XVII

Working proofs

While Goya’s preliminary drawings provided the composition for his prints, working proofs were taken from the inked-up copper matrix to determine if any adjustments were required to create a successful printed image. To produce a print, the paper is dampened slightly so it can be pressed down into the recessed grooves of the copperplate. The copperplate and dampened paper are carefully placed on the bed of the rolling press, a printer’s blanket is laid on top and the large wheel of the press is turned, moving the bed through the rollers and exerting considerable pressure causing the ink on the copperplate to be transferred onto the paper. (See fig. 42).

Abraham BOSSE<br/> <em>Treatise on the ways of engraving on copper...</em> 1701; 1645 {first published} <!-- (page) --><br /> <em>(Trait&eacute; des manieres de graver en taille-douce...)</em><br /> illustrated book: letterpress text and etched illustrations<br /> <br /> National Gallery of Victoria, Melbourne<br /> Purchased, 1962<br /> 1048-5<br /> <!--23379-->
Fig. 42: Abraham BOSSE, Treatise on the ways of engraving on copper, (1701; 1645 first published). A freshly pulled print emerging from the roller of the press.

It is not known if Goya had his own printing press or if his working proofs were made with an assistant or professional printer, but some material evidence exists that provides insights into this aspect of his practice.55 Great technical ability is shown in the working proofs of Los Caprichos and La Tauromaquia and where they exist, for Los Disparates, suggesting a professional printer may have been involved in their production.56 In contrast, the working proofs for Desastres de la Guerra, were produced by someone without professional training and it has been suggested ‘the same impetuous hand which engraved the plates was responsible for printing the proofs’.57

Evidence Goya may have printed the Desastres de la Guerra working proofs includes the presence of fingerprints and ink smudges on margins, the paper being placed crookedly on the inked plate, and printing imperfections related to the pressure of the printing press not being correctly adjusted.58 Goya sometimes added inscriptions, chalk and ink lines or ink wash to working proofs indicating the title he wanted added and where he intended to continue etching or introduce a passage of tone.59 An early working proof of Disparate claro (Clear folly) at The Albertina Museum in Vienna, has strokes of black chalk defining the flames of hell that were later replaced by the figure of the plummeting soldier.60 (See fig. 37). While the first editions of Desastres de la Guerra and Los Disparates series were published posthumously, Laurenciano Potenciano, the master printer in whose workshop they were produced, had the benefit of Goya’s working proofs for Desastres de la Guerra to guide him.61

55.

Jesusa Vega, op.cit., p. 48 and Tomas Harris, op.cit., p.52.

56.

Tomas Harris, op.cit., p. 52.

57.

ibid.

58.

ibid.

59.

Eleanor A. Sayre, op.cit., p. 252 Valentín Carderera, a member for the Real Academia de San Fernando, was the owner of the set of working proofs which Goya had presented to Caen Bermudez. Carderera lent these to the Academy so the manuscript titles Goya had added to the proofs could be engraved on the plates. Tomas Harris, op.cit., p.51.

60.

Eleanor A. Sayre, op.cit., p. 270.

61.

Tomas Harris, op.cit., p.51.