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 25, in the lower left image. There were also 115 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 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 2. Cramer, P. (1989). Miró: Catalogue des Livres Ilustrées. Paris: Edition Cramer. Reference: Cramer 257
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.
Reference: Mourlot 1231
Condition: Excellent condition.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: Figure and Stars I | Personatge I Estels V, 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 edge.
It is also hand numbered in pencil from the edition of 50, at the lower left edge. There were also 15 Hors Commerce [out of trade] proofs aside from the standard edition.
It was printed by Joan Barbarà, Barcelona in 1979 and was published by Galerie Maeght, Barcelona in 1979.
This work is the first composition from the ‘Personatge i Estels’, [Figure and Stars] suite of seven etchings and aquatints with collage. The paper bears the Arches watermark.
Provenance: Schaeffer Editions, New York. (acquired 1980)
Literature: Dupin, J. (2001). Miró Engraver, Vol. IV 1976-1983. Paris: Éditeur Daniel Lelong. Reference: Dupin 1088
Condition: Very good condition. The sheet attached to a supporting card.
JOAN MIRÓ 1893-1983
Montroig 1893-1983 Mallorca (Spanish)
Title: The Lady Playing Checkers | La Dame aux Damiers, 1969
Technique: Original Hand Signed and Numbered Lithograph on Checked Cloth laid on Wove Paper
Paper size: 85 x 60.5 cm. / 33.4 x 23.8 in.
Additional Information: This original lithograph is hand signed in pencil by the artist “Miró” at the lower right corner.
It is also hand numbered in pencil from the edition of 75, at the lower left corner.
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.
Note: The central motif of this work is used in three works created in 1969, yet only this subject is printed directly onto material and mounted to paper.
Literature: Mourlot, F. & Leiris, M. (1977). Joan Miró: Der Lithograph, Vol. III 1964-1969. Geneva: Weber. Reference: Mourlot 544
Condition: Very good condition. A minor crease in the cloth in the upper image, originating during the creative process. Remnants of hinging tape along the upper sheet, verso.
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: 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) 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.