BALZAC, Honoré de - PICASSO, Pablo - BONET, PaulLivre Rare Book
2 617 résultats
19313114Paris, Ambroise Vollard Éditeur, 1931. Un volume in-4 (32 x 24 cm). Remarquable reliure "sculptéee de Paul Bonet en plein box bleu nuit et décor polychome en relief, chemise et étui (signée et datée de 1944). - 12 EAUX-FORTES ORIGINALES EN HORS-TEXTE et 1 EAU-FORTE pour la "table des eaux-fortes" GRAVÉES PAR PABLO PICASSO. - UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dessins de l'artiste gravés sur bois par Georges Aubert et tirés en in-texte. Une "préface" de 16 pages de dessins composés de points et de traits dessinés par Picasso en 1924 également gravés sur bois par Aubert. Tirage : 340 exemplaires (65 Japon + 240 vélin de Rives + 35 H.C.). Celui-ci 1 DES 65 EXEMPLAIRES SUR JAPON IMPÉRIAL, LES SEULS SIGNÉS AU PINCEAU PAR PICASSO et monogramés à la plume par Vollard, avec UNE SUITE COMPLÈTE DES 12 GRAVURES HORS-TEXTE SUR VÉLIN DE RIVES. - Dans une extraordinaire reliure "sculptée" de Paul Bonet, datée 1944 : "box bleu corbeau, un grand caisson ovale occupe presque chaque plat, encadrant un grand motif abstrait sculpté et couvert de veau de différentes couleurs vives" (Carnets, n°692), couverture conservée, chemise, étui. Bonet n'a réalisé qu'une poignée de ces fameuses reliures sculptées qui sont très recherchées. Celle-ci étant l'une des plus réussies et des plus élégantes. —— ENGLISH DESCRIPTION: Paris, Ambroise Vollard Éditeur, 1931. Illustrated with 12 original etchings by Pablo Picasso (and 1 for the plate "Table des eaux-fortes") and numerous woodcuts by G. Aubert after the drawings by Picasso. One of 65 NUMBERED ON JAPAN PAPER SIGNED BY PICASSO AND VOLLARD with an EXTRA SUITE of the 12 original etchings on Rives paper. Only the 65 numbered on japan paper are signed by Picasso and Vollard. Mint condition. Outstanding "sculptural" binding by Paul Bonet, dated 1944: "raven blue box, a large oval box occupies almost each cover, framing a large abstract motif carved and covered with calfskin in different bright colors" (Carnets, n°692), cover preserved, folder, case.
1152861974 . Etching and aquatint in colours 1974 on Arches wove paper signed in pencil and numbered 49/50 from the edition of 50 printed by Morsang Paris published by Maeght Paris sheet: 1392 x 960 mm. 54 x 37 in.<br /> 'La Femme Toupie' bursts with vibrant splashes of bright green yellow and orange. Created in 1974 this print is part of a series of 60 that Miró made between 1974 and 1975 using a combination of etching and aquatint. Central to the composition is the figure of a woman outlined in thick black lines. While abstracted in Miró's signature style her large black eyes nose and red mouth emerge distinctly. She raises her arms high and kicks one leg out spinning with joyful motion. Stars crown her head while swirling grey and orange washes behind her head enhance the print's sense of dynamic movement. A playful and evocative print it conveys both spontaneity and a deep emotional resonance.<br /> Dupin 652 1974 unknown
195918109New York: Pierre Matisse 1959. FIRST EDITION. Complete with 22 pochoir reproductions after gouaches by the artist on Arches wove paper with the title page text in French by André Breton table of contents and justification signed by the artist in blue ink and the author in red ink. Complete with 2 original lithographs sheet size 17 ½ x 14†image: 12 x 9 3/4†hand-numbered and signed by Miró in pencil at lower margin each framed. The pochoirs are laid into their original paper folders all in the original illustrated portfolio housed in its beige linen box illustrated in black by Miró on front cover and spine; box has been repaired. First edition of this luxurious publication. No. 109 of 150 copies which include the 2 signed and numbered lithographs the total edition was 384. Miró began the series of gouaches reproduced in Constellations on September 21 1940 in Varengeuville Normandy where he was exiled from Francoist Spain. He created ten of the gouaches before the invasion of France by German troops pushed him to flee the country with his wife and daughter. He completed the twenty-third and final gouache of the series on September 12 1941. The village where he stayed was subject to a blackout and that fact prompted Miro's most luminous and affecting series of paintings the Constellations. <br /> <br /> Miró was originally in discussions with MoMA to exhibit Constellations but it was ultimately with the New York gallery owner Pierre Matisse that the complete series of 22 gouaches would be exhibited Miró having wished to keep the twenty-third in early 1945. It was not until 1959 when Matisse decided to publish reproductions. André Breton had been inspired by the series and wrote poems to accompany each work of art. Of the 384 copies produced only the first 150 included the 2 additional signed and numbered lithographs. <br /> <br /> In his preface to this edition Breton emphasized the historical significance. With the background of war and the occupation of France these works symbolized the triumphal “resistance†of art and the spirit of man in the face of the menace. They became the first new works from Europe to be exhibited in America following the ending of hostilities.<br /> <br /> The 22 works are arranged in the chronological order of their creation thus respecting one of the instructions given by the artist at the time of the New York exhibition. This arrangement was so important to Miró that as early as 1957 he insisted that each one indicate the date and place it was created. This information is reproduced on the back of the gouaches with a facsimile drawing. Pierre Matisse unknown
1153021975 . Etching and aquatint in colours 1975 on Arches paper signed in white pencil and numbered 45/50 from the edition of 50 printed by Morsang Paris published by Maeght Paris the full sheet: 1210 x 1600 mm. 47¾ x 63 in.<br /> In 'Le Bagnard et sa Compagne' Miró contrasts bright red blue and yellow to create a whimsical figure instilled with a sense of liveliness. The sweeping curves and loops of thick black linework bring energy and movement to the image. At the top left of the sheet a large black circle is balanced by the negative space that surrounds it while the lower left corner features black splatters. Along the upper border Miró's signature symbols of the asterisk and arrow appear oversized reinforcing the playful and spirited nature of the piece. These elements guide the viewer's eye across the composition creating a lively visual rhythm that embodies the dynamic energy that Miró infused into his prints ultimately revealing his exceptional command of printmaking techniques.<br /> Dupin 749 1975 unknown
118369Paris Maeght Editeur 1950. . Limited edition number 18 of 20 copies on Montval from a total edition of 253 signed by the author and illustrator; folio 37.5 x 28 cm; half-title 72 lithographed illustrations many full-page printed in black and colour by Joan Miro with an additional aquatint and lithographed plate heightened with crayon signed and dated 12 June 1950; original upper wrapper bound in collage of coloured paper and newsprint with lithographed design by Miro; binding signed and dated by Georges Leroux 1962 full beige calf covers decorated with elaborate title composed of onlaid coloured calf over 4 strips of inlaid black calf spine with names of artist and author onlaid in mottled calf gilt edges straw-weave doublures and endpapers calf-backed chemise and slipcase both with lithographed designs by Miro on covers a fine copy.<br /> From the edition de tête with an additional lithograph heightened and signed by the artist.<br /><br />Tzara composed these poems without punctuation or capitalisation in 1945 at the psychiatric hospital of Saint-Alban at the invitation of Dr. Lucien Bonnafé. Miro's early books published before the war were sparsely illustrated and so this is considered his first signigicant artist's book. It also represents the artist's first publishing project in collaboration with Maeght. This copy is one of only 20 examples on velin de Montval. The additional plate has been considerably heightened by Miro in crayon and signed and dated using a mixture of colours. Combined with the exquisite binding by Leroux this is a superlative example of Miro's Parler Seul.<br /> Paris, Maeght Editeur, 1950. unknown
115300Paris RLD 1985. . Limited edition one of 90 copies from a total edition of 146 large folio 64 x 53 cm; complete set of 13 etchings with aquatint 12 in colours five signed in pencil in- and hors-texte title text in French and justification on various papers signed in pencil on the justification by the artist and poet loose as issued original acetate-covered paper wrapper printed with the first etching beige cloth-covered portfolio box with title in white to spine the additional suite loose within paper wrappers a fine copy.<br /> A fine example of the complete portfolio of 13 etchings - five of which are signed. This is an incredibly fresh copy of Miro's impressive and large-scale work preserved in the original illustrated wrappers and publisher's box. The frontispiece of Passage de l'Egyptienne is signed as well as the four plates of Minutes Conjointes. <br /><br />André Pieyre de Mandiargues was a prominent French writer born in Paris in 1909. During the war he retreated to Monaco where in 1943 he published Dans les annees sordides. He returned to Paris at the end of the war and in 1947 after meeting André Breton he became involved in the activities of the Surrealists. As well as being a poet and novelist Mandiargues has written plays essays and art criticism. He won the Prix des Critiques in 1951 for Soleil des Loups and the Prix Goncourt in 1967 for La Marge.<br /> Paris, RLD, 1985. hardcover
1152851975 . Etching and aquatint in colours 1975 on Arches paper with the Maeght watermark signed in pencil and numbered 39/50 from the edition of 50 printed by Morsang Paris published by Maeght Paris with full margins sheet: 1381 x 955 mm. 54¼ x 37¾ in.<br /> 'La Contre-Balancée' highlights Miró's continued departure from traditional artistic conventions in the final decades of his life and showcases the artist's mastery in creating layered emotive artworks. In this print Miró depicts the abstracted form of a figure inviting viewers to interpret the image in their own unique way. The dynamic contrast between bold black strokes and delicate thin lines adds depth without using representational perspective. Miró's signature black forms blend seamlessly with vibrant blue and red geometric shapes giving the image an overall compositional balance. This etching and aquatint print demonstrates Miró's remarkable ability to merge abstraction with figuration capturing a playful simplicity in a visually captivating manner.<br /> Dupin 754 1975 unknown
1152821976 . Etching and aquatint with carborundum in colours 1976 on Arches paper signed in pencil and numbered 40 from the edition of 50 there were also 12 Artist's Proofs printed by Morsang Paris published by Maeght Paris with full margins sheet: 1378 x 956 mm. 54 ½ x 38 in.<br /> Created in 1976 this dynamic image is part of a series of prints that Miró created in collaboration with printmaker Robert Dutrou using Henri Goetz's innovative carborundum printmaking technique. The title of the work translates as 'The Red Egret' and depicts the abstracted form of a bird in bold contrasting colours. The deep blues and blacks of the lower half of the composition are balanced by the empty negative space towards the top creating an intriguing visual tension. The sweeping curves and loops of thick black linework bring energy and movement to the image. This print not only showcases Miró's mastery of compositional design but also highlights his technical brilliance. Through the combined use of aquatint for background colours etching for the bird's outline and carborundum to add texture and depth Miró creates a striking visual effect.<br /> Dupin 930 1976 unknown
105538Paris, Pierre à Feu, 1947, 240x205mm, 142 pp., broché sous couverture photographique reproduisant la photographie d'un sein féminin entouré de velours noir, glassine originale imprimée en rouge, sur-couverture en carton rose portant au recto l'objet-sein de Marcel Duchamp et Enrico Donati et au verso l'étiquette "Prière de toucher"; cet objet fut réalisé à partir de deux moulages en plâtre d'un sein dont Maria Martins fut le modèle. (Schwarz 521 et 522).L'ensemble est contenu dans une étui-chemise de l'éditeur réalisé par Maeght en 1989 qui y a apposé une étiquette explicative.
1106981938 . A rare and unique etching with hand-colouring 1938 on vellum signed in red ink by the artist numbered '2/4' one of four numbered impressions on velum aside from the standard edition of 30 with the printer's tack holes at the extreme sheet edges co-published by Pierre Loeb and Pierre Matisse Paris and New York sheet: 29.2 x 41.5 cm. 11 1/2 x 16 3/8 in.<br /> Exhibited: Miró New York 1947; Miró Hayter and Atelier Academy Art Museum 2021. Illustrated on page 22 of the show catalogue.<br /> Dupin 19 1938 hardcover
1969185242Paris: Maeght éditeur 1969. Printed by Morsang Paris. Edition of 75. Etching aquatint with carborundum in colours and embossing on Arches paper. Signed in pencil by Miro lower right numbered lower left. Sheet size: 105.6 x 68.3 cm. Framed size: 121.5 x 84.5 cm. Presented in a handmade gold leaf and black gesso frame with acrylic glazing. Excellent condition. Dupin Engravings vol II 497. unknown
19762091202133206173Le Vent D'Arles 1976. Soft Cover. Fine. Volume: 1 Le Vent D'Arles paperback
115074Paris Jeanne Bucher 1928. . Limited edition number 6 of 20 copies on Japon numbered & signed by the artist and author on the justification from a total edition of 300 4to 32.3 x 24.3 cm; illustrated with eight full-page pochoir plates coloured by Saudé with an extra suite in black; original illustrated cloth portfolio wrapper bound in black calf by Miguet with cut-outs showing coloured morocco spots of the suede guards inspired by plate V text in red blue and green gilt to spine chemise and slipcase a fine copy.<br /> Miro's first artist's book. One of 20 copies on Japon with an extra suite in black. <br /><br />Lise Deharme is widely known for being a Surrealist muse after André Breton referred to her as 'La Dame au Gant' The Lady with the Glove in his book Nadja. She was also photographed Man Ray and hosted salons popular with the leading artists and writers of the time such as Joyce and Picasso. Although her legacy mainly remains in the shadow of the prominent male members of the Surrealist movement she was not merely a hostess but a prominent writer and editor of the magazine Le Phare de Neuilly.<br /><br />Colette and Jean-Paul Miguet who were active between 1951 and 1981 were among the most prolific designer bookbinders of the second half of the twentieth century. 'Their productions range from the purest classic to the most modern original creation without ever falling into the binding-object which for them is a heresy. . Boundless advocates of high quality book binding these two craftsmen argue that the bookbinder must never betray the author in the design of a set or possibly the illustrator but must define graphics and colours that will interpret them best and this in a perfection of execution' Julien Fléty Dictionary of French Binders 1988.<br /> Paris, Jeanne Bucher, 1928. hardcover
1975103<p><i>"Never as in this book it has better bounced invented danced deepened and created without heaviness a monumental work measure of the accuracy of a desire and a friendship "</i> Jacques Dupin.</p><p>Rare first edition of the last text of Prévert who died 10 days before its publication illustrated by Miro.</p><p>One of the most important books of Miró.</p><p>"<i>Jacques Prévert having died before the end of the printing of the book a facsimile of his signature has been reproduced next to the handwritten signatures of the illustrator and the publisher</i>."</p><p>"<i>In these Adonides the verve the faconde the uninterrupted finding of Prévert here they are reduced to fragile bursts to moving calls. But written by his hand in black ink on white Arches paper raised by dry-stamped figures. On these handwritten reliefs Miró returns several times with the point the etching the aquatint and ends up with forty-five engravings which are neither illustrations nor illuminations but rather a parallel writing with the semantic and symbolic thickness of a palimpsest day after day raised. A complex work a work of disarming simplicity. A very vibrant drawing pure colors in flat tints in halos in vaporization. An engraved reading of the text which does not hesitate to cross it to question it to extend it beyond the margins. A setting in movement in space of an extreme strength and restraint. Never as in this book has he better bounced invented danced deepened and created without heaviness a monumental work measure of the accuracy of a desire and a friendship</i> " Jacques Dupin Miró p. 428.</p><p>There were 200 copies printed on Arches vellum numbered from 1 to 200 as well as offprints numbered from I to XXV and a few nominative copies. All copies are signed by the author the artist and the publisher. The first off-text etching is numbered and signed by Miró.</p><p>The text of the unpublished poems of Prévert are reproduced in facsimile of the author's handwriting. It is accompanied by 46 original compositions by the artist including an etching and aquatint on double page signed by the artist at the head of the book and 45 other etchings and aquatints accompanied for the most part by dry-stamped motifs.</p><p>"<i>All reflection made by these times of misfortune the mirror broke</i>" Abonides Jacques Prévert.</p><p>A very nice copy in perfect condition preserved as issued in a beautiful blue cloth case of the publisher.</p> Maeght paperback
1975131<p><i>" Never as in this book did he rebound invent dance deepen and create without heaviness </i><i>a monumental work measure of the accuracy of a desire and a friendship"</i> Jacques Dupin.</p><p>Rare first edition of Prevert's last text illustrated by Miro. A beautiful copy of a stunning copy preserved as issued.</p><p>Cover with an embossed form 46 etchings and aquatints in color including a double signed by Miró and numbered 14/200 in frontispiece blue canvas nesting 4 pieces of colored canvas printed on the back.</p><p><b>Rare first edition of Prevert's last text illustrated by Miro.</b></p><p>One of Miro's major books.</p><p><i>" In these Adonids Prevert's verve the way the uninterrupted discovery they are reduced to fragile bursts to disturbing appeals. But written by his hand in black ink on white arches raised by figures stamped dry. On these handwritten reliefs Miró returns several times to the point to the etching to the aquatint and ends up at forty-fourfive engravings which are neither illustrations nor illuminations but rather a parallel writing with the semantic and symbolic thickness of a palimpsest raised day by day. A complex work a work of disarming simplicity. A very vibrant drawing pure colors in aplats halos vaporization. An engraved reading of the text which does not hesitate to cross it to challenge it to extend it beyond the margins. A movement in space of extreme force and restraint. Never as in this book did he rebound invent dance deepen and create without heaviness a monumental work measuring the accuracy of a desire and a friendship"</i> Jacques Dupin Miró p. 428.</p><p>200 numbered copies on Velin d'Arches were printed some hors commerce I to XXV and a very few nominative copies. Each of these copies signed by the author the artist and the editor. The first aquatint was signed and numbered by Miró.</p><p>The text of Prévert's unpublished poems is reproduced in facsimile of the author's writing. It is accompanied by 46 original compositions by the artist including a double-page etching and aquatint signed by the artist at the head of the book and 45 other etchings with etching and aquatint mostly accompanied by dry-stamped motifs.</p><p><b>A beautiful copy of a stunning and moving book preserved as issued.</b></p> Maeght hardcover
117890Paris Tériade 1966. . Limited edition one of 25 copies reserved for collaborators this being numbered XXV from a total edition of 205 signed by Miró in pencil on colophon; folio 43 x 33 cm. pp. viii 133 xv 13 lithographs printed in colours by Miroprinted by Mourlot on Arches wove paper all loose as issued in the publisher's printed wrappers cream coloured chemise and matching slipcase slipcase a little stained; a very attractive copy.<br /> Rare surrealist illustrations by miro; a key text of the Theatre of the Absurd <br /><br />This portfolio illustrates the play 'Ubu Roi' by the French writer Alfred Jarry that premiered in 1896 and was part of the genre of the Theatre of the Absurd which thrilled the Surrealists and Dadaist. It was adopted not only by Miró but also by other artists such as Max Ernst or Man Ray. Miró chose to create thirteen large colourful double-page lithographs for his 1966 illustrations of the play employing imagery that is characteristically biomorphic and humorous in keeping with themes of the play. The prints however are vividly coloured and finished and are perhaps slightly more painterly than most of Miró's graphic work.<br /> Paris, Tériade, 1966. unknown
1979WRCLIT59621Barcelona 1979. Original etching with aquatint and intaglio printed in colors on paper. 53 x 106.5cm 20.9 x 41.9 inches with full margins. Fine. An hors commerce copy signed in pencil in the lower right margin and denoted "H.C." at the lower left in addition to a published issue of ninety-nine numbered copies. Shipped unframed. unknown books
19303884Paris, Éditions Surréalistes, Corti, 1930. Un volume petit-in-4 (235 x 185 mm), broché, couverture de papier rose imprimée. Édition originale tirée à 215 exemplaires. CELUI-CI L'UN DES 15 SUR INGRES VERT, ROSE ET BLEU AVEC UNE EAU-FORTE ORIGINALE DE SALVADOR DALI EN FRONTISPICE (N° 18). Seuls ces exemplaires et les 15 ex. de tête sur japon la contiennent. Le volume est signé au colopon par René Char. Bien complet du "Prière d'insérer" imprimé sur papier couché rouge. Artine est le second ouvrage comportant une gravure de Dali entré dans le groupe surréaliste en 1929. - ENGLISH DESCRIPTION: René CHAR. ARTINE. Paris, Éditions Surréalistes, Corti, 1930. A small quarto volume (235 x 185 mm), paperback, printed pink paper cover. First edition, limited to 215 copies. THIS IS ONE OF 15 COPIES ON GREEN, PINK, AND BLUE INGRES PAPER WITH AN ORIGINAL ETCHING BY SALVADOR DALI AS A FRONTISPIECE (No. 18). Only these copies and the 15 deluxe copies on Japanese paper contain it. The volume is signed in the colophon by René Char. Complete with the "Please Insert" printed on red coated paper. Artine is the second book to include an engraving by Dalí, who joined the Surrealist group in 1929. A perfectly preserved copy. References: Michler-Löpsinger, 3 - Cahiers de l'Herne, 20 - Monod, I-2603 - PAB, René Char, 4. Additional photographs available on request.
193848651Paris.: Editions Sagesse. 1938. Full tan polished calf by Pierre-Lucien Martin with his signature gilt to front turn-in and dated 1970 front and rear board with large abstract geometric onlays of crème caramel polished calf turquoise suede doublures and free endpapers smooth spine with title gilt t.e.g. original grey handmade paper wrappers with titles in black to front cover preserved matching wool-lined calf-backed paper board chemise with gilt title to spine and calf-edged slipcase. 8vo. 210 x 174 mm. Leaf with manuscript text by Paalen recto manuscript poem verso leaf with original etching as frontispiece by Miró printed in red on irregularly trimmed yellow paper and signed and numbered from the edition of 75 in pencil printed title three leaves with Paalen's verse leaf with justification recto. Sonja Sekula's copy of 'Sablier Couché' presented by Paalen with a manuscript poem Miró's superb signed frontispiece and bound by Pierre-Lucien Martin.From the edition limited to 75 numbered copies on Arches paper signed and numbered in ink by Alice Paalen on the justification and signed and numbered by Miró on the etched frontispiece.Paalen's presentation is in black ink to the initial blank: 'Celui qui a inspiré ce poèmea disparu comme / une vague disparait dans la mer après s'être élevée haut dans la lumière notre rencontre / a été celle de deux vagues venant en sens contraires / qui s'él`event et se à l'éxtrème de leur élan / à vous qui coulez sur la même pente que moi / Sonia que j'attendais Alice Paalen signed in blue / grey ink'; at the foot of the page Paalen quotes: ''Rendez-vous de rivière eau se recevant des nuages / et des sources eaux qui me lie à ton sort . '.The following page features Paalen's poem 'Mercure éteint' in blue ink. 'Mercure Eteint' was published in Paalen's 1941 collection 'Noir Animal'; here Paalen has dated the poem 'Mexico San Angel / Nuit du 29 mai 1940'. The lines quoted at the foot of the presentation i.e. 'Rendez-vous de rivière . ' is from 'Les Appelants' which also features in 'Noir Animal'. A shortened version of the same quotation appears in a copy of 'Noir Animal' given by Paalen to André and Jacquéline Breton and their daughter Aube.The Sonia of Paalen's enigmatic presentation is the painter Sonja or Sonia Sekula 1918 - 1963 the Swiss-born New York-based Abstract Expressionist painter like Paalen she was also a poet and friend to the Surrealists in exile. Sekula knew Paalen in the 1940s - she remained married to Wolfgang Paalen until 1947 - and the pair had a short-lived but passionate affair: 'During a visit to the Onslow Fords in Morelia Alice had met and fallen in love with the Swiss artist Sonja Sekula who had exhibited in the group show '31 Women' at Peggy Guggenheim in 1943 and was now associated with the 'Indian Space' group in New York around Peter Busa. The two lived an open love affair . ' see Andreas Neufert's biography of Wolfgang Paalen. The presentation detailed above is also listed with the additional detail that Alice and Sonja's relationship had ended by August 1945.Alice Paalen 1904 - 1987 née Phillipot and later Rahon her mother's maiden name Surrealist poet and painter married the Austrian Surrealist Wolfgang Paalen in 1930. She participated in Surrealist activities during the early 1930s and had a significant liaison with Picasso before the publication of her first collection of poetry in 1936 A Mème La Terre the same year that she went to India with fellow poet and Surrealist Valentine Penrose. Further collections followed including the present volume Sablier Couché with the two poems 'Sablier Couché' and 'Muttra' and Noir Animal 1941 before she turned her attention to painting and changed her surname to Rahon. Many of Paalen's presentations feature quotations from her own poems as here.Cramer 5; see Andreas Neufert's 'Paalen: Life and Work Vol. 2 Under the Volcano: The DYN Project and Exile in Mexico 1939 - 1959' Norderstedt 2023 pp. 198 - 199. Editions Sagesse. unknown
19751733421975. MIRO Joan. Càntic del Sol. By Saint Francis of Assisi translated into Spanish by Josep Carner with a prologue by Marià Manent. 44 ff. With 35 etchings with aquatint printed in colour all after original designs by Joan Miró. Oblong folio 367 x 516 mm loose as issued in original yellow cloth chemise and slipcase bearing red embossed signature of Miró. Barcelona: Editorial Gustau Gili 1975. "In 1975 Gustau Gili in Barcelona published Càntic del sol a collection of writings by St. Francis of Assisi selected and introduced by the poet Marià Manent and illustrated with thirty-three etchings and aquatints by Miró. On this occasion the texts referred to concepts that were identical to some of Miró's current themes: the moon the sun the stars etc. These elements constitute a number of compositions on their own whilst in others they spring from a gesture a line in response to more intangible concepts such as wind and rain" Rosa Maria Malet preface to Joan Miró: The Illustrated Books. Only edition limited to 273 copies all signed by Miró in pencil on the colophon of this mystical and intense work by Miró illustrated with bold and vibrant colours heightened with aquatint. The box is very slightly soiled but the book is immaculate. Cramer Joan Miró: The Illustrated Books No. 196. hardcover
19661567-BParis, Tériade Éditeur, 1966. In-plano (750 x 550 mm) en feuilles. Feuillet de titre, table des planches. LA SUITE COMPLÈTE DES 13 LITHOGRAPHIES ORIGINALES EN COULEURS ET NOIR DE JOAN MIRÓ POUR UBU ROI + LA SUITE COMPLÈTE DES 13 LITHOGRAPHIES EN NOIR retravaillées par l'artiste . (feuilles: 750 x 550 mm environ, sujets: 630 x 410 mm environ), chaque épreuve titrée au crayon au verso de la feuille. Tirage: 75 exemplaires sur grand vélin d'Arches, celle-ci hors-commerce non signée (Mourlot 392-430 ; Cramer 108) Chaque composition en noir a été intensément retravaillée par Miró qui y a ajouté estompes et ombres, épaissi les traits de certains sujets. La vision grotesque et surréaliste de l'artiste, impliqué corps et âme dans ce cycle sur Franco et contre tous les fascismes, y apparait encore avec plus de force et d' évidence. Très rare. Excellent état de conservation.
1968188282Paris: Maeght éditeur 1968. A variant image was also printed in reverse titled polytheme. Printed by Arte Adrien Maeght. Edition of 75. Drypoint and cement imprint on Mandeure rag paper right edge deckled. Signed in pencil by Miro lower right numbered lower left. Sheet size: 104 x 75 cm. Framed size: 126.3 x 93.6 cm. Presented in a handmade gold leaf frame with acrylic glazing. Excellent condition. Presented in a handmade gold leaf frame with conservation acrylic glazing. Dupin 451 unknown
96271Paris Arte Adrien Maeght 1974. . Limited edition number 51 of 150 copies on Arches wove paper signed in red pencil by Miro from an edition of 200 with an additional 20 copies hors commerce; oblong folio 29 x 40 cm; title text and limitation on Arches wove paper 25 lithographs in total 20 colour 5 black and white including wrappers limitation page all bar three double-page; original paper wrappers with first lithograph printed on front spine and back; set of six lithographs in black by or after the same hand one with additions in red ball-point pen in beige paper folder entitled 'documents 1929' housed in publisher's orange cloth covered box with artist's and author's names on spine.<br /> A fine example of the limited edition signed by Miro in red pencil. <br /><br />Both the Spanish artist Joan Miro and the French poet Robert Desnos were prominent figures in the Surrealist movement in Paris where they met in 1925. Miro had long planned to illustrate a book by Desnos but the project was delayed by the outbreak of the Spanish Civil War and subsequently the Second World War in which Desnos was an active member of the French Resistance. He was arrested by the Gestapo in 1944 and sent to several concentration camps including Auschwitz and Buchenwald. Desnos survived the war only to die of typhoid a few weeks after the liberation of the camp where he was held. <br /><br />Nearly thirty years later Desnos' widow approached Miro with the idea of illustrating his works again. In the end they settled on Pénalités de l'enfer ou les nouvelles Hébrides The Penalties of Hell or The New Hebrides Desnos' first work in prose written in Morocco in 1922.<br /> Mourlot 959-90; Cramer 188. Paris, Arte Adrien Maeght, 1974. hardcover
193991467Paris: 1939. Modern artists rally support for the children of the Spanish Civil War First edition one of 101 numbered copies signed by Spender Aragon and each of the nine contributing artists including Miró and Kandinsky. This work was sold to benefit the Spanish Republican Children's Fund. A further 12 copies were printed for contributors. The text consists of Spender's poem "Fall of a City" printed in the original English and in the French translation of Aragon. The artists each of whom has signed their contribution are Joan Miró Wassily Kandinsky John Buckland-Wright Stanley William Hayter Josef Hecht Dalla Husband Roderick Mean Dolf Rieser and Luis Vargas. Many were strongly influenced by the horrors of the Spanish Civil War. Miró although never an explicitly political artist was asked on Franco's death in 1975 what he had done to resist the dictator. He responded "Free and violent things". He was exiled in Paris during the civil war made propaganda images for the republican cause and in January 1937 painted the haunting Still Life with Old Shoe which his biographer Jacques Dupin called "Miró's Guernica" Adams. While it is unclear who commissioned the work the typography was completed by Gonzalo More of New York and the plates were printed by Atelier 17 and Henri Hecht. A sister portfolio Solidarité was published the year before to benefit the same cause. Octavo. With 9 loose engravings on full-sheet Montval handmade paper with deckled edges each signed in pencil lower right by the artist with the original tissue guards. Text in English and French. Original wrappers printed in black. With original card chemise slipcase lacking. Housed in a green morocco-backed clamshell box by the Chelsea Bindery. Chemise split to spine wrappers and contents in excellent condition. Cramer Miro 81. Tim Adams "Joan Miró: A Life in Paintings" The Guardian 20 March 2011. unknown
19751485101975. MIRÓ Joan. Adonides. By Jacques Prévert. 2 59 10 pp. Illustrated with an original Miró coloured etching with aquatint signed and numbered by Miró in pencil and 44 etchings with aquatint printed in colours most of them with blind-stamping throughout. Folio 403 x 355 mm loose in a wrapper of Auvergne paper with blind-stamped image on front and back laid into blue cloth box blue green red and yellow cloth labels on spine in a cloth folding box. Paris: Maeght Editeur 1975. The Prévert text is written in the author's script throughout with Miró's amorphous and euphoric colour objects scribbles and imagery splashed across every page in around and on top of the text. "Some of the poems are reproduced inside a frame etched and pulled dry based on copperplates engraved in 1947 by Miró in the Atelier 17 in New York" Dupin Miró Engraver p. 200. The book also contains two blind-stamped original Miró images Dupin 878 & 879. A very fine copy of this felicitous Miró title. Limited to 225 copies signed by Miró Prévert and Maeght on the colophon; this being one of the 200 with the large hors texte etching signed by Miró laid in at the front. Cramer Miró Illustrated Books 203. Dupin Miró Engraver III 878-925. hardcover
