伊戈尔·米托拉伊版画、素描及纸上作品
米托拉伊纸上作品——我的寻求
除了纪念性的青铜雕塑，伊戈尔·米托拉伊还创作了大量纸上作品——石版画、蚀刻画、素描和综合媒体作品。我正在积极向波兰和欧洲各地的私人业主寻求这些作品。
作品类型
- 原版素描——纸上铅笔、炭笔、墨水 —
- 签名石版画——1980至2000年代编号版本 —
- 蚀刻版画和凹版——尤其是皮特拉桑塔时期的作品 —
- 单版画——纸上独一无二的作品 —
- 综合媒体——结合拼贴或金箔的素描作品 —
市场背景
状况良好的稀有签名素描可实现相当高的价格。Catawiki、Artcurial及多家波兰拍卖行定期推出他的纸上作品。
状况与来源
我考虑各种状况的作品。真品证书或原始购买收据有用但非必需——我可以联系到能够独立确认归属的专家。
您是否拥有米托拉伊的作品？
I buy directly from private owners — no middlemen, no auction fees, complete discretion.
Contact Me DirectlyFrom the Collection — Signed Works on Paper
Tindareos — Sanguine Lithograph
A sanguine (red chalk lithograph) depicting Tindareos — the mythological King of Sparta and father of Helen of Troy. The face is rendered as a bandaged, fragmented head in fluid, gestural red chalk strokes on white paper. Horizontal banding across the face evokes both wound dressing and the passage of time — the damage that recurs across Mitoraj's practice.
Signed Mitoraj in pencil lower right. Numbered edition. An original signed print from the limited graphic oeuvre — Mitoraj produced far fewer works on paper than bronzes, making signed originals significantly rarer. The same subject appears in his monumental Tindaro Screpolato bronzes.
Medium: Sanguine (red chalk) lithograph · Signed: pencil, lower right · Numbered edition
Angelo Fasciato — Colour Etching & Aquatint, 2004
Angelo Fasciato (Bandaged Angel) is a 2004 colour etching and aquatint in rich emerald and teal green. A large head turns in three-quarter profile, built entirely from dense, layered cross-hatching — the incised line of the etching plate reading simultaneously as sculptural mass. The pale ground glows yellow-green beneath the deeper teal of the figure. At the lower centre, a small rectangular vignette contains a winged figure — the angel of the title.
The green palette — evoking oxidised bronze patina and underwater stone — is exceptional within Mitoraj's graphic output, where warm ochres and monochrome dominate. A technically demanding work requiring multiple colour passes through the press. Signed and dated lower right: Mitoraj '04. Small numbered edition.
Medium: Colour etching and aquatint · Date: 2004 · Signed & dated: lower right · Numbered edition
Postać (Figure) — Lithograph
Postać (Polish: Figure) is a black and white lithograph — spare, gestural, and immediate. A standing figure occupies most of the sheet. The face is entirely obliterated by a dense band of rapid horizontal strokes — the characteristic effacement of Mitoraj's bandaged figures. A diagonal sash or band crosses the chest. At the left shoulder, a small rectangular vignette contains a face looking out from within the larger form, a secondary presence nested inside it.
The work has the quality of a preparatory drawing fixed in print — the spontaneous mark of the artist's hand preserved through the lithographic process. No colour, no elaborate staging: the figure, the concealed face, and the white of the paper. Signed lower right: Mitoraj. Small numbered edition.
Medium: Lithograph · Signed: lower right · Numbered edition
'86 Tignes / Centre Tignespace — Signed Poster, 1986
The official poster created by Mitoraj for Tignes Centre Tignespace, the cultural arts centre of the Tignes ski resort in the French Alps, 1986. The image is a gestural, large-format ink sketch of a fragmented torso — dark, confident strokes on cream paper, with diagonal lines crossing the body and a small square motif. The printed '86 TIGNES / CENTRE TIGNESPACE logo appears at the lower right. The poster has been hand-signed in blue ink by Mitoraj — a bold, fluid cursive in the right centre of the sheet.
Artist-signed event posters from this period are rare documents: printed for distribution, not galleries, yet carrying an authentic signature that closes the circle between the printed image and the artist's hand. This example dates from the same year Mitoraj was developing the Centurione series. Minor fold lines and edge wear are part of the object's history.
Type: Official signed poster · Date: 1986 · Signed by hand in blue ink
La Maison du Sculpteur — Colour Lithograph, 1994
La Maison du Sculpteur (The Sculptor's House) is a 1994 colour lithograph in which the human body merges with architecture. A monumental dark torso fills the composition; within it, four yellow-lit windows glow like rooms in a building at night. The title is lettered across the figure in gold: LA MAISON DU SCULPTEUR. Above, loose scribbled marks in dark ink suggest sky or stone.
The image is direct and metaphorically dense: the sculptor's body is his house, lit from within, a shelter for something living. By 1994 Mitoraj was working between Paris and Pietrasanta at the height of his mature period, and the lithograph has the confidence of that moment. Colour lithographs — requiring multiple stone or plate passes — are rarer within his graphic output than monochrome works. Signed and dated lower right: Mitoraj '94. Numbered edition.
Medium: Colour lithograph · Date: 1994 · Signed & dated: lower right · Numbered edition
纸上作品——独立市场
Mitoraj's works on paper occupy a distinct position within his market. While his bronzes attract the largest prices and the widest collector base, his lithographs, etchings, and drawings appeal to collectors who want to engage with his creative process at a more intimate scale. Works on paper are also the most accessible entry point into a serious Mitoraj collection: signed lithographs begin at at auction, while original drawings in charcoal or sanguine can reach
The graphic work is also where Mitoraj's relationship with classical antiquity is most directly visible. Without the mediation of the foundry and the patina, the drawings show the artist's hand moving directly across paper — sketching heads, torsos, and mythological figures with a fluency that recalls Renaissance masters. The sanguine (red chalk) technique he favoured for many drawings is itself an antiquarian choice: sanguine was the preferred medium of Leonardo, Michelangelo, and Raphael for figure studies.
廷达柔斯——紫红色石版画
The Tindareos sanguine lithograph in the collection is a prime example of Mitoraj's graphic work at its most compelling. Tyndareus — King of Sparta, husband of Leda, father of Clytemnestra and Helen of Troy — appears as a bandaged, fragmented head in fluid sanguine strokes on white paper. The signature (Mitoraj, lower right, pencil) is consistent with his documented hand on works on paper. The subject — Tyndareus — is a recurring presence in Mitoraj's mythology: the same figure appears in the monumental Tindaro Screpolato (Cracked Tyndareus) bronzes, including the celebrated example now in Warsaw after selling for a record €1.6 million in 2025.
我在纸上作品中寻求什么
我积极寻求所有主题的米托拉伊版画、蚀刻画、凹版和原版素描——厄洛斯、百夫长、珀修斯、伊卡洛斯、包扎的头像和人物研究。考虑任何状况的作品。请发送照片，我当天即回复。
Mitoraj Lithographs & Works on Paper
Alongside his sculptural practice, Mitoraj produced a substantial body of lithographs, drawings, and mixed-media works on paper throughout the 1970s and 1980s. These works revisit the same archaeological vocabulary — fragmented faces, helmets, draped torsos — but exploit the softness of lithographic ink to achieve a dreamlike luminosity distinct from his monumental bronzes. Limited editions were published in collaboration with French and Italian print studios and are today held in private collections across Europe. Because many works on paper were not registered in a centralised catalogue, careful cross-referencing with auction records, gallery invoices, and the Atelier Mitoraj archive in Pietrasanta is recommended before purchase.