JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)

Title: Composition X, from: The Egyptian Woman Passes | Passage de l’égyptienne, 1979/1985

Technique: Original Hand Signed and Numbered Etching and Aquatint on Japan Nacré Paper

Paper size: 60 x 42.5 cm. / 23.6 x 16.7 in.

Additional Information: This original etching and aquatint is hand signed in pencil by the artist “Miró” at the lower right image.
It is also hand numbered in pencil from the edition of 115, in the lower left image. There were also ten artist’s proofs numbered with Roman numerals and a further 21 hors commerce [out of trade] impressions inscribed with the alphabet from A to U.
This work is the tenth composition from the ‘Passage de l’égyptienne’ [The Egyptian Woman Passes] suite of twenty six etchings.
It was printed by Atelier Morsang, Paris in 1979 and published by Robert Lydie Dutrou, Paris in 1985.
The subject was created in the final years of the artist’s life and the etchings were signed by the artist in his studio in Palma, Majorca in 1979. The works were published in 1985, after his death. The series was to illustrate the the book by Pieyre de Mandiargues

Literature: 1. Dupin, J. (2001). Miró Engraver, Vol. IV 1976-1983. Paris: Éditeur Daniel Lelong.
Reference: Dupin 1191
2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer.
Reference: Cramer 257

Condition: Very good condition. The sheet is very lightly toned. Pale backboard staining, verso.

JOAN MIRÓ 1893-1983 Montroig 1893- 1983 Mallorca (Spanish) Title: Composition II, from: Series IV | Série IV, 1952/53 Technique: Original Hand Signed Etching in Colours on Arches Wove Paper Paper size: 32.5 x 50.5 cm. / 12.8 x 19.9 in. Image size: 17.5 x 27.5 cm. / 6.9 x 10.8 in. Additional Information: This original etching in colours is hand signed and dated in pencil by the artist “Miró 1952” at the lower right margin. The work is also hand-numbered in pencil from the edition of 13, at the lower left margin. It was etched at the Atelier 17, New York in May 1947 and printed at the Atelier Lacourière, Paris. It was published by Maeght Éditeur, Paris, in 1952-53 in a very small, limited edition of only 13 impressions. The paper bears the Arches watermark in the lower right corner. Literature: Dupin, J. (1984). Miró Engraver, Vol. I 1928-1960. Paris: Éditeur Daniel Lelong. Reference: Dupin 95 Condition: Excellent condition.

JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)

Title: Woman and Bird in Front of the Moon, from: Laurel’s No. 1 | Femme et Oiseau Devant la Lune, 1947

Technique: Original Hand Signed and Numbered Etching and Aquatint on Wove Paper

Paper size: 20.6 x 25.4 cm. / 8.1 x 10 in.
Image size: 11 x 14.8 cm. / 4.3 x 5.8 in.

Additional Information: This original etching and aquatint is hand signed and dated in pencil by the artist “Miró 1947” at the lower right.
It is also hand numbered in pencil from the edition of 300, at the lower left corner.
The etching and aquatint was printed by Atelier 17, New York, in 1947 in a limited edition of 300 impressions. There were also five artist’s proofs.
It was published by Laurel Gallery, New York.

Note: This work was commissioned by Chris Ritter, the director of the Laurel Gallery, New York, in 1947. He had planned to publish periodicals, which would contain literature, original prints, calligraphy and utilise handmade papers – much in the style of those published in Europe. This piece, Woman and Bird in Front of the Moon, was included in the very first periodical, published in 1947. The folio also contained works by Anne Ryan, Stanley William Hayter, Reginald Marsh, George Constant, and Will Barnet. The periodical was a relatively short-lived project with only four issues being realised before the Laurel Gallery stopped the project. Other impressions of the subject can be found in the collections of Cleveland Art Gallery, Ohio, The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Dallas Museum of Art and the Museum of Fine Arts, Houston.

Literature:
1. Dupin, J. (1984). Miró Engraver, Vol. I 1928-1960. Paris: Éditeur Daniel Lelong.
Reference: Dupin 51.
2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer,
Reference: Cramer 10.

Condition: Very good condition. A very pale, unobtrusive area of foxing in the lower image.

JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)

Title: Pebble… from: Homage to Cassou | Caillou…Hommage à Cassou, 1975

Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours on BFK Rives Wove Paper

Paper size: 38.4 x 56 cm. / 15.1 x 22 in.

Additional Information: This original etching and aquatint in colours is hand signed in pencil by the artist “Miró” at the lower right image.
It is also hand numbered in pencil from the edition of 115, in the lower left image.
It was published by Erker-Presse, St. Gallen in 1975 as part of the portfolio “Hommage à Cassou” [ Homage to Cassou”.
The left side of the sheet bears the text, and the right side bears the lithograph.

Note:
Jean Cassou (1897-1986) was a poet, art critic and writer as well as a member of the French Resistance. He was the first director of the National Museum of Modern Art, having regained his position in 1945 following his dismissal by the Vichy regime in 1940.

Literature:
1. Dupin, J. (1991). Miró Engraver, Vol. IV 1976-1983. Paris: Éditeur Daniel Lelong. Reference: Dupin 1027
2. Cramer, P. (1989). Joan Miró – The Illustrated Books: Catalogue Raisonné. Geneva: Patrick Cramer
Reference: Cramer Books 247

Condition: Very good condition. The lower sheet edge slightly wavy.

JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)

Title: The Newspaper | Le Journal, 1972

Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches Wove Paper

Paper size: 74.5 x 53 cm. / 29.3 x 20.9 in.

Additional Information: This original lithograph in colours 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 50, at the lower left margin.
The work was printed and published by Arte Adrien Maeght, Paris in 1972.
The paper bears the Arches watermark in the upper right corner.

Literature: Mourlot, F. & Leiris, M. (1982). Joan Miró: Der Lithograph, Vol. IV 1969-1972. Geneva: Weber.
Reference: Mourlot 836

Condition: Good condition. Time and mount staining across the sheet. Remnants of hinging tape, verso.

JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)

Title: The Sunday Guest I | L’invitée du dimanche I, 1969

Technique: Original Hand Signed and Numbered Etching with Aquatint in Colours on Arches Wove Paper

Paper size: 79.8 x 115.5 cm. / 31.4 x 45.5 in.
Image size: 60 x 99 cm. / 23.6 x 39 in.

Additional Information: This original etching with aquatint in colours is hand signed in pencil by the artist “Miró” at lower right corner.
It is also hand numbered in pencil from the edition of 75, at lower left corner.
It was printed by Arte Adrien Maeght, Paris and published by Maeght Éditeur, Paris in 1969 in a limited edition of 75 impressions. There were also a few hors commerce [out of trade] proofs aside from the standard edition.

Literature: Dupin, J. (1989). Miró Engraver, Vol. II 1961-1973. Paris: Éditeur Daniel Lelong.
Reference: Dupin 480

Condition: Good condition. The sheet slightly wavy. Minor nicks along the lower sheet edge. Pale staining from previous hinging along the upper sheet edge. Very pale, unobtrusive time-staining across the sheet.

JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)

Title: Panorama for XXth Century | XXe Siècle, 1968

Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches Wove Paper

Paper size: 56 x 76 cm. / 22 x 29.9 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 deluxe edition of 75, at the lower left corner.
The work was part of a serial XXe Siècle entitled “Panorama” in 1968.
It was printed by Atelier Mourlot, Paris and published by XXe Siècle, Paris.
The paper bears the Arches watermark along the lower margin.

Literature:
1. Mourlot, F. & Leiris, M. (1977). Joan Miró: Der Lithograph, Vol. III 1964-1969. Geneva: Weber.
Reference: Mourlot 515
2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer,
Reference: Cramer 122

Condition: Excellent condition

JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)

Title: Composition XI, from: The Grotesque Courtier | Le courtisan grotesque, 1974

Technique: Original Hand Signed and Numbered Etching with Aquatint in Colours and Carborundum on Japan Paper

Paper size: 41.3 x 58.4 cm. / 16.3 x 23 in.

Additional Information: This original etching with aquatint in colours and carborundum is hand signed in pencil by the artist “Miró” at lower right corner.
It is also hand numbered in pencil from the edition of 12, at the lower left corner.
It was printed by Lacourière, Paris, in 1974 in a total edition of 110 impressions. There were also a ten Hors Commerce [Out of Trade] proofs aside the regular edition.
Our impression belongs to the suite of 12 deluxe printed on Japanese Paper. The suite was published by Legré Ilaizd, Paris.

Provenance:
The Museum of Contemporary Art, Chicago. Deaccessioned.

Literature: Dupin, J. (1991). Miró Engraver, Vol. III 1973-1975. Paris: Éditeur Daniel Lelong.
Reference: Dupin 671
2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer.
Reference: Cramer 182

Condition: Excellent condition.

JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)

Title: Composition I, from: The Grotesque Courtier | Le courtisan grotesque, 1974

Technique: Original Hand Signed and Numbered Etching with Aquatint in Colours and Carborundum on Japan Paper

Paper size: 41.3 x 58.4 cm. / 16.3 x 23 in.

Provenance:
The Museum of Contemporary Art, Chicago. Deaccessioned.

Literature: Dupin, J. (1991). Miró Engraver, Vol. III 1973-1975. Paris: Éditeur Daniel Lelong.
Reference: Dupin 661
2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer.
Reference: Cramer 182

Condition: Excellent condition.

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MIRÓ, Joan (1893-1983)

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.