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.
We found 2759 price guide item(s) matching your search
There are 2759 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
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 (1893-1983) Zonder titel litho, gesign. op de steen, 50 x 35 cm. [1]](https://cdn.globalauctionplatform.com/c983b521-7d9b-461c-a470-b15300b3a965/93d16b01-190b-476c-ad3f-b15400fa693b/468x382.jpg)
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.
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.
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 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]
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.
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.
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 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.
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.
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)
Joan Miro (1893-1983)Poster for the Opening of the Mourlot Atelier in New York (Mourlot 444)Lithograph printed in colours, 1967, signed in pencil, numbered from the edition of 60, printed and published by Mourlot, Paris, on BFK Rives paper, with full margins, sheet 736 x 545mm (28 3/4 x 21 1/2 in)
MIRO JOAN: (1893-1983) Spanish painter. An excellent, lengthy and early A.L.S., Miro, three pages, 4to, Barcelona, 7th April 1934, to [Christian] Zervos, in French. Miro states that he has received his correspondent's letter, article and photograph, explaining that he did not answer sooner 'parce que j'ai du me rendrer a Montrois pour verifier d'apres le dessins.....les dates exactes, et vous donner de la facon la plus exacte possible, les renseignments que vous m'aviez demande a Paris' (Translation: 'because I had to go to Montrois to check according to the drawings….the exact dates, and to give you in the most exact way possible, the information that you had asked me for in Paris') and continuing to write concerning Zervos's article, and offering some advice, 'Votre article est tres, tres bien, vous avez tres bien compris mes inquietudes, il est en meme temps ecrit avec un grand courage. Je l'ai lu maintes fois attentivement et en suis tres emu. Vous en remercie de tout Coeur. Il faudrait toutefois rectifer, quelques dates, il m'etait tres difficile de les preciser lors de notre entretien chez vous. J'estime que ces donnees doivent etre tres exacter, d'autant plus qu'elles seront repandues a l'etranger, ou l'on se servira de ce numero de "Cahiers d'Art" lorsque l'on voudra ecrire quelque chose d'important sur moi. a) J'ai commence l'etude de la peinture a l'age de 14 ans, mon premier professeur a ete Urgell, et plus tard Pasco. b) Je cesse de peindre de 1910 a 1912 - a partir de cette date je m'adonne entierement a la peinture et frequente a Barcelone certaines academies etc. et passe mes vacances a Montrois, je frequente les academies jusqu'a 1914, et desormais je travaillerai seul. c) arrive a Paris pour le premiere fois en mars 1919, et c'est a partir de cette date que je travaille tantot a Barcelone tantot a Montrois, tantot a Paris. d) qouique la plupart de reproductions n'auront pas de titre, il ne faudrait cependant pas negliger d'en mettre a celles que vous citez dans votre article et aux plus representatives pour mieux le comprendre. e) ces tableaux ont ete faits l'hiver et le printemps 1933. f) Je trouve aussi que c'est mieux que vous supprimiez ce passage. Comme vous voyez toutes les rectifications sont tres necessaires et tres importantes, je vous demande de faire l'impossible pour y etre a temps' (Translation: 'Your article is very, very good, you have understood my concerns very well, it is at the same time written with great courage. I have read it carefully many times and am very moved by it. Thank you wholeheartedly. However, it would be necessary to rectify a few dates, it was very difficult for me to specify them during our interview with you. I consider that this information must be very exact, especially since they will be spread abroad, where people will use this number of “Cahiers d'Art” when they want to write something important about me. a) I started studying painting at the age of 14, my first teacher was Urgell, and later Pasco. b) I stop painting from 1910 to 1912 - from this date I devote myself entirely to painting and attend certain academies etc. in Barcelona and spend my holidays in Montrois. I attended the academies until 1914 and from then on I would work alone. c) arrived in Paris for the first time in March 1919, and it was from this date that I worked sometimes in Barcelona, sometimes in Montrois, sometimes in Paris. d) although most of the reproductions will not have a title, you should not neglect to put one to those you quote in your article and to the most representative ones to better understand it. e) these paintings were made in the winter and spring of 1933. f) I also think it is better that you delete this passage. As you see all the corrections are very necessary and very important, I ask you to do the impossible to there in time'). Miro also asks his correspondent if they have decided to go ahead with an exhibition, and to let him know the exact date of the opening as soon as they know it, and further enquiring if invitations will be sent, in which case Miro will provide some addresses, additionally writing 'J'ai reflechi a ce que votre femme me demande d'apporter de nouveaux tableaux. Il me semble que cette nouvelle serie faudrait la montrer ensemble, ce serait une erreur que d'en exposer quelques specimens au prealable. Ce qui serait peut-etre tres bien, ce que, du moment ou "Cahiers d'Art" est consacre a toute mon oeuvre, vous exposiez aussi, dans une piece a part quelques toiles anciennes. En etant fait simultanement a l'apparition de "Cahiers d'Art" cela n'aura nullement l'air d'une retrospective, qu'il faut a tout prix eviter.......ca restera tres intime et n'aura pas l'air pretentieux d'une exposition rue de la Boetie. Et suivrait en meme temps la trajectoire qui se termine en 1933' (Translation: 'I thought about your wife asking me to bring new paintings. It seems to me that this new series should be shown together, it would be a mistake to exhibit a few specimens beforehand. What would perhaps be very good, since “Cahiers d'Art” is devoted to all my work, you also exhibit, in a separate room, a few old paintings. By being done simultaneously with the appearance of “Cahiers d'Art” it will in no way seem like a retrospective, which must be avoided at all costs….it will remain very intimate and will not have the pretentious air of an exhibition on rue de la Boetie. And at the same time it would follow the trajectory which ends in 1933'). Miro concludes by asking if Zervos has seen Pierre Matisse, explaining 'Je lui ai ecrit deux lettres en reponse a la sienne ou'il me faisait part de l'accord avec [Henri] Matisse et il ne m'a point repondu. Je lui demandais s'il m'autorisait a ecrire a Matisse pour lui demander de s'entendre avec lui pour les mensualites de maniere a ce que ce fut Pierre qui ces versat en toute sa totalite. Je crois que du moment ou Pierre est, pour ainsi dire, le marchand officiel, pourrait trouver des moyens pour regler les mensualites…..' (Translation: 'I wrote him two letters in response to his where he informed me of the agreement with [Henri] Matisse and he did not answer me. I asked him if he would authorise me to write to Matisse to ask him to come to an agreement with him for the monthly payments so that it was Pierre who would pay them in full. I believe that since Pierre is, so to speak, the official merchant, he could find ways to settle the monthly payments….'). A letter of fine content. Some very light, extremely minor age wear, VGChristian Zervos (1889-1970) Greek-French art historian, critic, collector, writer and publisher who founded the magazine Cahiers d'art and also ran an art gallery.Pierre Matisse (1900-1989) French-American art dealer, the youngest child of Henri Matisse. The Pierre Matisse Gallery was opened in New York in 1931 and represented many European artists including Miro, Marc Chagall, Alberto Giacometti and Jean Dubuffet amongst others.
Pitcairn South Pacific Islands Treen "Friendship Chalice" goblet by Walter Young, made from Miro Wood, height 19cm, with inscription. This is a Pitcairn South Pacific Islands Treen "Friendship Chalice" goblet by Walter Young. It is made from Miro Wood, also known as Pacific rosewood, and stands at a height of 19cm. The goblet features an inscription.
Graphiksammlung mit über 60 Plakaten, u.a. Ludwig Wilding (mit Katalog), Miro, Günther Dohr, HAP Grieshaber, Picasso u. Raimer JochimsXX moderne Ausstellungsplakate und Kunstplakaten, unterschiedliche Techniken (Offset, Siebdruck, Lithographie), darunter: C.O. Paeffgen, Joan Miro, Meyring, Max Ernst, Burkhart Beyerle, Künstlergilde Buslat, Willibald Lassenbergers, Pablo Picasso, Atelier Mourlot, Grieshaber, Heidi Foerster, Fritz Köthe, Wolff Bucholz, Xylon Museum, Wunderlich, Raimer Jochims, Günther Dohr und viele mehr - Selbstbesichtigung empfohlen!
Miguel Rivera Bagur, 3 Ölgemälde & 2 gerahmte Mischtechniken der 1960er Jahre, Sammlungsnachlass, alle gerahmtMiguel Rivera Bagur, 1919 Alcúdia/Mallorca - 1993 Mallorca, gilt heute als einer der bedeutendsten naiven Maler Spaniens, von Joan Miro entdeckt und gefördert, hier: Sammlungsnachlass mit 5 Originalen: "Margarita y su Paloma", Öl/Lw., 55 x 38 cm, verso sign. u. dat. 1964 // "Otoño", Öl/Lw., 61 x 50 cm, vorne uns verso sig. u. dat. 1964 // "Hombre bueno", Öl/Lw., 81 x 65 cm, verso sign. u. dat. 1962 // Hombre entre arboles & Niñas y palomas, 2 Mischtechniken/Deckfarben/Papier, 38 x 30 cm bzw. 44 x 32 cm, je sign., unter Glas gerahmtZum Künstler: Von Beruf Polizist, begann Rivera Bagur in den 1940er Jahren des zu malen, erst in einem expressiven Stil, der sich dann in Laufe der 60 Jahre zu einem naiven Stil entwickelte, von einer gewissen Lyrik bestimmt, aber doch sehr schematisch und nicht ohne Bewusstsein. Besonders Joan Miro begeisterten seine azurblauen Bilder der Menschen und Landschaften um Mallorca.
Sammlung moderner Grafik und Original-Arbeiten auf Papier35 Arbeiten: Heike Kati Barath, *1966, Ohne Titel, Siebdruck, 2015; Wilhelm Beuermann, 1937-2006, 2 Kompositionen, Farbserigraphien; Friederike Feldmann, *1962, Typografie 1, Litho, 2015; Hubertus Giebe, *1953, "Ich habe seinen Ständer gesehen" und "In London mit Nelson", 2 Radierungen, sign. u. bez.; Ulrich Hachulla, *1943, "Selbstbildnis im Radierkittel", Radierung, sign.; Jana Gunstheimer, *1974, Irrige Vorstellungen kausaler Zusammenhänge A-Z, Oft nachdenklich, aber nur selten traurig, Aquatinta, 2015; Gudrun Höritzsch, 1961, Komposition, Farbsiebdruck, 1991; Werner Knaupp, *1936, "Vernarbung" und o.T., 2 Lithographien, 1975; Christian Lang, *1953, 3 Farbradierungen, 1990/92; Uwe Lindau, 1950-2022, Für Nina, Farblitho von 1992, sign.; Gosia Machon, *1979, "Alchemistische Pfütze", Aquatinta, 2015; Joan Miro, Ausstellungsplakat Artema Barcelona 1980, Offset; Giuseppe Santomaso, 1907-1990, o.T., Farblitho, 1970; Fritz Schwegler, 1935-2014, "Die sinkende Bettflasche" und "Das Silbergrüne Taschenmesser, Farblithographien, 1970, Ed. Staeck; Pierre-Yves Trémois,1921-2020, Akt mit Oktopus, Radierung, 1971; Unleserlich signierend, 4 expressive Kompositionen, Gouachen/ Papier, von 1974/75/ 82/ 83; Wolf Vostell, 1932-1998, Vostell-Desasters 1972, "Mein Documenta-Projekt: "Das Ei"" 1977, Retrospektive 1958-75 und Vostell dé-coll/age Filme 1963-7, 4 Plakate, Offset; Werner Wittig, 1930-2013, "Kleine Vase", Zinkographie, sign. u.a.
Cartier-Bresson (Henri). Les Européens, 1st French edition, Paris: Draeger Frères pour les Editions Verve, 1955, full-page gravure reproductions of 114 photographs, original pictorial printed boards from a design by Juan Miro, head and foot of joints split at ends, folioQTY: (1)NOTE:Parr & Badger, vol. 1, pp. 208-209.
Loading...