- 15
Joan Miró
Estimate
100,000 - 150,000 EUR
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Description
- Joan Miró
- Disque, 1956
- ceramic
- Signed Miró and ARTIGAS on the reverse
- Diameter: 36,5 cm; 14 3/8 in.
Provenance
Galerie Maeght, Paris
Perls Galleries, New York
Private collection, Europe
Collection Jacques Grange, Paris (acquired from the above in 2012)
Perls Galleries, New York
Private collection, Europe
Collection Jacques Grange, Paris (acquired from the above in 2012)
Literature
Yves Bonnefoy, Miró, Paris, 1964, no. 63, illustrated n. p.
José Pierre, José Corredor-Matheos, Céramiques de Miró et Artigas, Paris, 1974, no. 201, illustrated p. 218
Francesc Miralles, Llorens Artigas, Barcelona, 1992, no. 655, illustrated p. 277
Walter Erben, Joan Miró 1893-1983, L'homme et son œuvre, Cologne, 1993, illustrated p. 143.
Doménec Ribot Marti, Miró, Barcelona, 2000, illustrated p. 61
Joan Punyet Miró, Joan Gardy Artigas, Joan Miró, Josep Llorens Artigas, Ceramics. Catalogue raisonné 1941-1981, Paris, 2007, no. 221, illustrated p. 191
José Pierre, José Corredor-Matheos, Céramiques de Miró et Artigas, Paris, 1974, no. 201, illustrated p. 218
Francesc Miralles, Llorens Artigas, Barcelona, 1992, no. 655, illustrated p. 277
Walter Erben, Joan Miró 1893-1983, L'homme et son œuvre, Cologne, 1993, illustrated p. 143.
Doménec Ribot Marti, Miró, Barcelona, 2000, illustrated p. 61
Joan Punyet Miró, Joan Gardy Artigas, Joan Miró, Josep Llorens Artigas, Ceramics. Catalogue raisonné 1941-1981, Paris, 2007, no. 221, illustrated p. 191
Condition
The ceramic is sound and slightly curved. The edges are uneven with some intermittent minor nicks and small chips which are probably original. There are some minor scuffs to the most prominent elements and some hairline craquelures to the white and yellow pigments. There are a few air bubbles in places, inherent to the firing process. There are some original faint stains to the right and the lower parts of the edges the (as per the printed catalogue illustration and the catalogue raisonné). This work is in very good 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 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."
Catalogue Note
This work is unique.
Joan Miró and Josep Llorens Artigas met in Barcelona in about 1912. However their collaboration did not begin until after the Second World War. At this time, Miró began to distance himself from Surrealism. After the more or less risky and limiting adventures of the Surrealist period, Miró returned to nature and discovered the new medium of ceramics to express his creative freedom. Artigas was of renowned reputation and chose to work with the "grand feu" technique, a traditional and ancestral technique of heating colours which produces a reduced chromatic range of five colours. Painted on ceramic, in primary tones on a primordial form, it is such a joy to see the reds, blues, yellows, browns and blacks combine in Miró's palette! From a plastic, chromatic and graphic point of view, a work of Disque's quality is a perfect example of the complicity between artist and artisan. Imagination, gesture and fire come together on the solar surface of the work, in a harmony that defies nature.
Joan Miró and Josep Llorens Artigas met in Barcelona in about 1912. However their collaboration did not begin until after the Second World War. At this time, Miró began to distance himself from Surrealism. After the more or less risky and limiting adventures of the Surrealist period, Miró returned to nature and discovered the new medium of ceramics to express his creative freedom. Artigas was of renowned reputation and chose to work with the "grand feu" technique, a traditional and ancestral technique of heating colours which produces a reduced chromatic range of five colours. Painted on ceramic, in primary tones on a primordial form, it is such a joy to see the reds, blues, yellows, browns and blacks combine in Miró's palette! From a plastic, chromatic and graphic point of view, a work of Disque's quality is a perfect example of the complicity between artist and artisan. Imagination, gesture and fire come together on the solar surface of the work, in a harmony that defies nature.