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.
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 661
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: The Musical Seance, from: Allegro Vivace| La séance de musique, 1981
Technique: Original Hand Signed and hand numbered Lithograph in Colours on Wove Paper
Paper size: 89.6 x 60.6 cm. / 35.2 x 23.8 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
Provenance: Z-Galerie, Baar, Switzerland.
Private Swiss Collection from 1980s
Literature: Mourlot, F. & Leiris, M. (1992). Joan Miró: Der Lithograph, Vol. VI 1976-1981. Geneva: Weber.
Reference: Mourlot 1246
Condition: Very good condition. Very pale staining across the sheet, areas of hinging tape, verso visible recto.
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: Untitled, from: Bibliography of Works by René Char 1928-1963 | Bibliographie des oeuvres de René Char de 1928 à 1963, 1964
Technique: Original Hand Signed and Numbered Etching on Wove Paper
Paper size: 25 x 16.3 cm. / 9.8 x 6.4 in.
Images size: 22 x 14 cm. / 8.7 x 5.5 in.
Additional Information: This original etching 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 in Roman numerals, at the lower left margin. The total edition was of 100 signed and numbered impressions.
This etching was printed and published by Pierre André Benoit, Alès 1964.
Note:
This etching was contributed by Miro to deluxe edition of “Bibliography of Works by René Char 1928-1963”. Georges Braque, Alberto Giacometti and Maria Vieira da Silva also contributed artworks to this project.
Literature:
1. Dupin, J. (1989). Miró Engraver, Vol. II 1961-1973. Paris: Éditeur Daniel Lelong.
Reference: Dupin 369
2. Cramer, P. (1989). Joan Miró – The Illustrated Books: Catalogue Raisonné. Geneva: Patrick Cramer
Reference: Cramer Books 93
Condition: Very good condition. Minor skinning from previous hinging, verso.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca
Title: Figure and Stars III | Personatge I Estels III, 1979
Technique: Original Hand Signed and Numbered Etching and Aquatint with Collage on Arches Wove Paper
Paper size: 90.5 x 63 cm. / 35.6 x 24.8 in.
Additional Information: This original etching and aquatint with collage is hand signed in pencil by the artist “Miró” at the lower right image.
This work is the third composition from the ‘Personatge i Estels’ [Figure and Stars] suite of seven etchings.
It was printed in a limited edition of 50 signed and numbered impressions in 1979 by Joan Barbarà, Barcelona. A further 15 hors commerce [out of trade] proofs were realised aside the regular edition.
The suite was published by Galerie Maeght, Barcelona in 1979
The paper bears the Arches watermark in the lower right corner.
Provenance: Private collection, South Florida, USA
Literature: Dupin, J. (2001). Miró Engraver, Vol. IV 1976-1983. Paris: Éditeur Daniel Lelong.
Reference: Dupin 1090
Condition: Excellent condition. Minor areas of skinning along the upper sheet edge, verso.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Large Cave Paintings VII | Gran Rupestres VII, 1979
Technique: Original Hand Signed and Numbered Etching with Aquatint in Colours on Guarro Wove Paper
Paper size: 92 x 69.5 cm. / 36.2 x 27.4 in.
Additional Information: This original etching and aquatint in colours is hand signed in white pencil by the artist “Miró” at the lower right image.
It is also hand numbered in Roman numerals and inscribed, at the lower left image. Our impression is one of 15 hors commerce [out of trade] impressions aside from the standard edition of 30.
It was printed by Joan Barbarà, Barcelona, and published by Maeght, Barcelona
This is the seventh plate of seven for the series Gran Rupestres.
The paper bears the Guarro watermark in the upper right corner.
Note:
Miró contacted Joan Barbarà, whom he had met earlier in Crommelynck’s and Dutrou’s studio in Paris. Before beginning the Gaudí series, Miró thought it advisable to have a test run and adapt himself to Barbarà’s way of working. They both worked very freely, allowing for much experimentation. Out of this came several series, each with a clear character of its own, and all masterfully executed. Unlike most of Miró’s production, for which he usually chose titles in French, the titles for these series were in Catalan.
Els Rupestres (1977) and Grans Rupestres (1977) are two print series that recreate the primitive, vivid atmosphere of prehistoric mural paintings.
Miró had visited the Altamira caves with ceramist Artigas when he was searching for ideas to develop in the murals commissioned for the UNESCO headquarters in Paris, which he completed in 1958. Almost twenty years later, he once again drew on the gestural and synthetic qualities of cave painting with even greater synchrony than before.
Literature: Dupin, J. (2001). Miró Engraver, Vol. IV 1976-1983. Paris: Éditeur Daniel Lelong.
Reference: Dupin 1059
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.
