Joan Miró, ‘Les Guetteurs (The Watchers); and Batteuse Paysage Champagne’, 1964; and 1954, Phillips
Joan Miró, ‘Les Guetteurs (The Watchers); and Batteuse Paysage Champagne’, 1964; and 1954, Phillips

Property Subject to VAT Section 4, 5%; Property Subject to Artist's Resale Right (see Conditions of Sale for further information)

Miró Sheet: 89.7 x 61.4 cm (35 3/8 x 24 1/8 in.)
Dufy Image: 44.5 x 59.4 cm (17 1/2 x 23 3/8 in.)
Sheet: 50 x 65.4 cm (19 5/8 x 25 3/4 in.)

Signature: Both signed, the Miró annotated 'H.C' in pencil (an hors commerce impression aside from the edition of 75), published by Maeght, Paris, the Dufy numbered 13/100 in pencil, both unframed.

Fernand Mourlot 339

About Joan Miró

Joan Miró rejected the constraints of traditional painting, creating works “conceived with fire in the soul but executed with clinical coolness,” as he once said. Widely considered one of the leading Surrealists, though never officially part of the group, Miró pioneered a wandering linear style of Automatism—a method of “random” drawing that attempted to express the inner workings of the human psyche. Miró used color and form in a symbolic rather than literal manner, his intricate compositions combining abstract elements with recurring motifs like birds, eyes, and the moon. “I try to apply colors like words that shape poems, like notes that shape music,” he said. While he prized artistic freedom, Miró revered art history, basing a series of works on the Dutch Baroque interiors of Hendrick Sorgh and Jan Steen. In turn, Miró has inspired many artists—significantly Arshile Gorky, whose bold linear abstractions proved a foundational influence on Abstract Expressionism.

Spanish, 1893-1983, Barcelona, Spain, based in Paris and Catalonia, Spain

About Raoul Dufy

Fauvist painter, draftsman, and printmaker Raoul Dufy inspired a wide range of fine and decorative artists with his playful style and appealing subject matter. Dufy drew inspiration from Impressionists Camille Pissarro and Claude Monet and closely studied the works of Paul Cézanne and Henri Matisse. He typically painted leisure scenes, seascapes (often of the French Riviera), and domestic interiors, as in Artist’s Studio in Vence, a vibrant red scene recalling Matisse’s own rendition of the same subject. After 1920, Dufy engaged more closely with the work of Cézanne and Pablo Picasso, flattening and deconstructing his compositions and creating portraits in the African-mask inflected manner typical of Picasso’s own Cubist work, as in Little Bather at Ste. Adress (1932-33). Also a commercial illustrator, Dufy’s works were included in books by writers Guillaume Apollinaire and Stéphane Mallarmé.

French, 1887-1953, Le Havre, France, based in Forcalquier, France