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Original color lithograph on wove paper after Surrealist artist Joan Miro's series in the periodical Derriere le Miroir (Behind the Mirror.) First published by Galerie Maeght and printed by Atelier Mourlot, Paris. Housed in a white and black wooden frame with a white mat. Sight size: 10.50"L x 14.75"H. Frame size: 17.75"L x 21.50"H x 1.50"W. Artist: After Joan Miro (Spanish 1893-1983)Issued: c. 1970Country of Origin: SpainCondition: Age related wear.

A collection of vintage 20th century art reference books and artist's biographies. The lot to include Constable, the Painter and his Landscape, Vincent Van Gogh by Hans Bronkhorst, The Paintings of Matisse, Miro by Walter Erben, Vermeer of Delft by Albert Blankert, 20th century Drawings by Studio Vista, Mondrian by Susanne Deicher, Henry Moore: Animals, John Piper A Painter's Camera, and others. Majority hardback in dust wrapper. Approx. 20 books in lot.

‡ ZAO WOU-KI 趙無極 (Chinese-French, 1920-2013) etching with aquatint - Composition I from Randonnées (Rambles), Ågerup 257, signed (in Pinyin and Chinese) and dated in pencil 74, unumbered, (pl) 24 x 18.5cmsProvenance: private collection MonmouthshireAuctioneer's Notes: This composition is the first of five created for the book Randonnées (Rambles) by Roger Caillois. It was printed by Atelier Bellini and published by Yves Rivière in 1974. There were also three artist’s proofs and 4 hors commerce (out of trade) impressions on Japan paper. A master of post-war art and among the highest-selling Chinese painters of his generation, Zao Wou-Ki synthesized tenets of modernism, calligraphy, and traditional Chinese landscape painting. Using primarily oil paint, watercolor, and eventually ink, Zao developed a unique style defined by contrasting colours, intense linework, and lyrical abstraction. Like traditional Chinese landscapes, Zao’s paintings function as fragments of larger scenes and possess a fluidity, transparency, and graceful luminosity that reflect the interior energies of the artist himself. Zao cited Paul Cezanne, Henri Matisse, and Pablo Picasso as early influences. In 1948, he moved to Paris, where he immersed himself in the city’s avant-garde scene and befriended artists including Alberto Giacometti, Joan Miro and Sam Francis. During his lifetime, Zao exhibited worldwide. He received the Japan Art Association’s Praemium Imperiale Award for Painting and the Ordre national de la Légion d’honneur. Today, his work can be found in the collections of the Louvre, Pomidou Centre, the Gudggenheim Museum, the Metropolitan Museum of Art, and the Tate.Literature: Ågerup, J. (1994). Zao Wou-Ki - The Graphic Work - A Catalogue Raisonné 1937-1995, Copenhagen: Heede & Moestrup.Comments: glazed ready to hang

Star Wars, a quantity (x25) of Vintage cut-out magazine advertisements, to include Harbert & Miro-Meccano. Good.

JOAN MIRÓ (1893 Barcelona - 1983 Palma) Abstrakte KompositionFarblithographie auf festem Arches Velin. 1975.31 x 22 cm (54 x 36,8 cm).Signiert "Miro".Auflage 80 röm. num. Ex.Mourlot 1043.Aus der Folge von insgesamt 13 Lithographien, die Joan Miró für das Buch Joan Miró / Le Lithograph IImit Texten von Raymond Queneau geschaffen hat. Gedruckt von Mourlot, Paris 1975.

Joan Miro, abstract, original lithograph for Derriere Le Miroir, 1965, 37cm x 27cm, framedGood condition

Joan Miro, Composition no. 5, original lithograph, published 1972, 31cm x 24cm, framedGood condition

A Collection of Five Modern Posters, for exhibitions showing the works of modernists including Miro and Picasso, mainly dating to the 1980s, all rolled.

After Joan Miro (1893-1983) - Untitled (1972) (from the Joan Miro Lithographie I Suite), original lithograph printed in Paris by Fernand Mourlot, with Goldmark Gallery, Rutland label inscribed verso, mounting dimensions: 31 x 24 cm, frame dimensions: 52 x 43 cm, mounted, glazed and framed

JOAN MIRO (1893-1983), Untitled, original etching and aquatint, in colours, signed by the artist in pencil, published by Louis Broder, Paris, pub, printed by Crommelynck et Dutrou, Paris, France, Edition IV/XV, 18cm x 13cm, provenance, Collection of Mr William D Fraad, Greenwich, CT, framed. (Subject to ARR - see Buyers Conditions)

Hartung, Hans. L'emerveillé merveilleux. Lithographie auf festem Bütten. Signiert unten links mit Bleistift. Um 1973. Motivmaße: 50 x 39 cm. Blattmaße: 50 x 80 cm.Das Blatt mittig gefaltet, die Innenseite typographisch bezeichnet: "Michael Leiris - Miro soir et matin". - In den Ecken auf Unterlage montiert, in gutem Zustand.

Verve. Revue artistique et littéraire. Vol. 7, Nos. 27/28. Revue artistique et littéraire. Mit zahlreichen, teils farbigen/doppelblattgroßen Original-Lithographien und zahlreichen, teils farbigen, teils ganz- bzw. doppelblattgroßen Abbildungen. Paris, Verve, 1952. 153 S. 36 x 27 cm. Original-Pappband mit Illustrationen von Georges Braque (berieben und gebräunt, Rücken geklebt).Enthält folgende Original-Lithographien: 2 (1 farbige) von Braque, 3 (1 doppelblattgroße farbige) von Matisse, 2 farbige von Laurens, 2 (1 farbige) von Giacometti, 3 (1 doppelblattgroße farbige) von Masson, 3 (1 doppelblattgroße farbige) von Leger, 3 (1 doppelblattgroße, 2 farbige) von Miro, 2 farbige von Borès, 2 farbige von Gromaire, 7 (3 farbige davon 1 doppelblattgroße) von Chagall. - Innen gut.

Verve. Revue artistique et littéraire. Vol. 1, No. 3. Mit 4 Farblithographien von Marc Chagall, Joan Miro, Rattner, Paul Klee. Paris, Verve, 1938. 132 S. 35,5 x 36,5 cm. Original-Karton mit farbiger Illustration von Pierre Bonnard (Rückenkanten etwas berieben).Amerikanische Ausgabe. - Gutes Exemplar.

* COLIN THOMS (SCOTTISH 1912 – 1997), STILL LIFE: MIRROR, PIPE AND TORTURED TEAPOT oil on canvas, signed, titled versoframed and under glassimage size 51cm x 61cm, overall size 65cm x 74cm Note: Colin Thoms studied at Edinburgh College of Art from 1929 until 1933, under the likes of S.J. Peploe, John Duncan and William Gillies. Awarded various scholarships, he went on to study in London, Paris and other major cities across Europe. A teaching post at the Loretto School in Musselburgh saw him settle back in Scotland in 1937, and from 1951-1976 he taught at Gray’s School of Art in Aberdeen. Marked as having 'the artistic temperament' by one of his teachers at a young age, Thoms was later influenced by the work of Kandinsky and Miro developed an abstract style of painting.Condition of the picture is good overall, with no visible or known issues.

JOAN MIRO, Sculptures, large lithograph on BFK Rives, 1974 signed in the plate, 52cm x 73cm. (Subject to ARR - see Buyers Conditions)

PAIR OF ERCOL HIS AND HERS STICK BACK ARMCHAIRS, the seat and backs upholstered in the 'Miro' design

Cramer,P.: Joan Miro. Catalogue raisonne des livres illusrtres. Preface de Rosa Maria Malet. Genf, Cramer 1989. 4°. Mit zahlr. tls. farb. Abb. Illustr. Olwd. mit OU. im Olwd.-Schuber. ╔Dabei: Jouffroy,A. u. J.Teixidor.╗ Miro sculptures. Paris, Maeght 1973. 4°. Mit 2 dplblgr. Orig.-Farblithogr. von Joan Miro 209 S. Olwd. mit Orig.-Schutzumschl. (Dieser mit etw. Gebrauchssp.). - Zus. 2 Bde.

Sammlung: von 12 Werkverzeichnissen in 17 Bdn. Versch. Formate, Künstler u. Einbde. ╔Enthält WVZ folgender Künstler:╗ Miro (Lithogr. V u. VI), Robert Motherwell, James Coignard, Maximilien Luce (2 Bde.), Mark Rothko, Piet Mondrian (2 Bde.), Paul Cezanne (2 Bde.), Joseph Beuys, Rene Magritte (3 Bde.), Velazquez, Toulouse-Lautrec. - Tls. in OVP.

Joan Miro (1893-1983) Zonder titel. Hierbij litho door Chagall litho, ongesign., 26 x 37 cm. en litho, ongesign., 35 x 25 cm. [2]

Joan Miro (1893-1983) Zonder titel litho, gesign. op de steen, 50 x 35 cm. [1]

MIRO: 1- Dupin, Jacques: Miro Graveur, 3 Vols: 1928-1960; 1961-1973 and 1973-1975. Daniel Lelong Editeur, Paris, 1984, 1st editions, dust jackets and a slipcase. With original colour woodcuts, VG; 2- Gasser, Manuel: Miro. Peintures Gouaches Dessins. Zurich, Galerie Maeght, 1972. With 3 Original Colour Lithographs (2 double-page) (4)

René Char. Char, Rene. Le Monde de l'art n'est pas le Monde du Pardon. Mit 72 teils ganzseitigen und teils farbigen Lithographien nach Arbeiten von Georges Braque, Henri Matisse, Nicholas de Stael, Joan Miro, Wilfredo Lam, Pablo Picasso, Viera da Silva, Alberto Giacometti, Arpad Szenes, Zao Wou-Ki, Pierre Charbonnier uva. (Paris), Maeght, (1974). Lose Lagen in OUmschlag in OKasette. Kl.-Folio. Monod 2624. - Druck der graphischen Arbeiten bei Fequet et Baudier. - Selten. With 72 lithographs, some full-page and some in colour, after works by Georges Braque, Henri Matisse, Nicholas de Stael, Joan Miro, Wilfredo Lam, Pablo Picasso, Viera da Silva, Alberto Giacometti, Arpad Szenes, Zao Wou-Ki, Pierre Charbonnier and many more. Rare.

Joan Miro, invitation card, original lithograph for 1973 exhibition, sheet 16cm x 50cm, framedOriginal vertical centre fold, good condition

France. 1929 (May 28) Picture postcard of the LZ 127 posted from Cuers to Dunkirk franked 1f, both sides with red circular "AN BORD DES / LUFTSCHIFFES / 20 MAI 1929 / GRAF ZEPPELIN", arrival c.d.s (May 26). Fine and scarce, with Miro Certificate (1974). S.026I. Photo on Page 52.

*JOAN MIRO (1893-1983) 'L'Astre Bleu' (Mourlot 857), signed and numbered XXXVI/LXXX (36/80) in pencil to the margin, lithograph on Rives paper, published by Maeght, Paris, the sheet 44.5cm x 37cmFramed dimensions: 71cm x 63cm

ANDY WARHOL (1928-1987)Alexander the Great (F&S. II.291-292) sérigraphie en couleurs, 1982, sur carton du Lenox Museum, signée et annotée 'TP 12/65' au crayon, imprimée par Rupert Jasen Smith, publiée par Alexander Iolas, New Yorksérigraphie unique101.6 x 101.6 cm. (40 x 40in.)screenprint in colours, 1982, on Lenox Museum Board, signed and numbered 'TP 12/65' in pencil, printed by Rupert Jasen Smith, published by Alexander Iolas, New Yorkunique print (each 'TP' being different)Footnotes:ProvenancePrivate collection, Greece.LitteratureFrayda Feldman and Jörg Schellmann, Andy Warhol Prints, A Catalogue Raisonné, 1962-1987, Fourth Edition, Milan, 2003, no. II.291-292, page 188.Glowing with a riot of dazzling colour, Warhol's Alexander captures the radiance and regal glamour of the great Macedonian conqueror. The aquamarine ground echoes Van Gogh's luminous backdrops, while the sinuous linear highlights, which trace their origin to the ancient Greek vase painting, reconstruct the young king's face in an expressionist manner akin to Rouault or even the Gothic and Byzantine portraits Warhol himself admired. The independence of colour from the confines of the contour energises the entire image, recalling the bold experimentations of such surrealists as Miro and Masson, who dismantled and reassembled the constituent parts of figurative painting. The portrait of the undefeated commander is finally recomposed as an amazing cubist collage which ingeniously oscillates between reality and illusion, underlining Alexander's enduring image as both a historic personality and legendary figure.Published by Alexander Iolas in cooperation with the Hellenic Heritage Foundation, to coincide with 'The Search for Alexander' exhibition at the Metropolitan Museum of Art, New York, October 27, 1982 - January 3, 1983. For further information on this lot please visit Bonhams.com

JOAN MIRO, abstract set of 6 lithographs from Trace Sur I’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, 35.6 x 29.2 cm each. (6) (Subject to ARR - see Buyers Conditions)

JUAN MIRO, 'Miro lithographie I, Plate XIII', lithograph, 32cm x 50cm, framed, published 1972, Maeght Paris, ref Cramer N.160.

JOAN MIRO Montroig 1893 - 1983 Mallorca: Le Lézard aux Plumes d’Or. Farblithographie 1971. Mourlot 831. - Abdruck ohne den eingedruckten Plakattext für die Ausstellung „Miró - Le Lézard aux Plumes d’Or“. Mit dem Titel im Stein. Auf Vélin. 57 x 47,5 cm (Blatt: 74,2 x 54,6 cm). Mit leichten Randläsuren. [ms]

Joan MIRO (1893-1983), lithograph, signed and dated 1944 in the plate.stamp Reissue facsimile, Barcelona, Foundation Joan MiroLithografie, gesigneerd en gedateerd 1944 in de plaat.stempel Heruitgave facsimile, Barcelona, Foundation Joan Miro.69.5 x 52.5 cm

2 posters by Roy Lichtenstein 1964 and MIRO 1988, Schirn Kunsthalle Frankfurt, framedLot van 2 affiches door Roy Lichtenstein 1964 en MIRO 1988, Schirn Kunsthalle Frankfurt, ingekaderd118.5 x 83 cm en 118 x 83 cm

Three Tate Gallery posters, 75 x 50cm; together with another Joan Miro example, 70 x 51cm. (4)

Mourlot (Fernand) The Original Posters of Braque, Chagall, Dufy, Leger, Matisse, Miro, Picasso, 102 chromolithographed plates, gutta percha perished and contents loose (as often), very occasional light creased, original cloth, a few spots, dust-jacket, light toning to spine, chips and tears to head and foot, 4to, Monte Carlo, 1959. *** The contents often found loose as the plates were designed to be removable.

-- "Entrückt aus dem Schatten der fleischlichen Opfer""Remotis obumbrationibus carnalium victimarum"-- Sakramentar. Einzelblatt einer lateinische Handschrift auf Pergament. 1 Fragmentbl. mit 2 S. 2 Spalten. Fragment mit 31 Zeilen. Schrift: Gotica rotunda. Format: 35,5 x 25,5 cm. Mit Rubrizierung, 5 großen roten Initial-Majuskeln, rote Zeilenanfänge. Italien (wohl Rom), frühes 12. Jahrhundert.Als Einbandbezug verwendetes Fragment einer frühen mittelitalienischen, aller Wahrscheinlichkeit nach aus Rom stammenden Handschrift eines Sakramentars, eines Teils der Heiligen Messe: "Remotis obumbrationibus carnalium victimarum, spiritalem tibi, summe pater, hostiam supplici servitute deferimus, quae miro ineffabitique mysterio et immolatur semper, et eadem semper offertur" (etwa: "Entrückt aus dem Schatten der fleischlichen Opfer bringen wir Dir, höchster Vater, ein geistliches Opfer vollzogener Knechtschaft, das immer in einem wunderbaren und unaussprechlichen Geheimnis geopfert wird und immer auf gleiche Weise dargebracht wird"). - An den Rändern stärker fleckig, gebräunt, mit Ausschwärzung und Leimspuren, die rechte Kolumne überschnitten und angesetzt, verso der Text weitgehend abgerieben. Provenienz: 1993 Quaritch, London, dann The Marvin L. Colker Collection, London.

Marc Chagall "Sun with Red Horse" Litho. Printed in 1979 for Derriere le Miroir (issue number 235). There is a center fold and text on verso, as issued. Not signed. Derriere le Miroir was the legendary art revue published in Paris by Aime Maeght, from 1946 through 1982. Some of the artists who contributed original lithographs were Chagall, Miro, Braque, Giacometti, Kelly, Tapies, Riopelle, Pol Bury, Calder, Chillida, Alechinsky, Ubac and Palazuelo. Often known by collectors simply as DLM, all issues of Derriere le Miroir are now scarce, and many have become quite valuable and highly prized.

After Joan Miro (Spanish, 1893-1983) "Ma de Proverbis" - 1970 Lithograph on Paper. Signed in plate. Sight Size: 15 x 21.5 in. Overall Framed Size: 31 x 37 in. Framed behind glass.

Joan Miro (1893-1983), ''Sculpteur Italie'', Farblithographie auf Velin, u. re. im Stein sign., hg. von der Poligrafa Barcelona, 1974, 20 x 39 cm, hinter Glas u. Pp. ger. 38 x 57 cm

Joan MIRO (1893-1983), D’APRÈS Sans titre Dessin à l’encre et aux crayons de couleurs sur carton d’invitation de la Galerie Maeght du 10 Mai 1978. Signature « Miro » à l’encre non garantie. Dimensions : 20 x 30 cm Une attestation du graphologue Frank Garo, USA accompagne l’œuvre.

Joan MIRO (1893-1983), D’APRES Abstraction Lithographie en couleur sur papier, signée en bas à droite dans la planche et numérotée 100/150 40 x 53 cm (à vue)

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), D’après Le dedans et le dehors Lithographie sur papier, signée dans la planche. Numérotée au crayon sur 150 exemplaires. 28 x 38 cm

Joan Miro (1893-1983) - A vintage 20th century advertising poster for Miro's artwork exhibition at Galerie Maeght. The piece titled Murales Peintures / Murals Paintings. The poster features an abstract image in black, red, green, blue, and yellow set over white background. Framed and glazed. Measures approx. 81cm x 64cm. 

Miro Meccano (1981) Action Packs including Lunar Warrior No.0-86200 (x2), Crater Chaser No.0-86202 & Star Patrol No.0-86110, all boxed (4)

Joan Miró (1893–1983) was a Spanish painter, sculptor, and ceramicist associated with the Surrealist movement. He was born in Barcelona, Catalonia, and his work is known for its playful, abstract, and symbolic elements. Miró's style evolved over the years, and he experimented with various artistic forms, including painting, sculpture, and ceramics.Some key characteristics of Miró's art include whimsical and biomorphic forms, vibrant colors, and a childlike sense of spontaneity. His work often incorporated symbols, signs, and imaginative shapes, creating a unique visual language that set him apart as a prominent figure in 20th-century art.Miró's notable works include "The Tilled Field," "The Birth of the World," and "The Harlequin's Carnival." His contributions to the art world have left a lasting impact, and he is considered one of the most influential modern artists.Measures 40 x 60.Sold "after" Miro.Oil on canvas.

Joan Miró, 1893 Barcelona – 1983 Palma de MallorcaLE DELIRE DU COUTURIER, 1969Farblithografie.Höhe: 125,6 cm.Breit: 86,8 cm.Links unten „H.C.“, rechts unten signiert.Hinter Glas gerahmt.Literatur:Vgl. Miro Litographs IV 4, 1969 - 1972, Paris 1981, S. 46, Nr. 645. (1392008) (13))

Joan Miro (Spanish (Catalan), 1893-1983). Etching and aquatint from "Les Brisants" depicting an abstract form in primarily red, 1958. Pencil signed along the lower right; numbered II/X (2/10) along the lower left.Provenance: Private Minnesota Collection.Reference: Dupin 238; Cramer 46.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: 7 in x width: 5 3/4 in. Framed; height: 18 in x width: 14 in.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted aluminum 'Structurist Relief' sculpture titled "Untitled (#2)" depicting a three-dimensional geometric abstract composition in bright colors against a solid white background, 1989. Signed, dated 1989 and 1991, and titled along the verso. The artwork comes with a custom-built crate for shipping.Provenance: Private Minnesota Collection.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs similar to the artwork offered here including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Artwork; height: 43 in x width: 32 in x depth: 10 1/2 in. Crate; height: 55 1/4 in x width: 43 3/4 in x depth: 19 in.

Joan Miro (Spanish (Catalan), 1893-1983). Aquatint etching on paper from the "El Pi de Formentor (The Pine of Formentor)" Suite, 1976. Depicting an abstracted composition of bold black shapes surrounding a burst of bright, primary colors in the artist's signature style. Pencil signed along the lower right; numbered 34/50 along the lower left. Published by Sala Gaspar, Barcelona. "The Pine of Formentor" is a well-known Catalan poem by Miquel Costa i Llobera.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: 41 1/4 in x width: 35 1/2 in. Framed: height: 56 1/2 in x width: 50 1/2 in.

Joan Miro (Spanish (Catalan), 1893-1983). Etching and aquatint with colors on paper from "Le Courtesan Grotesque" by Adrian de Monluc (French, 1571-1646), published by Iliazd, Paris, 1974. Pencil signed along the lower right; numbered 2/12 along the lower center.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Dupin 660-675; Cramer 182.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: 16 in x width: 22 1/2 in. Framed; height: 30 in x width: 36 in.

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.

Joan Miro (Spanish (Catalan), 1893-1983). Aquatint depicting an abstract composition in black, red, yellow, and blue. Plate IV from the "Espiru" series, 1975. Pencil signed along the lower right; numbered 20/50 along the lower left.Provenance: Private Connecticut Collection, 1991; Private Minnesota Collection.Reference: Dupin 194, no. 872.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.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted wood wall sculpture titled "Structurist Relief, New York #7," depicting a three-dimensional geometric composition in blue, yellow, and white, 1938. Incised signature, number, and date along the verso. Additionally inscribed "Copyright Charles Biederman 1978 // Made in U.S.A. // All Rights Reserved."Provenance: McCormick Gallery, Chicago; Private Minnesota Collection.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs similar to the artwork offered here including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Height: 36 in x width: 24 in.

Joan Miro (Spanish (Catalan), 1893-1983). Color etching and aquatint depicting black, abstract shapes and lines with small bursts of primary colors, from the "Barcelona" suite 1973. Signed along the lower right; numbered "49/50" 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: 27 1/2 in x width: 41 1/4 in. Framed; height: 41 in x width: 54 3/4 in.

12 KunstbücherA. Schlombs, Hiroshige, Taschen, 2010; Joan Miro - La Naissance du monde, Centre Pompidou, 2004; U. Gauss, Marc Chagall - Die Lithographien, Hatje, 1998; H.O. Corfirato - Pranesi Compositions, Tiranti, 1951; S. Rosenthal, Die Nacht, Benteli, 1998; Die Familie Giacometti - Das Tal, die Welt, Mazzotta, 2000; E. Bernard, Erinnerungen an Paul Cézanne, Schwabe, 1917; K. Passuth, Treffpunkte der Avantgarden, 2003; J. Baal-Teshuva - Chagall, Taschen, 2003; O. Berggruen, Yves Klein, Cantz, 2004; C. v. Holst, Claude Monet, Staatsgalerie, 2006; P. Hulten - Niki de Saint Phalle, Hatje, 1995. Altersspuren.

After Joan Miro, Lithographic Poster signed in the plate Dim : Framed : 97,5 x 77 cm - Image : 80 x 60 cm

Joan MIRO (1893-1983), aus "Maravillas Suite" Blatt IX, (1975), Farblithographie, Ed. 237/350, 50 x 72 cm, im Druck sign., Mittelfalz, verso Reste alter Fixierung, Alters- und Gebrauchsspuren.

20 ARBEITEN MODERNE KUNST, Lithografien u.a., u.a. HP Zimmer, Joan Miro (Plakat), Peter Nagel, Hajek, ungerahmt

JOAN MIRÓAus: Le Lézard aux plumes d'or 1971Farblithographie auf Velin mit Wasserzeichen 'Miro'. Signiert. Ex. 50/100. 33,5 x 98 cm (35,5 x 99,7 cm). Mourlot 828.(Leichte Alters- und Montagespuren. Stauch- bzw. Knickspur. Leicht gebräunt, schwach gewellt, punktuell frei im Passepartout montiert.)Provenienz: Galerie Orangerie Reinz, Köln; Privatsammlung.

λ&nbspGRAYSON PERRY (BRITISH B. 1960) (IT'S ALL BOLLOCKS) Pen and ink 21 x 29.5cm (8¼ x 11½ in.)Drawn in 2016. Provenance: Victoria Miro Gallery, London

Joan Miro (1893-1983)Cartones (Mourlot 385)Lithograph printed in colours, 1965, signed in pencil, numbered from the edition of 75, printed by Mourlot, published by Pierre Matisse Éditeur, Paris, on the occasion of the artist's exhibition, on Arches wove paper, with full margins, sheet 545 x 705mm (21 1/2 x 27 3/4in)