ANTHONY CARO | Barcelona Rose

Private Collection
Christie's, London, Post-War and Contemporary British Art, 30 May 1997, lot 148
Acquired from the above sale by the present owner

Barcelona, Banco Bilbao Vicaya, Serie Barcelona y Serie Catalana, 1989 ; catalogue, pp. 5-7, 9-11, 29, 77-79, illustrated
Barcelona, Centre Cultural Caixa Catalunya, Drawing in Space & The Last Judgement, 2002
San Sebastian, Kutxaespacio del Arte, From Montparnasse to pure ideas, 2003; catalogue, pp.47, 118-121

Diet Blume, Anthony Caro, Catalogue Raisonné Vol. VII, Braunschweig, 1981, no. 1890, p. 76 & p. 128, illustrated
Teresa Blanch, Un gan workshop a la ciutat, 1988, pp.17-25, 164-169, 177-180 & p. 108, illustrated
Ian Barker, Anthony Caro, Dibuixant a l'espai, Drawing the Space & The Last Judgement, Palma, 2002, pp.2-4 & 7-8
Exh. Cat., Enrique Juncosa, On Caro, Drawing the Space & The Last Judgement, 2002, pp. 19-24 & 91, illustrated
Pep Subiros, A conversation with Anthony Caro, Drawing the Space & The Last Judgement, Palma, 2002, pp. 43-48 & 45
Marie-Claire Uberquoi, En la Pedrera lo mejor, es dialogar con la obra de Gaudi, no enfrentarse a ella, El Mundo, Madrid, 21 October 2002
Anthony Caro dialoga en La Perdrera con Gaudi, Deia, Bilbao, 22 October 2002
Les escltures d'Anthony Caro dialoguen a la Perdrea amb l'arquitectura de Gaudi, El Punt, Girona, 22 October 2002
Rosario Fontova, La Perdrera revisa la trayectoria escultorica de Anthony Caro, El Periodico de catalunya, Barcelona, 27 October 2002, no. 3, illustrated
Ana Maria Guasch, El Juicio escultorico de Caro, ABC, Madrid, 10 November 2002
J.J Navaroo Arisa, Dibujado en el espacio, El Mundo, adrid, 3 November 2002
Francisco Vicent, Anthony Caro: Esculturas y Juicio Final, La Tribuna, Tegucigalpa, 10 November 2002, p. 8
Abel Figuers, Doble exposicio d'Anthony Caro, Avui, Barcelona, 3 November 2002, XVIII - XIX
Exh. Cat., Fundació Catalunya-La Pedrera, Anthony Caro, Drawing in Space. Sculptures from 1963 to 1988, The Last Judgement, 1995-1999, Barcelone, 21 October 2002 - 19 January 2003, illustrated in colour, p. 91
Concentración y Expansión: las formas de la escultura, El Mar La CIudad El Homre El Arte Es Baluard, Palma, 2004, p.9, illustrated
Exh. Cat., Maria Luisa Borras, The presence of an idea in space, Palma, 2004, pp.211-212, 214, illustrated
Juan Luis Calbarro, Sir Anthony Caro en Mallorca, Ultima Hora, Mallorca, 13 December 2006
Mary Reid, Anthony Caro: drawing in space, Farnham, 2009, pp.10-32, 129, illustrated
Toby Glanville, Caro, London, 2014, p. 461

The colours are fairly accurate in the printed catalogue illustration. The overall steel surface presents oxidation and rust which is in keeping with the natural ageing of the work. This work is in very good original condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In 1987, Antony Caro initiated an international workshop that brought together 50 artists in Barcelona to discuss working methods, artistic cultures and disciplines. The British sculptor recalls: "for myself who have visited the city previously and had been impressed by the strong light and shade, the emphasis on drawing in sculptures struck me as the area I would most like to explore in Barcelona. Until this century sculptural tradition has been focused on the volumetric, tied for the most part to representation of the figure; abstraction presented us with the opportunity of broadening sculpture while retaining its essential character. I myself have to tried open sculpture's language towards other plastic areas, painting, architecture and now drawing. In Barcelona I requested streel scrap in the form of remnants of disused balconies, balustrades and the common wrought steel which for so long Catalan craftsmen have excelled in making. Picasso, Gaudi, Gonzales, and Miro were all alive in my mind; the resulting sculptures introduce something of the drawing of this part of Spain which I feel subconsciously assimilated."

---------- I didn't want them to be anything, to have the graspability of a figure or a statue. They had to be something that you really took time to understand visually and emotionally.

Antony Caro