Galerie Lelong, Paris
Galeria Pelaires, Palma de Mallorca
Acquired from the above

Miró (exhibition catalogue), Fondation Maeght, Saint-Paul-de-Vence, 1979, no. 303, illustration of another cast p. 190
Miró (exhibition catalogue), Pelaires Centre Cultural Contemporani, Palma, 1999, illustration of another cast p. 65
Alain Jouffroy & Joan Teixidor, Miró Sculptures, Paris, 1980, no. 277, illustration of another cast p. 194
Emilio Fernández Miró & Pilar Ortega Chapel, Joan Miró, Sculptures. Catalogue raisonné, 1928-1982, Paris, 2006, no. 302, illustration of another cast p. 288

Work is in very good condition. Black patina. A few nicks and scratches around base, and a few scattered surface stains throughout, otherwise fine.
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.

Miró’s sculptures are among his most inventive works, incorporating found objects, items from nature and the artist’s own iconography. His first venture into sculpture occurred in the early 1930s, although Miró suggests that the seed was planted in his mind much earlier. He recalls the unconventional teaching style of Galí—his instructor from 1912 to 1915—stating, “Galí was a remarkable teacher, and he gave me an exercise so that I would learn to ‘see’ form: He blindfolded me, and placed objects in my hands, then asked me to draw the objects without having seen them. So my interest in sculpture actually dates from that time” (Miró Sculptures (exhibition catalogue), Royal Scottish Academy, Edinburgh, 1992, p. 33). While his early sculptures were often assemblage pieces made of actual found objects, Miró’s later sculptural works were commonly large bronzes, generally anthropomorphic in form and often inspired by found objects. 

Miró’s approach to sculpture differed from his approach to painting. He formed a new process of creation which in turn led to different qualities in his work. Jacques Dupin affirms the difference in approach stating, “In painting, Miró produced his pictograms through the reduction and stylization of reality. Sculpture, on the contrary, allowed Miró to begin with concrete reality and collected objects, which were then internalized and plunged into the fires of his imagination, thereby producing three-dimensional images. These images echoed similar ones from the painter’s universe; though it might perhaps be more accurate to say they crossed paths near the end of their journey, without dissolving one into the other” (Jacques Dupin, Miró, New York, 1993, p. 361).