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Trazos de Materia Ocre Sobre Marrón (Strokes of Ochre Matter on Brown)
Details
Antoni Tàpies (1923-2012)
Trazos de Materia Ocre Sobre Marrón (Strokes of Ochre Matter on Brown)
signed and dated 'tàpies - 1962' (on the reverse)
mixed media on canvas
25 ¾ x 19 7/8in. (65.5 x 50.5cm.)
Executed in 1962
Trazos de Materia Ocre Sobre Marrón (Strokes of Ochre Matter on Brown)
signed and dated 'tàpies - 1962' (on the reverse)
mixed media on canvas
25 ¾ x 19 7/8in. (65.5 x 50.5cm.)
Executed in 1962
Provenance
Galerie Stadler, Paris.
Galleria Notizie, Turin.
Anon. sale, Sotheby's London, 26 June 2003, lot 216.
Private Collection, Spain (acquired at the above sale).
Gift from the above to the present owner
Galleria Notizie, Turin.
Anon. sale, Sotheby's London, 26 June 2003, lot 216.
Private Collection, Spain (acquired at the above sale).
Gift from the above to the present owner
Literature
B. Bonet, Tàpies, Barcelona 1964, p. 176 (illustrated in colour, p. 162).
M. Tapié, Antoni Tàpies, Milan 1969, no. 155 (illustrated, unpaged).
A. Agustí, Tàpies, The Complete Works, 1961-1968, vol. II, Barcelona 1990, p. 487, no. 1074 (illustrated, p. 100).
M. Tapié, Antoni Tàpies, Milan 1969, no. 155 (illustrated, unpaged).
A. Agustí, Tàpies, The Complete Works, 1961-1968, vol. II, Barcelona 1990, p. 487, no. 1074 (illustrated, p. 100).
Exhibited
St. Gallen, Galerie Im Erker, Antoni Tàpies, 1963, no. 14 (illustrated, unpaged).
Turin, Galleria Notizie, Antoni Tàpies, 1963 (illustrated in colour, p. 9).
Rome, Galleria d’Arte La Tartaruga, Antoni Tàpies, 1964 (illustrated, unpaged).
Turin, Galleria Notizie, Antoni Tàpies, 1963 (illustrated in colour, p. 9).
Rome, Galleria d’Arte La Tartaruga, Antoni Tàpies, 1964 (illustrated, unpaged).
Special Notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
Brought to you by
Rachel Boddington