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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
May 8, 2013 | Christie's | New York | Impressionist & Modern Evening Sale | 14 | $****** - ****** | Peinture | |||
Feb 8, 2012 | Sotheby's | London | Impressionist & Modern Art Evening Sale | 22 | $****** - ****** | Peinture | |||
May 1, 1996 | Sotheby's | New York | Impressionist & Modern Art (Part I) | 52 | $****** - ****** | Composition |
paintings
146.5 x 114.3 cm (57.68 x 45 in)
oil on canvas
signed 'Miró' (lower right); signed again and dated 'Joan Miró. 29.4.33.' (on the reverse)
Pierre Matisse Gallery, New York (acquired from the artist). Valentine Gallery (Valentine Dudensing), New York (by 1941). Sidney Janis Gallery, New York (by 1960). Lee A. Ault, New York. Mr. and Mrs. Klaus Perls, New York (acquired from the above, 1962);
sale, Sotheby's, New York, 1 May 1996, lot 52. Helly Nahmad Gallery, London (acquired at the above sale).
Acquired from the above by the present owner.
Paris, Galerie Georges Bernheim, Dernières oeuvres de Miró, October-November 1933. New York, Pierre Matisse Gallery, Joan Miró, 1933-1934: Paintings, Tempera, Pastels, January-February 1935. New York, The Museum of Modern Art, Joan Miró, November 1941-January 1942, p. 80 (titled Composition). New York, Perls Galleries, Alexander Calder, Joan Miró, February-April 1961, no. 18 (titled Composition). Paris, Musée National d'Art Moderne, Joan Miró, June-November 1962, p. 35, no. 58 (titled Composition). London, The Tate Gallery and Kunsthaus Zurich, Joan Miró, August-December 1964, p. 32, no. 109 (illustrated, pl. 20b). St. Louis, Washington University Gallery of Art and The University of Chicago, The David and Alfred Smart Gallery, Joan Miró: The Development of a Sign Language, March-June 1980, p. 66 (illustrated, p. 31, fig. 22). Houston, The Museum of Fine Arts, Miró in America, April-June 1982, p. 52, no. 14 (illustrated, fig. 48; illustated again in color; titled Composition). Venice, XLII Esposizione Internazionale d'Arte, La Biennale di Venezia, June-October 1986, p. 86. Kunsthaus Zurich and Kunsthalle Düsseldorf, Joan Miró, November 1986-April 1987, no. 76 (illustrated in color). Barcelona, Fundació Joan Miró and London, Whitechapel Art Gallery, Impactes Joan Miró, 1929-1941, November 1988-April 1989, p. 126, no. 21 (illustrated in color, p. 50). Munich, Haus der Kunst, Elan Vital oder das Auge des Eros: Kandinsky, Klee, Arp, Miró, Calder, May-August 1994, p. 565, no. 505 (illustrated in color, fig. 272). London, Helly Nahmad Gallery, Joan Miró--A Retrospective, October 1999-January 2000, pp. 26 and 76, no. 17 (illustrated in color, p. 27; titled Composition). Paris, Musée national d'art moderne, Centre Georges Pompidou, Joan Miró 1917-1934: La Naissance du monde, March-June 2004, p. 399, no. 203 (illustrated in color, p. 291). Basel, Fondation Beyeler and Washington, D.C., The Phillips Collection, Calder/Miró, October 2004-January 2005, p. 253, no. 110 (illustrated in color, p. 145; installation photograph, p. 295, fig. 133).
J. Dupin, Miró, New York, 1961, p. 527, no. 341 (illustrated, p. 314). J. Lassaigne, Miró, Lausanne, 1963, p. 141 (illustrated in color, pl. 70; titled Composition). G. Diehl, Miró, New York, 1974, p. 46 (illustrated in color). P. Gimferrer, The Roots of Miró, New York, 1993, pp. 195 and 363, no. 593 (illustrated in color; fig. 340). J. Dupin and A. Lelong-Mainaud, Joan Miró, Catalogue raisonné. Paintings, 1931-1941, Paris, 2000, vol. II, p. 78, no. 424 (illustrated in color).
