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Lot 203
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)
Lot 1066
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.
Lot 315
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.
Lot 429
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!
Lot 14
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.
Lot 410
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.
Lot 378
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.
Lot 1071
Joan MIRO (1893-1983), lithografie Serie Barcelona, met diepdrukstempel Foundation Miro, genummerd 158/175 en getekend en gedateerd 1944 in de plaat (facsimile)Joan MIRO (1893-1983), lithograph Series Barcelona, with intaglio stamp Foundation Miro, numbered 158/175 and signed and dated 1944 in the plate (facsimile)70 x 52 cm
Lot 610
Sammlung: von 5 Werkverzeichnissen (davon 4 zu Miro). 4°. Olwdbde. mit OU. ╔Enthält:╗ Dupin,J. Miro Radierungen I 1928-1960 (je 1x dt. u. engl. Ausg.) Weber 1984 bzw. Rizzoli 1989. Jwls. mit 3 (inkl. Umschl.) farb. Orig.-Holzschn. - Ders. Miro Engravings II 1961- 1973 (engl. Ausg.) Rizzoli 1989. Mit 3 (inkl. Umschl.) farb. Orig.-Holzschn. - Calas,N. u. E. Joan Miro Der Lithograph IV 1969-1972. Weber 1982. Mit 6 (inkl. Umschl.) farb. Orig.-Lithogr. - Rouault,I. u. F.Chapon. Rouault Oeuvre Grave 1. Monte Carlo, Sauret 1978. Mit 1 von I. Rouault sign. Orig.-Rad. (1/100 Ex. der VA).
Lot 3811
Miro, Joan: (1893 Barcelona - 1983 Calamayor). Ma de Proverbis (1970). Farblithorgraphie. 38 x 54 cm. Im Stein sign. Gerahmt (nicht ausgerahmt). - Ex. 561 von 1000. - Vgl. IV 676 ╔Dabei: Marc Chagall, nach.╗ Exodus. Farblithrogr. auf Papier mit Trockenstempel "ARC". 44 x 32 cm. - Vgl. Mourlot 444. - ╔Utamaro Kitagawa, nach.╗ Mutter mit zwei kleinen Kindern. Farbholzschnitt, 20. Jhdt. 36,5 x 25,5 cm. Je gerahmt (nicht ausgerahmt). D
Lot 271
Joan Miro, a Spanish painter, sculptor, and ceramicist, made significant contributions to modern art with his unique style characterized by vibrant colors, playful forms, and a blend of abstraction and surrealism. Born in 1893, Miró's art is celebrated for its ability to evoke a sense of childlike wonder and engage with the subconscious.Miró's artistic legacy can be encapsulated as follows:1. **Dreamlike Imagery**: Miró's works often feature dreamlike and whimsical imagery, populated by fantastical creatures, celestial bodies, and symbolic forms. His art creates a visual language that invites viewers to explore their own subconscious.2. **Abstraction and Surrealism**: Miró's art straddles the realms of abstraction and surrealism, incorporating elements of both. His use of bold colors and abstract shapes reflects his ability to convey emotions and ideas beyond conventional representation.3. **Symbolism and Significance**: Miró's use of symbols and signs adds layers of meaning to his art. He believed that symbols could tap into universal truths and resonate with viewers on a profound level.4. **Materials and Techniques**: Miró worked with a variety of materials, including paint, sculpture, ceramics, and more. His experimental approach allowed him to explore the boundaries of different mediums and create innovative forms.5. **Catalan Identity**: Miros Catalan heritage often influenced his art, and he integrated elements of his culture into his work. His art was deeply tied to his personal and cultural identity.6. *Cultural and Political Context*: Miro's art was influenced by the political and cultural events of his time, including the Spanish Civil War and World War II. He expressed his response to these events through his art, adding layers of social commentary. 7. **Influence on Contemporary Art**: Miró's innovative approach to abstraction, his fusion of surrealism with playful elements, and his use of symbolism have influenced subsequent generations of artists, contributing to the evolution of modern art.8. **Public Art and Sculpture**: Miró's legacy extends to his large-scale public sculptures, which can be found in various cities around the world. These sculptures contribute to his reputation as a globally recognized artist.Joan Miró's legacy as an artist who combined abstraction, surrealism, and a deeply personal symbolism continues to inspire viewers to explore the realm of imagination and the depths of human emotion. His ability to create art that transcends the literal and speaks to the subconscious has left an indelible mark on modern art and continues to captivate audiences worldwide.Measures 11 x 9. inches.Later screenprint.
Lot 146
Joan Miro, born Joan Miro i Ferrà in 1893 in Barcelona, Spain, was a prominent Spanish painter, sculptor, and ceramicist. He is considered one of the most influential artists of the 20th century and a key figure in the Surrealist movement.Miró's artistic style was characterized by his use of bold colors, organic shapes, and imaginative symbols. He often combined abstract elements with figurative forms, creating a unique visual language that expressed his inner world and dreams. Miró's works often exude a sense of childlike wonder and playfulness.Throughout his career, Miró explored various mediums, including painting, sculpture, ceramics, and printmaking. He experimented with different techniques and materials, constantly pushing the boundaries of traditional artistic practices.Some of Miró's most famous works include ""The Farm,"" ""Harlequin's Carnival,"" and ""The Birth of the World."" His art often reflected his interest in mythology, symbolism, and the subconscious mind. Miró's use of simple shapes, vibrant colors, and symbolic imagery conveyed a sense of joy, freedom, and spontaneity.Miró's artistic contributions had a profound impact on the art world, inspiring subsequent generations of artists. His playful and imaginative approach to art challenged conventional notions of representation and encouraged artistic experimentation.Miró's work can be found in major museums and art collections around the world. His legacy as an innovative and influential artist continues to resonate, inspiring new generations of artists to explore the limitless possibilities of artistic expression.Measures 12 x 9.25.
Lot 236
Seven Galoob Micro Machines Star Wars playsets with boxes to include Battle Droid, 68064 Jabba, 67090 Yavin Rebel Base, 65929 Millennium Falcon, 66550 Jar Jar Binks, 68063 Yoda & 75118 Death Star, and two further Micro Machines Star Wars playsets (Darth Maul & C-3PO), plus a Kenner Star Wars Tie Fighter (with box) and Speeder Bike (with biker); together with two boxed plastic model kits (Airfix H.P. 42 "Heracles" & Aurora Hiller X18 Convertiplane). (Miro Machines playsets with figures but unchecked for completeness) (3)
Lot 11
Estate / Collection: Property of a New York Art CollectorPendant signed Lassaw. Length 16 inches. Egyptian-born American artist Ibram Lassaw was an early to mid-century pioneer of abstract sculpture. Born to Russian parents in 1913, Lassaw's family immigrated to Brooklyn in 1921. He was educated in the arts and developed his techniques at the Brooklyn Children's Museum, Clay Club, and New York's Beaux Arts Institute of Design and City College. Lassaw learned his welding technique while serving in the U.S. Army during World War II, which he applied heavily to his art. He was influenced by Pablo Picasso, Joan Miro, Julio Gonzàlez, the Russian Constructivists, among others, as well as his passions and studies of biology, cosmology and Zen Buddhism. His first solo show debuted at Kootz gallery in New York City in 1951. After that, he exhibited widely until his passing in East Hampton, NY in December of 2003.Condition Report:Some silvery patina of another metal on center. 3 1/4 x 2 7/8 inches.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.
Lot 160
Original vintage advertising poster for Miro artwork exhibition from 9 November 1974 to 13 January 1975 at the Louisiana Museum of Modern Art, featuring an abstract image in black, red, blue, and yellow set over a light background. Joan Miro (1893-1983) was a Spanish Surrealism painter, sculptor and ceramist. Printed by Arte, Paris. Good condition, pinholes, staining, minor creasing, small tears. Country of issue: France, designer: Joan Miro, size (cm): 66x49, year of printing: 1974.
Lot 100
Joan Miro (Spanish (Catalan), 1893-1983). Lithograph depicting a composition in the artist's signature style with bright red, blue, green, and yellow. Likely from "Lithographe II," ca. 1975. Pencil signed along the lower right; numbered XXVI/LXXX (26/80) along the lower left.Sight; height: 17 in x width: 13 3/4 in. Framed; height: 28 in x width: 24 3/4 in.br/>Condition:The colors are bold and bright. There are no visible creases, tears, losses, or restorations. The sheet is slightly toned. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
Lot 99
Joan Miro (Spanish (Catalan), 1893-1983). Color lithograph on paper titled "Composition Sur Fond Vert" depicting an abstracted composition in the artist's signature style with bright primary colors on a pale green background, 1950. Pencil signed and dated along the lower right; numbered 191/400 along the lower left.Sight; height: 17 3/4 in x 21 1/2 in. Framed; height: 24 1/2 in x 28 1/4 in.br/>Condition:Colors are bright and bold. The sheet is slightly toned. Framed under plexiglass. There is light wear to the frame and mat board. Not inspected out of frame.
Lot 253
Minotaure Surrealist Magazine, one volume of bound issues including prints of works by Picasso, Miro and others. Volumes 1 - 4, covers bound in.Condition report:The bound volume contains no. 1, 2, 3-4, Paraitre en fevrier 1934, 5, some bound in full-page illustrations and adverts. The covers have been cut and bound at the back of the current binding. The issues appear complete, but some pasted-in illustrations are loose. Some foxing and spot staining throughout. In general, for a journal, the condition is still good and a very good reference work.Additional images have been uploaded to the lot page on our website for you to view.
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