38
38

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION 

Anthony Caro
BARCELONA ROSE
Estimate
50,00070,000
LOT SOLD. 75,000 EUR
JUMP TO LOT
38

PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION 

Anthony Caro
BARCELONA ROSE
Estimate
50,00070,000
LOT SOLD. 75,000 EUR
JUMP TO LOT

Details & Cataloguing

Modernités

|
Paris

Anthony Caro
1924 - 2013
BARCELONA ROSE
welded iron
200 x 131 x 104 cm; 78 3/4 x 51 9/16 x 40 15/16 in.
Executed in 1987.
Read Condition Report Read Condition Report

Provenance

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

Exhibited

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

Literature

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

Catalogue Note

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."

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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

Modernités

|
Paris