Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches Wove Paper
Paper size: 61 x 90 cm. / 24 x 35.4 in.
Additional Information: This original lithograph in colours is hand signed in pencil by the artist “Miró” at the lower right corner.
It is also hand numbered in pencil, from the edition of 75 at the lower left corner.
It was printed in 1976 in a limited edition of 75 signed and numbered impressions.
It was printed by Arte Adrien Maeght, Paris and published by Éditions de la Difference, Paris in the same year.
Literature: Mourlot, F. & Leiris, M. (1992). Joan Miró: Der Lithograph, Vol. VI 1976-1981. Geneva: Weber.
Reference: Mourlot 1097
Condition: Very good condition. Pale time-staining across the sheet.
VARIOUS ARTISTS
Title: Fraternity | Fraternité, 1939
Technique: Complete Set of Nine Original Hand Signed Etchings on Montval Wove Paper with the Accompanying Text and Portfolio
Portfolio size: 24 x 17.5 x 2 cm. / 9.5 x 6.9 x 1 in.
Additional information: Each of the works in the portfolio is hand signed in pencil by each artist.
The portfolio is hand numbered in pencil “97” on the justification page.
This portfolio was printed in the limited edition of 101 by Atelier 17 and Henri Hecht, there were a further 12 copies produced for the collaborators.
Presented in the original green paper bound portfolio sleeve and cover. The cover bears a further etching by Stanley William Hayter.
The portfolio contains the poem by English poet Stephen Spender, titled “Fall of a City”. The poem was translate into French by Louis Aragon, who has signed the translation “Aragon” in pencil.
The contributing artists are:
1. John Buckland-Wright
2. Stanley William Hayter
3. Josef Hecht
4. Dalla Husband
5. Wassily Kandinsky
6. Roderick Mead
7. Joan Miró
8. Dolf Reiser
9. Luis Vargas
Note: This work was commissioned in support of the Spanish Republic and was published to mark the fall of Madrid on 29th March 1939.
Provenance: From the Library Collection of R. & B. L., Paris (with their label)
Condition: Very good condition. Minor toning of the interior pages. The portfolio case showing minor signs of wear.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Technique: Original Hand Signed, Dated and Dedicated Etching with Hand-colouring on Wove Paper
Paper size: 25.8 x 16.5 cm. / 10.2 x 6.5 in.
Image size: 15 x 12.2 cm. / 5.9 x 4.8 in.
Additional Information: This original etching with hand-colouring is hand signed in pencil by the artist “Miró” in the lower right margin.
It is also dated “New York 7/47” [New York July 1947] below the signature.
It is also hand inscribed in pencil “épreuve d’essai – B – Pour Hayter” [working proof – B – For Hayter] in the lower left margin.
This work is the fifteenth composition from the L’Antitête [Antihead] suite of sixteen etchings with pochoir.
Our impression is a unique hand-coloured proof from before the edition of 200.
The composition was further worked for the limited edition of 200 signed and numbered impressions in 1949 published by Bordas, Paris and printed by Lacouriere, Paris.
Our impression was printed by and subsequently dedicated to Stanley William Hayter at Atelier 17, New York.
Provenance: The Collection of Stanley William Hayter
Helen Elizabeth Phillips (1913 – 1994), S.W. wife.
Augie Hayter, their son.
by descent from the above,
Marco Angelini & Co. Ltd. at St. James’s Art Books, London
Private collection, London.
Literature:
1. Dupin, J. (1984). Miró Engraver, Vol. I 1928-1960. Paris: Éditeur Daniel Lelong.
Reference: Dupin 67
2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris. Edition Cramer.
Reference: 20
Condition: Excellent condition. Some stray printing ink in the margins and soft creasing. These issues are consistent with working proofs as they are handled by the artist in the printmaking process.
Technique: Original Hand Signed and Numbered Lithograph in Colours on Guarro Wove Paper
Paper size: 30.5 x 22 cm. / 12 x 8.7 in.
Additional Information: This original lithograph in colours is hand signed in pencil by the artist with his monogram “M.” at the lower right corner.
It is also hand numbered in pencil from the edition of 100 at the lower left corner.
It was published for the portfolio “Obra inèdita Recent” [Recent Unpublished Works], consisting of 11 lithographs by Miro, all monogramed in the lower right corner of the image.
The impressions are hand numbered in pencil from the edition of 100, at the lower left corner.
The portfolio was printed by Sala Gaspar, Barcelona in 1964.
Literature:
1. Mourlot, F. & Leiris, M. (1977). Joan Miró: Der Lithograph, Vol. III 1964-1969. Geneva: Weber.
Reference: Mourlot 356
2. Cramer, P. (1989). Joan Mirò the Illustrated Books: Catalogue Raisonné. Geneva: Cramer.
Reference: Cramer 95
Condition: Excellent condition.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Composition III, from: Rockets | Composition III, from: Fusées, 1959
Technique: Original Hand Signed and Numbered Etching in Colours on BFK Rives Wove Paper
Paper size: 27.5 x 37.2 cm. / 10.8 x 14.7 in.
Image size: 12.8 x 18 cm. / 5 x 7 in.
Additional Information: This original etching in colours is hand signed in pencil by the artist ”Miró” at the lower right margin.
The work is also hand numbered in pencil, from the edition of 50 at the lower left margin. There were also 15 impressions on Japan paper numbered with Roman numerals.
This etching was printed by Crommelynck & Dutrou, Paris and published by Louis Broder, Paris in 1959.
The paper bears the BFK Rives watermark.
Note:
The collaboration between Miró and Aldo Crommelynck began in 1957, where the artist also began working with Robert Dutrou. Within two years he created what is considered the finest illustration of the celebrated French Surrealist poet, René Char’s poem Nous Avons [We Have]. The artist referred to these works as Fusées [Rockets] and they depict two compositions explored in numerous colour combinations, reflecting the shifting of time found in Char’s poem.
Literature:
1. Dupin, J. (1984). Miró Engraver, Vol. I 1928-1960. Paris: Éditeur Daniel Lelong.
Reference: Dupin 250
2. Cramer, P. (1989). Joan Miró – The Illustrated Books: Catalogue Raisonné. Geneva: Patrick Cramer
Reference: Cramer Books 54
Condition: Very good condition. Sheet narrowly reduced on all sides.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca
Title: The Drunken Horse | Le Cheval Ivre, 1964
Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches Wove Paper
Paper size: 61 x 90 cm. / 24 x 35.4 in.
Additional Information: This original lithograph in colours is hand signed in pencil by the artist “Miró” at the lower right corner.
It is also hand numbered in pencil from the edition of 75, at the lower left image.
It was printed and published by Maeght Éditeur, Paris in 1964.
The paper bears the Arches watermark along the upper margin.
Literature:
Mourlot, F. & Leiris, M. (1977). Joan Miró: Der Lithograph, Vol. III 1964-1969. Geneva: Weber.
Reference: Mourlot 326
Condition: Very good condition. Very pale staining across the sheet.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Bougrelas and his Mother II, from: Series for King Ubu | Bougrelas et sa Mère II, from: Suites pour Ubu Roi, 1966
Technique: Original Hand Numbered Lithograph in Colours on Arches Wove Paper
Paper size: 54 x 75 cm. / 21.3 x 29.5 in.
Image size: 41 x 63 cm. / 16.1 x 24.8 in.
Additional Information: This original lithograph in colours is hand numbered in pencil from the edition of 75, at the lower left corner. There were also 25 hors commerce [out of trade] impressions.
This composition was published unsigned and exists only in this form.
The work was part of a portfolio entitled “Roi Ubu” [King Ubu] realised by the artist in 1966.
It was printed by Atelier Mourlot, Paris and published by Tériade Éditeur, Paris.
The paper bears the Arches watermark along the lower margin.
Note: Ubu Roi (Ubu the King) is a play by Alfred Jarry, premiered in 1896. It is a precursor of the Theatre of the Absurd and Surrealism.
It is the first of three stylised burlesques in which Jarry satirises power, greed, and their evil practices—in particular the propensity of the complacent bourgeois to abuse the authority engendered by success.
It was followed by Ubu Cocu [Ubu Cuckolded] and Ubu Enchaîné [Ubu Enchained], neither of which was performed during Jarry’s 34-year life.
Père Ubu first appeared in 1888 in a collaboration between Alfred Jarry and a fellow student at the Rennes Lycée, but his first public appearance came in 1893 when Jarry published some of prose works in an avant-garde review, the Minutes de Sable Mémorial. His triumph, however, was on the stage when the director of the Theâtre de l’Oeuvre, Lugne-Poe staged a production of Ubu Roi.
The audience received the play with screams, whistles, fist-shaking, the critics took up the cudgels and the play became infamous and its author an avant-garde hero.
Joan Miró used Ubu Roi as a subject of his most famous series, made of 50 1940 lithographs known as “the Barcelona Series”.
These pictures could be Ubu Roi but they also satirise General Franco and his generals after he had won the Spanish Civil War.
He revisited this subject many times in his oeuvre.
Literature:
1. Mourlot, F. & Leiris, M. (1977). Joan Miró: Der Lithograph, Vol. III 1964-1969. Geneva: Weber.
Reference: Mourlot 408
2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer,
Reference: Cramer 108
Condition: Excellent condition.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: The Styx | Le Styx, 1958
Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours on BFK Rives Wove Paper
Paper size: 33 x 50.5 cm. / 13 x 20 in.
Additional Information: This original etching and aquatint is hand signed in pencil by the artist “Miró” at the lower right margin.
It is also hand numbered in pencil from the edition of 75, at the lower left margin.
It was printed in a limited edition of 75 signed and numbered impressions by Crommelynck et Dutrou, Paris, in 1958 and it was published by Maeght Éditeur, Paris in the same year.
The paper bears the BFK Rives watermark in the lower right margin.
Literature: Dupin, J. (1991). Miró Engraver, Vol. III 1973-1975. Paris: Éditeur Daniel Lelong.
Reference: Dupin 159.
Condition: Excellent condition. Very pale remnants of adhesive tape along the upper sheet edge, verso.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Joan Miró and Catalonia | Joan Miró und Katalonien, 1970
Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches Wove Paper
Paper size: 37.5 x 55 cm. / 14.8 x 21.7 in.
Additional Information: This original lithograph in colours is hand signed in pencil by the artist with his monogram “M.” at the lower right margin
It is also hand numbered in pencil, from the edition of 160 in Roman numerals at the lower left margin. There was also an edition of 90 on Japan paper.
The work was printed by Poligrafa, Barcelona and published by L’Orangerie, Köln in 1970.
The paper bears the Arches watermark.
Literature: Mourlot, F. & Leiris, M. (1972). Joan Miró: Der Lithograph, Vol. I 1930-1952. Geneva: Weber.
Reference: Mourlot 667
Condition: Very good condition. Very pale staining in the margins, particularly the lower margin.
Joan Miró (1893-1983) studied art at the Barcelona School of Fine Arts and at the Academia Gali. His parents would rather have seen him taking a job as a serious businessman. He even took business classes in 1907 parallel to his art classes. Miró worked as an accountant for nearly two years until he had a nervous breakdown. His parents finally accepted their son´s choice of a career as an artist without giving him too much support. In the beginning of his career Miró tried different painting styles like Fauvism and Cubism. In 1920, he made the first of a series of trips to Paris. In 1921 he settled permanently in the French capital. He met Pablo Picasso and many of the other great painters and artists living in Paris – the center of arts in the late nineteenth and first half of the twentieth century. From 1924 on, Miró joined the circle of the Surrealist theorist André Breton. His painting style took a turn to Surrealism. His comrades were André Masson and Max Ernst. But he never integrated himself completely into this group dominated by André Breton. He remained an outsider. By 1930 the artist had developed his own style. Miró art is hard to describe. It is characterized by brilliant colors combined with simplified forms. Joan Miró integrated elements of Catalan folk art into his works. He liked to compare his visual arts to poetry. In the 1930s the artist’s fame and recognition became international. From 1940 to 1948 he was back in Spain. During this period he experimented in different media; sculpture, ceramics and murals. In 1947, he came to the United States for the first time. He had several solo shows. The most important one was a retrospective at the MoMA in 1951 and in 1959. In 1954 he won a prize at the Venice Biennale. Miró was a disciplined, hard working and modest man. In spite of international recognition, his financial situation was tense. After World War II, his first trip to the USA pushed his popularity and the market value of his art work. In 1956 Miró could finally move into the villa of his dreams, located in Palma de Majorca. The new home was built in an ultra-modern style typical for the avant-garde architecture of the fifties. In 1992 it was transformed into the Miró Museum open to the public. Miró was a dedicated printmaker who worked in lithographs and etchings with carborundum. Miró is among those modern artists like Picasso or Chagall whose works were published in editions targeted at a collector audience, making Miró’s art available for art lovers around the world.
Joan Miró (1893-1983) studied art at the Barcelona School of Fine Arts and at the Academia Gali. His parents would rather have seen him taking a job as a serious businessman. He even took business classes in 1907 parallel to his art classes. Miró worked as an accountant for nearly two years until he had a nervous breakdown. His parents finally accepted their son´s choice of a career as an artist without giving him too much support. In the beginning of his career Miró tried different painting styles like Fauvism and Cubism. In 1920, he made the first of a series of trips to Paris. In 1921 he settled permanently in the French capital. He met Pablo Picasso and many of the other great painters and artists living in Paris - the center of arts in the late nineteenth and first half of the twentieth century. From 1924 on, Miró joined the circle of the Surrealist theorist André Breton. His painting style took a turn to Surrealism. His comrades were André Masson and Max Ernst. But he never integrated himself completely into this group dominated by André Breton. He remained an outsider. By 1930 the artist had developed his own style. Miró art is hard to describe. It is characterized by brilliant colors combined with simplified forms. Joan Miró integrated elements of Catalan folk art into his works. He liked to compare his visual arts to poetry. In the 1930s the artist\'s fame and recognition became international. From 1940 to 1948 he was back in Spain. During this period he experimented in different media; sculpture, ceramics and murals. In 1947, he came to the United States for the first time. He had several solo shows. The most important one was a retrospective at the MoMA in 1951 and in 1959. In 1954 he won a prize at the Venice Biennale. Miró was a disciplined, hard working and modest man. In spite of international recognition, his financial situation was tense. After World War II, his first trip to the USA pushed his popularity and the market value of his art work. In 1956 Miró could finally move into the villa of his dreams, located in Palma de Majorca. The new home was built in an ultra-modern style typical for the avant-garde architecture of the fifties. In 1992 it was transformed into the Miró Museum open to the public. Miró was a dedicated printmaker who worked in lithographs and etchings with carborundum. Miró is among those modern artists like Picasso or Chagall whose works were published in editions targeted at a collector audience, making Miró\'s art available for art lovers around the world.
