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  • Provenance

    Galerie Stadler, Paris; Galerie Beyler, Basel; Private collection, Cologne

  • Exhibited

    Kunstmuseum Winterthur, Antoni Tàpies, January 27 - March 12, 1978

  • Literature

    A. Tàpies, J.E. Cirlot eds., Tàpies, Barcelona, 1960, p. 89, no. 59; J.E. Cirlot ed., Significaciòn de la pintura de Tàpies, Barcelona, 1962, no. 107; G. Gatt ed., Antoni Tàpies, Milan 1967, no. 113; A. Cirici ed., Tàpies, testimoni del silence, Barcelona, 1970, p. 220, no. 230; G. Dauber, B. Schnackenburg eds., Antoni Tapies: Handzeichnungen, Aquarelle, Gouachen, Collagen, 1944–1976, Winterthur 1977; A. Franzke ed., Antoni Tàpies. Werk und Zeit, Berlin 1982, p. 97, no. 92; A. Agosti, Tàpies: The Complete Works, Vol. I: 1943 – 1960, Barcelona, 1988, p. 447

  • Catalogue Essay

    Tapies' work then is a world upside down, where the grotesque, the flat, the ugly, the unfinished, the despicable reign supreme and shake you up. The visual seduction the painter strategically puts in place is, in fact, against the long hegemony of the eye in order to replace it with the acting out of the body. This is an important transformation of the cognitive system which helps the viewer to apprehend the world with different parameters....Tapies insists on the important upside down quality of such a technique in order to shock the viewer into thinking, into realizing, that one has to relate to more essential things in life, like the soil, nature, to produce hope-illumination that comes from the banal, the dirty and the poor.
    S. Guilbaut, Tapies, Barcelona, 2004, pp. 98-99

254

Grey of the Vertical Cross (Gris a la Croix Vertical)

1960
Mixed media on canvas.
21 1/4 x 33 1/2 in. (54 x 85 cm).
Signed and dated “Tàpies 1960” on the reverse.

Estimate
£80,000 - 120,000 

Sold for £120,000

Contemporary Art Evening Sale

Evening Sale
13 October 2007, 4pm
London