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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.

Miró, Joan (1893 Montroig - Mallorca 1983), nach "Zephyrvogel". Farblithographie (Mittelfalz) aus dem Folio Derriere le Miroir "Miro-Artigas" von 1956, gedruckt von Mourlot, herausgegeben von Maeght, Paris. Bildmaß ca. 35x 52,5 cm. PP., R.

AFTER JOAN MIRO, bronze plaque, mounted onto wooden plinth, personnages, xxe siecle number 4, 1938, signed and dated in the plate, plaque size: 11cm x 8.5cm.

Joan Miro, 75th Anniversary Barcelona - Barca poster, signed in pencil my Miro, 100 x 70cm.

10 de maig - 30 de juny 1978. Galeria Maeght. W. 2 double-p. col. lithogr. by Miró (one is the cover itself). Richly ill., loose as issued. Text by P. Gimferrer in Catalan, w. transl. in Spanish and French. Fine condition. (2) Panorama 76. Edition XXe Siecle, Paris 1976. Special Japon. French Art review directed by Gualtieri di San Lazzaro. W. one col. lithogr. by Miro. Covers sl. worn. -and 2 others. (total 4)

sent to Michael Druks. Flyers printed black on coloured paper (cream, pink or green), with top right and bottom left corners cut off, 22 x 27 cm. (1) Signed letter to Michael Druks Oct. 15 1974, asking for participation in the exhibition 'The decade of the 70s'. (2) 1975, 22 flyers comprising a.o. Second international open encounter on video; Third international open encounter on video; Problematic of Latin American art; Agora Studio at CayC; Muntadas; Bill Vazan; CayC at de Vleeshal Middelburg. (3) 1976, 3 flyers Fifth international open encounter. (4) 1977, 6 flyers Ninth international encounter on video Mexico; Muriel Olesen video installation. (5) Announcement card Fifth International Video encounter ICC Antwerp 1976 with mounted sticker. (6) Two mailed CayC envelopes. (7) CayC mailing list card. (8) Fundacio Miro Barcelona regarding 'Latin America '76' and the 7th international video encounter (with scribbles by MD on verso), 3 pp. in original envelope. (total 39)

from the 1970s to 1990s. Hightlights include: (1) Eight Words from a Reading at Brooklyn College. Artists' booklet published by Galleria Victoria Miro, Florence 1990. Staple bound, 16 x 7.5 cm, letter press printed in silver gilt on thin grey paper, with drawings in black. Mint copy. (2) Centre d'Art Contemporain, Geneve 1980. Small poster illustrated with colour drawing, 28.5 x 35.5 cm, machine folded twice. With 2 pinholes and tiny dog ear, else very good. (3) Poster designed by Tuttle for his show at Yvon Lambert from March 7 to April 10, 1990. Colour offset, 43 x 35 cm, folded 3 times. Light creases on small section, clean and bright copy. (4-7) Four items from the 1970s including announcements from Nigel Greenwood London, CAPC Bordeaux, Edition Heiner Friedrich Munich and Annemarie Verna Zurich. (8-13) Six cards announcing shows in 1980s, including ICA London, ARC Paris, Städtisches Museum Mönchengladbach et al. (14-18) Five cards from the 1990s including Brooke Alexander New York, Annemarie Verna Zurich, Kunstmuseum Winterthur et al. (total 18)

12 BOTTLES RED VERMOUTHIn The Loop Semi-Sweet (50cl); Padro + Co Myrrha (1L); La Baronía de Turis 13:30; Tenuta Fertuna Etrusco Nero; Emilio Lustau 3 x Lustau; Miro Reserva (1L) and Reserva Organic (1L); Vya Sweet; Changyu; Vandespino Quina

12 BOTTLES VERMOUTHGruppo Campari 1757 Vermouth di Torino Extra Dry NV and 2 x Cinzano Vermouth Bianco Dry NV; The London Vermouth Company 2 x N°3 SE Dry (50cl) and 2 x N°1 Amber Limon NV; Bodega Cuartro Rayas 2 x 61 Vermouth Verdejo Dry NV; Vermuts Miro 3 x Bianco Sweet NV

12 BOTTLES VERMOUTHGruppo Campari 1757 Vermouth di Torino Extra Dry NV (1L); Grisetti; The London Vermouth Company N°3 SE Dry (50cl); Luis The Marinero Formula Original; Tesco Extra Dry (1L); Miro Farlatti Dulce Amargura (1L) and Casa Fundada (1L); Maronti (1L); Chazalettes Extra Dry; St Petroni Vermú (1L); Cinzano Bianco and Extra Dry

JOAN MIRO, Nocturn, rare large original lithograph in colours, printed by Maeght 1953, 38 x 140 cm. (Subject to ARR - see Buyers Conditions)

JOAN MIRO, Abstract lithograph, 1953, 37.5cm x 27.7cm, French vintage frame.

JOAN MIRO (1893-1983) Untitled Etching & Aquaint Hand Signed and Numbered in Pencil Edition 7/10 Image - 5" x 7", Sheet - 10" x 13"

Paul Stevenson (British. 1926-2009) 'Gallery - Joan Miro: Barcelona'Signed and dated, 19(97)Mix media,39cm x 37.5cm

Joan Miró and Josep Llorens Artigas Keramik by Jose Pierre and Jose Corredor-Matheospublished by Benteli Verlag Bernhardback with double page lithograph by Joan Miro.

A Joan Miro inspired table lamp, 14 1/2" high

Stephen Willats, British b.1943 -  Shift Box No. 2, 1964;  wood, metal, paint, plexiglass, glass, and electronic component, with artist's label and instructions attached to the reverse, H72 x W72.5 x D18 cm (ARR) Note: It is the buyer's responsibility to ensure that electrical items are professionally rewired for use. 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. Exhibited: Migros Museum für Gegenwartskunst, Zürich, Stephen Willat's Languages ​​of Dissent, 25th May to 18th August 2019, https://migrosmuseum.ch/werke/28920  

Stephen Willats, British b.1943 -  V.D.U. Transformation Series No.5, 1989;  poster paint and pencil on paper, signed and dated lower right 'S Willats 89', 66.5 x 114 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. 

Stephen Willats, British b.1943 -  Untitled, 1995;  gouache and graphite on paper, signed with initials and dated lower right 'SW 95', 68 x 101 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. 

Stephen Willats,  British b.1943 - The Rivals, The Team, The Community, Segregation, Dependency, Mutuality, c.mid-1970s; black and white photograph collage, ink, letraset and gouache on card, 32 x 45.8 cm (unframed) (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. 

Stephen Willats,  British b.1943 -  Untitled abstract composition, 1966; gouache and graphite on paper, signed and dated lower right 'Willats 1966', 24.6 x 50 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. 

A large collection of six vintage lithographs after Joan Miro (Spanish, 1893-1983). The lot to include a lithograph after ' Woman and bird in the night ', a composition with large red dot, a composition with blue moon, a compositions in green, red & black, together with two more compositions. All unframed. Each measures approx. 29cm x 89cm (11.5" x 35").

A large collection of nine vintage lithographs after Joan Miro (Spanish, 1893-1983). The lot to include a lithograph after ' Woman and bird in the night ', three compositions with large red dot, two compositions with blue moon, together with two compositions in green, red & black. All unframed. each measures approx. 29cm x 89cm (11.5" x 35").

JOAN MIRO (1893-1983), 'Starscene', lithograph, 40cm x 58cm, framed.

JOAN MIRO, from Lezard aux Plumes lithograph, 35cm x 50cm, framed.

FarblithographieJoan Miró 1893 Barcelona - 1983 Palma "Miranda et la Spirale" 1979 u. re. sign. Miro. 28,7 x 19,3 cm, o. R. gebräunt, Lichtrand.

Joan Miro(Barcelona 1893–1983 Mallorca)"Le chien bleu". 1959. Radierung. 278/300. Unten rechts in Bleistift signiert. Plattengrösse 61,5x47,8 cm. Blattgrösse 84,2x62,5 cm. Gerahmt.- Blatt leicht gebräunt. Dunkler Lichtrand. Ränder und Ecken minimst bestossen. Verso am oberen Rand an Passepartout montiert. Blatt wurde zwischen Passepartout und Rückwand montiert.

Joan MIRO (1893-1983), Ohne Titel, Farblithographie, 90 x 63 cm. Alters- und Gebrauchsspuren.

MIRO, Joan, Plakat, Offset-Lithografie, 90 x 63, besch., ungerahmt

Min WARDMAN (1951-2024) Golden Bird Acrylic and gold-leaf on canvas, studio stamp verso, 101.5cm x 76cm Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking 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. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. 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) Flowers and Fruit Still Life Acrylic on canvas, studio stamp verso, 50.5cm x 76cm 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...' This unframed work is in excellent condition, there is a fleck of what looks to be white household paint to the bottom left corner (see image).

Min WARDMAN (1951-2024) Dean Quarry Blast Oil on canvas, studio stamp verso, 20cm x 20cm, 27cm x 27cm framed. Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking 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. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. 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) Untitled Mixed media on canvas, studio stamp verso, 50cm x 50cm Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking 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. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. 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) Untitled Collage Studio stamp verso, 59cm x 75cm, 67.5cm x 98cm framed. Min Wardman (1951-2024) Artist - Feminist - GardenerMin was born in Yorkshire in 1951, her mother an artist, her father a civil engineer. After a comprehensive education she was awarded an exhibition in Birmingham, followed by postgraduate studies in both History of Art and Painting in London.After graduating, Min found the London scene not to her taste, finding it too difficult to be taken seriously as a female painter. At the time, Devon was developing its Community Colleges and Min worked developing Textile and Printmaking 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. Landscape is a near constant within her work: there are stone monuments, myths and legends, birds, plants and other motifs which pass in and out of her paintings.Classical Art was a major influence, also the work of Rothko, Turner and Hokasai. Other favourite artists included Miro for block colour, Manrique for art and community planning and Picasso for returning to images and perseverance. 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...'

Laxman Pai (1926-2021)Shining Valley signed 'Laxman Pai' in Devanagiri and English and dated '65; further inscribed title, size and medium versooil on canvas, framed100 x 65cm (39 3/8 x 25 9/16in).Footnotes:ProvenanceProperty from a private collection, Sweden.Note: There is a gallery Chemould label on the reverse with details of the artist, title of the work, medium, size and price.'The life of a creative artist is like the continuous flow of a river from its source, absorbing and digesting all the influences on the way. The real forms of art are those that elevate you upwards beyond yourself.' Laxman PaiAfter completing his formal education in art at the prestigious Sir J.J. School of Art in Mumbai, Pai embarked on a prolific career that spanned over seven decades. His early works reflected the influence of European modernism, particularly the styles of artists like Paul Klee, Joan Miro and Marc Chagall, yet Pai's artistic vision remained uniquely his own, characterized by a bold use of colour, inventive composition, flatness of pictorial surface and a keen sense of abstraction. Shining Valley, painted in 1965 illustrates these learnings well but goes further by showcasing his ability to merge the stylistics of Indian folk art with bright exuberant colours, angular simplification and figuration.Throughout his career, Pai garnered widespread acclaim for his ground-breaking contributions to the Indian art scene. He received numerous awards and accolades for his contributions to the arts, including the Lalit Kala Akademi's national award, the Goa government's award and the the Padma Shri, one of India's highest civilian honours.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

JOAN MIRÓ (1893-1983)Painting Woman V/VI signé de l'initial de l'artiste 'M' (en bas à gauche)huile sur toile de jute Peint le 11 février 1960signed with the artist's initial 'M' (lower left)oil on burlapPainted on 11 February 196033 x 19 cm.13 x 7 1/2 in.Footnotes:ProvenanceGalerie Maeght, Paris, no. 6068. Galleria Naviglio, Milan, no. 2840. Collection particulière, Italie. ExpositionParis, Musée national d'art moderne, Joan Miró 1962, no. 104.BibliographieJ. Dupin & A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, Painting IV. 1959-1968, Paris 2009, no. 1076, (illustré p. 59).J. Dupin, Miro, Paris, 1961, no. 946, p. 556.Y. Taillandier Creacion Miró 1961, Barcelona 1962, p. 19. C. Simon J. Miró, Femmes, Paris 1965, pl. 5.Saleroom notices:Veuillez noter que cette oeuvre est signée et daté au revers.Please note this work is signed and dated on reverse.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A large framed Joan Miro print, overall 145cm x 72cm, and a large Van Gough sanctioned print landscape and mountain range

A Framed Joan Miro, Inverted Personages

Follower of Joan Miro, Femme Nue Assise, lithograph, with CoA, 30.5x21cm; and Marc Chagall, The Israelites Cross The Jordan, heliogravure, 29.5x23cm.Qty: 2

Joan Miro - L' Etoile Bleu. The blue star. 1972 unknown editionAn unsigned Original LithographFramed and Glazed.  55.5cm x 44.5cm with frame

JOAN MIRO, a set of nine lithographs from Trace sur L'Eau, (Trace on the watercolour) ref Mourlot 82 colour, lithographs based on watercolours printed on Marais, onion skin paper printed by Maeght Editeur Edition 1000, 35.6cm x 29.2cm each. (Subject to ARR - see Buyers Conditions)

JOAN MIRO, Personnages, a pair, numbered limited edition pochoir, stamped signature, embossed Euroart, 37cm x 28cm. (Subject to ARR - see Buyers Conditions)

San Lazzaro et ses amis. Hommage au fondateur de la revue XXe siècle. Paris 1975. Mit neun Lithographien, davon acht farbig, einem Holzschnitt und fünf Farbtafeln nach Lithographien sowie einem Fotoporträt. Lose Doppelblätter in Originalumschlag und -leinenkassette.Exemplar 410 von 500 (Gesamtauflage 630). - Opulente Festschrift für den bedeutenden Kunstverleger Gualtieri di San Lazzaro (1904-1974) mit Textbeiträgen von André Pieyre de Mandiargues, Marc Chagall, Alain Jouffroy, Marino Marini u. a. - Die »lithograhies originales« schufen Max Bill, Alexander Calder, Marc Chagall (einfarbig), Max Ernst, Hans Hartung, Joan Miro, Henry Moore, Graham Sutherland und Zao Wou-Ki. Sogenannte »lithographies en second tirage« stammen von Braque, Fontana, Magnelli, Magritte und Picasso. Die geplante Poliakoff-Tafel wurde nach Fertigstellung des Buches durch den Kandinsky-Holzschnitt »Improvisation 7« von 1911 ersetzt, dessen Originalstock sich im Besitz von Nina Kandinsky befand. Der Abzug wurde von ihr mit dem Monogramm-Stempel Kandinskys bestätigt. - Tadelloses Exemplar.

JOAN MIRO1893 Barcelona - 1983 Calamajor (Mallorca)'UN CAMI COMPARTIT' (1975) Farblithografie auf Arches. SM 75 x 54,5 cm (R. 77 x 57 cm). Unten rechts mit Bleistift signiert sowie unten links num. '68/75'. Min gebräunt. Hinter Glas gerahmt (ungeöffnet). Literatur: Cramer 996. Provenienz: Privatsammlung Essen.

JOAN MIRO1893 Barcelona - 1983 Calamajor (Mallorca)'FUNDACIO JOAN MIRO' (1975) Farblithografie. BM 70 x 50 cm, SM 69,5 x 49,5 cm (R. 84,5 x 63,5 c. Unten rechts mit Bleistift handsigniert sowie unten links num. '83/99'. Leicht gebräunt, lichtrandig. Im Passepartout und hinter Glas gerahmt (ungeöffnet). Literatur: Cramer 1090. Provenienz: Privatsammlung Essen.

JOAN MIRO1893 Barcelona - 1983 Calamajor (Mallorca)ZWEI BLÄTTER AUS 'CONSTELLATION' (1959) Pochoir auf Bütten, mit Textblättern mit Texten von André Breton, hrsg. Pierre Matisse, New York. Kassette: 47 x 38,5 x 5,5 cm. Impressum handsigniert von Miró und Breton sowie gedruckt nummeriert '244/350'. Hier Blatt 10 und 22 aus dem Mappenwerk mit ursprünglich 22 Blättern nach Gouachen aus den Jahren 1940 und 1941: 'Danseuse acrobates', 1940, BM 43,5 x 6 cm, im Druck signiert sowie rückseitig im Druck signiert, datiert, betitelt und bez; 'Le Passage de L'Oiseau divin', 1941, BM 43,5 x 36 cm, im Druck signiert sowie rückseitig im Druck signiert, datiert, betitelt und bez. Jew. herstellungsbedingt min. gewellt, an den Kanten part. min. best, rückseitig leicht gebräunt; Leinenkassette ber., part. min. fleckig. In Original-Kassette. Literatur: Cramer 58.

JOAN MIRO1893 Barcelona - 1983 Calamajor (Mallorca)'HOMENATGE A JOAN PRATS' (1971) Farblithografie auf Velin. DM 55 x 75 cm, BM 65 x 79 cm (R. 96,5 x 117 cm). Unten rechts mit Bleistift signiert sowie unten links num. '58/75'. Leicht gebräunt. Im Passepartout und hinter Glas gerahmt (ungeöffnet). Literatur: Moulot 711. Provenienz: Privatsammlung Frankfurt am Main.

JOAN MIRO1893 Barcelona - 1983 Calamajor (Mallorca)'LES ESSENCES DE LA TERRA PER MIRÓ' (1968) Portfolio, Leinenbindung, Ediciones Poligrafa, S.A., Barcelona. Portfolio 53 x 41 x 4 cm. Im Druckvermerk handsigniert 'Miró', Exemplar 635 (von insg. 1120). Mit 14 (4 farbigen) Illustrationen von Miró als lose Lagen in farbigem Umschlag und illustriertem Leinen-Deckel sowie illustrierter Leinen-Kassette. Guter Zustand. Literatur: Cramer 123.

Beautiful color lithograph proof on BFK Rives paper entitled Sculptures after Surrealist artist Joan Miro's biomorphic 3-dimentional works, published by Galerie Maeght and printed by Atelier Mourlot, Paris. Housed in an imposing black and gilt frame. Sight size: 29"L x 21"H. Frame size: 34"L x 26"H x 1.50"W. Artist: After Joan Miro (Spanish 1893-1983)Issued: 1973Country of Origin: SpainCondition: Age related wear.

Original color lithograph on ecru paper made for Paintings of the World exhibition featuring Surrealist artist Joan Miro's artworks in Hommage a Miro, Le Monde de Miro held in 1974 Los Angeles. Signature in plate: Miro. Housed in a silver color frame. Sight size: 19.50"L x 25.75"H. Frame size: 20.25"L x 26.25"H x 1"W. Artist: Joan Miro (Spanish 1893-1983)Issued: c. 1974Country of Origin: SpanishCondition: Age related wear. Crack in glass on upper left side by border of frame.