Joan Miró

J. Gardy Artigas, Barcelone
Galerie Lelong, Paris
Madeleine Chalette Lejwa, New York
Acquis du précédent en 1987 par le propriétaire actuel

Chicago, Museum of Contemporary Art, Under Development: Dreaming the MCA's Collection, 1984

José Corredor-Matheos, Miró, Madrid, 1971, no. 63
Alain Jouffroy & Joan Teixidor, Miró Sculptures, Paris, 1980, no. 84, p. 231
Guy Weelen, Miró, New York, 1989, no. 256, p. 179
Emilio Fernandez Miró & Pilar Ortega Chapel, Joan Miró, Sculptures. Catalogue raisonné 1928-1982, Paris, 2006, no. 109, un autre exemplaire reproduit p. 122

Attractive green black patina. There are few small scratches visible on the base. Apart from some light rubbing of the patina at the extremities (such as the nose), this work is in overall 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."

signed 'Miró', numbered 'EA', stamped with the foudry marks 'Susse Fondeur, Paris' & 'Susse Fondeur Paris, cire perdue' (on the base), bronze. Conceived in 1967 and cast in 1968-69 in an edition of 12.

 

Fig. 1  Joan Miró, Projet pour un monument pour la ville de Barcelone (Lune, soleil et une étoile), 1968, bronze, Fondation Joan Miró, Barcelone (don de Pierre Matisse, 1975)

Je pense que Miró invente des objets, comme il invente des signes. Il ne se contente pas de leur donner forme et de leur imposer un style. Il propose de créer, avec lui, à partir de rien. De susciter des exemples. De reculer les limites de la liberté. Mieux que personne, peut-être, il sait combien restreinte, dans tous les domaines, cette liberté se fait. Et comme il ne veut rien démontrer, rien prouver, sinon que l'exercice de la liberté est possible dans le domaine de l'art, il va jusqu'au bout. Il joue et se joue de tout, avec ses mains, avec ses yeux, avec ses antennes.
Alain Jouffroy in Miró, sculpteur, Paris, 1974, p. 13

 

I think that Miro invents objects in the same way that he invents signs.  He is not satisfied with giving them shape and imposing a style upon them.  He sets out to create, on his own, from nothing at all.  To inspire examples.  To stretch the limits of freedom.  Better than anyone, perhaps, he knows how this freedom can be restrained, in every field.  And as he does not wish to demonstrate anything, or prove anything, other than that it is possible to exercise freedom in art, he pursues this right to the end.  He plays and makes light of everything, with his hands, with his eyes, with his antennae. 
Alain Jouffroy in Miro, sculpteur, Paris, 1974, p. 13