Auction "Online Sale", ends in: 7 day(s) → Lot 187
Antony Gormley
1950
Strict. 1995.
Pencil and burnt chicory.
Signed, titled, and inscribed "(3.)". 40.7 x 28.8 cm (16 x 11.3 in), the full sheet. [CH].
• From the small series “Chicory Coffee” (1995/96), in which Gormley experiments with chicory coffee substitute as an unusual medium for his painting.
• As in his Blood Drawings from the early 1990s, the artist uses the liquid as an additional pigment, creating a symbiosis of clear contours and fluidity, transparency and opacity.
• The renowned sculptor's drawings are also held in important museum collections, including the Städel Museum, Frankfurt am Main, the Tate Gallery, London, and the Phillips Collection, Washington, D.C.
PROVENANCE: White Cube, London (bis 1996).
Private collection, Hesse.
Private collection, Bavaria (inherited from the above in 2020).
In very good condition. Partially wavy at the edges, with some pressure marks from a previous mounting on the verso. A few very faint and pale stains, probably resulting from the creative process. The upper edge of the sheet is very slightly irregular, inherent to the work.
1950
Strict. 1995.
Pencil and burnt chicory.
Signed, titled, and inscribed "(3.)". 40.7 x 28.8 cm (16 x 11.3 in), the full sheet. [CH].
• From the small series “Chicory Coffee” (1995/96), in which Gormley experiments with chicory coffee substitute as an unusual medium for his painting.
• As in his Blood Drawings from the early 1990s, the artist uses the liquid as an additional pigment, creating a symbiosis of clear contours and fluidity, transparency and opacity.
• The renowned sculptor's drawings are also held in important museum collections, including the Städel Museum, Frankfurt am Main, the Tate Gallery, London, and the Phillips Collection, Washington, D.C.
PROVENANCE: White Cube, London (bis 1996).
Private collection, Hesse.
Private collection, Bavaria (inherited from the above in 2020).
In very good condition. Partially wavy at the edges, with some pressure marks from a previous mounting on the verso. A few very faint and pale stains, probably resulting from the creative process. The upper edge of the sheet is very slightly irregular, inherent to the work.
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