Antoni Tapies
Catalan Artist (1923 -2012)
Signed by artist
c. 1963
Framed: 36 x 30 inches
Inside Image: 25 x 19 inches
Edition: 132/ 150
Lithograph, Signed by artist
c. 1991
Framed: 18 3/4 x 17 3/4 inches
Inside Image: 10 x 9 1/2 inches
Edition: 41/ 150
256 / 300
1998
Signed by artist
23" x 33"
Framed: 30" x 40"
Llibertat / Liberty. Original color lithograph, 1988. Edition: 300 signed and numbered impressions plus 30 artists proofs printed by Galerie Lelong, Paris, for the 1988 Olympic Print Portfolio. The work was never published because the Olympic Portfolio publisher went bankrupt. We have been told by one of the principal creditors that while the prints were in storage awaiting the outcome of the bankruptcy proceedings, many of the prints were ruined by water damage. Image size: 892x590mm. Price: $5250.
Poema - Collaboration Joan Brassa
Serigraph
163 / 200
1984
Signed
27" x 35"
Cartes per a la Teresa
Poster
Signed
1976
Signed by artist
c. 1963
Framed: 36 x 30 inches
Inside Image: 25 x 19 inches
Edition: 132/ 150
Composition - 1963
Original Hand Signed and Numbered Lithograph
Title: Composition.
Technique: Original Lithograph on wove BFK Rives paper.
Paper size: 50.3 x 65.5 cm / 19.8 x 25.8 in
Additional Information: This Lithograph by Antoni Tapies is Hand Signed by the artist in pencil "Tapies" at the lower right margin.
It is also Hand Numbered in pencil "132/150" at the lower left margin.
This Lithograph was printed in a limited edition of 150 Hand Signed and Numbered Impressions in 1963 by Erker Presse in St. Gallen.
It was printed in 3 colors: Black, Red and Brown.
The paper bears the BFK Rives watermark.
Literature: Tapies: Das Graphische Werk (The printed work), by Mariuccia Galfetti, published by Erker, St. Gallen, 1975.
Reference: Galfetti 47.
Poster
c. 1974
Dimensions: 21 1/2 x 29 inches
Unframed
Poster
N / A
2000
Signed
Dimensions: 22.5" x 29.5"
Unframed
MOMA Poster
c. 1991
Dimensions: 21 x 28 inches
Unframed
Antoni Tàpies i Puig, 1st Marquess of Tàpies (Catalan: [ənˈtɔni ˈtapi.əs]; 13 December 1923 – 6 February 2012) was a Spanish painter, sculptor and art theorist, who became one of the most famous European artists of his generation.
Tàpies was perhaps the best-known Spanish (Catalan) artist to emerge in the period since the Second World War. He first came into contact with contemporary art as a teenager through the magazine D’Ací i D’Allà, published in Barcelona, and during the Spanish Civil War (1936–39), while he was still at school, he taught himself to draw and paint.[6] On a French government scholarship in the early 1950s he lived in Paris, to which he often returned. Both in Europe and beyond, the highly influential French critic and curator Michel Tapié enthusiastically promoted the work of Antoni Tàpies.
In 1948, Tàpies helped co-found the first Post-War Movement in Spain known as Dau al Set which was connected to the Surrealist and Dadaist Movements. The main leader and founder of Dau al Set was the poet Joan Brossa. The movement also had a publication of the same name, Dau al Set. Tàpies started as a surrealist painter, his early works were influenced by Paul Klee and Joan Miró; but soon become an informal artist, working in a style known as pintura matèrica, in which non artistic materials are incorporated into the paintings. In 1953 he began working in mixed media; this is considered his most original contribution to art. One of the first to create serious art in this way, he added clay and marble dust to his paint and used waste paper, string, and rags (Grey and Green Painting, Tate Gallery, London, 1957). Canvas Burned to Matter from c. 1960, in the collection of the Honolulu Museum of Art, is an example of the artist's mixed media assemblages that combine the principles of Dada and Surrealism.[7]
Mural at the Catalan Pavilion at the Seville Expo '92
Tàpies' international reputation was well established by the end of the 1950s. From the late 1950s to early 1960s, Tàpies worked with Enrique Tábara, Antonio Saura, Manolo Millares and many other Spanish Informalist artists. In 1966 he was arrested at a clandestine assembly at the University of Barcelona; his work of the early 1970s is marked by symbols of Catalan identity (which was anathema to Franco).[8] In 1974 he made a series of lithographs called Assassins and displayed them in the Galerie Maeght in Paris, in honour of regime critic Salvador Puig Antich's memory. From about 1970 (influenced by Pop art) he began incorporating more substantial objects into his paintings, such as parts of furniture. Tàpies's ideas have had worldwide influence on art, especially in the realms of painting, sculpture, etchings and lithography. Examples of his work are found in numerous major international collections. His work is associated with both Tachisme and Abstract Expressionism.
The paintings produced by Tàpies, later in the 1970s and in the 1980s, reveal his application of this aesthetic of meditative emptiness, for example in spray-painted canvases with linear elements suggestive of Oriental calligraphy, in mixed-media paintings that extended the vocabulary of Art informel, and in his oblique allusions to imagery within a fundamentally abstract idiom, as in Imprint of a Basket on Cloth (1980).[6] Among the artists' work linked in style to that of Tàpies is that of the American painter Julian Schnabel as both have been connected to the art term "Matter".[9]
ANTONI TAPIES
Born 1923 in Barcelona (Spanish)
Composition - 1963
Original Hand Signed and Numbered Lithograph
Title: Composition.
Technique: Original Lithograph on wove BFK Rives paper.
Paper size: 50.3 x 65.5 cm / 19.8 x 25.8 in
Additional Information: This Lithograph by Antoni Tapies is Hand Signed by the artist in pencil "Tapies" at the lower right margin.
It is also Hand Numbered in pencil "132/150" at the lower left margin.
This Lithograph was printed in a limited edition of 150 Hand Signed and Numbered Impressions in 1963 by Erker Presse in St. Gallen.
It was printed in 3 colors: Black, Red and Brown.
The paper bears the BFK Rives watermark.
Literature: Tapies: Das Graphische Werk (The printed work), by Mariuccia Galfetti, published by Erker, St. Gallen, 1975.
Reference: Galfetti 47.