皮耶．馬蒂斯畫廊，紐約
桃樂絲與馬歇爾．M.．瑞斯曼，紐約 （1957年購自上述人士處，之後將產業賣出：紐約佳士得， 2009年11月3日，拍品編號13)
現有藏家於1988年購自上述拍賣會

傑克．杜邦，《米羅》，紐約，1962年，品號797，圖版頁560
傑克．杜邦與埃芮恩．勒隆-麥諾德，《胡安．米羅作品專題目錄：繪畫》，第3冊，巴黎，2001年，品號915，圖版頁192

In very good condition. Original canvas. Canvas is slightly dirty. There are two pinhead sized brown stains at the center of the right edge. Under UV light, no inpainting is apparent.
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.
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L'Oiseau déploie son beau plumage is a jewel-like example of Miró's work following World War II. In the early 1940s Miró had created his now famous Constellations series. This suite, combined with his one-man show at the Museum of Modern Art in New York in 1941, a retrospective exhibition at the Pierre Matisse Gallery in 1945, and his first exhibition with Galerie Maeght in Paris in 1946, illustrate how rich thi𒁃s period was for Miró.

Women, stars, and birds formed a central part of what has been described as Miró's poetic or sign language. His interest in primitive art as well as art theory and anthropology contributed to his pictorial language. Sidra Stich expands on Miró's use of symbols: "In many of Miró's paintings created after the 'Constellation' series, the sign language is presented in a most direct and reduced form... In a statement to his friend, the poet Paul Eluard, Miró expressly declared that he considered such images as 'his alphabet of basic language.' Thus he himself established a 'language' context for such imagery and clarified a creative approach based on primal sign forms... Miró's personalization of a sign language gives his art its uniqueness and appeal... Ultimately it was his ability to combine both a playful and serious spirit, and to produce an imagery which is at once visually and mentally provocative, which establishes the excellence of his art" (S. Stich, Joan Miró: The Development of a Sign Language (exhibitio👍n catalogue), Washington University Gallery of Art, St. Lo🌃uis & The David and Alfred Smart Gallery, The University of Chicago, Chicago, 1980, p. 58). 

In L'Oiseau déploie son beau plumage, none of the figures are fixed in space - movement and possibility proliferate the canvas. The mystical possibilities that are associated with Miro's finest works a✃re presented here in pre🅠cise detail.