Igor Mitoraj — Kea (1979)

The Kea (1979) is one of the most tender and unusual works in Mitoraj's bronze catalogue — a female torso from which two delicate hands emerge: one cradling the chest, one resting at the waist, in an intimate gesture of self-embrace. Published by Artcurial, Paris, in an edition of 250, Kea predates the more widely collected mythological series of the 1980s and 1990s and belongs to Mitoraj's early Pietrasanta period.

About the Kea

Kea was made in 1979, the same year Mitoraj made his first trip to Carrara — the moment that shifted his practice decisively toward stone and bronze, and toward the fragmentary human body as his central subject. The work anticipates all that follows: the truncation of the body, the intimacy of scale, the copper-brown patina that recalls both ancient bronze and warm flesh.

The title Kea refers to the Greek island in the Cyclades — a place associated with classical sculpture and the Aegean tradition of the idealised human form. In giving this intimate female torso a geographical title, Mitoraj connects it to the landscape that shaped his vision of antiquity.

Unlike many of Mitoraj's later bronzes — where the body is cut, bandaged, or pierced — Kea is strikingly whole in its torso form. The arms are absent, but the body itself is unbroken; the only addition is the two hands, which seem to appear from outside the figure, as if another — or the figure itself — reaches in to hold what remains.

Market Value and Rarity

The Kea is considerably rarer in the secondary market than the Centurione or Persée series. Its edition of 250 places it alongside the Tête Secrète as one of the smaller Artcurial editions — and its early date (1979) and distinctive subject matter give it a collector profile distinct from the better-known mythological bronzes. Auction estimates from Italian houses (including Art-Rite) place the Kea at in excellent condition with original base and documentation.

I buy privately at prices that reflect current auction levels — without the seller paying a 15–25% house commission. If you own a Kea and are considering selling, please send me a photograph and I will respond the same day.

The Female Body in Mitoraj's Work

Mitoraj is primarily associated with the male body — the heroic torso, the warrior head, the mythological male protagonist. The Kea stands as a significant exception: a female torso, rendered with the same attentiveness to fragmentary form, but with a distinctly different emotional register. Where the male bronzes often carry a sense of stoic endurance, the Kea is intimate and self-contained. The two hands that emerge from the broken body — one cradling the chest, one resting at the waist — suggest not combat or heroism but self-care, interiority, protection.

In the context of Mitoraj's 1979 oeuvre — the year of his first Carrara visit, a pivotal moment in his transition to monumental stone and bronze — Kea represents a different register of feeling. The island name, a Cycladic reference, connects the work to an Aegean world of archaic female figurines, the Cycladic idols of the third millennium BC whose abstracted forms had fascinated twentieth-century sculptors from Brancusi to Henry Moore. Mitoraj's Kea is not a Cycladic idol, but it breathes the same air.

Market Context for Early Artcurial Bronzes

The Artcurial editions from the late 1970s — Tête Secrète (1978), Kea (1979), Prométhée (c.1979–82) — form a distinct and increasingly valued category within the Mitoraj market. These early works predate the artist's mainstream commercial success and were produced in smaller editions for a Parisian gallery audience. As Mitoraj's posthumous market has strengthened significantly since 2014 — driven by Polish institutional collectors, Italian gallery estates, and French secondary market activity — the early Artcurial bronzes have appreciated most sharply, precisely because of their rarity and the historical significance of the Artcurial relationship.

The Kea's estimate of at specialist auction reflects this appreciation. Five years ago, comparable works achieved The trend is upward, and early Artcurial bronzes in excellent condition with original documentation are increasingly sought by serious collectors building comprehensive Mitoraj holdings.

Condition Notes for the Kea

The Kea's most vulnerable element is the circular travertine base, which is relatively thin and prone to chipping at the edges. Bronze surface condition is typically robust — the copper-brown patina is stable — but some examples show light surface oxidation in the recessed areas around the hands. The signature, engraved lower right on the torso, should be clearly legible. The edition number appears on the reverse. I buy Kea bronzes in any condition, with or without the base.

See also: Tête Secrète (1978, Artcurial ed. 250) · Prométhée (Artcurial, ed. 8) · All Mitoraj bronzes wanted · Auction prices guide