Miro - PrevertBiblio.com
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1975rif. 131" Never as in this book did he rebound invent dance deepen and create without heaviness a monumental work measure of the accuracy of a desire and a friendship" Jacques Dupin. Rare first edition of Prevert's last text illustrated by Miro. A beautiful copy of a stunning copy preserved as issued. 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. Rare first edition of Prevert's last text illustrated by Miro. One of Miro's major books. " 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" Jacques Dupin Miró p. 428. 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. The text of Prévert's unpublished poems is reproduced in facsimile of the author's writing.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. A beautiful copy of a stunning and moving book preserved as issued. Maeght hardcover
1975rif. 103"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 " Jacques Dupin. Rare first edition of the last text of Prévert who died 10 days before its publication illustrated by Miro. One of the most important books of Miró. "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." "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 " Jacques Dupin Miró p. 428. 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. 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. "All reflection made by these times of misfortune the mirror broke" Abonides Jacques Prévert. A very nice copy in perfect condition preserved as issued in a beautiful blue cloth case of the publisher. Maeght paperback
1976rif. 2091202133206173Le Vent D'Arles 1976. Soft Cover. Fine. Volume: 1 Le Vent D'Arles paperback
1969rif. 185242Paris: 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
rif. 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. Exhibited: Miró New York 1947; Miró Hayter and Atelier Academy Art Museum 2021. Illustrated on page 22 of the show catalogue. Dupin 19 1938 hardcover
rif. 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.
rif. 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. 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. Dupin 930 1976 unknown
rif. 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. '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. Dupin 754 1975 unknown
rif. 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. One of 90 copies complete with 13 etchings 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. 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. Paris, RLD, 1985. hardcover
rif. 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. Limited edition number 18 of 20 copies signed by the author and illustrator From the edition de tête with an additional lithograph heightened and signed by the artist. 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 significant 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. Paris, Maeght Editeur, 1950. unknown
rif. 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. 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. Dupin 749 1975 unknown
1931rif. 3114Paris, 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.
1959rif. 18109New 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. 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. 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. 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
rif. 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. '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. Dupin 652 1974 unknown
1967rif. 3152Paris, Tériade Éditeur, 1967. Un volume in-folio (450 x 345 mm) en feuilles sous couverture imprimée rempliée, chemise titrée or et étui de l'éditeur recouverts de toile écrue. - 38 LITHOGRAPHIES ORIGINALES DE MARC CHAGALL : 15 EN COULEURS DONT 3 À DOUBLE PAGE (450 x 687 mm) ET 18 EN NOIR. Toutes les lithographies sont en hors-texte et ont été tirées sur les presses de Fernand Mourlot. Tirage : 250 exemplaires + 20 exemplaires HC. Celui-ci est un exemplaire de collaborateur, il n'est donc ni numéroté ni signé. - Note historique et bibliophilique : Le sujet du cirque est l’un des thèmes les plus importants dans l’œuvre de Marc Chagall. Cette fascination remonte à l'enfance, quand il vit à Vitebsk une petite troupe itinérante exécuter quelques acrobaties maladroites devant un public indifférent : cette triste performance était-elle le destin de toute vie d’artiste ? C’est Ambroise Vollard, lui-même très amateur de cirque, qui incita Chagall à développer ce thème, mais c’est Tériade, qui après la mort de Vollard, le convainquit de travailler à un livre illustré de lithographies. Accompagné de textes de l’artiste, CIRQUE est certainement la meilleure réalisation lithographique de Chagall avec Daphnis & Chloé paru en 1961 chez le même éditeur, "sans aucun doute le plus personnel de tous ses livres, le plus exceptionnel aussi par l'intensité du trait et des couleurs, mais aussi par l'harmonie qu'il crée entre texte et peinture, enfin par le caractère même et la qualité de l'écriture" (Hommage à Tériade, Grand Palais, 1973). - ENGLISH DESCRIPTION: MARC CHAGALL (1887-1985) : CIRQUE, Tériade Editeur, Paris, 1967 (book/ portfolio). The complete set of 38 lithographs (23 lithographs in colors and 15 lithographs in black), on Arches paper, all hors-texte, title page, text in French and justification. This copy on Arches paper, from a collaborateur, it is not numbered and not signed, of the 270. The colors fresh, the full sheets, loose (as issued), in mint condition, within original paper wrapper, beige cloth-covered boards with title stamped in gilt on spine and matching slipcase 17 3/4 x 13 1/2 in. (450 x 345 mm.) References: Mourlot 490-527; Cramer books 68.
Paris: Editions de la Revue Verve, 1940. In-folio - Reliure editeur à la bradel en Velin - Volume 2 : N° 5/6 - Consacrée à la figure humaine - Couverture illustrée en couleurs par Aristide MAILLOL - Textes de J. PAULHAN, J. SUPERVIIELLE, J. GRENIER, A. JARRY, M. JOUHANDEAU, J. GIRAUDOUX, ALAIN, G. ROUAULT, A. SUARES, etc.. - Peintures en quadrichromie par MARINUS, RUBENS, CORNEILLE de Lyon, COROT, etc, - Enluminures (Héliogravure couleurs & or) St-Grégoire-le-Grand, Les Echecs Amoureux, Les Dames de Renom de Boccac, les Fouquet de Chantill, livre d'Heures d'Etienne, chevalier, XV è siècle - Lithographies de Constantin GUYS, G. BRAQUE, G. ROUAULT, A. DERAIN, F. LEGER, P. BONNARD, H. MATISSE, P. KLEE - Dessins, Peintures, Scultures de GOYA, MIRO, A. GIACOMETTI, etc.. - Photographies en Héliogravure par DISDERI, H. LIST, EGER-TERMET, BRASAI, etc..- 181 pages. N° 7 - Les très riches Heures du duc de Berry 12 enluminures, reproduction très fidèle de l’intégrale du calendrier. N° 8 - couverture illustrée de MATISSE - Texte de REVERDY, J. GIRAUDOUX, A. MONNIER, A. MALRAUX, etc - Peintures de MATISSE, MIRO, etc - Calendriers de Charles d'ANGOULEME, André DERAIN TRES BEL EXEMPLAIRE
