Joan Miro (Over 1,800 results)

Limited edition, one of 130 copies; 4to (32 x 25 cm); signed by Miro on the justification, illustrated with 80 woodcuts including the front cover (eleven with collage), loose as issued, occasional minor offsetting; in the original printed wrappers, publisher's vellum-backed wood veneer chemise and slipcase, a fine copy. 'One of the most triumphant feats of book illustration in our century' (Soby). In 1947 when the Swiss art publisher Gérald Cramer suggested to Paul Éluard that they make a livre d'artiste from his poem À Toute Épreuve, Eluard immediately suggested Miro. The layout and execution of the landmark publication is a reflection of the artist's connection with the poets of the 1920s, which led to major transformations in his visual language. Miró, working in intense sessions with the publisher Cramer, re-imagined the text as an entirely new object and the result is one of the most beautiful and visually thrilling books ever printed. It wasn't until 1958, more than a decade after Cramer voiced the idea that the book was ready. On reflecting upon the creative process, Miró wrote to Cramer, 'I have made some trials which have allowed me to see what it was to make a book and not merely to illustrate it. Illustration is always a secondary matter. The important thing is that a book must have all the dignity of a sculpture carved in marble'. With these words Miró wonderfully summarises the importance of livres d'artistes. Illustrated with 80 woodcuts, 11 of which are with collage elements, Miró demonstrates his distinctive style of curvilinear lines and biomorphic shapes. He sought to meld the realm of the unconscious to essential life forms, veering toward abstraction but always maintaining links to humanity, nature, and the cosmos. Cramer 49.

Deluxe artist's binding. Condition: Fine. Limited edition. MARCEL DUCHAMP'S COPY, WARMLY INSCRIBED TO HIM BY ALICE PAALEN. ALSO WITH ORIGINAL FRONTISPIECE ETCHING SIGNED BY JOAN MIRÓ. BOUND BY LEGENDARY FRENCH BOOKBINDER MONIQUE MATHIEU. Signed limited edition, number 23 of only 75 copies, signed by Paalen on the limitation page (in addition to the signed inscription). On Alice Paalen: In a poem dedicated to her lover Pablo Picasso, the poet and visual artist Alice Paalen wrote, "I've been living in a map on the wall. I think I am at the crossroads of the wind. I converse with it." Bicultural, bisexual, and wildly independent, she was referred to as a shapeshifter who defied categorization. Born Alice Marie Yvonne Philppot in 1904 in eastern France, she moved to Paris with her family in 1920 and delighted in the bohemian scene. By 1934 she had married Austrian artist Wolfgang Paalen and been introduced to Paul Éluard, André Breton, Joan Miró and Pablo Picasso. In 1935 Alice had a brief love affair with Picasso, which ended when her husband threatened to kill himself. In 1936 André Breton officially invited Alice and Wolfgang to join the surrealist group, the same year that Alice became the first woman to have work published by Breton's renowned Editions Surréalistes. Alice had a far-ranging imagination and fully embraced the surrealist movement, modeling for Man Ray (in some of the hats that she created with Elsa Schiaparelli) and working closely with André Breton, Paul Éluard, Yves Tanguy, Max Ernst, Joan Miró, and Roland and Valentine Penrose (who later became her lover). When Breton opened the doors to his Galerie Gradiva in 1937 he included Alice in the dedication of his gallery and continued to be her champion throughout her career. Alice Paalen's second collection of poetry, Sablier Couché (The Reclining Hourglass), is considered one of her most important literary works. The "reclining" hourglass was meant to represent the female body shape as both a vessel and a timepiece. This signed limited edition is a collection of six poems and includes an original red etching frontispiece by Joan Miró on cut and mounted yellow paper, signed and numbered by the artist. Miró, a close friend of Alice and Wolfgang Paalen, created this illustration specifically for Sablier Couché. Sablier Couché was published in 1938 by Editions Sagesse and the poems in this collection are known for their dreamlike quality and Alice's use of nature, animals, and mythology. It's likely an autobiographical piece with Paalen as the narrator who suffers from abandonment, distress and mistreatment by her male and female lovers. In fact, it is believed that she revealed her bisexual tendencies in print for the first time in this collection. Paalen's inscription to Duchamp: Inscribed by Paalen on the front free endpaper: à Marcel Duchamp avec l'admiration et la profonde sympathie d' Alice Paalen" ["To Marcel Duchamp with admiration and deep companionship from Alice Paalen"]. She also inscribed an excerpt from one of her poems by hand at the bottom of the same page: Coupe les pieds du cheval pour qu'il se ressemble. Coupe les ponts pour mieux sauter." [Cut off the horse's feet so that it stays in one place. Cut out the bridges, to better leap ahead."]. In the year of publication (1938), Duchamp and Wolfgang Paalen worked with Breton and Éluard to arrange the central room of the Exposition Internationale du Surréalisme in Paris, thus strengthening the friendship between Duchamp and the Paalens. The binder, Monique Mathieu: Bound by arguably the foremost binder of her generation, Monique Mathieu, with her initials and the date (1966) stamped in gilt. Mathieu (born in 1927), specialized in binding books by contemporary poets and illustrated by prominent artists. This copy of Sablier Couché is spectacularly bound in smooth slate calf with brown patterned leather in relief on front and rear boards, with suede pastedowns and decorative endpapers. Housed in suede-lined chemise and slipcase. With original wrappers bound-in. S.

First edition, first printing, with an original self-portrait by Miró in his inimitable style in black ink and watercolour across the front free endpaper verso and half-title, depicting the artist meeting Hayworth; the same pages inscribed by Prévert, "á Rita Hayworth, En amitié d'un soir. et de layt???, Jacques Prévert", with a drawing of a flower; and signed by Ribemont-Dessaignes with his own drawing of a flower. Cramer 39. Quarto. Original card boards with dust jacket. Housed in a custom red card slipcase. Illustrated throughout with 160 colour and black-and-white images by Miró and 8 original colour lithographs, of which 3 fold-out, and 2 original lithographs on the dust jacket. Small chip to head of half-title, page edges lightly toned; corners of dust jacket lightly rubbed: a very good copy in like jacket.

First and signed limited edition, number 17 of 75 copies only, signed and numbered by the author, presentation copy from Alice Rahon to Peggy Guggenheim, inscribed by the author on the front free endpaper, "á Peggy Guggenheim, avec le grande amitié d'Alice Paalen, le 14 Janvier 1939". At the foot of the page she has inscribed two lines from her poem "Muttra" ("Seins délivrés qui volez et chantez, à l'inverse de la pie qui se remplit de son chant") and on the rear free endpaper, "On ne mettra jamais le feu à cette grange.". The frontispiece is signed and numbered 17/75 in pencil by Miró. This is the second of the three books of poetry by surrealist poet turned painter Alice Rahon, which she published under her married name, Paalen. Upon publication, it was praised by André Breton, who considered it to be "more of a talisman than a book" (MOCA, p. 7). Rahon was born in France, moving to Paris in her twenties and arriving at the height of the avant-garde. Rahon's work was included in two exhibitions at Art of This Century, Guggenheim's New York gallery: 31 Women (1943) and The Women (1945), which emphasized the role of female artists in the modern avant-garde. In 1945 the San Francisco Museum of Art presented the first of two solo exhibitions of her work. Rahon's first husband was the Austrian-Mexican artist Wolfgang Paalen: in 1939, the year this copy was inscribed, he had an exhibition at Peggy Guggenheim's recently opened Guggenheim Jeune Gallery in London. Rahon's work has gained new acclaim in recent years following major Surrealist survey shows such as In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States (2012) at LACMA, and Fantastic Women (2020). Rahon exhibited regularly in prominent galleries across the United States and Mexico, as well as Paris and London. Her and her husband's circle of friends included André Breton, Paul Éluard, Anaïs Nin, Pablo Picasso (with whom Rahon had a love affair), Leonora Carrington, Man Ray, Joan Miró, Diego Rivera, and Frida Kahlo. She later settled permanently in Mexico, becoming a citizen and a leading member of Mexico's avant-garde community. After her divorce, she re-established herself under her mother's maiden name, Rahon. Malet-Cramer, No. 5. Museum of Contemporary Art, Alice Rahon: Poetic Invocations, 2019. Octavo. Original wrappers bound in a decorative vellum, with black and orange calf onlay binding on yellow calf by Georges Leroux after a design by Miró, dated 1985, titles to spine in red and black, reversed calf doublures and endpapers. Housed in a quarter yellow calf chemise with grey boards and reversed calf lining, all housed in a yellow calf entry slipcase with grey cloth boards. Frontispiece etching printed in red on a yellow paper cutout pasted down on Arches laid paper, lower edge untrimmed (sheet size: 16 x 20.5 cm). A fine copy.

Unique drawing in crayon on paper, 1964, signed and dedicated by the artist in pencil 'à Fernando Gutiérrez / Cordialement Miró' across the sheet, the dedication and drawing are 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. 35 x 44 cm . (13.8 x 17.3 in.). This work is accompanied by a photo certificate of authenticity from the Association pour la défense de l' uvre de Joan Miró (ADOM).

Limited edition number 21 of 180 (from a total edition of 205) , signed by Miró in pencil on colophon; folio (43 x 33 cm). pp. (viii), 133, (xv), 13 lithographs printed in colours by Miro ,printed by Mourlot, on Arches wove paper, all loose as issued in the publisher's printed wrappers, cream coloured chemise and matching slipcase; a very attractive copy. Rare surrealist illustrations by miro; a key text of the Theatre of the Absurd This portfolio illustrates the play 'Ubu Roi' by the French writer Alfred Jarry, that premiered in 1896 and was part of the genre of the Theatre of the Absurd which thrilled the Surrealists and Dadaist. It was adopted not only by Miró but also by other artists such as Max Ernst or Man Ray. Miró chose to create thirteen large, colourful double-page lithographs for his 1966 illustrations of the play, employing imagery that is characteristically biomorphic and humorous, in keeping with themes of the play. The prints, however, are vividly coloured and finished and are perhaps slightly more painterly than most of Miró's graphic work. Cramer 107; Artists' Books in the Modern Era 1870-2000.

No Binding. Condition: Very Good. 1st Edition. 720 x1000 mm - Fine Art Prints - Etching and aquatint printed in colors, 1967, signed in pencil and numbered 61/75, on Mandeure rag paper, published by Maeght, Paris, wonderfully framed ! Joan Mirò (1893-1983) Spanish painter, sculptor and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975.

Soft cover. Condition: Very Good. 1st Edition. Translated in Catalan by Joseph Carner Forewords Maria Manent. Published by Gustavo Gili, Barcelona, 1975. Complete portfolio illustrated by Joan Miro with 33 etchings with aquatints in color, that accompany the text of Francesco d Assisi translated in Catalan. Limited edition in 273 numbered copies of which this copy is n 180, signed in pencil on the justification page by Miro, printed in Guarro wove paper. Loose as issued, guarded in original grey paper wrappers and original yellow cloth chemise with matching clamshell box. Ref Cramer: 196 In very good conditions, box, and chemise with light foxing. More pictures on request. Signed by Illustrator(s).

Etching and aquatint in colours, 1967, on Mandeure rag paper, signed in pencil, numbered from the edition of 75, printed by Arte Adrien Maeght, Paris, published by Maeght editeur, Paris, 74 x 104.8 cm. Dupin 440.

Hors Commerce copy aside from the edition of 99. Signed in pencil lower right by Miro, HC lower left. The title "Three Joans" was named after the Barcelona gallery owner Joan Prats, the poet Joan Brossa and Joan Miró. The writer J. V. Foix introduced Brossa to gallery owner Joan Prats and through him, Brossa met Miró. The "three Joans" would form an artistic and personal alliance for life. Dupin 1034. Etching and aquatint with intaglio on Arches wove paper. Image size: 52.5 x 107. Sheet size: 75.1 x 121.2 cm. Framed size: 86.5 x 135.5 cm. Excellent condition. Presented in a hand made white gold leaf frame.

Condition: Good. Color etching and aquatint. (Dupin no. 1027; Cramer 240). One of 150 hand signed and numbered impressions on Rives. 23.4 x 17.7 cm.; double page size 39.5 x 29 cm. Lithographed text by Cassou on a facing page. Part of portfolio, our ID# 07-0191. Inquire about availability of individual prints.Includes all prints from portfolio.

First edition. Octavo. Spender's poem ''Fall of a City'' and Louis Aragon's translation ''Chute d'une Cité'', together with nine engravings loose within wrappers. The engravings were printed by Atelier 17 and Henri Hecht and include one with aquatint and roulette, one with soft ground etching, one drypoint, and one etching. All are on Montval handmade paper with deckle-edges. Held within the original plain board chemise but lacking the slipcase which had a Hayter titling-piece pasted onto the front. Stanley Hayter founded Atelier 17 in Paris in 1927 and it continues to this day in Rue Didot, albeit with the name changed to Atelier Contrepoint. This production was his contribution to the raising of funds to help children orphaned by the Spanish Civil War.101 numbered copies were printed for sale and 12 for the contributors. This copy is unnumbered and hors commerce, marked ''h.c'' on the limitation page. Each copy, including this one, was signed by Spender and Aragon at their respective contribution and by each artist in the lower margin of the etched sheet.Fine in custom burgundy morocco box with ''FRATERNITY'' in gilt on the lid. Very scarce with all nine loose etchings, as most sets have been broken up for piecemeal sale.

Limited edition, number 51 of 150 copies on Arches wove paper signed in red pencil by Miro, from an edition of 200, with an additional 20 copies hors commerce; oblong folio, (29 x 40 cm); title, text and limitation on Arches wove paper, 25 lithographs in total (20 colour, 5 black and white), including wrappers, limitation page all bar three double-page; original paper wrappers with first lithograph printed on front, spine and back; set of six lithographs in black by or after the same hand, one with additions in red ball-point pen, in beige paper folder entitled 'documents 1929,' housed in publisher's orange cloth covered box with artist's and author's names on spine. A fine example of the limited edition, signed by Miro in red pencil. Both the Spanish artist Joan Miro and the French poet Robert Desnos were prominent figures in the Surrealist movement in Paris, where they met in 1925. Miro had long planned to illustrate a book by Desnos, but the project was delayed by the outbreak of the Spanish Civil War and subsequently the Second World War, in which Desnos was an active member of the French Resistance. He was arrested by the Gestapo in 1944 and sent to several concentration camps including Auschwitz and Buchenwald. Desnos survived the war only to die of typhoid a few weeks after the liberation of the camp where he was held. Nearly thirty years later, Desnos' widow approached Miro with the idea of illustrating his works again. In the end they settled on Pénalités de l'enfer ou les nouvelles Hébrides [The Penalties of Hell or The New Hebrides], Desnos' first work in prose, written in Morocco in 1922. Mourlot 959-90; Cramer 188.

Limited edition, one of 30 copies hand coloured by Miro, signed by the author and the artist on the verso, from a total edition of 100; one leaf, unfolded, small oblong 4to (11 x 27 cm), lithograph heightened with watercolour, pastel and india ink on wove paper, lower right corner slightly creased, otherwise in excellent condition. One of 30 copies with original handcolouring by Miro. This example has extensive additions, with a blue background to the text, the artist's fingerprints in red and black, ink line drawings to the lithograph, as well as brightly coloured dots to the justification. The artist decorated the thirty examples with different illustrations, making them each unique but retained some similar elements such as the red dots and line drawings. René Char and Joan Miro had met during the Surrealist period, but their friendship dated from the post-war years when Miro returned to France. L'Alouette is their third collaborative work. A notably scarce work even for unsigned examples both on the market and institutionally. There are only two copies in libraries, at Yale University and the Bibliothèque nationale de France. Cramer books 30.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. Joan Miró, Alice Paalen. Editions Sagesse, 1938. Limited numbered edition in 75 copies, with one original red etching in frontispiece by Miró, signed and numbered in pencil. Signed in justification page by Alice Paalen, with a dedication in pen by the author to Pierre Mabille. Complete and in excellent condition, bounded in artistic binder signed by Leroux, with light wood chemise and matching slipcase. The original gray handmade paper cover is well preserved inside. Signed by Illustrator(s).

Couverture rigide. Condition: Très bon. Paris, 1978. In-4 carré en feuilles. Conservé dans la couverture d'origine illustrée par Miro. Boite de protection en toile jaune. Édition originale, tirée à 175 exemplaires sur vélin d'Arches, celui-ci numéroté 8/175. Il a en outre été tiré 20 exemplaires hors commerce. --- L'ouvrage est illustré de trois eaux-fortes originales de Miro, dont une en couverture et une formant triptyque. L'auteur a signé le colophon et l'artiste le triptyque. Très bel exemplaire de ce livre d'artiste recherché, extrêmement bien conservé dans la couverture illustrée originale. /// Paris, 1978. Square 4to in sheets. Preserved in the original wrappers illustrated by Miro. Yellow cloth protective box. --- The work is illustrated with three original etchings made by Miro, including one on the cover and on forming a triptych. The author signed the colophon and the artist the triptych. A very beautiful copy of this sought-after artist book, extremely well preserved in the original illustrated wrappers.

Die Buntstiftzeichnung verso auf der Vorderseite des Originalumschlags zu *Miro, Mirall * von Cirici, Alexandre, erschienen im Verlag:Ediciones Polígrafa, S.A. Barcelona,(1985). Format ca. 20 x 24 cm, in rotem, blauen Buntstift, die Signatur Miros rechts unten in violettem Buntstift. Das Blatt etwas gebräunt, gering fleckig. Auf der Vorderseite mit unleserlichem Besitzvermerk aus dem Jahre 1986. >>> The original coloured pencil ( in blue, red and violet ) drawing verso on the original front jacket of *Miro, Mirall * von Alexandre Cirici, published atEdiciones Polígrafa, S.A. Barcelona,(1985). Good condition. Provenienz: Alter Privatbesitz. ( Weitere Bilder auf Anfrage further pics at request )( Lagerort Rich - 1.OG SZ )( Bitte beachten: Export außerhalb der EU nur auf Anfrage / export outside the EU only at request )( Weitere Bilder auf Anfrage / further pics at request ).

Hardcover. Condition: Fine. Original artwork by Miro! A marvellous signed hardback edition of L?Oeuvre gravé de Joan Miro, Paris, Calmann-Lévy, 1958. 33 x 28 cm, 308 pages. Signed and inscribed by Miro to the title page in bold pencil ?To Raymond?, adding a fabulous large drawing (using various coloured pencils) of a typical figure with additional stars and shapes, filling the entire page. In very fine condition.

Hardcover. Condition: Very Good. Limited Edition. Maeght Editeur, Paris 1975. Adonides by Jacques Prévert illustrated by Joan Miró with 45 etchings with aquatint in color, of which one in double page signed and numbered in pencil by Miro. The 44 etchings with aquatint unsigned combined with the text by Prévert reproduced in facsimile, creating a striking design which make this edition one of Miró finest illustrated books. Complete portfolio limited in 225 numbered copies, of which this is one from the edition of 200 in Arches Vellum, signed in pencil by the artist and in red crayon by the publisher, on the justification page. loose as issued in Auvergne paper cover with embossed design on front and back, guarded in the original clam-shell box in blue cloth with color cut out shapes. Ref: Cramer 203.

Limited edition, number 33 of 130 copies on velin d'Arches signed by Miro, of a total edition of 145 copies; oblong folio (358 x 498 mm), 24 original etchings by Miro including 12 in colour, loose as issued, a few margins with very minor soiling or offsetting, publisher's cream cloth solander box, upper cover set with a slice from a geode, some minor soiling to edges, otherwise a fine copy. Miro's illustrations accompany text written by anonymous Catalan authors of the 15th century about the properties of different stones.

Etching and aquatint in colours, 1952-53, on Arches wove paper, signed and dated in pencil, numbered from the edition of 13, printed by Atelier Lacourière, Paris, published by Maeght Éditeur, Paris, 50.5 × 65.5 cm. (19.9 × 25.8 in.) This work belongs to the second of six series of etchings which Miró made in 1952 and 1953. The first and second series are more closely related in terms of imagery than the subsequent series. Both present boldly and broadly drawn figures reminiscent of some of the ceramics Miró was making with Josep Lloréns Artigas at the time, while retaining the sense of fluidity characteristic of Miró's biomorphic forms of this period. In particular, a number of motifs are to be found in an unpublished set of engravings of 1947 which surround the poems of Ruthven Todd. Another impression of this same print can be found in the collection of the Tate Gallery, London. Dupin 87.

Linen. Condition: Near Fine. Dust Jacket Condition: None. Miro (illustrator). 1st. Paris, Edition Jeanne Bucher., 1928. MIRO, JOAN (1893-1983). HIRTZ, LISE. IL ETAIT UNE PETITE PIE (THERE WAS ONCE A SMALL MAGPIE) Drawings in color by Joan Miro. A folio of 8pp. of pochoir prints. Enclosed in the ORIGINAL LINEN FOLIO in pearl grey background, with black and green letters and lined with black paper. 11 5/8 x 10 5/8 x 5/8. RARE. Enclosed in a black linen contemporary clam shell box. Her first publication was as Lisa Hirtz: Il à  tait une petite pie [There was a little magpie] (with 8 pochoirs by Joan Mirà  ) in 1928. She was the editor of Le Phare de Neuilly, which frequently published articles relating to surrealism. Miro created one of the most imaginative books for children and far beyond its time. Joan Miro was studying art in Barcelona.He moved to Paris in 1919, he was introduced to a surrealists group in 1924 by his neighbor Andre Masson, who shared his studio. He found among these artists the inspiration necessary for his work. But it was his humor that dominated his creations, especially the black humor of the surrealists. In August 1927 Paul Eluard sent Miro the poems of Lisa Hirtz (born Ann - Marie Meyer), a friend of Breton. She was married to Paul Deharme (1898-1934), one of the pioneers of Radio France. Her first publication was as Lisa Hirtz: Il à  tait une petite pie [There was a little magpie] (with 8 pochoirs by Joan Mirà  ) in 1928. She was the editor of Le Phare de Neuilly, which frequently published articles relating to surrealism. In October 1927 Miro completed the gouaches, a part of which would be executed for the 8 plates of this book. Jeanne Bucher (1872-1946) completed the book in 1928. The artistic involvement of the editor was an integral part of the work of preserving the creation of the avant-garde. Lisa Hirtz published Une Petite Pie in Pierre Chareau's gallery, where she had opened her bookstore in 1925. Her interest in children's books was inspired by her grandson, Pierre. Eight gouaches were executed for the colored in plates which were created by Saudet. Edition is limited to 300 copies. Printed on Arches. Signed and dedicated by Lise Hirtz to Jane de Margerie. Jean Bucher, (Un Galerie d'avant garde (1925-1946) Skira 1994. Eluard and his Painter Friends. Sante George Pompideau, 1992.

Hardcover. Condition: Good. Limited Edition. Parler Seul Poem by Tristan Tzara Illustrated by Joan Miró, 1948. Maeght Editeur, Paris 1950. Limited numbered edition, total edition 253 copies, of which this copy is one of the 30 copies on Arches wove paper, signed in colophon by Miró and Tzara. With one lithograph with collage-highlighted in cover, one color lithograph in frontispiece, and 70 lithographs in color and black by Miro, accompany Tzara poems and justification page. Miró raw, primordial drawings, amplify the flow of the text, creating a parallel visual language which give no respite, forcing the progression of the pages in a striking conjunction with Tzara poem. Loose as issued, and complete, in the original lithographic chemise and slipcase. Some offprints and stains at the edges - Missed the signed lithograph for the first 30 copies of this edition.

4to. 6 pp. To Jean Leymarie of the Musée National d Art Moderne in Paris.On 25 January 1975 Joan Miro writes: [ ] avec Pilar nous parlons souvent de toi [ ] , mon vieux, nous travaillons dur, trop dur, pour cette grande exposition du Grand Palais [ ]"On 2 June 1975 Miro writes: [ ] Comme Pilar te l a dit, j étais un peu mal fichu le jour que tu étais de passage à Palma. HJ aurais bien aimé te voir, tu aurais aussi pu choisr la toile que tout coeur je t offre, de celles [ ] faites après l expo du Grand Palais [ ]"Joan Mirò writes that he often talks with his wife, Pilar [Juncosa Iglesias] about the recipient - we are working hard, too hard, for this great exhibition at the Grand Palais". In the second letter, Mirò informs Jean Leymarie, that he has been in bad shape The day you were in Palma. I would have liked to see you, you could also have chosen the canvas that I offer you wholeheartedly".Joan Miró had another highlight in 1975. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona. Miró took part in the most important international exhibitions of Surrealism in London and Paris in the 1930s and was honored with a retrospective at the Museum of Modern Art in New York in 1941. In 1968 Joan Miró created two large ceramic murals for the UNESCO building in Paris.

Soft cover. Condition: Very Good. oblong 12mo. pp. 26, [ff. 7]incl 2 blanks. 5 etchings with aquatint by Miró, printed in colours (including wrapper illus.). tissue guards. uncut. gatherings loose as issued. original wrs. silk clamshell box with woodcut by Miró. on upper cover (light wear to box). Limited to 150 copies on d Ambert Rag Wove signed by Miró and Char this one of 110 regular issue copies. This is the second preferred edition, the first to contain the five exquisite small-scale colour etchings with aquatint and one woodcut by Miró. Nous Avons was first published the previous year by Pierre André Benoît with only one etching by Miró. Cramer 53. Dupin 247-52. The Artist & The Book 210. Signed by Author(s).

Chemise, slipcase, box. Condition: Fine. FIRST EDITION. EXTREMELY RARE SIGNED LIMITED FIRST EDITION, THE COMPLETE SET OF TEN STUNNING LARGE COLOR LITHOGRAPHS (EIGHT DOUBLE PAGE), PROVIDING A VISUAL NARRATIVE DOCUMENTING THE CREATION OF ONE OF MIRÓ'S MASTERPIECES, THE TARRAGONA TAPESTRY. ONE OF ONLY 100 COPIES SIGNED BY MIRÓ. The Tarragona Tapestry was one of Miró's most ambitious works. Originally conceived of as a gift to the doctor who treated Miró's daughter after she was hit by a train, the project grew to monumental proportions, ultimately expanding to a size of 2.80 x 4.20 meters, and requiring an innovative approach developed by Miró and the young artist Josep Royo for its creation. With stunning bright colors, the lithographs in this collection beautifully recreate the images on the tapestry. With background text in Catalan, Spanish, French, and English, by Josep Royo, Dr. Rafel Orozco (who treated Miró's daughter), and art critic Maria Lluisa Borràs. Complete with eight double-page lithographs and two single-page lithographs serving as the wrappers. Barcelona: Sala Gaspar, 1972. Fifteen large (17x 11.75 inches) single-folded sheets loose in lithographic self-wrapper, original cloth chemise and slipcase. Housed in a spectacular custom box by book artist Sjoerd Hofstra. Light general wear to slipcase and chemise, otherwise fine. RARE.

4to. 1 1/2 pages. To to the Belgian painter Alice Frey, thanking her for the invitation to her exposition, but declining to come because of the "changed world". Mirò further tells her about his little daughter and her drawings and about his own work which progresses well at the moment: "C est très gentil de votre part de m avoir envoyé une carte pour votre exposition. Avez-vous eu du succès? C est ce que je vous souhaite sincèrement. J aimerais beaucoup voir ce que vous faites maintenant, hélas je ne compte pas retourner à Belgique pour le moment, le monde a bien changé! Si vous avez quelque photo de trop ou quelque revue qui en publie, pourriez-vous me le faire parvenir, pour me rendre une idée de ce que vous faites en l actualité. Je suppose que vous êtes toujours en avance, ayant du courage, surtout en ces moments, ou il faut à tout prix se tenir debout [ ]. Je suis très heureux avec ma femme et ma petite fille qui a d jà deux ans et demi et qui commence à griffonner de fort beaux dessins, il faut que vous veniez nous voir, nous en seront très contents. Quant à mon travail, je produis ferme, avec foi et fais très souvent des escapades à Paris. Cela va sans dire que c est là mon point d attaque, l Espagne ne compte guère pour moi et je reste ici rien que pour travailler. Le prochain numéro de «cahiers d art» publiera maintes reproductions de mes uvres les plus récentes, j aimerais beaucoup que vous les voyiez. [ ]".

8vo. 5 pp. and 4to. 2 pp. 2 autograph envelopes. Archive of 3 autograph letters to the Belgian collector of the surrealists René Gaffé (1887-1968). February 18, 1931. He sends him a prospectus for a book he illustrated (L'Arbre des voyageurs): "TZARA and I would be very happy if you subscribe to a few copies." It has been a long time since they saw each other, but he has news from him: "I suppose you know that I am married and the father of a seven-month-old girl." They are waiting for him in Paris! "The work is going well, it is my main vice, from which I cannot free myself [ ]".June 14, 1932. "My ballet [Jeux d'enfants] was a magnificent success here, I am very happy about it. The way it was presented in Belgium and the Netherlands was not how it was supposed to be, here I have worked on it a lot and perfected it, it's a shame you couldn't see the finished product." If he is interested in seeing his paintings, he asks him to let him know so that he can organize it. December 8, 1932. "You will receive a card for a presentation of my recent paintings" at the Pierre Colle Gallery from December 13th to 16th: "It is a simple exhibition [.] which in no way prevents me from thinking about a major exhibition for the future, because I believe that in these moments it is more necessary than ever to assert oneself. I would love for you to see these paintings, which I consider to be of crucial importance in my work".

Lithograph in colours, 1961, on BFK Rives wove paper, signed with the artist's monogram in pencil, numbered from the edition of 75 (the total edition included 15 impressions numbered in Roman numerals), published by Galerie Maeght, Paris, 51 x 66.3 cm. (20 x 26 in.) Cramer Books 70.

Lithograph in colours, 1961, on BFK Rives wove paper, signed with the artist's monogram in pencil, numbered from the edition of 75 (the total edition included 15 impressions numbered in Roman numerals), published by Galerie Maeght, Paris, 51 x 66.2 cm. (20 x 26 in.) Cramer Books 70.