JOAN MIRÓ (1893-1983)
JOAN MIRÓ (1893-1983)
JOAN MIRÓ (1893-1983)
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JOAN MIRÓ (1893-1983)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A DISTINGUISHED FRENCH COLLECTION
JOAN MIRÓ (1893-1983)

Femme

Details
JOAN MIRÓ (1893-1983)
Femme
signed 'Miró', numbered 2⁄2' (on the reverse of the base) and stamped with the foundry mark 'R. VALSUANI CIRE PERDUE'
painted bronze (lost wax casting)
height (excluding base): 25 3⁄4 in. (65.5 cm.)
Conceived and cast in bronze in 1971 by Fonderie Valsuani et Fils, Bagneux, Paris, in a numbered edition of 2 plus 1 artist's proof
Provenance
Galerie Maeght, Paris, and thence by descent to the present owner in the 1980s.
Literature
A. Jouffroy & J. Teixidor, Miró Sculptures, Paris, 1980, no. 199, p. 239.
E. Fernández Miró & P. Ortega Chapel, Joan Miró, Sculptures. Catalogue raisonné 1928-1982, Paris, 2006, no. 253, p. 243 (illustrated).
L. Coyle, W. Jeffrett & J. Punyet Miró, The Shape of Colour, Joan Miro´'s Painted Sculpture, Washington D.C., 2002, no. 17, pp. 136 & 167 (illustrated p.136).
Exhibited
Martigny, Fondation Pierre Gianadda, Miro´, June - November 1997, no. 107, p. 215 (illustrated p. 196).
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.
Sale room notice
Please note that this lot is under Temporary Admission within the UK

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Micol Flocchini Head of Works on Paper Sale

Lot Essay

‘The literal fusion of sculpture and painting allows Miró to use the primary colors which are significant in his painting and to gain three-dimensional effects in which paint is no longer an illusory medium evoking depth on a flat surface but part of a solid object which can be touched and which can contain space as well as occupy it. The senses of sight and touch, which he has so often combined in the illusions created by his paintings and collages, here unite, and Miró exploits the possibilities offered with great skill.’ (Roland Penrose quoted in Exh. Cat., Miró, New York, 1970, p. 145).

Miró had first turned his attention to sculpture in the late 1920s, when, encouraged by his Surrealist colleagues, he executed a series of peintre-objets which utilised wood, metal and found-objects in order to challenge the conventions of sculpture, and indeed, of art as a whole. It was not until the years during and following the Second World War however, that Miró began to explore in earnest the possibilities of sculpture. Residing in Montroig, Miró once again found inspiration from the countryside that he loved so much, resulting in the formation of a new approach to sculpture that was to be rooted in the everyday world. ‘When sculpting, I start from the objects I collect, just as I make use of stains on paper and imperfections in canvases – I do this here in the country in a way that is really alive, in touch with the elements of nature’, Miró stated in a series of notes detailing how he would engage with sculpture, continuing, ‘in order to work in a more vital and direct way, work frequently out-of-doors’ (Miró, ‘Working Notes, 1941-41’ in M. Rowell (ed.), Joan Miró: Selected Writings and Interviews, London, 1987, p. 175).

Experimenting first with small clay sculptures, by the late 1950s, Miró began to look seriously at the potentials of bronze, spurred on by a commission to create sculpture for the Maeght Foundation in the South of France by its founder Aimé Maeght, the first owner of the present work. By the late 1960s, sculpture had come to dominate Miró’s artistic production: Miró often conceived of the idea for a sculpture and envisaged the composition and structure of these works many years before their actual creation and subsequent casting in bronze. Femme, like the majority of the other works of the series of painted sculptures of this period, take women as their subject, conveying femininity with a playful, humorous and poetic approach.

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