JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: The Invention of the Look | L’invention du Regard, 1970
Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours with Carborundum on Arches Wove Paper
Paper size: 50.5 x 66.5 cm. / 19.8 x 26.2 in.
Additional Information: This original etching and aquatint in colours with carborundum 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 by Arte Adrien Maeght and published by Maeght Éditeur, Paris in 1970. There were also a few hors commerce [Out of trade] impressions proofs aside from the edition.
Literature: Dupin, J. (1989). Miró – Engraver: Volume II. 1961-1973. Paris: Éditeur Daniel Lelong.
Reference: Dupin 537
Condition: Good condition. Time and mount staining across the sheet. Adhesive residue, verso.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Trace on Water | Tracé sur l’eau, 1963
Technique: Original Hand Signed and Numbered Portfolio with one Hand Signed and Numbered Aquatint on Rives Wove Paper and 14 watercolours offsets on Onion Skin Marais Paper
Paper size: 28.6 x 71 cm. / 11.2 x 27.9 in.
Image size: 20.5 x 58 cm. / 8 x 22.8 in.
Additional Information: This original 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 100, at the lower left margin. It was printed in a limited edition of 100 signed and numbered impressions on wove paper.
The aquatint was printed by Maeght, Levallous-Perret.
This portfolio also contains 14 watercolour offsets printed on Marais onion skin paper in the workshops of Maeght Publisher. The watercolours were realised by hand on a lithographic press with their original dimensions and on the same paper.
The portfolio itself is also hand signed in red pencil “Miró” on the justification page.
Literature:
1. Dupin, J. (1989). Miró Engraver, Vol. II 1961-1973. Paris: Éditeur Daniel Lelong.
Reference: Dupin 350.
2. Cramer, P. (1989). Joan Miró the Illustrated Books: Catalogue Raisonné. Geneva: Cramer.
Reference: Cramer 82
JOAN MIRÓ 1893-1983
Montroig 1893- 1983 Mallorca (Spanish)
Title: The Red Egret | L’aigrette rouge, 1976
Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours with Carborundum on Arches Wove Paper
Paper size: 132.5 x 92.5 cm. / 52.2 x 36.4 in.
Image size: 115.5 x 74.2 cm. / 45.5 x 29.2 in.
Additional Information: This original etching and aquatint in colours with carborundum 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. There were also 12 hors commerce [out of trade] impressions.
It was printed by Morsang, Paris and was published by Maeght Éditeur, Paris in 1976.
Literature: Dupin, J. (2001). Miró Engraver, Vol. IV 1976-1983. Paris: Éditeur Daniel Lelong.
Reference: Dupin 930
JOAN MIRÓ 1893-1983
Montroig 1893- 1983 Mallorca (Spanish)
Title: The Well-Maker | Le Puisatier, 1969
Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours with Carborundum on Arches Wove Paper
Paper size: 106.5 x 68 cm. / 42 x 26.8 in.
Image size: 99 x 60 cm. / 39 x 23.6 in.
Additional Information: This original etching and aquatint in colours with carborundum 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 75, in the lower left margin.
It printed by Morsang, Paris and was published by Maeght Éditeur, Paris in 1969.
The paper bears the Arches watermark in the lower right corner.
Literature: Dupin, J. (1989). Miró Engraver, Vol. II 1961-1973. Paris: Éditeur Daniel Lelong.
Reference: Dupin 516
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Composition IX, from: The Essences of the Earth | Les Essencies de la Terra, 1968
Technique: Unique Original Hand Signed and Numbered Lithograph with Hand-colouring on Japon Nacré Paper
Paper size: 49.5 x 36 cm. / 19.4 x 13.9 in.
Additional Information: This original lithograph with hand-colouring 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 100, at the lower left margin.
Our impression is one of 100 impressions with additional hand-colouring by the artist. Each one of them slightly different creating unique works. In this particular example the black crayon drawing is particularly extensive.
It is part of the “Les Essències de la Terra” [The Essence of the Earth] a portfolio of nine plates Miró realised to illustrate Juan Perucho’s book of eight Old Catalan texts.
The lithograph was printed in 1970 by Atelier Mourlot, Paris and published by Ediciones Polígrafa, Barcelona in the same year.
Provenance: Private collection, New York.
Literature: Mourlot, F. & Leiris, M. (1977). Joan Miró: Der Lithograph, Vol. III 1964-1969. Geneva: Weber.
Reference: Mourlot 514
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: 92 x 63.5 cm. / 36.2 x 25 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 50, at the lower left image.
It was printed by Morsang, Paris and published by Maeght Éditeur, Paris in 1975. There were also a few hors commerce [out of trade] impressions aside from the edition.
Literature: Dupin, J. (1991). Miró – Engraver: Volume III. 1973-1975. Paris: Éditeur Daniel Lelong.
Reference: Dupin 746
Condition: Excellent condition.
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.
Provenance: Private collection, London
Literature: Mourlot, F. & Leiris, M. (1982). Joan Miró: Der Lithograph, Vol. IV 1969-1972. Geneva: Weber.
Reference: Mourlot 836
Condition: Very good condition. Minor staining along the right sheet edge from previous hinging. Handling creases along the lower margin.
JOAN MIRÓ 1893-1983
Montroig 1893- 1983 Mallorca (Spanish)
Title: Untitled (Fernando Gutiérrez) | Sans titre, 1964
Technique: Unique Signed and Dedicated Drawing in Crayon on Paper
Size: 35 x 44 cm. / 13.8 x 17.3 in.
Additional Information: This colourful unique crayon drawing is hand signed and dedicated by the artist in pencil “à Fernando Gutiérrez / Cordialement Miró” across the sheet.
The dedication and drawing is on the folded double-page justification from Joan Miró, Obra inèdita recent. Barcelona: Sala Gaspar, Galeria Metrás i Belarte, December 1964.
It is additionally inscribed “H.C.” hors commerce [out of trade].
Provenance: Fernando Gutiérrez
Galería Cortina, Barcelona
This work is accompanied by a photo certificate of authenticity from the Association pour la défense de l’œuvre de Joan Miró (ADOM).
Condition: Excellent condition.
JOAN MIRÓ 1893-1983
Montroig 1893- 1983 Mallorca (Spanish)
Title: Untitled (Mauro Pejla) | Sans titre, 1970
Technique: Unique Signed, Dated and Dedicated Drawing in Crayon with Pen on Paper
Size: 19.8 x 19.8 cm. / 7.8 x 7.8 in.
Additional Information: This colourful unique drawing is hand signed, dedicated and dated by the artist in blue ballpoint pen “à Mauro Pejla Miró. 6/XI/70” at the lower margin.
Provenance: Mauro Pejla, Italian Collection. a gift from the artist.
This work is accompanied by a photo certificate of authenticity from the Association pour la défense de l’œuvre de Joan Miró (ADOM).
Condition: Very good condition. The sheet lightly toned at the edges. Remnants of adhesive tape, verso.
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.
