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Leiris,M. u. F.Mourlot.: Joan Miró. Lithographe I. Paris, Mazo (1972). Gr.4°. Mit 12 (inkl. Umschl.) Farblithogr. u. zahlr. tls. farb. Abb. nach. Miró. 231 S., 2 Bl. Olwd. mit farblithogr. OU. Cramer 160. - Enthält das Werkverzeichnis von 1930-52. - Dabei: Miro, J., Der Lithograph. Vorwort von R. Queneau und J. Teixidor. Bd. II Mit 12 tls. dplblgr. Orig.-Farblithogr. von Miró. - Miro, Joan, Lithographs III. 1964-1969. Preface by joan Teixidor. Mit 5 farb. Originallith. u. 247 Reproduktionen. Paris, Maeght 1977. Fol. 215 S. - Dabei: 7 Beilagen (1 Werk 2x).

Miro,J.: Lithographe I. Bearb. v. M. Leiris u. F. Mourlot. Paris, Mazo & Cie. 1972. 4°. Mit 11 tls. dplblgr. farb. Orig.-Lithogr. u. zahlr. tls. farb. Abb. Olwd. mit OU. (Orig.-Lithogr.). Dabei: Miro,J. Der Lithograph II. 1953-1963. Genf, Weber 1975. 4°. Mit 12 (inkl. Umschl.) Orig.-Lithogr. v. J. Miro u. zahlr. Abb. 248 S., 3 Bl. Olwd. mit farb. illustr. OU. - Gutes Ex.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 3rd May 1950, to Max [Pellequer] (´Mon cher Max´), in French. Picasso writes, in part, ´Voici le cheque et voici la lettre. Mais je trouve que le chiffre a bien augmente´ (Translation: ´Here's the cheque and here's the letter. But I think the figure has gone up quite a bit´) and concludes by wishing Pellequer a pleasant stay at [Chateau de?] Poulesse and one other place. Some very light, minor creasing and age wear, VGMax Pellequer - French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Picasso had come to live in Vallauris in 1948 and stayed in the seaside commune until 1955. During this time he created a great number of sculptures and paintings, including his mural War and Peace, and also developed a fascination for the techniques of ceramics and linocuts.

After Joan Miro (1904-1989)"The Bow"Colour lithograph, with Collins & Kent Fine Art Certificate, 40cm by 30cm. framed & glazed

Miró, Joan (1893 Montroig - Mallorca 1983) Ohne Titel - aus "Joan Miro - der Lithograph II". Farblithorgaphie/Arches (gebräunt, Lichtrand, verso alte Montagereste), re. u. mit Bleistift sign. und li. u. Ex. XX/LXXX. Blattmaß ca. 45x 37cm. Wvz.: Cramer Nr.1047, aus Suite mt 13 Farblithographien.

Joan Miro (Spanish 1893-1983), 'La Melodie Acide', 1980, three lithographs in colours on wove paper, all numbered 774/1500 in pencil, bearing the Artist's signature to the plate; sheets: 33 x 25cm each; 51.5 x 43.5cm in mount (3)ARR sheets: 33 x 25cm each; 51.5 x 43.5cm in mount (3) In good condition No tears to the sheets Very light hand creases to upper edge of left and right images (as pictured) Minor wear to the upper edge of the right sheet (as pictured) and some very minor markings to the backgrounds of all sheets, visible upon close inspection All works have are attached to white mounts, leaving all corners and edges of the sheets visible There are markings around the mounts, these are away from the prints The works are not framed.

After Joan Miro (Spanish, 1893-1983), surreal colour print, ‘L'Envolée', 38 x 49cm. Condition - fair

Joan Miro(Barcelona 1893–1983 Mallorca)"Chanteur des rues II". 1981. Farbaquatintaradierung. 11/80. Unten rechts in Bleistift signiert. Plattengrösse 36,9x28 cm. Blattgrösse 57x42,2 cm. Gerahmt.- Blatt leicht gebräunt, wenig gewellt und wenige Knitter. Dunkler Lichtrand. Ränder und Ecken minimst bestossen. Verso am oberen Rand partiell an Passepartout montiert.

Joan Miro(Barcelona 1893–1983 Mallorca)"Adlige in der Fallgrube". Aus: "Ubu Roi". 1966. Farblithographie. 50/75. Unten rechts in Bleistift signiert. Blattgrösse 54x75 cm. Gerahmt.- Blatt leicht gebräunt. Dunkler Lichtrand. Ränder und Ecken minimst bestossen. Verso am oberen Rand an Rückkarton montiert.

Joan Miro(Barcelona 1893–1983 Mallorca)Aus: "Oda a Joan Miro". 1973. Farblithographie. 24/75. Unten rechts in Bleistift signiert. Blattgrösse 87,5x61 cm. Gerahmt.- Blatt minimst gebräunt, minimst fleckig und wenige Knitter. Minimster Lichtrand. Ränder und Ecken minimst bestossen. Verso an den Rändern partiell an Rückkarton montiert.

Joan Miro(Barcelona 1893–1983 Mallorca)"Carnet Catalan". 1977. Farbaquatintaradierung. H.C. XV/XV. Unten rechts in Bleistift signiert. Plattengrösse 24x18 cm. Blattgrösse 30x48 cm (mit Mittelfalz). Gerahmt.- Mit Buch: "Joan Miró Catalan Notebooks", Gaëtan Picon, Skira/Rizzoli, New York, 1977, Exemplar-Nr. XV.- Blatt leicht gebräunt, wenig fleckig und wenige Knitter. Hellerer Lichtrand. Ränder und Ecken leicht bestossen. Verso an einer Hälfte das Blatts vollflächig an Rückkarton montiert. Buch: Ränder und Ecke leicht bestossen. Abrieb der Leinwandoberfläche.

Stephen Willats,  British b.1943 -  Coree Design, 1965;  gouache and pencil on paper, signed and dated lower right 'Willats 1965' and titled upper right, 56 x 76 cm (ARR)  Provenance:  with Gimpel Fils, London, no.3500 (according to the label attached to the reverse of the frame)  Note: Stephen Willats is a seminal figure in British conceptual art. His work focuses on the intersection of art, sociology, and science. Through a diverse range of media including sculpture, photography, installation, furniture and clothing, Willats investigates how societal structures influence individual behavior, often inviting audience participation to blur the boundaries between observer and observed. Through these interdisciplinary approaches and community collaboration, Willats continues to challenge perceptions of art's role in shaping our understanding of the world. In 1965 Willats founded the magazine 'Control', encouraging discussions surrounding artist practices. The magazine has documented the works and ideas of many artists including Helen Chadwick, Tony Cragg and Anish Kapoor. The magazine is still in publication today. Earlier this year Victoria Miro exhibited ‘Stephen Willats: Time Tumbler’ which brought important works from the 1970s together with more recent works, celebrating Willats' eightieth birthday and his long-standing relationship with the gallery.  His works are held in the collections of the Tate, the National Portrait Gallery, and the Henry Moore Institute. 

Stephen Willats, British b.1943 - Doppelganger Suit, 1985; gouache and pen on paper, signed with initials and dated lower right 'SW 85', 63 x 51.7 cm (ARR)Note:Stephen Willats is a seminal figure in British conceptual art. His work focuses on the intersection of art, sociology, and science. Through a diverse range of media including sculpture, photography, installation, furniture and clothing, Willats investigates how societal structures influence individual behavior, often inviting audience participation to blur the boundaries between observer and observed. Through these interdisciplinary approaches and community collaboration, Willats continues to challenge perceptions of art's role in shaping our understanding of the world. In 1965 Willats founded the magazine 'Control', encouraging discussions surrounding artist practices. The magazine has documented the works and ideas of many artists including Helen Chadwick, Tony Cragg and Anish Kapoor. The magazine is still in publication today. Earlier this year Victoria Miro exhibited ‘Stephen Willats: Time Tumbler’ which brought important works from the 1970s together with more recent works, celebrating Willats' eightieth birthday and his long-standing relationship with the gallery.  His works are held in the collections of the Tate, the National Portrait Gallery, and the Henry Moore Institute. 

Lladro porcelain figure of a girl and ducks, 31cm high, another of a girl with a lamb, a small Royal Copenhagen vase painted with a sailing boat, a cylindrical box and cover painted with the mermaid, an Alcora tile printed with a design after Miro, dated circa 1997, impressed Alcora/Spain/Gres Sanchis (5)

Kopie nach Joan Miro (spanisch, 1893 - 1983), R. Wenker, Gemälde nach einer Collage 1933, Acryl auf Leinwand, verso signiert und datiert 1988, Maße: 130 x 160 cm. Altersbedingter Zustand, oben rechts Riss in der Leinwand ca. 2,7 cm.

Min WARDMAN (1951-2024) Fish Sellers Mixed media on paper, studio stamp verso, 70cm x 50cm, 98cm x 67.5cm framed.Min Wardman (1951-2024) Artist - Feminist - Gardener Min was born in Yorkshire in 1951, her mother an artist, father a civil engineer. After a comprehensive education she was awarded an opportunity to study art in Birmingham, followed by postgraduate studies in both History of Art and Painting in London. After graduating, Min found the London party scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing a Community College and it is here that Min worked, developing Textile and Print-making courses across Bideford College, promoting modern ideas of Art and Art Education. After being promoted to Head of Department, teaching painting, ceramics, textiles and design, Min realised she wasn't having enough time to create her own work, so went part-time. Min studied art all her life and motifs were often found within her work. Landscape is a near constant: there are stone monuments, myths and legends, birds and plants and others which pass in and out of her work. Favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverence and female artists, such as Barbara Hepworth, Rose Hilton, Wilhelmina Barns-Graham, Frida Kahlo and Tracey Emin were admired for their ability to keep working despite the patriarchy. Min was very private about her art, never exhibiting, rarely signing her work, allowing people into her studio or even talking about it. For her, art was her expressing her thoughts and not for the public to analyse or judge. On the wall of her studio were two unattributed quotes: 'Painting down to the bones of the matter', and 'Make slow paintings with mystery'. When Min died in 2024, she requested no announcement, funeral or obituary, - 'throw my body out in the orchard for the dogs...'

Min WARDMAN (1951-2024) Goonhilly Near Dusk Mixed media, signed and titled to reverse, studio stamp, 33cm x 27cmMin Wardman (1951-2024) Artist - Feminist - Gardener Min was born in Yorkshire in 1951, her mother an artist, father a civil engineer. After a comprehensive education she was awarded an opportunity to study art in Birmingham, followed by postgraduate studies in both History of Art and Painting in London. After graduating, Min found the London party scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing a Community College and it is here that Min worked, developing Textile and Print-making courses across Bideford College, promoting modern ideas of Art and Art Education. After being promoted to Head of Department, teaching painting, ceramics, textiles and design, Min realised she wasn't having enough time to create her own work, so went part-time. Min studied art all her life and motifs were often found within her work. Landscape is a near constant: there are stone monuments, myths and legends, birds and plants and others which pass in and out of her work. Favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverence and female artists, such as Barbara Hepworth, Rose Hilton, Wilhelmina Barns-Graham, Frida Kahlo and Tracey Emin were admired for their ability to keep working despite the patriarchy. Min was very private about her art, never exhibiting, rarely signing her work, allowing people into her studio or even talking about it. For her, art was her expressing her thoughts and not for the public to analyse or judge. On the wall of her studio were two unattributed quotes: 'Painting down to the bones of the matter', and 'Make slow paintings with mystery'. When Min died in 2024, she requested no announcement, funeral or obituary, - 'throw my body out in the orchard for the dogs...'

Min WARDMAN (1951-2024) Nude Study (Trelowarren) Oil on paper, titled reputedly verso, 30cm x 24.5cmMin Wardman (1951-2024) Artist - Feminist - Gardener Min was born in Yorkshire in 1951, her mother an artist, father a civil engineer. After a comprehensive education she was awarded an opportunity to study art in Birmingham, followed by postgraduate studies in both History of Art and Painting in London. After graduating, Min found the London party scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing a Community College and it is here that Min worked, developing Textile and Print-making courses across Bideford College, promoting modern ideas of Art and Art Education. After being promoted to Head of Department, teaching painting, ceramics, textiles and design, Min realised she wasn't having enough time to create her own work, so went part-time. Min studied art all her life and motifs were often found within her work. Landscape is a near constant: there are stone monuments, myths and legends, birds and plants and others which pass in and out of her work. Favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverence and female artists, such as Barbara Hepworth, Rose Hilton, Wilhelmina Barns-Graham, Frida Kahlo and Tracey Emin were admired for their ability to keep working despite the patriarchy. Min was very private about her art, never exhibiting, rarely signing her work, allowing people into her studio or even talking about it. For her, art was her expressing her thoughts and not for the public to analyse or judge. On the wall of her studio were two unattributed quotes: 'Painting down to the bones of the matter', and 'Make slow paintings with mystery'. When Min died in 2024, she requested no announcement, funeral or obituary, - 'throw my body out in the orchard for the dogs...'

A Group Of Six Pictures to include two Scottish landscape watercolours by J. Boucher 18cm x 26cm; two continental lake scenes with boats and figures,17.5cm x 25cm; a colour print after Christo of Lower Manhatten buildings, 77cm x 60cm; and a print after Joan Miro, 61cm x 46.5cm (6)

Joan Miro (1893-1983) Untitled, 1975 from the lithograph portfolio 2, no.6 lithograph published by Weber Genf 31 x 24cm.

PITCAIRN ISLAND - an oval red miro wood basket, with handle, shaped rim and the turned outer body with letter punched floral decoration and punched 'Pitcairn Island' and maker's name 'John Christian', 22.5cm x 18.5cm. Similar example see Christie's 'Exploration & Travel Including The Bligh Relics' sale, 26th September 2002, Lot no. 70. Notes: a basket made by 1 of the Bounty mutineer Fletcher Christian's descendants on Pitcairn Island. This first recorded John Christian was Fletcher Christian's Great-Grandson, born on Pitcairn in 1843, possibly maker of the present basket, although the woodworking tradition and manufacture of souvenirs to sell to passing ships continues on the island to this day. The outer body of the present basket is turned in red miro, which grew on Pitcairn and on neighbouring Henderson Island, where the islanders sailed to replenish stocks of timber. The upright surround has 1 vertical split but this does appear to be a natural flaw in the design and has a small piece of metal connecting both ends of split, otherwise only general surface wear and a few small water stain patches

JOAN MIRO, lithograph, 32cm x 25cm, framed.

JOAN MIRO, 'Man in the Red Sun', original engraving from xxe siècle no. 4, 1938, 31cm x 24cm, framed.

Joan Miro und Marc Chagalldrei Stück, bestehend aus: Joan Miro Lithograph II, 1953-1963, Miro Das Graphische Werk und Marc Chagall live and work von Franz Meyer, Format max. Gr. 4°, Einbände teils mit stärkeren Gebrauchsspuren, unterschiedliche Erhaltung.

Original color lithograph in an elongated format entitled Mural III, 1933 by Spanish artist Joan Miro. It is the last composition of a tryptic mural in which Miro painted biomorphic entities including a bird in flight, an eclipsed sun, a star, a crescent and an anthropomorphic profile that he set on a blue background. Below plate: Joan Miro, Mural 3, 1933 with printed signature (Illegible) color reproduction New York. On upper right in ink: Panel 8. On lower right side in pencil: 7746 #3. Housed in a silver frame. Frame size: 40"L x 13"H x 1"W. Sticker on verso: Framing by Grand Central Artists Materials, NYC.Artist: Joan Miro (Spanish 1893-1983)Issued: c. 1960Country of Origin: SpainCondition: Age related wear. Sporadic color loss and minor creases.

HMS Bounty & historic interest. HMS Bounty commemorative pencil rack. Text to one side reads ' This pencil rack made of Miro wood was made by Thomas C Christian a direct descendant from Fletcher Christian Master of the Bounty Mutineers. He was shot dead on his plantation by the Tahitian men who joined the vessel after the mutiny. Trouble in 1793 between Tahitian men and the nine whites occurred and five whites were killed'. The other side reads ' Pitcairn Souvenir- This copper nail came from HMS Bounty which arrived at Pitcairn Island on the 23rd Jan 1790. This nail was taken up from the sea at a depth of 23 feet. Found lodged in the copper sheathing nailed into charred wood this nail is one of the few remains that has been found of that historic vessel which was set on fire and destroyed'. Note the nail is no longer present.  Also a small 1930s cardboard jewellery box containing two pieces of stone. A hand written inscription inside reads ' Piece of the foundation stone of the Portland Breakwater. laid by Prince consort on July 25th 1849. The Prince amused himself before starting with the ceremony by chipping off pieces of the stone. This is one of the pieces'. Also a carved wooden panel of a lighthouse. An engraved in memoriam brass plaque is attached dated 1870  

Style of Joan Miro - a polychrome abstract woollen tapestry (49cm x 40cm), in polished gilt frame (69cm x 59cm).

Weldon (Fay). David Bailey the Lady is a Tramp portraits of Cathrine Bailey, 1st edition, New York: Thames and Hudson, 1995, Signed by David Bailey, and Author Fay Weldon to title page, numerous monochrome illustrations, publishers original cloth, covers with occasional minor marks, large 4to, together with: Lyons (Lisa & Robert Storr), Chuck Close, 1st edition, New York: Rizzoli international publications, 1987, signed by Chuck Close to front endpaper, previous owner ink inscription to front end paper, numerous colour & black and white illustrations, original cloth in dust jackets, small mark to front board, minor tear to head of spine, small horizontal tear to spine, large 4to, plus, Atik (Anne & R. B. Kitaj), Drancy, limited edition, London: Victoria Miro, 1989, signed by the authors to limitation page, presentation copy inscribed ‘for Marcus, affection Kitaj’ to front endpaper, colour frontispiece, double-page coloured lithograph and 2 illustrations, one full-page, original cream cloth lettered in yellow, yellow slipcase, 264/300, tall oblong 8vo, QTY: (3)

AFTER JOAN MIRO, large red sun on silk, signed in the plate, 85cm x 81cm.

A box of Art and Design books, including Royal Academy magazines, David Hockney issues plus Hockney's Photographs 1983, books on Miro, Van Gogh, Morandi, etc.

Artist: Joan MiroTitle: Lithograph 1Origin: Spain 1972Medium: Lithograph in PaperDimensions: 17x21inAdditional Information: A colored print of a blue star as the focal point. The background has a red spatter design, and colored shapes with bold black line work are placed around the star. The piece is framed. An in-person inspection is available for all auctions. Blue Box Auction Gallery strongly suggests that bidders personally inspect items prior to bidding. We make considerable efforts to accurately represent all items. Descriptions are based on visual inspection under typical office lighting and do not include UV light examination unless otherwise noted. These descriptions are provided as opinions by our staff and are not necessarily definitive assessments. Therefore, we do not guarantee the content of written or verbal descriptions and/or condition reports. Please contact us for a more thorough examination or to schedule an in-person inspection. Remember, all lots are sold "AS IS," and all sales are final, as further outlined in our auction terms and conditions. The absence of a condition report does not imply the absence of condition issues.

Artist: Joan MiroTitle: Untitled V2-4Origin: Spain 1975Medium: Lithograph on PaperDimensions: 17x21inAdditional Information: A colored lithograph print of Miro's abstract bold black line work. The shapes are colored with red, blue, green, and yellow. Miro highlights the figures that create the idea of abstract figures. The piece is signed. An in-person inspection is available for all auctions. Blue Box Auction Gallery strongly suggests that bidders personally inspect items prior to bidding. We make considerable efforts to accurately represent all items. Descriptions are based on visual inspection under typical office lighting and do not include UV light examination unless otherwise noted. These descriptions are provided as opinions by our staff and are not necessarily definitive assessments. Therefore, we do not guarantee the content of written or verbal descriptions and/or condition reports. Please contact us for a more thorough examination or to schedule an in-person inspection. Remember, all lots are sold "AS IS," and all sales are final, as further outlined in our auction terms and conditions. The absence of a condition report does not imply the absence of condition issues.

Artist: Joan MiroTitle: XIXOrigin: Spain, 1947Medium: LithographDimensions: 8 x 10 inches. With the frame, the piece is 14.5 x 17.5 inches.Condition: Good conditionAdditional Information: From the Barcelona Series. Unsigned. The piece comes with a certificate of authenticity in Spanish An in-person inspection is available for all auctions. Blue Box Auction Gallery strongly suggests that bidders personally inspect items prior to bidding. We make considerable efforts to accurately represent all items. Descriptions are based on visual inspection under typical office lighting and do not include UV light examination unless otherwise noted. These descriptions are provided as opinions by our staff and are not necessarily definitive assessments. Therefore, we do not guarantee the content of written or verbal descriptions and/or condition reports. Please contact us for a more thorough examination or to schedule an in-person inspection. Remember, all lots are sold "AS IS," and all sales are final, as further outlined in our auction terms and conditions. The absence of a condition report does not imply the absence of condition issues.

BRANFIELD, John Ella and Charles Napier - Art And Life At Lamorna Sansom & Company, 2003; together with art books related to local and international artists, including Augustus John, Aubrey Beardsley, Stanley Spencer, George Fagan Bradshaw, Joan Miro and Mogdiliani (Qty)

A collection of books on Surrealist art, to include Dali, Picasso, Munch, Miro etc

JOAN MIRO, 'Portugal', lithograph in colours, 19cm x 39cm, signed in the plate, framed.

JOAN MIRO, 'Great Britain', lithograph, 19cm x 39cm, signed in the plate, framed.

After Henri Matisse, Nu aux oranges, lithograph, 33.5 x 23.5cm; together with after Joan Miro, 'A Toute Epreuve', lithograph, 31.5 x 21cm. (2)

Joan Miro, abstract, pochoir, 1967, printed by Jacomet, sheet 31cm x 20cm, framed . Condition Report:Good condition

Various Artists. Maeght Editeur Paris. Lithographies et eaux-fortes originales, livres illustres originaux, affiches, Derriere Le Miroir, London: Redfern Gallery, 1966, 47 [3] pages printed on Chiffon de Mandeure, introduction by John Russell in English, other text in French, 8 original colour lithographs by Marc Chagall, Joan Miro, Alexander Calder, Raoul Ubac, Pierre Tal-Coat, Eduardo Chillida, Saul Steinberg and Ellsworth Kelly, two colour reproductions after lithographs by Georges Braque and Alberto Giacometti, original printed wrappers with original colour lithograph by Joan Miro to upper cover, small 4to (25.5 x 19 cm), VGQTY: (1)

Joan Miro (Spanish (Catalan), 1893-1983). Aquatint and etching on Guarro paper depicting an abstract composition in bright colors, plate 5 from the "Espriu" Suite, 1974. Pencil signed along the lower right; numbered 20/50 along the lower left.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Lot Essay:Joan Miro's early works were influenced by Catalan folk art and Fauvism, but it was his encounter with Surrealism in Paris during the 1920s that profoundly shaped his artistic vision. Embracing the Surrealist ethos of unlocking the subconscious mind, Miro developed a unique visual language characterized by biomorphic forms, dreamlike symbols, and vibrant colors. His paintings, such as "The Farm" (1921-1922) and "The Tilled Field" (1923-1924), evoke a sense of poetic spontaneity and primal energy.Throughout his career, Miro continued to innovate, exploring various mediums including painting, sculpture, ceramics, and printmaking. His experimentation with automatic drawing and spontaneous mark-making liberated his artistic process, allowing for a fluid and intuitive approach to creation. Miro's iconic works, such as "The Harlequin's Carnival" (1924-1925) and "The Birth of the World" (1925), exemplify his playful yet profound exploration of form and color.In addition to his artistic achievements, Miro was a committed advocate for social and political causes, particularly during the tumultuous period of the Spanish Civil War and World War II. His art often served as a vehicle for political commentary, expressing solidarity with the oppressed and advocating for peace and freedom. Miro's enduring legacy as a pioneer of Surrealism and a champion of artistic experimentation continues to inspire generations of artists, as his boundless imagination and creative spirit remain as relevant today as ever before. Through his daring exploration of the subconscious and his fearless embrace of spontaneity, Miro transcended artistic conventions, leaving an indelible mark on the trajectory of modern art.Sight; height: 33 3/4 in x width: 27 1/2 in. Framed; height: 45 1/2 in x width: 39 in x depth: 1 in.Condition: The print is in good condition with bold and bright colors. The print is hinged along the top edge of the verso. The print has some foxing overall, most prevalent along the upper right corner. There are three ‘U’ shaped creases along the center of the composition. Framed under plexiglass. The frame has some wear. The paper backing of the frame has been cut along three edges to allow for inspection.

Joan Miro (Spanish (Catalan), 1893-1983). Lithograph on wove paper titled "XXe Siecle, No. 47," depicting the artist's signature abstract shapes in bold black, blue, yellow, orange, and green with a hint of red, 1976. Pencil signed along the lower right; editioned E.A. along the lower left.Sight; height: 16 1/2 in x width: 23 1/4 in. Framed; height: 26 1/2 in x width: 33 in x depth: 2 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations. Framed under glass; light wear to the frame. Not inspected out of frame.

A framed and glazed lithograph, Joan Miro, Carota, signed in plate, framed and glazed. H.86 W.66cm.

Joan Miró, Sculptures, Farblithographie von 1974, gerahmtJoan Miro, 1893 Barcelona - 1983 Palma, Sculptures, Farblithographie, 29 x 57 cm, im Druck signiert, unter P.p. und Glas gerahmt

Russischer Kopist KD, 2 große Ölgemälde nach Joan Miro, "Les échelles en roue de feu" von 1953 und nach Wassily Kandinsky, "Gelb-Rot-Blau" von 1925, beide von 1994, gerahmtKD monogrammierend, nach Joan Miro, 1893-1983, "Les échelles en roue de feu traversent l'azur", 1953, Öl/Lw., 87 x 60 cm, verso bez., monogr. u. dat. 1994, im Galerierahmen und nach Wassily Kandinsky, 1886-1944, "Gelb-Rot-Blau" von 1925, Original im Centre Georges Pompidou, Paris, Musée National d'Art Moderne, 77 x 121 cm, verso bez., monogr. u. dat. 1994, im Galerierahmen

Joan Miró, Lithografia Originale VIII und X & "Maravillas", 3 Farblithographien, galeriegerahmtJoan Miro, 1893 Barcelona - 1983 Palma, "Litografia originale VIII", "Litografia original X", 2 Lithographien aus: Lithographe I. 1972, je 31,5 y 49,5 cm, unter P.p. und Glas galeriegerahmt und "Maravillas con variaciones acrósticas en el jardín de Miró", Farblithographie, 50 x 35,5 cm, im Druck signiert, unter Glas und P.p. gerahmt

A collection of art books relating to surrealism and expressionism including Miro, Matisse, Picasso etc

JOAN MIRO, (1893-1983), 'Le Lezard aux plumes d'or-Arc-en-ciel', original lithograph, 1971, in colours, on Rives paper with the watermarked signature of the artists, (not hand signed), with folding leaves of the book, 340mm x 478mm, printed by Mourlot Imprimeur, Paris, France.

JOAN MIRO (Spanish 1893-1983), 'Surrealist garden 1974', lithograph on Arches paper, signed in the plate, 52cm x 74cm, framed.

JOHN MIRO LITHOGRAPHIA X lithograph, 31cm x 50cm, framed.

AFTER JOAN MIRO (Spanish 1893-1983), 'Pintura 1953', lithographic poster for the Joan Miro foundation, Barcelona 1993, 137cm x 64cm, framed.

After Joan Miro (1893-1983), abstract from 'Bonjour Max Ernst', 55.5x47.5cm

Joan Miro (Spanish, 1893-1983)  Mas De Proverbis - Original work of 1970 Lithograph - printed on synthetic canvas/vinyl  Limited edition of 1500 copies Signed in plate and framed  Reference catalogue raisonne Cramer 679a Comes with invoice no 2326 from Innocent Fine Art in Bristol 67 x 77 cm (26.5" x 30.5") Joan Miro was born on April 20, 1893 in Barcelona. Miró began his studies in art early, at the age of fourteen, at the art academy of Barcelona. In 1917 he had his first solo show, the same year he met both Pablo Picasso and Francis Picabia. Although Miró’s early work was influenced by several movements of the time, including Fauvism, Cubism, and Dadaism, he became most well known among the Surrealists, whose first manifesto he signed in 1924. Throughout his career, despite occasional returns to figuration or full abstraction, Miró remained consistently true to the core tenet of Surrealism: working with the intention of liberating the creative powers of the unconscious from the constraints of logic and reason. However, although André Breton, author of the Surrealist manifesto, wrote that Miró was “probably the most Surrealistic of us all,” Miró’s work still stood apart; he omitted the accessible, representational elements present in much of the work by other Surrealists. There is a charming sense of playfulness throughout much of Miró’s oeuvre, though the onset of the Spanish Civil War inspired more solemn and melancholic motifs in his work. The war eventually caused Miró to relocate to Paris in 1936, but by 1940 he was forced to return to Spain to escape the German occupation of France. It was during this period that he began to achieve international acclaim, and a large retrospective at the Museum of Modern Art in New York in 1941 solidified his reputation within the art world. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Joan MIRO (1893-1983), D’APRES Abstraction Lithographie en couleur sur papier, signée en bas à droite dans la planche 50 x 72 cm (à vue) - Encadrée

Joan MIRO (1893-1983) Komposition Farblithographie, E.A., mit Bleistift signiert Blatt: 45 x 61 cm

Joan Miro, Redfern Gallery Exhibition cover, original 16 colour lithograph, 1978, edition of 1000 copies, 25cm x 20cm, framedGood condition

MIRO JOAN: (1893-1983) Spanish painter. A.L.S., Miro, two pages, 4to, Barcelona, 31st December 1935, to a [Alice Frey], in French. Miro enquires as to how Frey and her husband are doing and as to how her work is going, and remarks ´Je pense toujours a mon court sejour a Bruxelles et aux moments de bonne camaraderie que nous avons passe ensemble dans votre maison si accueillante. J´espere que je pourrai avoir le loisir de vous revoir pas dans un si long intervale que la derniere fois´ (Translation: ´I'm still thinking about my short stay in Brussels and the good times we spent together in your welcoming home. I hope that I will be able to have the leisure of seeing you again, not with such a long interval as last time´), further writing of his own recent work activities ´Je fais actuellement une grande exposition a Prague. I´y suis alle avec ma femme pour le vernissage; c´est un tres beau pays et l´on est merveilleusement bien recu. J´espere que je reussirai a faire quelque vente, ce qui ne serait pas mal´ (Translation: ´I am currently doing a big exhibition in Prague. I went there with my wife for the opening; it is a very beautiful country and one is wonderfully well received. I hope I will succeed in making some sales, which would not be bad´) and concluding ´Ma femme se joint a moi pour pour vous souhaiter a vous et a votre mari une bonne annee 1936 avec bonne sante et bon travail. Elle me prie aussi de vous dire qu´elle serait tres heureuse de faire votre connaissance un jour´ (Translation: ´My wife joins me in wishing you and your husband a happy New Year 1936 with good health and good work. She would also like me to tell you that she would be very happy to meet you one day´). Some minor staining, only very slightly affecting a few words of text and not the signature, GAlice Frey (1895-1981) Belgian painter, wife of Georges Marlier, himself later a noted art critic and painter.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, to one side of a picture postcard depicting a panoramic view of Cannes from the terrace of the hotel and restaurant La Pergola, n.p. (Mougins, Cote d´Azur), n.d. (July 1937), to Max Pellequer (´Mon cher ami´), in French. Picasso provides his friend with the name and address of the hotel he is staying at, the Hotel Vaste Horizon in Mougins, and continues to write ´Je viens de recevoir votre lettre. Je vous ecrirai bientot. Votre ami mais vraiment´ (Translation: ´I've just received your letter. I'll write to you soon. Your friend but truly´). Hand addressed by Picasso. An attractively penned letter with good association. EXMax Pellequer - French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Picasso stayed at the Hotel Vaste Horizon in July 1937, accompanied by his muse and lover Dora Maar, having just completed Guernica a month earlier. They were visited there by various friends including Man Ray, Paul & Nusch Eluard, Roland Penrose and Lee Miller, the latter capturing various photographs of the party.

JOAN MIRO (1893-1983): A LITHOGRAPH IN COLOURS TITLED 'COMPOSITION DOUBLE', From a limited edition of 5000. Dated 1975, published by Fernand Mourlot. 49cm x 31cm Mounted in a frame and glazed. 71cm x 53cm

Mourlot, Fernand. Souvenirs et portrait d’artiste. Jacques Prevert - Le Coeur à L Ouvrage. Paris, Morurlot, 1972 [Alain A.C. Mazo, Paris et Leon Amiel, New York, éditeurs]. 4°. Mit 25 Lithographien (19 farbigen und eine doppelblattgroß). In Lagen lose, mit dem originalen Papierumschlag eingelegt in einer Leinenkassette mit Rückentitel. (58) * Unnummeriertes Exemplar - mit Lithographien von: Brianchon, Masson, Beaudin, Fenosa, Esteve, Guiramond, Matisse, Terechkovich, Braque, Derain, Picasso, Jenkins, Miro, Cocteau, Minaux, Villon, Chagall, Giacometti, Buffet, Wunderlich, Delvaux, Vasarely, Manessier, Lepicque and Sutherland. Freundschaftsbuch der bedeutenden französischen lithographischen Anstalt. Zustand: Alle Lithographien sind im guten Zustand. Der Papierumschlag ist etwas fleckig, berieben, mit Knickspuren und kleinen Läsuren. Innen gering fingerfleckig, mit leichten Lagerspuren. Einige Textseiten mit Abklatsch der Lithographien. Die Leinenkassette ist angestaubt,berieben und bestoßen. Seltene und gesuchte Ausgabe.