- 322
Joan Miró
Description
- Joan Miró
- Personnage (Oiseau migrateur posé sur un rocher en plein océan)
- Inscribed Miró, numbered 2/2 and stamped with the Parellada foundry mark
- Bronze
- Height: 47 5/8 in.
- 121 cm
Provenance
Sale: Christie's, London, June 28, 1994, lot 287
Acquired at the above sale by the present owner
Literature
Miró: Cent sculptures, 1962- 1978 (exhibition catalogue), Paris, Musée national d'art moderne, Centre Georges Pompidou, 1978, no. 92, illustration of another cast p. 97
Miró escultor (exhibition catalogue), Madrid, Centro Reina Sofia, 1986, no. 29, illustration of another cast p. 74
Miró der Bildhauer (exhibition catalogue), Museum Ludwig, Cologne, 1987, no. 29, illustration of another cast p. 84
Fundació Joan Miró, Obra de Joan Miró, Barcelona, 1988, no. 1608, illustration of another cast p. 438
Emilio Fernández Miró & Pilar Ortega Chapel, Joan Miró, Sculptures, Catalogue Raisonné, 1928-1982, Paris, 2006, no. 248, illustration of another cast p. 248
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.
Catalogue Note
The archaic quality of the present bronze is further enhanced by its extraordinary patina. As William Jeffett writes, working with the Parellada Foundry, "Miró chose a patina which preserved the rough and varied 'fire skin,' or the unfinished surface of the bronze metal as it appears when emerging from the mould. This technique produced a variegated surface pattern, green in color, which imitated the accidental variations in surface resulting from the high temperatures reached in casting. This was a calculated effect, however, requiring as much effort on the part of the foundry artisans as more classically inspired surfaces" ("A Note on the Techniques of Bronze Casting" in Joan Miró Sculpture (exhibition catalogue), South Bank Centre, London & traveling, 1989-90, p. 19).
Fig. 1 Constantin Brancusi, Bird in Space, 1925, marble, National Gallery of Art, Washington, D.C.