JOAN MIRÓ (1893-1983)
JOAN MIRÓ (1893-1983)
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JOAN MIRÓ (1893-1983)

Plaque. Tête

JOAN MIRÓ (1893-1983)
Plaque. Tête
signed and inscribed 'Miro Artigas' (lower edge)
partially glazed and painted ceramic tile
19 1/2 x 14 3/4 in. (49.6 x 36.8 cm.)
Executed in 1956
Galerie Maeght, Paris.
Perls Galleries, New York, by 1974.
Constance W. Stafford, Buffalo, and thence by descent; sale, Sotheby's, New York, 10 May 1989, lot 426.
Jacqueline Delubac, Paris.
Perls Galleries, New York.
Anonymous sale, Christie's, New York, 14 May 1999, lot 672.
Russeck Gallery, Palm Beach.
Weinstein Gallery, San Francisco.
Acquired from the above by the present owners on 15 June 2002.
L'Œil, May 1956, no. 17, pp. 47 & 52 (illustrated).
P. J. Pierre and J. Corredor-Matheos, Céramiques de Miró et Artigas, Paris, 1974, no. 212 (illustrated p. 63).
F. Miralles, Llorens-Artigas, Catálogo de obra, Barcelona, 1992, no. 785, p. 310.
J. P. Miró and J.G. Artigas, Joan Miró, Ceramics, Catalogue raisonné, 1941-1981, Paris, 2007, no. 248, p. 209 (illustrated).
Special Notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Imogen Kerr
Imogen Kerr Senior Specialist

Lot Essay

Miró’s ceramics were the product of his close relationship with Joseph Llorens Artigas, a highly skilled master-potter and Miró’s long-time collaborator in ceramics and pottery. Their friendship blossomed as students in Barcelona and later in Paris, where they both moved in the 1920s and where their paths often crossed and overlapped as they each forged their artistic careers. Their long and highly productive collaboration in ceramics began towards the end of the Second World War as both found themselves once again in Spain. Between 1953 and 1956, in Artigas’s ceramics studio in a country village north of Barcelona, the two embarked on a series that would result in 238 ceramic pieces. Miró, intrigued by the peculiarities of ceramics as a medium and inspired by the rugged Catalan landscape, created a clay world of forms and symbols made up of plates, carved plaques, eggs, vases, figures, and elements resembling rocks and stones. The textures, enamels, and the uncertainty of the result allowed Miró to explore new creative avenues, opening his highly personal artistic language to new possibilities. His familiar themes enter new worlds and submit to the ceramic’s materiality. Along with the texture of the medium and the union of line and tangible space, the colour and substance serve to recapture the primitive resonance of his lines and birth a living, breathing head.

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