View full screen - View 1 of Lot 344. Portrait of Admiral Jose de Mazarredo (1744-1812), half-length, seated at a table.

Attributed to Francisco José de Goya y Lucientes

Portrait of Admiral Jose de Mazarredo (1744-1812), half-length, seated at a table

Property from the CINTAS Foundation, Sold Without Reserve

Attributed to Francisco José de Goya y Lucientes

Attributed to Francisco José de Goya y Lucientes

Portrait of Admiral Jose de Mazarredo (1744-1812), half-length, seated at a table

Portrait of Admiral Jose de Mazarredo (1744-1812), half-length, seated at a table

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Property from the CINTAS Foundation, Sold Without Reserve

Attributed to Francisco José de Goya y Lucientes

Fuendetodos 1746 - 1828 Bordeaux

Portrait of Admiral Jose de Mazarredo (1744-1812), half-length, seated at a table

signed or inscribed lower right: Goya lo hizo

oil on canvas

canvas: 41⅝ by 32⅞ in.; 105.6 by 83.3 cm.

framed: 50½ by 41½ in.; 128.3 by 105.4 cm.

The canvas has been relined and is in stable condition. The paint surface is well-preserved under an even, fresh varnish, and the colors remain vibrant . Very little restoration is evident under ultraviolet light, though there is some strengthening in the curtain upper right and a handful of scattered restorations otherwise. None of these are remarkable or visible to the naked eye, and the painting remains in quite good condition. Offered in a carved giltwood frame.

The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

The sitter;

By whom gifted to Manuel Godoy y Álvarez de Faria, Principe de la Paz (1767-1851), Madrid;

TThence by descent to his daughter, Carlota Luisa de Godoy y Borbón, Condesa de Chinchón (1800 - 1886), Palacio de Boadilla del Monte, Madrid, until at least 1867 (listed in the inventory, no. 97);

heD. Marinao Hernando, Madrid, by 1900 and until at least 1908;

Luis de Navas, Madrid;

With Colnaghi, London;

With Knoedler & Co., London, 1921 (stock # 12877);

With John Levy Galleries, New York (acquired from above, September 1928);

Oscar B. Cintas (1887-1957), Havana and New York, by 1941;

Bequeathed in 1957 to the CINTAS Foundation, Miami.

Catalogo de las pinturas existentes en el Palacio de Boadilla del Monte, no. 97 (as Goya);
C. Iriate, Goya, sa biographie, les fresques, les toiles, les tapissieres, les eaux-fortes et le Catalogue de l'oeuvre, Paris 1867, p. 138;
Conde de la Vinaza, Goya. Su tiempo, su vida, sus obras, Madrid 1887, p. 230;
Z. Araujo Sanchez, Goya, Madrid 1896, cat. no. 168;
V. von Loga, Francisco de Goya, Berlin 1903, cat. no. 273 (as Goya);
A.F. Calvert, Goya, London 1908, p. 138, cat. no. 196, reproduced plate 74 (as Goya);
A. de Beruete y Moret, Goya, pintor de retratos, Madrid 1916, p. 173, cat. no. 104 (as Goya);
A. de Beruete y Moret, Goya as portrait painter, translated from Spanish by S. Brinton, London 1922, pp. 35-36, 207, cat. no. 111 (as Goya);
A. L. Mayer, Francisco de Goya, Munich 1923, p. 196, cat. no. 340 (as Goya);
X. Desparmet Fitz-Gerald, L'oeuvre peinte de Goya, Paris 1928-50, cat. no. 306;
J. Gudiol, Goya, Barcelona 1970, vol. I, p. 252, cat. no. 170, reproduced vol. II, fig. 266 (as Goya);
P. Gassier and J. Wilson, The Life and Complete Work of Francisco Goya, New York 1971, p. 78, cat. no. 218, reproduced p. 94 (as Goya, circa 1784-85);
R. de Angelis, L'opera pittorica completa di Goya, Milan 1974, p. 100, cat. no. 174 (as Goya);
X. de Salas, Goya, London 1977 and New York 1981, p. 177, cat. no. 153, reproduced (as Goya);
J.L. Morales y Marin, Goya. Catalogo de la Pintura, Zaragoza 1997, pp. 182-3, cat. no. 136, reproduced (as Goya).
Madrid, Ministerio de Instrucción Pública and Bellas Artes, Goya 1900, May 1900, no. 46 (as Goya);
Brooklyn Museum, on loan, no. 3.63.677;
Chicago, Art Institute of Chicago, Loan Exhibition of Paintings, Drawings, and Prints by Francisco Goya, January - March 1941, no. 10 (as Goya);
Jacksonville, Florida, Cummer Gallery of Art, on loan (as Goya);
Miami, Florida, The Lowe Art Museum, The Cintas Collection of Spanish Old Masters, on loan from 1989 until recently (as Goya). 

This handsome portrait dates from circa 1784-5, early in Goya's career and before he became the official Painter to the King. At that time he was mostly preoccupied with religious commissions and tapestry designs; it wasn't until the late 1780s and into the 1790s that demand for his portraiture skyrocketed and he began producing the deeply psychological portraits that he would become so famous for.  

Here Goya has presented Admiral Mazarredo in a somewhat conventional format which adheres to standard practice at the time. He is shown in his naval uniform, which is adorned with The Cross of the Order of Santiago.1 He seated in an upright manner at a table, holding a watch, the sea and frigate shown beyond to allude to Mazarredo's naval career. Admiral Mazarredo, who was not only a naval commander but also an accomplished cartographer, astronomer, and professor of naval tactics, had a highly distinguished career leading the Spanish navy in engagements throughout the world. His innovative tactical theories were employed by Spain in the American Revolutionary War, where he served as Cordova's chief of staff and boldly maneuvered a large British envoy in August of 1780. At the end of the war, he went to Algiers as the Spanish Ambassador to negotiate peace after the Spanish bombardment. He continued to have an illustrious naval career and by 1804 was sent to France as the Spanish Ambassador, though after a clash with Napoleon he returned to Spain. 

Admiral Mazarredo gifted the present portrait to Manuel Godoy y Álvarez de Faria, Principe de la Paz, and it descended to his daughter, who displayed it in the Palacio de Boadilla del Monte, Madrid, for much of the nineteenth century. The painting has been published and exhibited as by the master himself consistently throughout its history, though recently some scholars have suggested it could have been completed in his workshop. Dr. William B. Jordan, who viewed the work in person, believed it could be by Goya. 

A replica of the portrait was in the collection of the sitter's family but lost during the Spanish Civil War.2


The prominent industrialist and arts patron Oscar B. Cintas (1887-1957) made his fortune in the sugar and railroad businesses and served as Cuba's Ambassador to the United States from 1932-34. Throughout his life he was a passionate collector of art, and he assembled a magnificent collection of European Old Masters by the likes of Rembrandt, Bellini, Moroni and El Greco; American paintings by 20th century masters including George Bellows; and renowned historical documents including the only first edition of Don Quixote and the fifth and final manuscript of Lincoln's "Gettysburg Address" which he bequeathed to the nation and remains on display in the Lincoln Bedroom of the White House. Shortly before his death, Cintas formed the CINTAS Foundation (originally called the Cuban Art Foundation), which is dedicated to supporting artists of Cuban descent.3 The Foundation oversees two important collections of art: contemporary work produced by CINTAS Fellows, as well as a group of Spanish Old Masters.

1. Mazarredo achieved this Order in 1793, so it is likely the decoration in the painting was later added to his uniform, a common practice. 

2. Oil on canvas, 103 by 82 cm., see

3. For more information on the CINTAS Foundation, see