JOAN MIRÓ 1893-1983 Montroig 1893-1983 Mallorca (Spanish)
Title: Composition IV, from: The Pine Tree of Formentor, 1976
Technique: Original Hand Signed and Numbered Etching and Aquatint in Colours on Guarro Wove Paper
Paper size: 104 x 90 cm. / 40.9 x 35.4 in. Additional Information: This original etching and aquatint in colours 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, in the lower left margin. It was printed by J.J. Torralba, Rubi’ (Barcelona) and published by Sala Gaspar, Barcelona in 1976. The paper bears the blindstamp of the publisher, Sala Gaspar. The work is from the series of six etchings and aquatints called “El Pi de Formentor” [The Pine of Formentor], a poem by Miquel Costa i Llobera written in 1875. The work is a ode to a native tree of Majorca’s spectacular Formentor peninsula.
Literature: 1. Dupin, J. (2001). Miró Engraver, Vol. IV 1976-1983. Paris: Éditeur Daniel Lelong
Reference: Dupin 941. 2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer.
Reference: Cramer 217.
Condition: Very Good Condition. A few minor creases at the right margin, tape removal marks verso, printing stains verso not affecting the image.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: White Magic II, from: Allegro Vivace | La magie blanche II: Allegro Vivace, 1981
Technique: Original Hand Signed and hand numbered Lithograph in Colours on Wove Paper
Paper size: 64.8 x 92 cm. / 25.5 x 36.2 in.
Additional Information: This original lithograph in colours is hand signed by the artist in pencil ‘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 in 1981 by Ateliers Lelong, Paris. It was published by Daniel Lelong Éditeur, Paris in 1987. This work was part of the Allegro Vivace Suite that contained 15 lithographs.
Literature: Mourlot, F. & Leiris, M. (1992). Joan Miró: Der Lithograph, Vol. VI 1976-1981. Geneva: Weber.
Reference: Mourlot 1240
Condition: Very good condition. Remnants of hinging tape in two corners, verso.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Red and Blue | Rouge et bleu, 1960
Technique: Original Hand Signed, Numbered and Dated Lithograph in Colours on Arches Wove Paper
Paper size: 65.5 x 46.4 cm. / 25.8 x 18.3 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 100 at the lower left margin.
The work was printed by Atelier Mourlot, Paris and published by Maeght Éditeur, Paris in 1960.
The paper bears the Arches watermark.
Literature: Mourlot, F. & Leiris, M. (1975). Joan Miró: Der Lithograph, Vol. II 1953-1963. Geneva: Weber.
Reference: Mourlot 269
Condition: Excellent condition.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: The Mongol Warrior | Le Guerrier Mongol, 1976
Technique: Original Hand Signed and Numbered Lithograph in Colours on Arches Wove Paper
Paper size: 85 x 60 cm. / 33.5 x 23.6 in.
Additional Information: This original lithograph in colours is hand signed in 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. It was printed in a limited edition of 50 signed and numbered impressions in 1976. There were also a small number of HC (hors commerce) [out of trade] impressions. It was printed by Arte Adrien Maeght, Parisand published by Maeght Éditeur, Paris. The paper bears the Arches watermark in the lower right corner.
Literature: Mourlot, F. & Leiris, M. (1992). Joan Miró: Der Lithograph, Vol. VI 1976-1981. Geneva: Weber.
Reference: Mourlot 1092
Condition: Very good condition. The sheet very slightly wavy. Extremely pale time-staining at with previous hinging showing through in the upper sheet.
JOAN MIRÓ 1893-1983 Montroig 1893-1983
Mallorca (Spanish) Title: The Triple Wheel I, from: Allegro Vivace | La triple roue I: Allegro Vivace, 1981
Technique: Original Hand Signed and hand numbered Lithograph in Colours on Wove Paper
Paper size: 60.8 x 90 cm. / 23.9 x 35.4 in.
Additional Information: This original lithograph in colours is hand signed by the artist in pencil ‘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 in 1981 by Ateliers Lelong, Paris. It was published by Daniel Lelong Éditeur, Paris in 1987. This work was part of the Allegro Vivace Suite that contained 15 lithographs.
Literature: Mourlot, F. & Leiris, M. (1992). Joan Miró: Der Lithograph, Vol. VI 1976-1981. Geneva: Weber.
Reference: Mourlot 1235
Condition: Very good condition. Remnants of hinging tape in two corners, verso.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Composition XII, 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 25 further impressions and 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 twelth 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 1193
2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer.
Reference: Cramer 257
Condition: Very good condition. Pale time-staining at the sheet edges.
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: 16.8 x 21.6 cm. / 6.6 x 8.5 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. The sheet reduced on all sides.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: The First Night of Spring, from: Allegro Vivace | La première nuit du printemps: Allegro Vivace, 1981
Technique: Original Hand Signed and hand numbered Lithograph in Colours on Wove Paper
Paper size: 61 x 90 cm. / 24 x 35.4 in.
Additional Information: This original lithograph in colours is hand signed by the artist in pencil ‘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 in 1981 by Ateliers Lelong, Paris. It was published by Daniel Lelong Éditeur, Paris in 1987.
This work was part of the Allegro Vivace Suite that contained 15 lithographs
Literature: Mourlot, F. & Leiris, M. (1992). Joan Miró: Der Lithograph, Vol. VI 1976-1981. Geneva: Weber.
Reference: Mourlot 1244
Condition: Excellent condition.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: The Lover’s Sled, from: Allegro Vivace | La luge des amants I: Allegro Vivace, 1981
Technique: Original Hand Signed and hand numbered Lithograph in Colours on Wove Paper
Paper size: 61 x 88 cm. / 24 x 35 in.
Additional Information: This original lithograph in colours is hand signed by the artist in pencil ‘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 in 1981 by Ateliers Lelong, Paris. It was published by Daniel Lelong Éditeur, Paris in 1987.
This work was part of the Allegro Vivace Suite that contained 15 lithographs.
Literature: Mourlot, F. & Leiris, M. (1992). Joan Miró: Der Lithograph, Vol. VI 1976-1981. Geneva: Weber.
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.
