Marc CHAGALLLivre Rare Book
2 292 résultats
1967réf. 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.
réf. 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
1959réf. 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
1931réf. 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.
réf. 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
réf. 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
réf. 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
réf. 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
réf. 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
réf. 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.
1969réf. 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
1964réf. 191809Barcelona: Sala Gasparcastille 1964. Eleven original signed Miró lithographs First edition number 13 of 100 deluxe copies signed by Miró. Obra Inèdita Recent was published as a catalogue for the 1964 Miró shows exhibiting previously unseen work across Barcelona's Sala Gaspar Galeria Metras and Belarte galleries. This is the complete suite of lithographs each initaled by the artist "M" in pencil lower right and numbered 13/100 lower left. The work is additionally signed and numbered on the colophon page. Miró was a keen advocate of printmaking admiring the medium's potential to make art more readily available to a wider audience and breed a collective experience. This suite of colour prints is among the most desirable portfolios of Miro's work. Eleven original colour lithographs three of which are double-page on watermarked Guarro wove paper. Sheet sizes: double page 35 x 48 cm; single page 35 x 24 cm. Loose as published in original pink laid paper wrappers front cover lettered in black. Loose in original brown cloth boards spine lettered in gilt. All housed in the matching brown cloth slipcase. All lithographs in excellent condition colours bright and strong. Fraying to corners of cloth slipcase otherwise an exceptional copy. hardcover
réf. 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. Limited edition one of 25 copies reserved for collaborators Rare surrealist illustrations by miro; a key text of the Theatre of the Absurd 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. Paris, Tériade, 1966. unknown
1979réf. WRCLIT59621Barcelona 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
1938réf. 48651Paris.: 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
1975réf. 1733421975. 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
1930réf. 3884Paris, 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.
1966réf. 1567-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.
1968réf. 188282Paris: 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
réf. 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. A fine example of the limited edition signed by Miro in red pencil. 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. 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. Mourlot 959-90; Cramer 188. Paris, Arte Adrien Maeght, 1974. hardcover
1939réf. 91467Paris: 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
1966réf. B-26-090003Alfred Jarry and Joan Miro' Illustrator. Tériade Éditeur Paris 1966. Complete portfolio comprising loose sheets and gatherings in the original paper wrapper original linen-covered hard chemise with spine title and original linen slipcase. Illustrated with 13 double-page original color lithographs by Miro on Arches wove paper with watermark. Signed in pencil in the colophon by Miro and numbered 96/180. This copy is from the edition of 180 numbered examples from a total edition of 205 copies. Ubu Roi is one of Joan Miró's most celebrated artist's books in which he transforms Alfred Jarry's absurd and satirical drama into a vibrant visual language of explosive color expressive forms and surreal imagery. The central character Père Ubu created by Jarry embodies greed deception and the abuse of power becoming a lasting symbol of political and social corruption. This fascinating anti-hero inspired some of Miró's most inventive graphic achievements combining literary inspiration with unparalleled chromatic intensity. Ref: Cramer #107 - Mourlot 394 397 400 403 406 409 412 415 418 421 424 427 430 In very good conditions Tériade Éditeur hardcover
1975réf. 1485101975. 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
1963réf. 3909Les Heures Claires, Paris 1959-1963. 12 volumes in-folio en feuilles (34 x 26 cm) sous couvertures imprimées rempliées, chemises et étuis décorés de l'éditeur. - 100 AQUARELLES ORIGINALES HORS-TEXTE DE SALVADOR DALI GRAVÉES SUR BOIS EN COULEURS par Raymond Jacquet. Exemplaire de grand luxe : 1 des 150 ex. numérotés sur pur chiffon de Rives filigrané comprenant : Les 6 volumes du texte illustré des 100 aquarelles gravées sur bois en couleurs en hors-texte + LA SUITE COMPLÈTE DES 100 BOIS EN COULEURS.+ LA SUITE COMPLÈTE DU TRAIT GRAVÉ SUR CUIVRE TIRÉ EN BLEU + UNE SUITE DE LA DÉCOMPOSITION DES COULEURS D'UNE PLANCHE POUR CHAQUE VOLUME. Les 6 ouvrages sont en parfait état et bien complets des 100 gravures et des 3 doubles-feuillets de justification numérotés. Les 6 volumes de suites sont collationnés et bien complets en parfaite condition. Les planches belles aux couleurs lumineuses. Les 12 emboîtages sont en parfait état de conservation. Très bel exemplaire du tirage de luxe de cette monumentale et célèbre édition. ÉTAT DE NEUF. (Références : Michler & Lopsinger, 1039 à 1138 ; Field pages 189 à 200). Provenance : acquise en 1963 directement auprès de Joseph Foret et conservée dans la même famille jusqu'à aujourd'hui. Photographies supplémentaires sur demande. - ENGLISH DESCRIPTION: Dante : LA DIVINE COMÉDIE. 100 wood-engraved plates in color. Les Heures Claires, Paris 1959-1963. 12 folio volumes in loose sheets (34 x 26 cm), under folded printed covers, original decorated slipcases of the publisher. Including THE 100 WATERCOLORS OUT OF TEXT BY SALVADOR DALI ENGRAVED ON WOOD IN COLORS by Raymond Jacquet. This one is 1 of 150 deluxe copies numbered on Rives with watermark : The 6 volumes with the Dante's text illustrated with 100 color wood engravings + THE COMPLETE SUITE OF THE 100 COLOR WOOD ENGRAVINGS + THE COMPLETE SUITE OF THE COPPER ENGRAVED LINE ART PRINTED IN BLUE + A SUITE OF THE COLOR "DECOMPOSITIONS" OF ONE PLATE FOR EACH VOLUME. The 6 volumes are in perfect condition and complete with all 100 engravings and the 3 numbered double-page justifications. The 6 volumes of suites have been collated and are complete and in perfect condition. The plates are beautiful with luminous colors. The 12 slipcases are in perfect condition. A very fine and scarce deluxe copy of this monumental and celebrated edition. MINT CONDITION. (References: Michler & Lopsinger, 1039 to 1138; Field pages 189 to 200). More pictures on request.
1939réf. 1435Paris, NRF, Gallimard, 1939. in-4 (260 x 200 mm) broché, toutes marges, 70 pages, couverture imprimée rempliée. ÉDITION ORIGINALE TRÈS RARE de ce recueil contenant : "Trois chevaux aigus. Nous sommes. Nulle rupture. À l'ombre de ma porte. Poème perpétuel. L'or et l'eau froide. Trois poèmes inachevés. Les vainqueurs d'hier périront". Tirage : 5 Japon nacré + 15 vergé d'Arches. Celui-ci l' un des 15 ex. numérotés sur vergé d'Arches (n°12), SIGNÉ PAR PAUL ÉLUARD ET MAX ERNST, ACCOMPAGNÉ DE 4 SUPERBES LITHOGRAPHIES ORIGINALES À PLEINE PAGE TIRÉES EN NOIR SUR VERGÉ DE HOLLANDE DE MAX ERNST (seuls les 20 premiers exemplaires en grand papier contiennent ces lithographies). - Note bibliographique et historique : Max Ernst avait prévu une série de douze lithographies, mais seules quatre d’entre elles furent publiées dans l’édition de luxe à petit nombre. Un an plus tôt, en 1938, désapprouvant ses positions trotskystes, Éluard avait rompu avec Breton : À sa suite Max Ernst quitte le groupe surréaliste outré d’avoir à subir l’exigence de « saboter la poésie de Paul Éluard par tous les moyens » (in Centre Georges Pompidou, Paul Éluard et ses amis peintres, 1982, p.109).
