 367, n. 112.
Vega, Jesusa, Museo del Prado: catálogo de estampas, Museo del Prado, Madrid, 1992, pp. 246, n. 1218.
Velázquez en blanco y negro, Museo del Prado, Madrid, 2000, pp. 94-104 y p. 211.
Obras adscritas al Museo Nacional del Prado en el año 2000, Boletín del Museo del Prado, XIX, 2001, pp. 204.
Museo Nacional del Prado, El Palacio del Rey Planeta, Museo Nacional del Prado, Madrid, 2005, pp. 116.
Other inventories +
Inv. Nuevas Adquisiciones (iniciado en 1856). Núm. 2286.
Inscriptions +
D. Velazquez lo pintó. — J. de Madrazo lo dirigió. — J. Jollivet lo // FELIPE IV. / El cuadro original existe en el Rl. Museo de Madrid. // Imp. en el Rl. Esto. lito de Madrid.
Lettered in the plate. Front, lower area
J. Jollivet lo
Lettered in the plate. Front, Lower right area
Imp. en el Rl. Esto. lito de Madrid.
Lettered in the plate. Front, lower right corner
[Sello en seco circular con el texto alrededor del escudo real]: REAL ESTABLECIMIENTO LITHOGRAPH. — DE MADRID.
Dry seal. Front, lower left area
D. Velazquez lo pintó.
Lettered in the plate. Front, lower left area
J. de Madrazo lo dirigió.
Lettered in the plate. Front, lower central area
Update date: 08-06-2023 | Registry created on 14-07-2016
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