Joan Miró

Acquired circa 1960-66

Executed on heavy white wove paper, not laid down. The sheet is hinged to the mount at three points along the upper edge. A close inspection reveals some light time-staining along the extreme perimeter and three small nicks to the edge of the sheet: to the center of the right edge and across the two left corners. Otherwise, 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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Signes et figurations typifies Miró’s unique pictorial language. He uses traditional colors—blue, red, yellow and green—as background washes upon which he applies black lines to create prominent outlines and spontaneous forms. Miró’s work often experiments with scale and composition as he juxtaposes a group of objects with a solitary element and explores the relationship between solid forms and voids. Miró’s dreamlike compositions seem to transcend time and logic, conveying his internal musings. “His painting is poetry, colour and rhythm. Or rather it is the osmotic fusion and synergy of these elements. Carried along by the free flow of his imagination, Miró constructs a representation of the universe that conveys his own delight in it. With this innovatory style of painterly expression, he transforms ideas into works of art. In the process of giving form to his ideas, however, he rejects logical connections, coherent relationships and, more particularly, the empirical logic of the period. As a poet, he has the right to this rejection, to this escape from time” (Miró: In the Orbit of the Imaginary (exhibition catalogue), Basil & Elis Goulandris Foundation, Andros, 2002, p. 11).