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Click here to subscribeJoan MIRO (1893-1983)GAUDI VIII, 1979 (Dupin, 1067)Eau-forte et aquatinte en couleurs sur vélin d'ArchesSignée et numérotée HC XIII/XVMaeght, éditeur, Paris65,5 x 50 cmFootnotes:Provenance: Galerie Maeght, Barcelone Acquis auprès de celle-ci par l'actuel propriétaireThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Joan MIRO (1893-1983)ESCALIER DE LA NUIT, 1970 (Dupin, 536)Eau-forte, aquatinte et carborundum en couleurs sur vélin Epreuve hors commerce signée et annotée 'HC'Maeght, imprimeur et éditeur, Paris 59 x 79 cm (à vue)- encadrée Footnotes:Provenance: Galerie Maeght, Barcelone Acquis auprès de celle-ci par l'actuel propriétaireThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Joan MIRO (1893-1983)AFFICHE POUR 'OBRA CULTURA BALEAR', 1978 (Maeght, 1173)Lithographie avant la lettre en couleurs sur vélin d'ArchesEpreuve hors commerce signée et numérotéeb 'HC XIV/XXV'59 x 58,4 cmFootnotes:Provenance: Galerie Maeght, Barcelone Acquis auprès de celle-ci par l'actuel propriétaireThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
After Joan MiroUntitledlithograph in colours, on wove paper, after Lithograph VII, 1972sheet 33.7 x 50cm,together with:'Great Britain';'Portugal';a pair, lithograph in colours, complete with Nathan Daniel Isen, Philadelphia certificate of authenticitysheet 19.5 x 39.5cm, and'Star Scene' lithograph in colours, with Templeton and Rawlings Ltd., London, authentication label versoimage 40 x 57.5cm (visible) (4)Provenance: The first ('After Joan Miro'), with Andipa Gallery, London.Condition ReportUntitled:Framed: 58.5 x 74cmNot examined out of glazed frame, there is crease down the centre where the paper has been folded in half, otherwise well-presented and ready to hang.'Great Britain' and 'Portugal':Framed:44 x 63cmThe paper has been stuck down. Not viewed out of glazed frame.'Star Scene':Framed: 56 x 71cmTime staining and light rippling to the paper. Unexamined out of glazed frame.
Joan Miro (1893-1983), lithograph in colours on paper, Terres de Grand Feu 1955, poster printed by Mourlot Freres Paris 1959, 21.4cm x 15.8cm, mounted, framed andglazed. This lithograph is printed by Mourlot, the original printer of the poster. It is an exact reprint of the original 3 colour linocut poster in all but size
Nikos Engonopoulos (Greek, 1907-1985)Trois philosophes signé en grec et daté '37' (en bas à droite)huile sur toile106 x 93cm (41 3/4 x 36 5/8in).Peint en 1937.signed in Greek and dated (lower right) oil on canvasFootnotes:ProvenanceThe Artist's Estate.Private collection, Athens.ExpositionsAthens, Nicolas Calas residence, Exhibition of Paintings by Nikos Engonopoulos, 1939 (possibly).Venice, XXVII Esposizione Biennale Internationale d'Arte, Greek Pavilion, Nikos Engonopoulos, June 19 - October 17, 1954, no. 2 (listed in the exhibition catalogue, p. 294).Sao Paolo, Brazil, III Bienal de Sao Paolo, Museum de Arte Moderna, July-October 1955 (listed in the general exhibition catalogue, p. 161, no. 1).LittératureFiche Descriptive des Oeuvres Pavillon Grec, Venice Biennale, 1954, handwritten list, p.5, no. 40.K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 204, p. 76 (shown in a 1954 photograph with the artist), p. 241 (illustrated), p. 409 (catalogued and illustrated).Nikos Engonopoulos, Painter and Poet, conference minutes, Benaki Museum, Athens 2010, p. 177, fn.18 (mentioned).Nikos Engonopoulos, exhibition catalogue, Andros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, 2017, p. 257 (shown in a 1954 photograph with the artist).A significant missing piece of 20th c. Greek art, discovered recently by Bonhams and returned to public view after nearly 70 years,1 this pioneering work—Engonopoulos's first surrealist oil—was shown in the 1954 Venice Biennale,2 where for the first time, Greece was represented by one artist alone.In Venice, Engonopoulos showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'Here, the artist subverts—in a typical surrealist fashion—the conventional ways with which rational thought perceives the world by replacing the heads of the three philosophers with archetypal geometric forms. Paying homage to the great Cézanne who exhorted painters to depict reality in terms of simple geometric shapes and volumes, he finds in the cube, the sphere, and the triangle the underlying, basic structure of the world, the all-encompassing essential force that binds the universe. These archetypal forms echo the ideal world of Plato who considered them pure beauty and fundamental elements for building the world. Elemental and three-dimensional, these forms also seem like stemming from a Bauhaus workshop in the 1920s, forming an imaginary cultural bridge that spans the millennia. As noted by Walter Gropius, the great German architect and founder of the Bauhaus School, these original geometric shapes are purely abstract entities that dash through time and all countries, ensuring validity in all human creations.The visual act, set against the schematised and unmistakably Engonopoulian formations of travelling clouds, takes place in a shallow stage-like space that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting,3 has once said that 'under the stage lights, with the most harmonious moves, in a coordinated whole, amidst colours and music, every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 Navigating the viewer to a magical world of poetic metaphor, a host of details trigger various associations ranging from Medieval and Renaissance times (the chequered tilework echoes similar motifs by Mantegna and Giovanni Antonio Fasolo) to Giorgio de Chirico's pittura metafisica (highlighted by the triangular shape used in constructing the philosopher's head). In the left middleground, the red figure carrying a heavy bag possibly alludes to the myth of Sisyphus and the philosophical theory that existence is absurd, while in the upper right corner, the tall buildings perched on a steep hill are reminiscent of similar structures in works by Parthenis and de Chirico. Although the unexpected staging of dream-like scenes is a fascinating feature of Engonopoulos's art, no less impressive is his handling of colour. The shimmering yellow, green and orange tunics worn by the three standing figures and the enamel-like blues and reds applied without tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.1 The painting remained accessible to scholarly research only though a black and while archival photograph published in the artist's catalogue raisonée (see Littérature).2 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.3 P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou-A.Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters - 20th Century[in Greek], Melissa editions, Athens 1974, p. 261.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
After Joan Miro (Spanish, 1893-1983) a group of two exhibition posters, comprises: Miro at Pace/Columbus, signed in the print, rolled, 29 x 23 inches; XIII Congresso De Cirugia, Barcelona, 1980, signed in the print, rolled 22 x 29 ¾ inches. (2)Condition Report: overall good condition with strong colours.
Faeq Hassan (Iraq, 1914-1992)Baghdadiyat oil on canvas, framedsigned (lower left), executed circa 1950s75 x 62cm (29 1/2 x 24 7/16in).Footnotes:BaghdadiyatOne of the finest examples from Faeq Hassan's cubist period Provenance:Property from a private collection, GermanyAcquired directly from the artist by the present owner's family.Faeq Hassan'His Cubism in the fifties was a mixture of Arab forms largely derived from the 13th century Baghdadi illuminator Yahya al Wasiti, and current European forms. But his peasants, his Bedouins, his fishermen owe much to the waters of Tigris and Euphrates. His harvesters, his curd-sellers, however cubistically stylized, laboured under a clear Mesopotamian sun'- Jabra Ibrahim Jabra'Baghdadiat' is perhaps the most exquisite and sophisticated rendition of Faeq Hassan's brief but fruitful experimentation with Cubism, and more importantly, counts as one of the most graceful and skilfully rendered expressions of 'Baghdad Modernism' ever to come to market, exhibiting a near perfect synthesis of local Iraqi and Mesopotamian forms rendered within a European Modernist artistic vocabulary. Held in the same private German collection for over half a century, the work is part of a formidable collection of Iraqi Modernism amassed by a prominent German industrialist who was based in Iraq in the 1960's and developed a close personal friendship with Faeq Hassan, during which he acquired some of the artists most important artworks One of the defining characteristics of the Baghdad Group of Modern Artists was their unique blending of European and local influences in their work. Many of the artists in the group had studied in Europe and were influenced by the modernist movements that had emerged there in the early 20th century, such as cubism, surrealism, and abstract expressionism.At the same time, the artists in the Baghdad Group were deeply committed to exploring their own cultural heritage and incorporating elements of Iraqi art and folklore into their work. They drew inspiration from traditional Iraqi crafts, such as weaving, calligraphy, and pottery, as well as from the rich history of Islamic art and architecture. The result of this fusion of European and local influences was a unique and distinctive style that was both modern and deeply rooted in Iraqi culture. The deftness with which the present work balances local and Modern elements is hard to overstate; On first impressions, Hassan's composition appears to be overtly inspired by the simplified figuration of artists like Miro or Picasso (notably his depictions of Francoise Gilot painted in the 1940's), but on closer inspection we can see that the almond shaped heads of the figures clearly reference ancient Mesopotamian statuary found in the Lecant and that the composition is punctuated by traditional Eastern symbols like the crescent MoonThe work itself is a playful explosion of colour, shape, and texture that perfectly captures the energy and dynamism of the Baghdad Modern art group. The composition is composed of fragmented shapes, planes, and lines that overlap and intersect to create a complex, multi-layered image that is both striking and evocative.Faeq Hassan is often referred to as the father of Iraqi modern art. During his artistic career he took on many roles within the burgeoning Iraqi art scene, including educator and founder. In the crucial decades of the 1940s and 50s, Hassan was devoted to the creation of an art form that would express the growing feelings of national pride amongst Iraqi citizens. He was also interested in developing his own technical skill and that of his students. In later decades, Hassan would remain a leading artist in Iraq and his artistic legacy continues to be a powerful influence.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Leiris,M., F.Mourlot u. P.Cramer.: Joan Miro. Der Lithograph. Bde. 1-5 (von 6). Genf, Weber 1972-92. 32 x 25 cm. Mit 36 (inkl. 4 lithogr. Umschl.) farb. Orig.-Lithogr. v. Miro u. zahlr., tls. farb. ganzs. Abb. Olwdbde. mit OU. Das Werkverzeichnis der Lithogr. von 1930-1975, alle Bände in dt. Ausgabe. - Bd. 1 OU tls. leicht randrissig.
Miro, Joan: (1893 Barcelona - Calamajor 1983). Fundacio Joan Miro (1030). Farblithographie auf Guarro 1975. Ca. 45,5 x 56,5. Unten rechts mit Bleistift sign. bzw. unten links num. mit Ex. 31/75. Unter UV-beständigem Glas gerahmt. Cramer V,1030. - Neben den 75 signierten Exemplaren wurde das Motiv leicht verändert als Schutzumschlag für einen Katalogdruck verwendet. - Saubere Darstellung. - Colour lithograph on guarro. Signed and numbered in pencil at the bottom. Good condition. D
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Green, blue, and black ink on paper abstract drawing, 1935. Dated 11/35 along the lower right.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 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.Sight; height: 13 in x width: 11 in. Framed; height: 17 in x width: 13 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. Due to the original color of the sheet, it is difficult to discern whether the sheet is toned. There are minute light brown spots throughout; however, it is difficult to discern if it is the original design of the paper or foxing. The color is bold and bright. Along the margins, there is light browning and there are a few areas with light soling. The verso could not be inspected. Not inspected out of frame. Very light wear to the frame.
A Picture Drawing Joan Miro (Spots) & (Banksy Rat) Initialled DM Damien Hirst Artist Approx. Size 8. 5x3. 5 INCHES. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Miro, Joan (Barcelona1893 - 1983 Palma)Buch "Midi le trèfle blanc" von Lena Leclercq, 39 Seiten (Arches-Velin) mit der Aquatinta - Farbradierung von Joan Miro als Frontispiz, Platte 14,7 x 10,8 cm, Darstellung 17,5 x 13,8 cm, Blatt 23 x 17 cm, unten rechts in Blei signiert "Miro", im Impressum typographisch nummeriert "26", Guy Lévis Mano (GLM) Paris 1968 aus einer Auflage von 88 arabisch nummerierten Exemplaren der Vorzugsausgabe auf Arches mit der bei Adrien Maeght gedruckten Originalradierung von Joan Miro, privater Ledereinband mit farbig gestaltetem Deckel und Rücken mit intarsierten Motiven nach der eingebundenen Farbradierung und goldenem Rückentitel, 24 x 18 cm, private Leinenkassette mit Lederrücken und goldenem Rückentitel, alles sehr guter Zustand 4901 In diesem einmalig schönem, handwerklich erstklassig gestalteten Ledereinband gehört dieses Exemplar sicherlich zu einem der ungewöhnlichsten Exemplaren dieser Ausgabe Lit.: Patrick Cramer 1989, Miro, the illustrated books, Nr. 119
Miro, Joan (Barcelona1893 - 1983 Palma)Zwei Farblithographien, a) Farblithographie "Ceramiques" auf Arches, in der Darstellung unten rechts signiert "Miro", unten rechts Wasserzeichen des Herausgebers Maeght, Blatt 55 x 76,5 cm, Adrien Maeght Paris 1974 aus einer Auflage von 350 Exemplaren, sehr guter, ungewöhnlich farbfrischer Zustand und b) Farblithographie "La femme au miroir" auf Velin, in der Darstellung unten links signiert "Miro", 37,5 x 55 cm, Galerie Maeght 1956 aus einer Auflage von 2.000 Exemplaren für die Sonderausgabe "Dix ans d'édition" der Zeitschrift Derriere le miroir, abgesehen von der obligatorischen vertikalen Mittelfalte sehr guter Zustand, beide ungerahmt 0804 Lit.: a) Fernand Mourlot/Patrick Cramer, Miro, der Lithograph Nr. 928, b) Patrick Cramer 1989, Miro, the illustrated books, Nr. 36
Miro, Joan (Barcelona1893 - 1983 Palma)Konvolut von acht Plakaten, jeweils Farblithographien mit typographischem Eindruck, dabei "Terres de grand feu", Galerie Maeght Paris 1956, "Cartons", "Constellations", Galerie Berggruen Paris 1959, Galerie Maeght Paris 1965, "Miro", Galerie Maeght Paris 1970, "Fundació Joan Miro, Poligrafia Barcelona 1975, "Quiri Quibu", Poligrafia Barcelona 1976, "Miro", Galerie Maeght Paris 1979 und "Homenatge a Gaudi", Galerie Maeght/Poligrafia Barcelona 1979, Blätter 63 x 43,5 cm bis 75 x 56 cm, zwei Exemplare rückseitig mit minimalen Montierungsspuren, sonst alle guter bis sehr guter, teils fast neuwertiger Zustand 0805
Joan Miró (Barcelona 1893 - Palma de Mallorca 1983). Cop de Poma - Box. 1962. Fünf Aquatintaradierungen, teilweise in Farbe. 21,5 x 30,5 cm. Ungerahmt. Im Kolophon num. 'Exemplar no. 10', Kasten von Miró handnum. 10. Ein Exemplar aus einer einmaligen Auflage von 30. Einband gestaltet von Antoni Tàpies. Enthält außerdem zwei Partituren desselben Stücks von Josep Mestres Quadreny, eine davon handsign. von Joan Prats sowie gewidmet und handsign. von Brossa. Dazu zwei Bambusobjekte von Moisés Villélia. Kolophon. Originaler Holzkasten gestaltet von Villélia und handsign. von Miro, Tàpies, Brossa, Villélia und Mestres Quadreny. - Literatur: Cramer: Joan Miró les livres illustrés, Nr. 78 - Spanischer Maler und Graphiker, bedeutender Vertreter des Surrealismus. M. studierte an der Akademie Barcelona, sodann in Paris, wo er Bekanntschaft u.a. mit M. Ernst, J. Arp, P. Bonnard, A. Calder und W. Kandinsky machte. M. war und ist weltweit in den bedeutendsten Museen und Ausstellungen vertreten, darunter auf der Documenta. M. entwickelte eine eigene abstrakte Formen- und Zeichensprache, die den Bezug zum Figurativen nie ganz verliert. Lit.: Mourlot 'M. - Der Lithograph' u.a.
Eine Welt aus Sprache - - Schwenger, Hannes; Horst Karasek; Karl Heinz Roth u.a. (Hg.). die sonde. Lyrik, Prosa, Grafik, Plastik, Kunsttheorie (wechselnde Untertitel). 16 Hefte in 14 Heften. Mit zahlreichen ganzseitigen Abbildungen. Würzburg u.a., Selbstverlag, 1961-1965. 20,5 x 14,5 cm (9 Hefte) und 21 x 29,5 cm (5 Hefte). Original-Broschuren (teils leicht gebräunt, teils leicht berieben, Heft 62/6 Umschlag beschabt und etwas wasserrandig).Umfangreiche Sammlung der extrem seltenen Zeitschrift. - Sackner 247. - Die 1961 von dem Literaturwissenschaftler, Publizisten und Schriftsteller Hannes Schwenger begründete Zeitschrift erschien unter wechselnden Herausgebern und Redaktionen. - Die Sammlung beinhaltet die Hefte: 1. Jahrgang, Heft 1, 4, 5 und 6. Ab Heft 5 mit dem Untertitel "Zeitschrift für junge Kunst". Mit Textbeiträgen u.a. von Karl Heinz Roth, Horst Karasek, Gerd Peterknecht, Gene G. Eppelein, Hannes Schwenger, Peter Tilmamnn, Jochen Lobe, Christian Litzberg, Hans-Heinz Bartsch, Wolfgang Heithoff, Wolfgang Hildesheimer, Walter Gontermann und Jochen Lobe. - Mit Illustrationen von Joachim Schlotterbeck, Anton Zübert und Jochen Lobe. - 2. Jahrgang, Heft 1-6 in 5 Heften. Ab Heft 5 mit dem Untertitel "Zeitschrift für Kunst". Mit Textbeiträgen von u.a. Wolfgang Heithoff, Walter Gontermann, Joachim Schlotterbeck, Jochen Lobe, Horst Karasek und Gerd Peterknecht. - Mit Illustrationen u.a. von Schlotterbeck und Harold B. Helwig, Thomas Meyer zur Capellen, Dieter Brembs, Gertraud Rostosky, Raoul Dufy, Pierre Bonnard und Kurt Sigel. - 3. Jahrgang, Heft 1. Mit Textbeiträgen u.a. von Hubert Gersch und Kurt Sigel. - Mit Illustrationen u.a. von Joseph Fasbender, Hann Trier, Jochen Hiltmann, Rupert Stöckl, Miro, Günther Stiller und Georges Mathieu. - 4. Jahrgang, Heft 1, 2 und 3/4. Mit dem Untertitel "Zeitschrift für Kunst und Versuch". - Mit beiliegender Bestellkarte. - Mit Beiträgen u.a. von Dieter Roth, Wolf Vostell, Ernst Jandl, Ror Wolf, Franz Mon, Max Bense, Heinz Gappmayr, Vaclav Havel, Jiri Kolar, Unica Zürn, Otto Mühl, Walter Aue, Bernd und Ursula Becher, Konrad Bayer, Gerhard Rühm (Text und Umschlag Heft 3/4), Jochen Lobe, Reinhard Döhl, Chris Bezzel, Claus Bremer, Ferdinand Kriwet, Karl Heinz Roth, Konrad Boehmer, Georg Heike, H. G. Tillmann, Dieter Hülsmanns und Lucienne Stassaert, Konrad Balder Schäuffelen, Gunter Falk und Chris Bezzel. - 5. Jahrgang, Heft 1. Mit dem Untertitel "Zeitschrift für Kunst und Politik". - Mit Beiträgen u.a. von Ernst Jandl, Konrad Boehmer, Hans G. Helms, Friedrike Mayröcker, Jörn Janssen, Gottfried Michael Koenig und Stefan Themerson. - Titelblatt Heft 62/6 fleckig, sonst gut erhalten.
Derrière le miroir. 6 Nummern der Reihe. Mit zahlreichen Original-Lithographien. Paris, Maeght, 1947-1953. 38 x 28 cm. Jeweils ein großes, zweimal gefaltetes Blatt. In illustrierter Original-Sammelmappe.Vorhanden: I. Nr. 2. Sur 4 Murs 1947. Mit 6 farbigen Original-Lithographien von André Marchand. - Teils im Falz eingerissen, angerändert. - II. Nr. 6. Exposition Baya. Mit 6 farbigen Original-Lithographien. 1946. - III. Nr. 14-15. Joan Miro. Mit 8 farbigen Original-Lithographien im Text. 1948. - IV. Nr. 41. Germain - Kelly - Palazuelo - Pallut - S. Poliakoff. Mit 3 farbigen Original-Lithographien von Pierre Pallut. 1951. - V. Nr. 43. Bram van Velde. Mit 2 farbigen Original-Lithographien. 1952. - VI. Nr. 52. LAM. Mit 3 (1 doppelblattgroßen) farbigen Original-Lithographien. 1953.
Derrière le miroir. No. 250. Hommage à Aime et Marguerite Maeght. Mit 24 Original-Lithographien bzw. Original-Serigraphien und teilweise ganzseitigen Abbildungen. Paris. Maeght, 1982. 111 S., 1 Bl. 38 x 28 cm. Illustrierter lithographischer Original-Umschlag (minimal angestaubt und randknickspurig). Schlussheft der Reihe. - Mit Original-Graphiken von Steinberg, Chagall, Chillida, Miro, Palazuelo, Bram van Velde, Rebeyrolle, Tapies, Tal-Coat, Alechinsky, Ubac, Pol Bury, Klapheck, Titus-Carmel, Kelly, Monory, Bazaine, Adami, Arakawa, Riopelle, Takis, Garache, Gardy-Artigas, Fiedler. - Schönes Exemplar.
Miro, Joan - - Leiris, Michel. Joan Miro. Lithographe. Band 1 (von 6): 1930-1952. Mit 12 (inklusive Umschlag; 5 doppelblattgroßen) Original-Farblithographien von J. Miro. Paris, 1972. 231 S., 2 Bl. 33 x 26 cm. Original-Leinenband mit farbigem Original-Umschlag und Original-Schuber.Druck der Lithographien bei Mourlot. - Gutes Exemplar.
Verve. An Artistic and Literary Quarterly, numbers 1, 2, 3, 4 & 5/6, Paris, December 1937, March-June 1938, October-December 1938, January-March 1939 & July-October 1939, original colour lithographs (in order of publication) by Leger, Miro, Rattner, Bores, Kandinsky (2), Masson (2), Chagall, Miro, Rattner, Klee, Matisse, Derain, Braque, Rouault, Derain, Leger, Bonnard (2), Matisse (2), and Klee, all original colour printed wrappers, with designs to covers by Matisse, Braque, Bonnard, Rouault, and Maillol, generally in very good condition, folio, together with two original issues of Cahiers d'Art (Picasso 1930-1935, & Dessins de Matisse), 1936, both original printed wrappers, a little rubbed and some marks, folio QTY: (7)
DELACROIX, Eugene (1798-1863) -- GOETHE, J.W. v. Faust, Tragédie. Traduite en français par Albert Stapfer. Paris, Ch. Motte & Sautelet, 1828. iv, 148 pp. W. lithogr. portr. of Goethe (on china paper, mounted) & 17 lithogr. plates by E. Delacroix. Fol. Rebacked in later hcf. w. ill. of owrps. cut out and laid down. (Corners bumped/worn, inner margin second half (faintly) waterstained, more or less foxed throughout, some plates a bit browned). NOTE: First edition with illustrations by Delacroix, also the first work illustrated by a great artist with original graphics. It marks the beginning of modern book illustration, which was then further developed and led to new heights by Manet, Redon, Toulouse-Lautrec, Bonnard, and later by Chagall, Derain, Dufy, Ernst, Maillol, Miro and Picasso, a.o. "Ouvrage remarquable et typique de l'époque romantique, illustration magistrale du grand Delacroix, qui est heureusement de plus en plus estimé des bibliophiles de gout" (Carteret). - Carteret III, 270; Vicaire III, 1013-14; Delteil 57-74.
INDIE/ ALT - LP/ 12" COLLECTION (G & H ARTISTS). A quality collection of 42 LPs/ 12", all artists lettered G & H. Artists/ titles include Ganger inc Series 500, The Cats In The Bag, Fore. Grenadine - Nopalitos, Goya Dress inc Rooms, Ruby EP, Glorious, Bedroom Cinema. Golden - Super Golden Original Movement, Growl - Wow EP, Gaster Del Sol - Crookt Crackt Or Fly. Giardini di Miro inc Hits For Broken Hearts And Asses, Punk Not Diet. Helium inc Pirate Prude, The Dirt Of Luck, The Magic City. The Heart Thobs inc Vertical Smile, Jubilee Twist, Cleopatra Grip, Total Abandon EP, She's A Trance EP. Heavenly - Operation. Him inc Remix Series#1: Japan, The Focus, Chill And Peel, Our Point Of Departure, Many In High Places Are Not Well. New Features, Lila, Sworn Eyes. Hissanol - The Making Of Him. HNIA, Kev Hopper, The Disposable Heroes Of Hiphoprisy. Records are generally in superb Ex+ condition. Sleeves generally Ex to Ex+ with most being Ex+.
Joan Miró (Barcelona 1893 – 1983 Palma de Mallorca)Ohne TitelFarb. Lithographie. 1973. 87,7 x 61 cm. Signiert und mit H.C." bezeichnet. (12)Abzug vor der Auflage in Höhe von 75 Exemplaren. – Mourlot 906. – Blatt 4 der insgesamt 9 Lithographien umfassenden Folge „Oda a Joan Miro“, die mit Texten von Joan Brossa im Verlag Poligrafa in Barcelona erschienen. - Sehr schöner, farbfrischer Abzug auf festem, leicht getöntem und etwas genarbtem Papier. - Im obersten Rand kaum merklich gebräunt. - Dazu: Joan Miro. Oda a Joan Miro. Künstlerbuch. 1973. 34,5 x 25 cm. Im Druckvermerk vom Autor und vom Künstler signiert. - Exemplar 45. - Cramer 175. - Der von Miro mit zahlreichen Lithographie und Collagen versehene Band erschien im Verlag Poligrafa in Barcelona. - Der gelbe Leinenband äußerlich etwas berieben.
δ Joan Miro (1893-1983)Sobreteixims (Maeght 919)Lithograph printed in colours, the red attenuated, 1973, signed in pencil, a proof numbered from the edition of 150, printed and published by Maeght, Paris, on wove paper, with full margins, sheet 860 x 590mm (33 3/4 x 23 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Joan Miro (1893-1983) after. La Rosée Matinale au Clair de Lune (Maeght 1713)Etching and aquatint in colours, 1958, signed in pencil, numbered from the edition of 300, printed by Atelier Crommelynck, Paris, on BFK Rives paper, with margins, sheet 560 x 645mm δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Original vintage advertising poster for Miro artwork exhibition at Galerie Maeght titled l'oiseau solaire l'oiseau lunaire etincelles / the solar bird the lunar bird sparkles, the poster features an abstract image in black, red, green, blue, and yellow set over grey background. Joan Miro (1893-1983) was a Spanish Surrealism painter, sculptor and ceramist. Printed by Maeght Editeur - Arte Paris. Good condition, paper skimming, paper losses on bottom edge. Country of issue: France, designer: Joan Miro, size (cm): 64x48, year of printing: 1967.
Original vintage advertising poster Dog Barking At Moon featuring a great artwork by the Catalan abstract surrealism artist Joan Miro (1893-1983) depicting a colourful dog sitting on a brown slope with a crescent moon above it and a large ladder reaching into the black skies. Printed by Arthur Rothmann Fine Arts, USA. Horizontal. Good condition, staining, creasing, small paper loss in bottom right corner. Country of issue: USA, designer: Joan Miro, size (cm): 51x61, year of printing: 1950s.
JOAN MIRO Montroig 1893 - 1983 Mallorca: Composition. Plakat zur Eröffnung der Räume des Atelier Mourlot in New York 1967. Farblithographie 1967. Mourlot 443. Corredor-Matheos 29. - Mit dem Namenszug sowie mit typographischem Plakattext und dem Copyright von Mourlot. Auf leichtem Vélin. 71 x 53 cm. Mit kurzen schwachen Randknickspuren. [bg]
JOAN MIRO Montroig 1893 - 1983 Mallorca: Exposition au Pasadena Art Museum. Plakat. Farblithographie 1969. Mourlot 554. Corredor-Matheos 36. - Mit gedrucktem „Pasadena Art Museum“, deren Copyright von 1969 und der Druckeradresse von Mourlot, Paris. Auf kräftigem chamoisfarbenem Vélin d’Arches. 84,5 x 62,5 cm. Breite Ränder mit vereinzelten schwachen Knickspuren. [ms]
JOAN MIRO Montroig 1893 - 1983 Mallorca: Le Lézard aux Plumes d’Or. Ausstellungsplakat der Galerie Berggruen, Paris 1971. Farblithographie 1971. Mourlot 831. - Mit dem Titel im Stein sowie gedrucktem Plakattext und der Adresse von Mourlot. Auf Vélin. 70 x 49,5 cm. Mit schwachen Randknickspuren. [bg]
Grayson Perry (British, born 1960)England as seen from Lockdown in Islington Digital pigment print in colours, 2021, on cotton panama, signed and numbered 42/150 in pencil on the accompanying certificate of authenticity (there were also 10 artist's proofs), co-published by Victoria Miro Gallery and Paragon Press, London, the full sheet, framedSheet 1500 x 1115mm (59 x 43 7/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com In addition to the catalogue entry:- affixed to the backing board in placesOtherwise, in very good condition.
Grayson Perry (British, born 1960)Hold your beliefs lightly Computerised embroidery, 2011, on cotton and silk, signed and numbered 90/250 in black felt-tip pen verso (there were also 10 artist's proofs), programming by Tony Taylor, published by Victoria Miro Gallery, London/Venice, the full sheet, framedImage 282 x 406mm (11 1/8 x 16in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com In addition to the catalogue entry:- the fabric sheet folded over and taped to the backing board along the edges- a few loose threads in placesOtherwise, in very good condition, colours are fresh and bright.
§ GRAYSON PERRY C.B.E., R.A. (BRITISH 1960-) ENGLAND AS SEEN FROM LOCKDOWN IN ISLINGTON - 2021 Pigment print on cotton, 47/150, signed and numbered to Victoria Miro/Paragon certificate, co-published by Victoria Miro Gallery and Paragon Press, LondonDimensions:150.5cm x 110cm (59.25in x 43.25in), unframed
Miró, Joan Wandteppich "danseuse espagnole" (Montroig 1893-1983 Palma de Mallorca) Ausführung Marie Cuttoli, 1960, für die Pariser Galerie Lucie Weill-Seligmann handgewebt. Miro-Signatur auf der Rückseite, Metallösen für die Hängung. Wolle und Naturfarben. 200 x 155 cm. - In bestem Erhaltungszustand, wurde nie benutzt oder aufgehängt. - Provenienz: Galerie Lucie Weill-Seligmann, Kunsthandel Barcelona, seit den 1980er Jahren in süddeutscher Privatsammlung. - Vergleichsstücke im Museum moderner Kunst Stiftung Ludwig, Wien; Miro im Bechtler-Museum of Modern Art, USA; Ausstellung und Katalogvorstellung in den Charles E. Slatkin Galleries, New York.Inneneinrichtung, Jugendstil, Jugendstilmöbel, Spanien, spanisch, spanisch-katalanischer Künstler
Grayson Perry (born 1960)Hold Your Beliefs Lightly, 2011 signed and numbered 185/250 in black felt-tip pen on the reverse computerised embroidery on cotton and silk32.5 x 45cm (12 13/16 x 17 11/16in).Published by Victoria Miro Gallery, LondonFootnotes:ProvenanceSale; Sotheby's, London, 25 March 2015, lot 1, where acquired by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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