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 numbered with Roman numerals.
This etching was printed by Crommelynck & Dutrou, Paris and published by Louis Broder, Paris in 1959.
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 257
2. Cramer, P. (1989) Joan Miro – The Illustrated Books: Catalogue Raisonne. Geneva: Patrick Cramer
Reference: Cramer Books 54
Condition: Excellent condition. The paper slightly wavy.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Composition III, from: Boxes | Cartones, 1965
Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches Wove Paper
Paper size: 22 x 31.5 cm. / 8.7 x 12.4 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 deluxe edition of 75 numbered in Roman numerals, at the lower left corner. There were also 1,200 unsigned impressions on white paper.
The work was part of a portfolio entitled “Cartones” [Boxes] realised by the artist in 1965.
It was printed by Atelier Mourlot, Paris and published by Pierre Matisse, New York.
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 383
2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer,
Reference: Cramer 103
Condition: Excellent condition.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Lithograph for the Boxes Exhibition, 1965
Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches Wove Paper
Paper size: 54.6 x 70.4 cm. / 21.5 x 27.7 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 75, at the lower left margin.
The work was printed by Atelier Mourlot, Paris and published by Pierre Matisse, Paris.
The paper bears the Arches watermark in the lower margin.
Provenance: Directly from the artist to Pierre Matisse (1900-1989)
Pierre-Noël Matisse (died 2006) and Jacquelyn Miller Matisse (1940-2018).
Literature: Mourlot, F. & Leiris, M. (1977). Joan Miró: Der Lithograph, Vol. III 1964-1969. Geneva: Weber.
Reference: Mourlot 385
Condition: Very good condition. Very soft creases across the upper left corner and lower right corner.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Constellations, 1959
Technique: Original Hand Signed, Dated and Numbered Lithograph in Colours on Arches Wove Paper
Paper size: 65 x 50 cm. / 25.6 x 19.7 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 dated “1959” below the signature.
It is also hand numbered in pencil, from the edition of 150, at the lower left margin.
The work was printed by Atelier Mourlot, Paris and published by Galerie Berggruen, Paris in 1959.
The paper bears the Arches watermark in the right margin. The paper also bears a blue inkstamp ‘Made in France’, verso.
Note: This lithograph was created to celebrate the exhibition of the same name held at Galerie Berggruen, Paris in 1959.
Provenance: Directly from the artist to Pierre Matisse (1900-1989)
Pierre-Noël Matisse (died 2006) and Jacquelyn Miller Matisse (1940-2018).
Literature: Mourlot, F. & Leiris, M. (1975). Joan Miró: Der Lithograph, Vol. II 1953-1963. Geneva: Weber.
Reference: Mourlot 259
Condition: Excellent condition.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: The Convict | Le Bagnard, 1969
Technique: Original Hand Signed and Numbered Lithograph on Checked Cloth laid on Wove Paper
Paper size: 87.5 x 60.5 cm. / 34.4 x 23.8 in.
Additional Information: This original lithograph is hand signed in pencil by the artist “Miró” at the lower left corner.
It is also hand numbered in pencil from the edition of 75, at the centre of the lower image.
It was printed in 1969 in a limited edition of 75 signed and numbered impressions.
It was printed by Arte Adrien Maeght, Paris and published by Maeght Éditeur, Paris in 1969.
Literature: Mourlot, F. & Leiris, M. (1977). Joan Miró: Der Lithograph, Vol. III 1964-1969. Geneva: Weber.
Reference: Mourlot 526
Condition: Excellent condition.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Composition IV, from: Etchings for an Exhibition | Planche IV : Gravures Pour Une Exposition, 1973
Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours on Arches Wove Paper
Paper size: 63 x 90.8 cm. / 24.8 x 35.8 in.
Image size: 34.5 x 68.5 cm. / 13.6 x 27 in.
Additional Information: This original etching and aquatint in colours is monogrammed in pencil by the artist “M” at lower right corner.
It is also hand numbered in pencil from the edition of 75, at the lower left corner.
It was printed by Morsang, Paris and published by Pierre Matisse, New York in 1973 in a limited edition of 75 impressions. There were also a 15 hors commerce [Out of Trade] proofs aside the standard edition.
This is the fourth composition (of four) etchings produced by the artist on the occasion of the 1973 exhibition “Miró, paintings, gouaches, sobreteixims, sculpture and etchings” held at Pierre Matisse, New York. The suite also included one lithograph.
The paper bears the Arches watermark in the lower left corner.
Provenance: Private collection, Beverly Hills, CA
Literature:
1, Dupin, J. (1991). Miró Engraver, Vol. III 1973-1975. Paris: Éditeur Daniel Lelong.
Reference: Dupin 609.
2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer.
Reference: Cramer 174.
Condition: Very good condition. The sheet it very slightly toned. The upper margin with slight rippling. Remnants of hinging tape, verso.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours on Arches Wove Paper
Paper size: 50.5 x 33 cm. / 19.9 x 13 in.
Additional Information: This original etching and aquatint is hand signed in pencil by the artist “Miró” in the lower right margin.
It is also hand numbered in pencil from the edition of 50, at the lower left margin.
It was printed in a limited edition of 50 signed and numbered impressions by Arte Adrien Maeght, Paris, in 1966 and it was published by Maeght Éditeur, Paris in the same year.
The paper bears the special Maeght watermark, created by Arches, in the lower right margin.
Literature: Dupin, J. (1991). Miró Engraver, Vol. III 1973-1975. Paris: Éditeur Daniel Lelong.
Reference: Dupin 738
Condition: Good condition. The sheet unevenly toned across the sheet, recto.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: The Convict and his Companion | Le Bagnard et sa Compagne, 1975
Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours on Mandeure Wove Paper
Paper size: 120.7 x 159.4 cm. / 47.5 x 62.8 in.
Additional Information: This original etching and aquatint is hand-signed in white pencil by the artist “Miró” in the lower right image. It is also hand-numbered in pencil from the edition of 50, in the lower-left image. There were also a small number of hors commerce impressions. It was printed in a limited edition of 50 signed and numbered impressions by Arte Adrien Maeght, Paris, in 1966 and it was published by Maeght Éditeur, Paris in the same year. The paper bears the Canton de Mandeure watermark along the lower margin.
Provenance: Miriam Crohn Slavin, Maryland (1928-2021) Literature: Dupin, J. (1991). Miró Engraver, Vol. III 1973-1975. Paris: Éditeur Daniel Lelong.
Reference: Dupin 749
Condition: Very good condition. Very slight rippling to the sheet edge.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: The Nobles at the Trapdoor II, from: Series for King Ubu | Les Nobles à la Trappe 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:
Mourlot, F. & Leiris, M. (1977). Joan Miró: Der Lithograph, Vol. III 1964-1969. Geneva: Weber.
Reference: Mourlot 411
Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer,
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.
