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: Good condition.
JOAN MIRO 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Football World Cup – Spain | Copa del Mundo de futbol de Barcelona, España, 1981
Technique: Original Hand Signed and Hand Numbered Lithograph in Colours on Arches Wove Paper
Paper size: 94 x 59.8 cm. / 37 x 23.5 in.
Additional Information: This original Lithograph is hand signed in pencil by the artist “Miró” in the lower right corner. It is hand numbered in pencil from the edition of 150 at the bottom left margin. It was printed by Damià Caus, Barcelona, in 1981 and published the same year by Maeght, Paris. This lithograph was created as a poster for the Football World Cup which took place in Barcelona in 1982. This impression is part of the deluxe edition created before the lettering for the Poster edition.
Literature: Cramer P. (1992). Joan Miró: Lithographe. Volume VI. 1976-1981. Paris: Patrick Cramer.
Reference: Mourlot 1250
Condition: Very Good Condition
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,
Reference: Cramer 108
Condition: Excellent condition.
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
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: 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: 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 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: Couple of Birds III | Couple d’Oiseaux III, 1966
Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours on Mandeure Wove Paper
Paper size: 73.5 x 104.5 cm. / 28.9 x 41.1 in.
Image size: 58 x 92 cm. / 22.8 x 36.2 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 50, at the lower left margin. 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.
Literature: Dupin, J. (1991). Miró Engraver, Vol. III 1973-1975. Paris: Éditeur Daniel Lelong.
Reference: Dupin 416
Condition: Good condition. Staining in the margins. Soft creasing in the lower margin and corners. Remnants of adhesive hinging, verso.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Cheerleader | Majorette, 1978
Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches Wove Paper
Paper size: 99 x 72.5 cm. / 39 x 28.5 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.
This lithograph was printed by Litografías artísticas Damià Caus, Barcelona and was published by Galería Maeght, Barcelona in 1978 in a limited edition of 75 signed and numbered impressions.
There were also 24 hors commerce [out of trade] impressions hand signed and numbered with Roman numerals.
The paper bears the Arches watermark.
Literature: Mourlot, F. & Leiris, M. (1992). Joan Miró: Der Lithograph, Vol. VI 1976-1981. Geneva: Weber.
Reference: Mourlot 1169
Condition: Very good condition. Tipped to the backing board along the upper section, verso. Very pale, unobtrusvie and even time-staining across the sheet.
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.
