Portrait III

inscr. on verso: JOAN MIRÓ / portrait III / VI-938

verso auf Keilrahmen o. l. schwarzer französischer Zollstempel; weiss-blaue Etikette zum Teil abgelöst in Weiss: TRANSPORTS INTERNATIONAUX / ARTHUR LENARS & Cie. 22 bis, Rue de Paradis […]; o. l. braune Etikette in Schwarz: Ausstellung: JOAN MIRO / 24. März – 29. April 1956 / Kat. Nr. 46 Portrait, 1938 / Besitzer: Kunsthaus Zuerich [ms]; o. M. gelber Klebestreifen in Rot: 17 [hs]; o. M. gelbe Etikette in Schwarz: Exhibition: JOAN MIRO 1964 / Cat.no. 157 / Artist Joan Miro / Title Portrait No. III, 1938 / Owner Kunsthaus Zurich [ms]; o. M. roter runder Klebepunkt; o. r. braune KHZ-Etikette; o. r. weiss-grüne Etikette, zum Teil abgelöst, in Grün: JOAN MIRO / EXHIBITION / JAPAN. 1966 / Portrait III / Date 1938 / TOKYO 25 Aug / KYOTO 20 Oct / THE MAINICHI NEWSPAPER / THE NATIONAL MUSEUM OF MODERN ART; darauf in Schwarz: 58 [hs]; o. M.; M. l.; M. r. und M. u. in weisser Kreide: K4 [hs]; M. l. brauner Klebestreifen in Schwarz: #21 [hs]; M. l. hellbraune Ausstellungsetikette in Schwarz: MINISTERE D’ETAT – AFFAIRES CULTURELLES / REUNION DES MUSEES NATIONAUX / MUSEE NATIONAL D’ART MODERNE / EXPOSITION Joan Miro / Auteur Joan Miro / Titre de l’oeuvre Portrait III / Propriétaire Kunsthaus, Zurich / No. Du Catalogue 72; M. r. weisse Ausstellungsetikette in Schwarz und Blau: Joan Miro / Bildnis III / Kunsthaus Zürich / öl 146x114 (Kat.-Nr.:) 12 [hs]; M. r. in Schwarz: Suisse 7 [hs]; u. r. kleine braune Etikette mit schwarzem Rand in Schwarz: INVENTAR / No. 1956/12

Dupin/Lelong-Mainaud 586

1956

B – The provenance from 1933 to 1945 has not been unambiguously clarified; gaps in the ownership history remain. According to current research, there is no evidence of Nazi-looted art. There are no implications of Nazi-looted art and / or conspicuous circumstances.

The painting «Portrait III» by Joan Miró was acquired for the Kunsthaus in 1956 from the Parisian gallery of Max Kaganovitch. The French-Jewish art dealer was also an artist and collector. Following the occupation of Paris, his French citizenship was revoked in 1942 and he was forced to flee to Switzerland with his wife Rosy and two daughters. He returned to France in 1945. Kaganovitch’s sale of the work in 1956 means it cannot have been confiscated from him as a result of Nazi persecution, but it has not yet been possible to identify the previous or interim owners. It is also not known when Kaganovitch himself acquired it. Even though the work was not painted until 1938, it is possible that there were other owners. The possibility that it was confiscated as a result of Nazi persecution cannot therefore be ruled out, but there are no grounds for suspecting this. State of research 30.09.2024 Do you have questions, criticism, suggestions, and further information? Please send us a message to provenienzforschung(at)kunsthaus.ch.

- Kunsthaus Zürich. Gesamtkatalog der Gemälde und Skulpturen, hrsg. von Zürcher Kunstgesellschaft et al., Sammlungskatalog, Ostfildern: Hatje Cantz, 2007, S. 652. - Miro. Malerei als Poesie, hrsg. von Michael Peppiatt et al., Ausst.-Kat. Bucerius Kunst Forum, Hamburg/Kunstsammlung Nordrhein Westfahlen, Düsseldorf, München: Hirmer, 2015, S. 107 (ill.). - Calder, Miró, hrsg. von Elizabeth Hutton Turner, Ausst.-Kat. Fondation Beyeler/The Phillips Collection, London: Wilson, 2004, No. 117, S. 166 (ill.). - Jacques Dupin/Ariane Lelong-Mainaud: Joan Miró. Catalogue raisonné. Paintings, Bd. II: 1931-1941, Bd. 2, Paris: Lelong, 2000, No. 586 (ill.). - Jacques Dupin: Joan Miró. Leben und Werk, Köln: M. DuMont Schauberg, 1961, No. 495, S. 293.