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lower left: Goya


Probably Serafín García de la Huerta [d. 1839], Madrid, inventory of 1840.[1] Marqués de Heredia, Madrid, by 1867.[2] Benito Garriga, Madrid, by 1887;[3] (his sale, Hôtel Drouot, Paris, 24 March 1890, no. 4). Hubert Debrousse; (his sale, Hôtel Drouot, Paris, 6 April 1900, no. 45), to Kraemer, Paris;[4] sold 1906 to (Durand-Ruel, Paris); purchased by Henry Osborne Havemeyer [1847-1907], New York;[5] his widow, Louisine W. Havemeyer, née Elder, [1855-1929], New York; their daughter, Mrs. P.H.B. Frelinghuysen, née Adaline Havemeyer, [1884-1963], Morristown, New Jersey; gift to NGA 1963.

Exhibition History

Loan Exhibition of Paintings by El Greco and Goya, M. Knoedler & Co., Inc., New York, 1912, no. 7.
A Loan Exhibition of Goya, Wildenstein, New York, 1950, no. 15, repro. 28.
Goya; Das Zeitalter der Revolutionen, 1789-1830, Kunsthalle, Hamburg, 1980-1981, 327, no. 296, color pl. 9.
On loan to Rijksmuseum, Amsterdam, 1981-1982.
Goya: The Condesa de Chinchon and Other Paintings, Drawings, and Prints from Spanish and American Private Collections and the National Gallery of Art, National Gallery of Art, Washington, D.C., 1986-1987, unpaginated brochure.
Splendid Legacy: The Havemeyer Collection, The Metropolitan Museum of Art, New York, 1993, no. 293.
Obras Maestras de la National Gallery of Art de Washington, Museo Nacional de Antropología, Mexico City, 1996-1997, unnumbered catalogue, 86-87, color repro.
Goya, un regard libre [Goya: Another Look], Palais des Beaux-Arts, Lille; Philadelphia Museum of Art, 1998-1999, no. 37, repro., as Jeune Femme en mantille ou La Femme du libraire.
Goya: La imagen de la mujer [Goya: Images of Women], Museo Nacional del Prado, Madrid; National Gallery of Art, Washington, D.C., 2001-2002, no. 72 (Spanish cat.), no. 37 (English cat.), color repro.
Goya, Museo Nacional de Arte, Mexico City, 2005-2006, no. 23, repro.

Technical Summary

The support is a medium-weight, plain-weave fabric which has been relined. Triangular additions at all four corners have converted the painting to a rectangle. In the original shape, the corners were diagonally cropped. The lower corner additions, which measure 18 x 18 cm along the side and bottom margins, are larger than the additions in the upper corners (9 x 9 cm).

The ground is a smooth, dull red layer, over which the paint layer is thinly applied. The paint layer is abraded throughout, especially in the background and the sitter's dress. These areas have been extensively retouched, as have the lower part of the face and the left eye.


Yriarte, Charles. Goya, sa biographie et le catalogue de l'oeuvre. Paris, 1867: 138.
Viñaza, Conde de la (Cipriano Muñoz y Manzano). Goya: su tiempo, su vida, sus obras. Madrid, 1887: 267.
Beruete y Moret, Aurelano de. Goya, pintor de retratos. Madrid, 1915: 176, pl. 22 (Also English ed. Translated by Selwyn Brinton. London, 1922: 85, pl. 24).
Mayer, August L. Francisco de Goya. Munich, 1923. Translated by Robert West [pseud.]. London, 1924: 171, no. 502.
Desparmet Fitz-Gerald, Xavier. L'oeuvre peint de Goya. 4 vols. Paris, 1928-1950: 2:168-169, pl. 375.
H. O. Havemeyer Collection. Catalogue of Paintings, Prints, Sculpture and Objects of Art. Portland, Maine, 1931: 317.
Marqués del Saltillo. "Colecciones madrileñas de pinturas: la de D. Serafín García de la Huerta." Arte Español 18 (1950-1951): 204, no. 859.
Sánchez Cantón, Francisco Javier. Vida y obras de Goya. Madrid, 1951: 79-80 (also English ed. Translated by Paul Burns. Madrid, 1964: 79).
Havemeyer, Louisine W. Sixteen to Sixty: Memoirs of a Collector. New York, 1961: 158-159.
Trapier, Elizabeth du Gué. Goya and His Sitters. New York, 1964: 27, fig. 48.
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 61, as The Bookseller's Wife.
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 53, repro., as The Bookseller's Wife.
Gassier, Pierre, and Juliet Wilson. Vie et oeuvre de Francisco Goya. Paris, 1970: 199, no. 835, repro.; 374, no.835 (also English ed. Translated by C. Hauch and J. Wilson. New York, 1971.).
Gudiol y Ricart, José. Goya: 1746-1828; Biography, Analytical Study and Catalogue of His Paintings. Translated by Kenneth Lyons. 4 vols. New york, 1971: 1:308, no. 522, fig. 826.
De Angelis, Rita. L'opera pittorica completa di Goya. Milan, 1974: 119, no. 449, repro.
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 160, repro., as The Bookseller's Wife.
Salas, Xavier de. Goya. London, 1979: 102, 191, no. 399, repro.
Valverde Madrid, José. "La libera de la calle de Carretas." Goya 148-150 (1979): 278, repro.
Gassier, Pierre. Goya: témoin de son temps. Fribourg, 1983: 194, color repro. 195 (also English ed. 1983).
Camón Aznar, José. Francisco de Goya. 4 vols. Saragossa, 1984: 3:156-157, color repro. 173.
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 404, no. 574, color repro., as The Bookseller's Wife.
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 184, repro., as The Bookseller's Wife
Brown, Jonathan, and Richard G. Mann. Spanish Paintings of the Fifteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1990: 24-27, color repro. 25.
Glendinning, Nigel. "Spanish inventory references to paintings by Goya, 1800-1850: originals, copies, and valuations." The Burlington Magazine 96 (February 1994):106, repro.
Goya: Images of Women. Exh. cat. Museo Nacional del Prado, Madrid; National Gallery of Art, Washington, 2001-2002: no. 37.

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