Born on April 20, 1893 in Barcelona, Joan Miró began his studies in art early, at the age of fourteen, at the art academy of Barcelona. In 1917 he had his first solo show, the same year he met both Pablo Picasso and Francis Picabia. Although Miró’s early work was influenced by several movements of the time, including Fauvism, Cubism, and Dadaism, he became most well known among the Surrealists, whose first manifesto he signed in 1924. Throughout his career, despite occasional returns to figuration or full abstraction, Miró remained consistently true to the core tenet of Surrealism: working with the intention of liberating the creative powers of the unconscious from the constraints of logic and reason. However, although André Breton, author of the Surrealist manifesto, wrote that Miró was “probably the most Surrealistic of us all,” Miró’s work still stood apart; he omitted the accessible, representational elements present in much of the work by other Surrealists. There is a charming sense of playfulness throughout much of Miró’s oeuvre, though the onset of the Spanish Civil War inspired more solemn and melancholic motifs in his work. The war eventually caused Miró to relocate to Paris in 1936 but by 1940 he was forced to return to Spain to escape the German occupation of France. It was during this period that he began to achieve international acclaim, and a large retrospective at the Museum of Modern Art in New York in 1941 solidified his reputation within the art world. Miró’s first visit to the US in 1947 marks the beginning of his desire to communicate with a wider audience, specifically by working in public spaces. This ambition furthered his acclaim; for instance, two massive, ceramic murals for the UNESCO headquarters in Paris, representative also of his late-career interest in ceramics, won him a Guggenheim International Award in 1958. In 1975, Miró opened to the public the Fundació Joan Miró, eight years before his death in December 1983. His works are in collections around the world and in his native Spain including Fundació Joan Miró, Barcelona, the Museu d’Art Contemporani de Barcelona, the Museo Nacional Centro de Arte Reina Sofia, Madrid, and the Fundación MAPFRE, Madrid. Because of Miró’s art historical significance, and a consistent institutional presence, his market has been reliably strong; according to Sotheby’s Mei Moses, the average compound annual return for Joan Miró was 8.0%, with an 88.7% of works by Miró increasing in value.

Joan Miró

Joan MiróLe Père Ubustamped with the foundry mark&nbsp;R. Haligon, Plastiques d’Art&nbsp;(on the inner edge of the blue foot)&nbsp;painted resinheight: 72 in. 182.9 cm.&nbsp;Concieved in 1974; this work is unique.

Le Père Ubu

Personnage à la Flèche Noire [Figure with Arrow], by <a href="https://www.sothebys.com/en/search?query=Joan+Mir%C3%B3&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Joan Miró</a>, 1977.<ul><li>Joan Miró (Spanish, 1893-1983).</li><li>Etching with aquatint in colors on Wove Arches paper.</li><li>Hand-signed and numbered.</li><li>Edition 20/50.</li><li>This work is presented unframed.</li></ul> This original etching with aquatint in colors is hand signed in pencil by the artist "Miró" at lower right corner. It is also hand numbered in pencil from the edition of 50, at the lower left corner. It was printed by Morsang, Paris, in 1977 in a total edition of 50 impressions. There were also a twelve hors Commerce [Out of Trade] proofs aside from the regular edition. It was published by Maeght Éditeur, Paris. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated following purchase.

Figure with Arrow | Personnage à la Flèche Noire

Le Croc des Phynances I [The Fang of Finances I] by <a href="https://www.sothebys.com/en/search?query=Joan+Mir%C3%B3&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Joan Miró</a>, 1971.<ul><li>Joan Miró (Spanish, 1893-1983).</li><li>Lithograph in colors on Arches Wove paper.</li><li>Hand-signed and dedicated.</li><li>This work is presented unframed.</li></ul> This original lithograph in colors is hand signed in pencil by the artist "Miró" at the lower right margin. It is also dedicated in pencil “à René Le Moigne", at the lower left margin. This impression is an artist’s proof aside from the standard edition of 30. It was printed by Arte Adrien Maeght, Paris and was published by Maeght Éditeur, Paris in 1971. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated following purchase.

The Fang of Finances I | Le Croc des Phynances I

Rupestres VI [Cave Paintings VI] by <a href="https://www.sothebys.com/en/search?query=Joan+Mir%C3%B3&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Joan Miró</a>, 1979.<ul><li>Joan Miró (Spanish, 1893-1983).</li><li>Etching with aquatint in colors on Arches Wove paper.</li><li>Hand-signed and numbered.</li><li>Edition 5/30.</li><li>This work is presented unframed.</li></ul> This original etching and aquatint in colors is hand signed in pencil by the artist "Miró" at the lower right margin. It is also hand numbered in pencil from the edition of 30, at the lower left margin. It was printed in a limited edition of 30 hand signed and numbered impressions by Joan Barbarà, Barcelona, and published by Maeght, Barcelona. This is the sixth plate from the total of 28 plates for the series Els Rupestres [Cave Paintings]. The work has been authenticated and certified by Rosa Maria Malet, the director of the Fundació Miró in Barcelona. Her certification is handwritten and signed in pencil on the verso. Miró contacted Joan Barbarà, whom he had met earlier in Crommelynck’s and Dutrou’s studio in Paris. Before beginning the Gaudí series, Miró thought it advisable to have a test run and adapt himself to Barbarà’s way of working. They both worked very freely, allowing for much experimentation. Out of this came several series, each with a clear character of its own, and all masterfully executed. Unlike most of Miró’s production, for which he usually chose titles in French, the titles for these series were in Catalan. Els Rupestres (1977) and Grans Rupestres (1977) are two print series that recreate the primitive, vivid atmosphere of prehistoric mural paintings. Miró had visited the Altamira caves with ceramist Artigas when he was searching for ideas to develop in the murals commissioned for the UNESCO headquarters in Paris, which he completed in 1958. Almost twenty years later, he once again drew on the gestural and synthetic qualities of cave painting with even greater synchrony than before. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated following purchase.

Cave Paintings VI | Rupestres VI

Five prints from Journal d'un Graveur by <a href="https://www.sothebys.com/en/search?query=joan+miro&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Joan Miró</a>, 1975.<ul><li>Sold as a set of 5.</li><li>Joan Miró (Spanish, 1893-1983).</li><li>Drypoint etchings on Rives vellum.</li><li>Each signed and numbered in pencil.</li><li>Edition 6/75.</li><li>Published by Maeght, Paris.</li><li>Printed by Morsang, Paris.</li><li>Each is presented framed.</li></ul> Five etchings from the Journal D'un Graveur, a series which is made up of 3 volumes, each containing a suite of 15 dry-points, preceded by an engraving in color wash, etching and aquatint. All the plates, signed and numbered, are gathered together under a cover engraved with an etching. Each volume also contains a final etched engraving unsigned, unnumbered. 75 Copies were pulled on Rives vellum, numbered 1 to 75, and 10 copies not for sale, numbered 1 to X. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

Five Prints from Journal d'un Graveur

Composition VI, from Gaudí by <a href="https://www.sothebys.com/en/search?query=joan+miro&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Joan Miró</a>, 1979.<ul><li>Joan Miró (Spanish, 1893-1983).</li><li>Etching with aquatint on Arches Wove paper.</li><li>Hand-signed and nunmbered.</li><li>Edition 28/50.</li><li>This work is presented unframed.</li></ul> This etching is hand signed in pencil by the artist "Miró" in the lower right margin. It is also hand numbered in pencil from the edition of 50, in the lower left margin. The work was part of Miró's important series Gaudí that included 21 different etchings. It was printed in a limited edition of 50 hand signed and numbered impressions. There were also 15 hors commerce [out of trade] impressions. It was printed by Joan Barbarà, Barcelona and published by Maeght, Barcelona in 1979. After Miró had established his printing studio in his Son Boter studio in 1975, he was able to start his major project: a print series dedicated to the great Catalan architect Antoni Gaudí, a figure he greatly admired. Miró met Gaudi during his adolescence while he was attending drawing classes at the Cercle de Sant Lluc. Miró greatly admired this Catalan Modernist architect, considering Gaudí’s work among his sources of inspiration. Miró decided to prepare this series carefully in advance before proceeding. In order to "be in shape", as he described it, he produced together with the engraver Joan Barbarà a variety of works such as Enrajolats, La commedia dell’arte, Rupestres, Personatges i estels and La gran rodona. The Gaudí series comprises 21 prints in which Miró used all conceivable resources, ranging from traditional techniques to the most innovative methods, such as etching, sugar-lift aquatint, carborundum, embossing, and collage. Miró worked from a series of preliminary sketches and originals made with pencil, pastel, ink, gouache, and collage. The original designs for the Gaudí series were finished before Barbarà began his collaboration with Miró. All the matrices that were used for this series were copper plates, some plated with nickel. The creative process for this series took place at the Son Boter studio beginning in 1976; it was then printed in Barcelona in 1979, in an edition of 50. The result of this process is a gallery of images in which the sobriety of the black hues contrasts with the palette of blues, reds, yellows, and greens. All of these colors often configure a sort of multi-shaped, uneven grid whose changing geometry suggests the kaleidoscopic, irregular mosaic work used by Gaudí to envelop his architectural elements. The Fundació Pilar i Joan Miró holds all the original designs that were used as a starting point for this series, as well as a large number of plates and color proofs. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated following purchase.

Composition VI, from Gaudí

The Return Journey III, from: Series for King Ubu, by <a href="https://www.sothebys.com/en/search?query=Joan+Mir%C3%B3&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Joan Miró</a>, 1966.<ul><li>Joan Miró (Spanish, 1893-1983).</li><li>Le Voyage de Retour III, from: Suites pour Ubu Roi.</li><li>Lithograph in colors on Arches Wove paper.</li><li>Hand signed and numbered.</li><li>This work is presented unframed.</li></ul> This lithograph in colors is hand signed in pencil by the artist "Miró" at the lower right corner. It is also hand numbered in pencil from the edition of 75, at the lower left corner. There were also 25 hors commerce [out of trade] impressions. The work was part of a portfolio entitled "Roi Ubu" [King Ubu] realised by the artist in 1966. It was printed by Atelier Mourlot, Paris and published by Tériade Éditeur, Paris. The paper bears the Arches watermark along the lower margin. Ubu Roi (Ubu the King) is a play by Alfred Jarry, premiered in 1896. It is a precursor of the Theatre of the Absurd and Surrealism. It is the first of three stylized burlesques in which Jarry satirizes power, greed, and their evil practices—in particular the propensity of the complacent bourgeois to abuse the authority engendered by success. It was followed by Ubu Cocu [Ubu Cuckolded] and Ubu Enchaîné [Ubu Enchained], neither of which was performed during Jarry's 34-year life. Père Ubu first appeared in 1888 in a collaboration between Alfred Jarry and a fellow student at the Rennes Lycée, but his first public appearance came in 1893 when Jarry published some of prose works in an avant-garde review, the Minutes de Sable Mémorial. His triumph, however, was on the stage when the director of the Theâtre de l'Oeuvre, Lugne-Poe staged a production of Ubu Roi. The audience received the play with screams, whistles, fist-shaking, the critics took up the cudgels and the play became infamous and its author an avant-garde hero. Joan Miró used Ubu Roi as a subject of his most famous series, made of 50 1940 lithographs known as "the Barcelona Series." These pictures could be Ubu Roi but they also satirize General Franco and his generals after he had won the Spanish Civil War. He revisited this subject many times in his oeuvre. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated at time of purchase.

The Return Journey III, from: Series for King Ubu

Composition II, from Gaudí, by <a href="https://www.sothebys.com/en/search?query=Joan+Mir%C3%B3&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Joan Miró</a>, 1979.<ul><li>Joan Miró (Spanish, 1893-1983).</li><li>Etching with aquatint on Arches Wove paper.</li><li>Hand-signed and numbered.</li><li>Edition 33/50.</li><li>This work is presented unframed.</li></ul> This etching is hand signed in white pencil by the artist "Miró" in the lower right image. It is also hand numbered in pencil from the edition of 50, in the lower left image. The work was part of Miró's important series Gaudí that included 21 different etchings. It was printed in a limited edition of 50 hand signed and numbered impressions. There were also 15 hors commerce [out of trade] impressions. It was printed by Joan Barbarà, Barcelona and published by Maeght, Barcelona in 1979. After Miró had established his printing studio in his Son Boter studio in 1975, he was able to start his major project: a print series dedicated to the great Catalan architect Antoni Gaudí, a figure he greatly admired. Miró met Gaudi during his adolescence while he was attending drawing classes at the Cercle de Sant Lluc. Miró greatly admired this Catalan Modernist architect, considering Gaudí’s work among his sources of inspiration. Miró decided to prepare this series carefully in advance before proceeding. In order to "be in shape", as he described it, he produced together with the engraver Joan Barbarà a variety of works such as Enrajolats, La commedia dell’arte, Rupestres, Personatges i estels and La gran rodona. The Gaudí series comprises 21 prints in which Miró used all conceivable resources, ranging from traditional techniques to the most innovative methods, such as etching, sugar-lift aquatint, carborundum, embossing, and collage. Miró worked from a series of preliminary sketches and originals made with pencil, pastel, ink, gouache, and collage. The original designs for the Gaudí series were finished before Barbarà began his collaboration with Miró. All the matrices that were used for this series were copper plates, some plated with nickel. The creative process for this series took place at the Son Boter studio beginning in 1976; it was then printed in Barcelona in 1979, in an edition of 50. The result of this process is a gallery of images in which the sobriety of the black hues contrasts with the palette of blues, reds, yellows, and greens. All of these colors often configure a sort of multi-shaped, uneven grid whose changing geometry suggests the kaleidoscopic, irregular mosaic work used by Gaudí to envelop his architectural elements. The Fundació Pilar i Joan Miró holds all the original designs that were used as a starting point for this series, as well as a large number of plates and color proofs. Please note: This item is excluded from complimentary shipping. Shipping quote will be calculated following purchase.

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