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    The first section of this series (parts 1 - 11 was posted in July 2018) and featured books from between the 1850s to 1881.


    These posts (parts 12 - 23) features books published between 1881 and 1904.

    Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

    Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.
    This is part 22 of an 23 - part series on children's books 1850s - 1881:


    1899 Father Goose His Book:








































    1899 Jack and the Beanstalk
    illustrated by Percy James Billinghurst (born 1871 Stoke Newington, London, UK – died 1933 Barnet, London, UK:























































    1900 Cinderella's Play Book
    illustrated by Amy Millicent Sowerby :




    Amy Millicent Sowerby (1878 Gateshead, England – 1967 aged 89) known as Millicent Sowerby, was an English painter and illustrator, known for her illustrations of classic children's stories such as Alice’s Adventures in Wonderland (1907) and A Child’s Garden of Verses, her postcards featuring children, nursery rhymes, and Shakespeare scenes, and children's books created with her sister Githa Sowerby.






































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    The first section of this series (parts 1 - 11 was posted in July 2018) and featured books from between the 1850s to 1881.


    These posts (parts 12 - 23) features books published between 1881 and 1904.

    Until the mid-18th century, children's books mainly consisted of moralistic or enlightening stories propagating the religious and ethical view that hard work and diligence determines a person's life. Little consideration was given to children's reading pleasure.

    Amid this trend, John Newbery (1713-1767), a London-based bookseller, took up full-fledged publication of books that were both "entertaining and useful" for children. A Little Pretty Pocket-book, published by Newbery in 1744, is said to be the first book that provided children with not only moral lessons but also entertainment. Newbery went on to publish numerous books for middle-class children in urban areas, whose number continued to increase. Newbery became well known in the United States as well; the most prestigious American award for children's literature is named after him - the John Newbery Medal, inaugurated in 1922.
    This is part 23 of an 23 - part series on children's books 1850s - 1881:


    1900 Mother Wild Goose and her Wild Beast Show by L.J. Bridgman:


    Lewis Jesse BridgmanAuthor and illustrator of numerous children's books.

    Born in Lawrence, Massachusetts, The United States 17 November 1857. Died 1931.































































































    1900 My Very Own Picture Book:
















    1900s Playtime Story Book 
    illustrated by Maud Humphrey:

























    1903 Denslow's 5 Little Pigs:








































    1904 Denslow's Animal Fair:











































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  • 10/29/18--07:28: Joan Miró - part 1
  • Joan Miró Ferra was born April 20, 1893, in Barcelona. At the age of 14, he went to business school in Barcelona and also attended La Lonja’s Escuela Superior de Artes Industriales y Bellas Artes in the same city. Upon completing three years of art studies, he took a position as a clerk. After suffering a nervous breakdown, he abandoned business and resumed his art studies, attending Francesc Galí’s Escola d’Art in Barcelona from 1912 to 1915. Miró received early encouragement from the dealer José Dalmau, who gave him his first solo show at his gallery in Barcelona in 1918. In 1917 he met Francis Picabia.


    In 1920 Miró made his first trip to Paris, where he met Pablo Picasso. From this time, Miró divided his time between Paris and Montroig, Spain. In Paris he associated with the poets Max Jacob, Pierre Reverdy, and Tristan Tzara and participated in Dada activities. Dalmau organised Miró’s first solo show in Paris, at the Galerie la Licorne in 1921. His work was included in the Salon d’Automne of 1923. In 1924 Miró joined the Surrealist group. His solo show at the Galerie Pierre, Paris, in 1925 was a major Surrealist event; Miró was included in the first Surrealist exhibition at the Galerie Pierre that same year. He visited the Netherlands in 1928 and began a series of paintings inspired by Dutch masters. That year he also executed his first papiers collés (pasted papers) and collages. In 1929 he started his experiments in lithography, and his first etchings date from 1933. During the early 1930s he made Surrealist sculptures incorporating painted stones and found objects. In 1936 Miró left Spain because of the civil war; he returned in 1941. Also in 1936 Miró was included in the exhibitions Cubism and Abstract Art and Fantastic Art, Dada, Surrealism at the Museum of Modern Art, New York. The following year he was commissioned to create a monumental work for the Paris World’s Fair.


    Miró’s first major museum retrospective was held at the Museum of Modern Art, New York, in 1941. In 1944 Miró began working in ceramics with Josep Lloréns y Artigas and started to concentrate on prints; from 1954 to 1958 he worked almost exclusively in these two mediums. He received the Grand Prize for Graphic Work at the Venice Biennale in 1954, and his work was included in the first Documenta exhibition in Kassel the following year. In 1958 Miró was given a Guggenheim International Award for murals for the UNESCO building in Paris. The following year he resumed painting, initiating a series of mural-sized canvases. During the 1960s he began to work intensively in sculpture. Miró retrospectives took place at the Musée National d’Art Moderne, Paris, in 1962, and the Grand Palais, Paris, in 1974. In 1978 the Musée National d’Art Moderne exhibited over five hundred works in a major retrospective of his drawings. Miró died on December 25, 1983, in Palma de Mallorca, Spain.

    biography from Solomon R. Guggenheim Museum, New York


    Note: All Miro works © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris


    This is part-1 of a 23-part series on the works of Joan Miró:


    1912-13c The Farmer
    oil on canvas 65 x 50 cm
    Private Collection

    1913 Night Birds
    gouache and graphite, with scraping, on tan wove paper 32.1 x 49.1 cm
    Art Institute of Chicago, IL

    1915 La Cafetière
    oil on board 50.8 x 55.7 cm

    1916 Pot of Flowers and Lemon
    oil on board laid down on board 63.8 x 50.8 cm

    1917 Ciurana, ( Siuriana ) the Path
    oil on canvas 60.6 x 73.3 cm
    1917 Ciurana, ( Siuriana ) 
    oil on canvas

    1917 Paysage ( Le lièvre )
    oil on canvas 129.6 x 194.6 cm
    Guggenheim Museum Bilbao, Spain

    1917 Portrait of Enric Cristòfol Ricart
    oil and pasted paper on canvas 81 . x 65.7 cm
    Museum of Modern Art, New York

    1917 Portrait of V. Nubiola
    oil on canvas 104 x 113 cm
    Folkwang Museum, Essen, Germany

    1917 Prades, the Village
    oil on canvas 65 x 72.6 cm
    Solomon R. Guggenheim Museum, New York

    1917 Seated Nude Holding a Flower
    oil on canvas 81.3 x 65.4 cm
    The Metropolitan Museum of Art, New York

    1917 Self-Portrait
    oil on canvas 61 x 50 cm

    1918 Juanita Obrador
    oil on canvas 69.5 x 62 cm
    Art Institute of Chicago, IL

    1918 Portrait of Heriberto Casany
    oil on canvas 70.2 x 62 cm
    Kimbell Art Museum, Fort Worth, Texas

    1919 Lady with Hat
    graphite on paper 19.1 x 16.5 cm
    The Metropolitan Museum of Art, New York

    1919 Nude with Mirror
    oil on canvas 112 x 102 cm
    Kunstsammlung Nordrhein-Westfalen, Düsseldorf

    1919 Village and Church of Mont-roig
    oil on canvas 73 x 60 cm
    Fundació Joan Miró, Barcelona

    1919 Vines and Olive Trees, Tarragona
    oil on canvas 72.7 x 89.9 cm
    The Metropolitan Museum of Art, New York

    1920 Horse, Pipe and Red Flower
    oil on canvas 82.6 x 74.9 cm
    Philadelphia Museum of Art, PA

    1920 The Table, called Still life with Hare ( or Rabbit )
    oil on canvas 110 x 130 cm
    Private Collection

    1921 Portrait of a Spanish Dancer
    oil on canvas 65 x 56 cm
    Musée Picasso, Paris

    1921 Standing Nude
    oil on canvas 130 x 96 cm
    Peris Galleries, New York

    1921-22 The Farm
    oil on canvas 123.8 x 141.3 cm
    National Gallery of Art, Washington, DC

    1922-23 Still Life I
    oil on canvas 37.8 x 46 cm
    Museum of Modern Art, New York

    1922-23 The Farmer's Wife
    oil on canvas 81 x 65 cm
    Private Collection

    1923-24 The Hunter ( Catalan Landscape )
     oil on canvas 64.8 x 100.3 cm
     Museum of Modern Art, New York

    1923-24 The Tilled Field
    oil on canvas 66 x 92.7 cm
    Solomon R. Guggenheim Museum, New York

    1924 Head of a Catalan Peasant
    oil and crayon on canvas 146 x 114.2 cm
    National Gallery of Art, Washington, DC

    1924 Maternity
    oil on canvas 92 x 73 cm
    National Galleries of Scotland, Edinburgh, UK

    1924 Painting ( The Bottle of Wine )
    oil on canvas 73.5 x 65.5 cm
    Fundació Joan Miró, Barcelona

    1924 Somersault ( Le renversement )
    oil, graphite, charcoal and tempera on canvasboard 92.4 x 72.8 cm
    Yale University Art Gallery, New Haven, CT

    1924 The Kerosene Lamp
    charcoal, with red Conté and coloured crayons, touches of graphite, and scraping, heightened with white oil paint, on canvas prepared with a glue ground 81 x 100.3 cm

    1924 The Tilled Field
    oil on canvas 66 x 92.7 cm
    Solomon R. Guggenheim Museum, New York

    1924 Viticulture
    black crayon and watercolour, with graphite and incising, on cream wove paper 62.9 x 48.2 cm
    Art Institute of Chicago, IL

    1924-25 Harlequin's Carnival
    oil on canvas 66 x 90.5 cm
    Albright Know Gallery, Buffalo, NY

    1924-25 Head of a Catalan Peasant
    oil on canvas 47 x 44.4 cm

    1925 Head of a Catalan Peasant
    oil oil on canvas 92 x 73.2 cm
    Tate, London

    1925 Figure
    oil ( and egg tempera? ) on canvas 130 x 96.2 cm
    Solomon R. Guggenheim Museum, New York

    1925 Painting ( The White Glove )
    oil on canvas 113 x 89.5 cm
    Fundació Joan Miró, Barcelona

    1925 Painting / Man with a Pipe
    oil on canvas 146 x 114 cm
    Museo Reina Sofía, Madrid, Spain

    1925 Painting
    oil on canvas 49 x 60 cm
    Fundació Joan Miró, Barcelona

    1925 Painting
    oil on canvas
    73 x 100 cm Fundació Joan Miró, Barcelona

    1925 Painting
    oil on canvas 103 x 76 cm
    Galerie Hans Mayer, Düsseldorf, Germany

    1925 Painting
    oil on canvas 114.5 x 145.7 cm
    Peggy Guggenheim Collection

    1925 Photo: This is the Colour of my Dreams
    oil on canvas 96.5 x 129.5 cm
    The Metropolitan Museum of Art, New York

    1925 The Birth of the World
    oil on canvas 250.8 x 200 cm
    Museum of Modern Art, New York

    1925 The Music-Hall Usher
    100 x 78 cm
     Fundació Joan Miró, Barcelona

    1925 The Policeman
    oil on canvas 248 x 194.9 cm

    1926 Danseuse espagnole
    pencil on paper 63 x 47.5 cm
    Galeria Marc Domenech, Barcelona, Spain

    1926 Dog Barking at the Moon
    oil on canvas 73 x 92 cm
     Philadelphia Museum of Art, PA

    1926 Painting
    oil on canvas 73.3 x 92.1 cm
    San Francisco Museum of Modern Art, CA

    1926 Person Throwing a Stone at a Bird
    oil on canvas 73.7 x 92.1 cm
    Museum of Modern Art, New York

    1926 Searching for Shelter
    watercolour, pen and ink on paper mounted on card 29.9 x 46.7 cm
    Private Collection

    1926 Spanish Dancer ( Tapestry Design )
    oil on paper mounted on canvas 35 x 27 cm

    1926 Spanish Dancer
    Tapestry

    1927 Animated Landscape
    oil on canvas 129.5 x 194.9 cm
    The Metropolitan Museum of Art, New York

    1927 Circus Horse
    oil and tempera o canvas 24.2 x 33 cm
    Art Institute of Chicago, IL

    1927 Circus Horse
     tempera on canvas 130.5 x 97 .2 cm
    The Metropolitan Museum of Art, New York


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  • 10/29/18--10:28: Camille Corot – part 12


  • Jean-Baptiste-Camille Corot (1796 – 1875) was a French landscape and portrait painter, as well as printmaker. He is regarded as a pivotal figure in landscape painting; his vast output simultaneously referencing the Neo-Classical tradition and anticipating the ‘plein-air’ innovations of Impressionism.

    For full biographical notes see Part 1, and for earlier works see Parts 1 to 11 also.



    This is part 12 of a 16-part series on the works of Camille Corot:



    1865c The Letter
    Oil on wood 54.6 x 36.2 cm
    The Metropolitan Museum of Art, New York City

    1865c The Muse: History
    Oil on canvas 46 x 35.2 cm
    The Metropolitan Museum of Art, New York City

    1865c The Pond
    Oil on canvas 56.8 x 84.8 cm
    National Museum of Wales, Cardiff

    1865c Ville d'Avray
    Oil on canvas 49.3 x 65.5 cm
    National Gallery of Art, Washington, DC

    1866 Agostina
    Oil on canvas 132.4 x 97.6 cm
    National Gallery of Art, Washington, DC

    1866 Environs de Rome
    Etching 31.6 x 23.6 cm ( plate )
    de Young Legion of Honour / Fine Arts Museums of San Francisco, CA

    1866 Italian Landscape
    Etching on ivory laid paper 16 x 23.8 cm ( plate )
    Art Institute of Chicago, IL

    1866 Marissal, Path to the Front of the Church
    Oil on panel
    Private Collection

    1866 Solitude, Souvenir of Vigen, Limousin
    Oil on canvas 95 x 130 cm
    Museo Thyssen-Bornemisza, Madrid

    1866 Souvenir of Italy
    Etching 29.5 x 22.2 cm ( plate )
    Fine Arts Museums of San Francisco, CA

    1866 Wooded Countryside
    Etching on ivory laid paper 11 x 13.8 cm
    Art Institute of Chicago, IL

    1866-67 The Church of Marissel
    Oil on canvas 55.9 x 42.7 cm
    Musée du Louvre, Paris

    1866-70c Pond at Ville d'Avray
    Oil on canvas 87 x 127 cm
    Cleveland Museum of Art, Ohio

    1866-70c Young Woman Weaving a Wreath of Flowers
    Oil on canvas 70.2 x 47 cm
    Museum of Fine Arts, Boston, MA

    1866c Goatherds on the Borromean Islands
    Oil on canvas 60 x 78 cm


    1866c The Park of Monsieur Wallet at Voisinlieu
    Oil on canvas 34.2 x 52 cm
    Private Collection

    1867 Montfermeuil, the Brook in the Wood
    Oil on canvas 58 x 49 cm
    The Ashmolean Museum of Art and Archaeology, Oxford, UK

    1867c Saint Sebastian ( study )
    Watercolour 25 x 13.9 cm
    Walters Art Museum, Baltimore, MD

    1867c The Ponds of Ville d'Avray
    Oil on canvas
    Portland Art Museum, Oregon

    1868 Coulommiers, The Garden of M. Preschez
    Oil on canvas
    Private Collection

    1868 Peasant Woman Guarding a Cow by the Water
    Oil on canvas 46 x 38.1 cm
    Private Collection

    1868 The Knight
    Oil on canvas
    Musée du Louvre, Paris

    1868-70 The Halberdsman
    Oil on canvas 114 x 65.7 cm
    Private Collection

    1868-70c Man in Armour
    Oil on canvas 73 x 59 cm
    Musée d'Orsay, Paris

    1868 Woman in Velvet Skirt Reading
    Oil on canvas
    Minneapolis Institute of Arts, Minnesota

    1868-70 Portrait of a Young Woman
    Oil on canvas 78 x 58 cm
    Szépmüvészeti Múzeum, Budapest, Hungary


    1868-70 Wounded Eurydice
    Oil 55.9 x 41.3 cm
    Art Institute of Chicago, IL

    1868-70c Shepherd and Shepherdess at Play
    Oil on canvas
    Private Collection

    1868-70c The Bridge at Mantes
    Oil on canvas 38 x 55 cm
    Musée du Louvre, Paris

    1868-70c Turn in the Road
    Oil on canvas 62.5 x 48 cm
    Museum of Fine Arts. Boston, MA

    1868-70c Woman with a Pearl
    Oil on canvas 70 x 55 cm
    Musée du Louvre, Paris

    1868c Evening in Gue
    Oil on canvas 100 x 133.5 cm
    Musée des Beaux-Arts Rennes, France

    1868c Morning Mist in Ville d'Avray: A Cowgirl
    Oil on canvas 102 x 155.4 cm
    Musée des Beaux-Arts Rouen, France

    1868c Young Girl Reading
    Oil on board 32.5 x 41.3 cm
    National Gallery of Art, Washington, DC

    1869 In the Dunes: Souvenir of the Woods of the Hague
    Etching on ivory laid paper 12.2 x 19.1 cm
    Art Institute of Chicago, IL

    1869-70 A Woman Reading
    Oil on canvas 54.3 x 37.5 cm
    The Metropolitan Museum of Art, New York City

    1869-70 Souvenir of the Fortifications of Douai
    Etching on ivory laid paper 15.9 x 23.8 cm ( plate )
    Art Institute of Chicago, IL

    1869-70 Venus Clipping Cupid's Wings, first plate
    Etching on off-white Japanese paper 23.8 x 15.7 cm ( plate )
    Art Institute of Chicago, IL

    1869-70c Diana Bathing
    Oil on canvas 72.1 x 41 cm
    Museo Thyssen-Bornemisza, Madrid

    1869-70c Le Dome Florentin
    Etching 24.2 x 16.2 cm
    Fine Arts Museums of San Francisco, CA

    1870 Portrait of a Woman
    Oil on canvas 41.3 x 33 cm
    The Phillips Collection, Washington, DC

    1870 Stormy Weather in the Pas-de-Calais
    Oil on canvas 39 x 55 cm
    The Pushkin State Museum of Fine Arts, Moscow

    1870 The Artist's Studio
    Oil on canvas 63 x 48 cm
    Musée des Beaux-Arts de Lyon, France

    1870 The Beech Tree
    Oil on canvas 47 x 56 cm
    Amgueddfa Cymru, Cardiff, UK

    1870 Ville-d'Avray
    Oil on canvas 54.9 x 80 cm
    The Metropolitan Museum of Art, New York City

    1870-71 Two Women Playing with a Child
    Oil on canvas 61 x 50.2 cm
    Private Collection

    1870-72 Haydée
    oil on canvas 60 x 44 cm
    Musée du Louvre, Paris

    1870-72c Bridge in the Coubron Valley
    Oil on canvas 21 x 33 cm
    Private Collection

    1870-72c Crecy-en-brie - Road in the Countryside
    Oil on canvas 32.1 x 41.3 cm
    Private Collection


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  • 09/03/18--06:34: Lawson Wood – part 1

  • Lawson Wood was born on 23 August 1878 in Highgate, London, the son of landscape artist Pinhorn Wood, and the grandson of architectural artist L.J. Wood. He studied at the Slade School of Fine Art, Heatherley's School of Fine Art and Frank Calderon's School of Animal Painting.
    In 1896, he was employed with periodical publisher C. Arthur Pearson Ltd. In 1902, he married Charlotte Forge. From the age of 24 he pursued a successful freelance career and was published in The Graphic, The Strand Magazine, Punch, The Illustrated London News, and Boys Own Paper. He illustrated a number of books including The Invaders by Louis Tracy in 1901 for Pearson.

    By 1906 his comic style was at its best; clean-lined and colourful and his sense of humour sharp and observant. It was in this year and in those immediately following that he produced some of his most impressive work. Lawson Wood's popularity and his reputation as a leading comic artist were well established. He was especially noted for his "prehistoric" humour that paired stone-age humans with caricatures of dinosaurs.


    1905-10c Pre-historic Courtship No.2 Dismissing a rival.

    An active member of the London Sketch Club, Lawson Wood was a close friend of one of its most famous and well-loved members, Tom Browne. The time of his membership in the early days of the century was his madcap Bohemian period, when the influence of fellow Sketch Club members, in particular Browne, is evident. It has also come to be recognised as his golden period artistically. Wood was elected a member of the Royal Institute of Painters in Watercolours and showed prolifically with Walker's Galleries and Brook Street Art Gallery and also at the Royal Academy.
    During the First World War, Lawson Wood served as an officer in the Kite Balloon Wing of the Royal Flying Corps engaged in one of the war's most dangerous tasks - plane spotting from a balloon. This he undertook with gallantry. Indeed, the French decorated him for his action over Vimy Ridge. Despite his active service, Wood continued to draw, and Dobson Molle & Co. published the patriotic designs he produced during the war.

    Once peace returned, Lawson Wood's love of animals came to the fore in his work. To ensure accuracy of detail, Lawson Wood regularly visited London Zoo and a small menagerie in Eastbourne, The Wannock Tea Garden. Inter-Art and Valentine published many of his designs. He also set up a factory producing "The Lawson Woodies" simple wooden toys of animals, birds and humans to his own designs.


    "The Lawson Woodies" at Sidmouth Museum, Devon, UK
    Photo by Alan Pipes

    Lawson Wood gained immense popularity with his humorous drawings of comic policemen, dinosaurs, prehistoric and Stone Age characters, and apes and monkeys often seen performing absurd antics against immaculate, dead-pan backgrounds. Eventually Gran'pop, the artful ginger ape and the rest of the chimpanzee family were to bring him fame on both sides of the Atlantic. The Gran'pop's Annuals were a yearly excursion into comic absurdities that were popular around the world.

    1950 Gran'pop's Annual published by Dean & Son

    In 1934 Wood was awarded a fellowship of the Royal Zoological Society for his active work with animals and their welfare. He set up his own animal sanctuary for aged creatures.
    Towards the end of his life he lived as something of a recluse in a 15th century medieval manor house which he discovered in the heart of Sussex and which he moved brick by brick to the loveliest part of the Kent and Sussex borders. He died there on 26 October 1957 at the age of 79.

    Biography by Jayne Felicity Smith of Guggenheim Pictorials




    This is part 1 of a 10-part series on the works of Lawson Wood:



    1903 The Bystander
    "Knowledge Puffeth up the Little Man"
     September 6 1903

    1905 Harper's Weekly
    "Adding Insult to Injury."

    1905 The Children's Song Book

    1905 The Sketch
     Freak Dinners: An anticipation of a suburban imitation.

    1905 The Sketch
    With the Fleet - at Earl's Court

    1905 The Sketch
    Railway-advice to travellers:
     "To avoid personal trouble - send you luggage in advance!"

    1905 The Sketch
    Simplicity is the victim of invention.

    1905 The Sketch
    The retort obvious and discourteous.
    1905-10c Pre-historic Courtship
    No.3 "Marriage"

    1905-10c Pre-historic Courtship No.4
    "Off for the Honeymoon"

    1905-10c Pre-historic Courtship No.5
    "The first tiff"

    1905-10c Pre-historic Courtship No.6
    "Divorce"

    1906 Deliver us from evil, the spirit is willing but the flesh is weak
    watercolour and bodycolour 33.6 x 24.8 cm

    1906 How to Spend a Happy Day. ( How to be photographed. )
    postcard

    1906 The Bystander Jumping to Conclusions
    July 15 1906

    1906 The Sketch
    "Carrot and Soda, or Turnip Squash, Sir?"
    August 1 1906

    1906 The Sketch
     "What is one among so many?" The Bread-Winner
    August 15 1906

    1906 The Sketch
    A Variety Entertainment at Henley
    July 4 1906

    1906 The Sketch
    Duty Before All
    March 14 1906

    1906 The Sketch
    Fie, Fido!
    February 14 1906

    1906 The Sketch
    For Gentlemen of leisure: Back to the land.
    May 30 1906

    1906 The Sketch
    Love's young dream
    February 28 1906

    1906 The Sketch
    Baby as an undesirable.
    May 16 1906

    1906 The Sketch
    Origins of modern etiquette
    January 3 1906

    1906 The Sketch
    Origins of modern etiquette
     January 10 1906

    1906 The Sketch
    Origins of Modern Etiquette
    January 17 1906

    1906 The Sketch
    Origins of Modern Etiquette
     January 24 1906

    1906 The Sketch
     Origins of Modern Etiquette
     January 31 1906

    1906 The Sketch. Prehistoric People.
    Consternation of the domestic circle on finding the "Broker's Man" in
    March 7 1906

    1906 The Sketch
    Short Notice!
    June 6 1906

    1906 The Sketch
    The amateur snail-hunter
     March 21 1906

    1906 The Sketch
    The better part of valour.
     "Prenez Garde!"
    April 4 1906

    1906 The Sketch
    The Dream that Failed.
    February 21 1906

    1906 The Sketch
    Why not a "Triangle camp" on the terrace?
    A pictorial hint to land-grabbers - from Manchester or Plaistow.
    July 25 1906

    1906c How to Spend a Happy Day
    postcard

    1907 The Sketch
    A Sure Catch.
    Expecting a bite.
     March 7 1906

    1907 The staff artist
    pen and ink 22.9 x 29.2 cm

    1908 "Coming thro' the rye"
    The Pictorial Stationery Co. "Peacock" Series postcard

    1908 Doings of the Little Brother
    Shows his new Mask to the Butler
    postcard

    1908 How to scout: "When finding any small party without an escort, capture it immediately."
    postcard

    1909 Flying Tips
    postcard

    1909 Rules for Rollers "All the novice has to do is to learn to 'walk' with ease and grace."
    postcard

    1909 Untitled

    1910 Brush Pen and Pencil
    The Book of Lawson Wood.

    1910c "Swank."
    postcard

    1910c Small Fry.
    postcard

    1910c The Price of a Pear.
    postcard

    1910s Sweet Sir?
    postcard

    1912 In Disgrace.
     postcard


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  • 11/01/18--07:10: Joan Miró - part 2

  • Joan Miró (1893 Barcelona, Spain – 1983 Palma de Mallorca, Spain).

    Early in his career, Miró primarily painted still-lifes, landscapes, and genre scenes. Influences ranging from the folk art and Romanesque church frescoes of his native Catalan region in Spain to 17th-century Dutch realism were eventually superseded by more contemporary ones: Fauvism, Cubism, and Surrealism captivated the young artist, who had relocated to Paris in 1921. His exposure to the ideas of André Breton and Breton's Surrealist circle prompted Miró to make radical changes to his style, although the artist cannot be said to have identified consistently with a single school. Rather, his artistic career may be characterised as one of persistent experimentation and a lifelong flirtation with non-objectivity. Miró's signature biomorphic forms, geometric shapes, and semi-abstracted objects are expressed in multiple media, from ceramics and engravings to large bronze installations.


    For a full biography of Miró, and for earlier works, see part 1 also.

    Note: All Miro works © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris

    c1930 Joan Miró by Man Ray
    gelatin silver print

    This is part-2 of a 23-part series on the works of Joan Miró:


    1927 Cloud and Birds
    oil on canvas 146 x 114 cm
    Museum of Fine Arts, Boston MA

    1927 Landscape ( The Hare )
    oil on canvas 129 x 194.6 cm
    Solomon R. Guggenheim Museum, New York

    1927 Landscape, Landscape with Cockerel
    oil on canvas 131 x 196.5 cm
    Fondation Beyeler, Riehen, Switzerland

    1927 Painting
    tempera and oil on canvas 73 x 92.1 cm
    The Metropolitan Museum of Art, New York

    1927 Painting
    tempera and oil on canvas 97.2 x 130.2 cm
    Tate, London

    1927 Painting: The Fratellini Brothers
    oil on canvas 130 x 97.5 cm
    Fondation Beyeler, Riehen, Switzerland

    1928 Composition with Foot
    black chalk, over graphite, on cream wove paper 48.4 x 61.3 cm
    Art Institute of Chicago, IL

    1928 Dutch Interior ( I )
    oil on canvas 91.8 x 73 cm
    Museum of Modern Art, New York

    1928 Dutch Interior II
    oil on canvas 92 x 73 cm
    Peggy Guggenheim Collection

    1928 Dutch Interior III
    oil on canvas 129.9 x 96.8 cm
    The Metropolitan Museum of Art, New York

    1928 Il était une petite pie 
    ( There was a Little Magpie by Lise Deharme ) 
    Editions Jeanne Bucher, Paris:

    1928 Il était une petite pie ( There was a Little Magpie )
    32 x 25.2 cm










































    1928 Potato
    oil on canvas 101 x 81.6 cm
    The Metropolitan Museum of Art, New York

    1929 Portrait of Mistress Mills in 1750
    oil on canvas 116.7 x 89.6 cm
    Museum of Modern Art, New York

    1930 Painting
    oil on canvas 231 x 150.5 cm


    1930 Relief Construction
    This work is one of two of Miró's 1930 wood and metal constructions that are known to have survived. These constructions were made from pieces of wood that could easily have been found at a carpentry shop. Sharp nails are hammered through the red wooden circle at the top left of this composition. Their tips aim outward in an aggressive challenge to traditional artistry and figuration.



    1930 Relief Construction
    oil on wood, nails, staples, and metal on wood panel 91.1 x 70.2 x 16.2 cm
    Museum of Modern Art, New York

    1930 Study
    black crayon on cream laid paper 62.5 x 46.5 cm
    Art Institute of Chicago, IL

    1930 Untitled
     pencil on Ingres paper 62 x 46 cm

    1931 Object
    oil on wood, nails, string, bone, and chickpea 40 x 29.7 x22 cm
    Museum of Modern Art, New York

    1931 Seated Woman
    oil on paper 63 x 46 cm
    Fundació Joan Miró, Barcelona

    1932 Bather
    oil and pencil on wood 36.8 x 45.7 cm
    Museum of Modern Art, New York

    1932 Composition with Figures
    gouache, over traces of graphite, on cream wove paper 48.2 x 63.2 cm
    Art Institute of Chicago, IL

    1932 Figure
    oil on panel 27.3 x 20 cm
    Art Institute of Chicago, IL

    1932 Flame in Space and Nude Woman
    oil on cardboard 41 x 32 cm
     Fundació Joan Miró, Barcelona

    1932 Painting
    oil on panel 32 x 25 cm

    1933 Composition, Small Universe
    gouache on cardboard 39.5 x 31.5 cm
    Fondation Beyeler, Riehen, Switzerland

    1933 Daphnis and Chloé
    drypoint on Arches paper 26.5 x 32 cm ( plate )

    1933 Drawing-Collage
    printed paper, postcards and sandpaper, with graphite and black crayon on tan wove paper 106.5 x 71.9 cm
    Art Institute of Chicago, IL

    1933 Painting
    oil on canvas 174 x 196.2 cm
    Museum of Modern Art, New York

    1933 Painting
    oil on canvas 130.5 x 162.9 cm
    Wadsworth Atheneum Museum of Art, Hartford, CT

    1933 Personages with Star
    oil on canvas 198.1 x 246.4 cm

    1933 Untitled ( Drawing-Collage )
    charcoal and cut-and-pasted painted paper and cut-and-pasted hand-coloured gelatin silver print on paper 63.5 x 47.3 cm
     Museum of Modern Art, New York

    1933 Untitled
    collage and conté crayon on paper 108 x 72 cm
    Fundació Joan Miró, Barcelona

    1933 Untitled
    conté crayon, gouache and collage on paper 108 x 70 cm
    Fundació Joan Miró, Barcelona

    1933-34 "Hirondelle Amour"
    oil on canvas 199.3 x 247.6 cm
    Museum of Modern Art, New York

    1934 Collage
    corrugated cardboard, felt, gouache, and pencil on sandpaper 36.9 x 23.6 cm
     Museum of Modern Art, New York

    1934 Woman
    pastel on flocked paper 106.7 x 71.1 cm
    The Metropolitan Museum of Art, New York

    1934 Woman
    pastel, charcoal, and graphite, with smudging and scraping, on tan wove paper 107.1 x 71.4 cm
    Art Institute of Chicago, IL

    1934 Figure
    charcoal pencil, pastel and pencil on paper 107 x 72 cm
    Fundació Joan Miró, Barcelona

    1934 Figures by the Sea
    colour pochoir 31.8 x 24 cm

    1934 Painting
    oil on canvas 97 x 130 cm
    Fundació Joan Miró, Barcelona

    1934 Surrealist Composition I
    colour pochoir 38 x 28 cm

    1934 Surrealist Composition
    colour pochoir 31.5 x 24.5 cm

    1934 Untitled ( Homage to Joan Prats )
    collage, pencil and charcoal on paper 63.3 x 47 cm
     Fundació Joan Miró, Barcelona

    1934 Untitled
    brush and black ink, and pastel on off-white laid paper 61.5 x 46.5 cm
    Art Institute of Chicago, IL


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  • 11/03/18--06:20: Joan Miró - part 3
  • Joan Miró (1893 Barcelona, Spain – 1983 Palma de Mallorca, Spain).

    Early in his career, Miró primarily painted still-lifes, landscapes, and genre scenes. Influences ranging from the folk art and Romanesque church frescoes of his native Catalan region in Spain to 17th-century Dutch realism were eventually superseded by more contemporary ones: Fauvism, Cubism, and Surrealism captivated the young artist, who had relocated to Paris in 1921. His exposure to the ideas of André Breton and Breton's Surrealist circle prompted Miró to make radical changes to his style, although the artist cannot be said to have identified consistently with a single school. Rather, his artistic career may be characterised as one of persistent experimentation and a lifelong flirtation with non-objectivity. Miró's signature biomorphic forms, geometric shapes, and semi-abstracted objects are expressed in multiple media, from ceramics and engravings to large bronze installations.


    For a full biography of Miró see part 1. For earlier works, see parts 1 - 2 also.


    1935 Joan Miró
    photograph by Carl Van Vechten

    Note: All Miro works © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris



    1934 Untitled
    conté crayon and gouache on paper 72 x 108 cm
    Fundació Joan Miró, Barcelona

    1934 Untitled
    gouache on black paper 65 x 50 cm

    1934 Untitled
    gouache, pencil, collage and India ink on paper 50 x 65 cm
     Fundació Joan Miró, Barcelona

    1934 Untitled
    oil and collage on sandpaper 37 x 23 cm
    Fundació Joan Miró, Barcelona

    1934 Untitled
    pastel and India ink on paper 62 x 46 cm

    1934 Untitled
    pastel and ink on paper laid down on paper 32.1 x 47 cm

    1934 Woman ( Opera Singer )
    pastel and pencil on flocked paper 106.7 x 71.1 cm
    Museum of Modern Art, New York

    1935 Figures
    etching and aquatint 30.9 x 23.6 cm ( plate )
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1935 Man and Woman in Front of a Pile of Excrement
    oil on copper 23 x 32 cm
    Fundació Joan Miró, Barcelona

    1935 Man, Woman, and Bull
    oil and metal fasteners on sandpaper, mounted on canvas, with feathers 1808 x 99 cm overall
    Art institute of Chicago, IL

    1935 published 1936 Femme et chien devant la lune ( Woman and Dog in Front of the Moon )
    pochoir 65 x 49.8 cm
    Museum of Modern Art, New York

    1935 Rope and People, I
    oil on cardboard mounted on wood, with coil of rope 104.8 x 74.6 cm
    Museum of Modern Art, New York

    1935 Visions
    gouache and India ink on paper 30.5 x 37 cm

    1936 Drawing - Collage
    crayon and decals on paper 64 x 43.3 cm
    Museum of Modern Art, New York

    1936 Untitled
    India ink on metal 18.8 x 23.5 cm
    Fundació Joan Miró, Barcelona

    1936 Object
    stuffed parrot on wood perch and mixed media 81 x 30.1 x 26 cm
     Museum of Modern Art, New York

    1936 Painting
    gouache on brick 31 x 15 cm
    Fundació Joan Miró, Barcelona

    1936 Painting
    oil, gravel, pebbles, and sand on Masonite 77.6 x 107.2 cm
    Art Institute of Chicago, IL

    1936 Two Personages in Love with a Woman
    oil on copper 26 x 34.9 cm
    Art institute of Chicago, IL

    1936 Untitled
    pencil, watercolour and gouache on card 49.8 x 64.6 cm
    Fundació Joan Miró, Barcelona

    1937 Aidez l'Espagne ( Help Spain )
    colour pochoir with lithographed text 31.8 x 25.3 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1937 Group of Personages
    watercolour and black crayon, with touches of gouache, over graphite, on cream wove paper 49.5 x64.5 cm

    1937 Head of a Man
    gouache on black paper 65.4 x 50.5 cm
    Museum of Modern Art, New York

    1937 Air
    colour lithograph 34.9 x 24.8 cm

    1937 L'été ( poem )
    India ink on paper 39 x 31.5 cm
    Fundació Joan Miró, Barcelona

    1937 Naked Woman going Upstairs
    charcoal pencil on paper 78 x 55.8 cm
    Fundació Joan Miró, Barcelona

    1937 Standing Woman
    oil and oil wash, with charcoal, on cream wove paper 76.7 x 47.3 cm
    Art Institute of Chicago, IL

    1937 Still Life with Old Shoe
    oil on canvas 81.3 x 116.8 cm
     Museum of Modern Art, New York

    1937-38 Self-Portrait I
    pencil, crayon and oil on canvas 146.1 x 97.2 cm

    1938 A Star Caresses the Breast of a Negress ( Painting Poem )
    oil on canvas 129.5 x 194.3 cm
    Tate, London

    1938 Astres et Danseurs ( Stars and Dancers )
    etching 7 x 9.8 cm ( plate ) 


    1938 Abstract Composition with Red Sun
    linocut on colours on red wove paper

    1938 Composition
    etching and drypoint in black on white wove paper 19.7 x 27 cm ( plate )
    Art Institute of Chicago, IL

    1938 L'Ete ( Summer )
    colour lithograph, pochoir 36.2 x 26.7 cm

    1938 L’Eveil du géant ( Awakening of the Giant )
    drypoint 26.8 x 23.7 cm ( plate )

    1938 La géante ( The Giantess ) 
    drypoint in black on ivory wove paper 34.5 x 23.8 cm ( plate ) 
    Art Institute of Chicago, IL

    1938 Le numéro de music-hall
    pencil and gouache on cardboard 25.4 x 19.1 cm

    1938 Les trois soeurs ( The Three Sisters )
     etching with drypoint on Arches paper 32.4 x 25.1 cm

    1938 Portrait of Miró e
    tching and drypoint on white wove paper 33.8 x 28.1 cm ( plate )
    Art Institute of Chicago, IL

    1938 Sablier Couche ( Hourglass Layer )
     etching in red on cut yellow paper mounted on Arches laid paper 20.7 x 16.4 cm

    1938 Summer
    colour lithograph, pochoir 36.2 x 26.7 cm

    1938 The Funambule
    watercolour, Indian ink, pencil and pastel on perforated paper 41 x 33 cm

    1938 The Two Philosophers
    oil on copper 35.6 x 49.8 cm

    1938 Untitled ( Illustration 2 ) in the portfolio Solidarité by Paul Eluard
    etching and aquatint with fingerprints on Montval laid paper 22.5 x 16.5 cm

    1938 Woman and Volcano etching 22.5 x 17 cm ( plate )
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA
    1939 Seated Woman II
    oil on canvas 162 x 130 cm
    Peggy Guggenheim Collection

    1939 Untitled ( Illustration 7 ) in Fraternity by Stephen Spender
    engraving on Montval handmade laid paper 22 x 16.5 cm

    1938 Black and Red Series (Serie Noire et Rouge) 
    same image in different configurations:


    1938 Plate 2 from the Black and Red Series
    etching 16.8 x 25.8 cm
    Museum of Modern Art, New York

    1938 Plate 6 from Black and Red Series
    etching  from two plates, in black and red on ivory wove paper 16.8 x 25.8 cm ( plate )
     Art Institute of Chicago, IL

    1938 Plate 7 from Black and Red Series
    colour etching, printed from two plates, on ivory wove paper 32.5 x 45 cm ( sheet )
    Art Institute of Chicago, IL

    1939 Barcelona Series 
    published 1944
    lithographs in black on ivory wove paper


















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  • 11/05/18--05:57: Joan Miró - part 4
  • Joan Miró (1893 Barcelona, Spain – 1983 Palma de Mallorca, Spain).

    Early in his career, Miró primarily painted still-lifes, landscapes, and genre scenes. Influences ranging from the folk art and Romanesque church frescoes of his native Catalan region in Spain to 17th-century Dutch realism were eventually superseded by more contemporary ones: Fauvism, Cubism, and Surrealism captivated the young artist, who had relocated to Paris in 1921. His exposure to the ideas of André Breton and Breton's Surrealist circle prompted Miró to make radical changes to his style, although the artist cannot be said to have identified consistently with a single school. Rather, his artistic career may be characterised as one of persistent experimentation and a lifelong flirtation with non-objectivity. Miró's signature biomorphic forms, geometric shapes, and semi-abstracted objects are expressed in multiple media, from ceramics and engravings to large bronze installations.


    For a full biography of Miró see part 1. For earlier works, see parts 1 - 3 also.


    Joan Miró in 1935

    Note: All Miro works © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris


    1940-41 Constellation Series:


    1940 Constellation; Morning Star
    gouache on Paper 38 x 46 cm
    Fundació Joan Miró

    1940 Constellation; Women on the Beach
    gouache and oil wash on paper 38.1 x 45.7 cm
    The Metropolitan Museum of Art, New York

    1940 Constellations, Nocturne

    1940 Constellations; The Poetess plate XIII
    pochoir 35.6 x 43.2 cm

    1940 The Escape Ladder
    gouache, watercolour and ink on paper 40 x 47.6 cm
    Museum of Modern Art, New York

    1940-41 ( date original goauche painted )
    colour lithograph on Arches wove paper 43.5 x 35.7 cm

    1940-41 ( date original gouache painted )
    colour lithograph on Arches wove paper 43.5 x 37.5 cm

    1940-41 ( date original gouache painted )
    colour lithograph on Arches wove paper 43.5 x 37.5 cm

    1941 Ciphers and Constellations in Love with a Woman
    gouache and watercolour with traces of graphite on ivory wove paper 46 x 38 cm
    Art Institute of Chicago, IL

    1941 Constellation; Awakening in the Early Morning
    gouache and oil wash on paper 46 x 38 cm
    Kimbell Art Museum, Fort Worth, Texas

    1941 Constellation; Toward the Rainbow
    gouache and oil wash on paper 45.7 x 38.1 cm
    Metropolitan Museum of Art, New York
     

    1941 The Beautiful Bird Revealing the Unknown to a Pair of Lovers
    gouache oil wash and charcoal on paper 45.7 x 38.1 cm
    Museum of Modern Art, New York

    1941 The Pink Dusk Caresses the Sex of Women and Birds
    gouache and oil wash on paper  45.9 x 38.1 cm
    Private Collection
    1949 Constellation; Woman and Birds Plate VIII
    pochoir 35.6 x 43.2 cm

    1941 Women at the Edge of the Lake Made Iridescent by the Passage of a Swan
    gouache and oil wash on paper 46 x 38 cm
    Private Collection


    1942 Figures in Front of the Sun
    charcoal pencil, gouache, India ink and pastel on paper 103 x 60 cm
    Fundació Joan Miró, Barcelona

    1942 People, Birds, and Stars
    black crayon, and charcoal with stumping, with touches of gouache, on ivory wove paper 64 x 49.2 cm
    Art Institute of Chicago, IL

    1942 Vase
    painted earthenware manufactured by Josep Llorens Artigas, Spain 34.9 x 27.9 cm
    The Metropolitan Museum of Art, New York

    1942 Woman and Birds in Front of the Sun
    pen and brush and black ink, watercolour and gouache, with wiping and scraping, and touches of pastel, on cream wove paper, laid down 110.3 x 79.3 cm
    Art Institute of Chicago, IL

    1942 Woman, Bird, Stars
    pastel and pencil on paper 108 x 72 cm
    Fundació Joan Miró, Barcelona

    1943 Painting
    oil and pastel on canvas 40 x 30 cm
    Fundació Joan Miró, Barcelona

    1943 Women, Birds in Front of the Sun
    India ink, grease pencil, gouache and wax crayon on Caballo paper 50 x 73 cm

    1944 Barcelona Series lithographs:


















































    1944 Women in the Night
    oil on canvas 21.5 x 16.5 cm

    1944-46 Solar Bird plaster 13.7 x 11.4 x 21.6 cm

    1944-46 Solar Bird plaster 13.7 x 11.4 x 21.6 cm

    1946-49 Solar Bird
    bronze 13.4 x 11 x 19.3 cm
    Fundació Joan Miró, Barcelona

    1966 Solar Bird
    bronze 121.9 x 180.3 x 101.6 cm
    Art Institute of Chicago, IL


    1945 Spanish Dancer
    oil on canvas 146.5 x 114.5 cm
    Fondation Beyeler, Riehen, Switzerland

    1946 Figures and Birds in Front of the Sun
    oil on canvas 92.7 x 73.8 cm

    1946 Moonbird ( aka Lunar Bird )
    bronze 18.4 x 16.5 x 11.4 cm
    The Metropolitan Museum of Art, New York

    1946 Woman and Birds at Sunrise
    oil on canvas 54 x 65 cm
    Fundació Joan Miró, Barcelona

    1946 Woman
    bone, grindstone, iron and oil on potters clay 51.7 x 23.3 x 19.7 cm
    Fundació Joan Miró, Barcelona

    1947 Composition
    etching on paper 12.7 x 14.9 cm
    Tate, London

    1947 Configuration
    colour  etching on white wove paper 12.5 x 15 cm ( plate )
    Art Institute of Chicago, IL

    1947 Exposition Internationale du Surréalisme Poster
    colour lithograph

    1947 Frontispiece to"Surréalisme en 1947" by Marcel Duchamp and André Breton
    colour lithograph ( Miró's first colour lithograph ) 23.2 x 20 cm

    1947 The Red of Swallows and Iridescent Pink
    oil and gouache on cardboard 75 x 106 cm
    Fundació Joan Miró, Barcelona

    1947 Woman and Bird in Front of the Moon from the Laurels Album
    etching 11.3 x 14.8 cm ( plate )

    1947 Woman and Birds
    colour pochoir 28 x 22 cm

    1947 Woman and Birds in the Night
    colour pochoir 27.8 x 21 cm

    1947-48 etching with pochoir, in black, blue, red, and yellow, on ivory wove paper 14.2 x 11.5 cm
    Art Institute of Chicago, IL


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  • 11/07/18--05:28: Joan Miró - part 5
  • Joan Miró (1893 Barcelona, Spain – 1983 Palma de Mallorca, Spain).

    Early in his career, Miró primarily painted still-lifes, landscapes, and genre scenes. Influences ranging from the folk art and Romanesque church frescoes of his native Catalan region in Spain to 17th-century Dutch realism were eventually superseded by more contemporary ones: Fauvism, Cubism, and Surrealism captivated the young artist, who had relocated to Paris in 1921. His exposure to the ideas of André Breton and Breton's Surrealist circle prompted Miró to make radical changes to his style, although the artist cannot be said to have identified consistently with a single school. Rather, his artistic career may be characterised as one of persistent experimentation and a lifelong flirtation with non-objectivity. Miró's signature biomorphic forms, geometric shapes, and semi-abstracted objects are expressed in multiple media, from ceramics and engravings to large bronze installations.


    For a full biography of Miró see part 1. For earlier works, see parts 1 - 4 also.


    Joan Miró c1936

    Note: All Miro works © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris


    1947-49 L'Antitête Volume I:


    1947-49 L'Antitête Volume I
    Front Cover 14.5 x 11.5 cm

    Page 8 Frontispiece L'Antitête
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 29 L'Antitête
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 49 L'Antitête
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 71 L'Antitête
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 95 L'Antitête
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 137 L'Antitête
     colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 161 L'Antitête
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm


    Page 115 L'Antitête
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    1947-49 L'Antitête Volume II:


    1947-49 L'Antitête Volume II
     Front Cover 14.5 x 11.5 cm

    Frontispiece L'Antitête
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 15 L'Antitête
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 37 L'Antitête 
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 49 L'Antitête 
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 61 L'Antitête 
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 73 L'Antitête 
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    Page 95 L'Antitête 
    colour etching on Auvergne handmade paper 14.5 x 11.5 cm

    1947-49 L'Antitête Volume III:


    1947-49 L'Antitête Volume III
    Front Cover 14.5 x 11.5 cm

    L'Antitête
    etching and aquatint with hand-colouring 15.2 x 12.4 cm


    L'Antitête
    etching with colour pochoir on Auvergne handmade paper 14.5 x 11.5 cm

    Page 45 L'Antitête 
    etching with colour pochoir on Auvergne handmade paper 14.5 x 11.5 cm

    Page 50 L'Antitête 
    etching with colour pochoir on Auvergne handmade paper 14.5 x 11.5 cm

    Page 71 L'Antitête 
    etching with colour pochoir on Auvergne handmade paper 14.5 x 11.5 cm

    Page 83 L'Antitête 
    etching with colour pochoir on Auvergne handmade paper 14.5 x 11.5 cm

    Page 95 L'Antitête 
    etching with colour pochoir on Auvergne handmade paper 14.5 x 11.5 cm

    Page 101 L'Antitête 
    etching with colour pochoir on Auvergne handmade paper 14.5 x 11.5 cm

    Page 117 L'Antitête 
    etching with colour pochoir on Auvergne handmade paper 14.5 x 11.5 cm

    1947-62 Saccades from Trois Livres de Poemes 
    Illustres Par Joan Miró:


    1947-62 Saccades from Trois Livres de Poemes Illustres Par Joan Miró
    colour etching and aquatint 9.5 x 12 cm

    1947-62 Saccades from Trois Livres de Poemes Illustres Par Joan Miró
    colour etching and aquatint on BFK Rives paper 30 x 51 cm

    1947-62 Saccades from Trois Livres de Poemes Illustres Par Joan Miró
    colour etching and aquatint on BFK Rives paper 32 x 41.9 cm

    1947-62 Saccades from Trois Livres de Poemes Illustres Par Joan Miró
    colour etching on Auvergne handmade paper 26.5 x 35.5 cm ( plate )

    1947-62 Saccades from Trois Livres de Poemes Illustres Par Joan Miró
    etching and aquatint 32 x 41.9 cm

    1947-62 Saccades from Trois Livres de Poemes Illustres Par Joan Miró
    etching and aquatint on Rives paper 32 x 41.9 cm


    1947-62 Greeting Card from Aimé Maeght
    colour etching on wove paper

    1948 Album 13 Suite of 13 lithographs
    (not all found):


    1948 Album 13 Title Page
     lithograph
    1948 Album
     lithograph

    1948 Album
     lithograph

    1948 Album
     lithograph

    1948 Album
     lithograph

    1948 Album
     lithograph

    1948 Album
     lithograph

    *          *          *          *          *
    1948 Bird, Star, Sun and Sky
    colour lithograph 25. x 26.5 cm

    1948 Figures on Black Ground
    colour lithograph on ivory wove paper 50 x 65 cm ( sheet )
    Art Institute of Chicago, IL

    1948 Poster for Joan Miró, Galerie Maeght
    colour lithograph 60 x 43.5 cm
    Museum of Modern Art, New York

    1948 Women and Bird in the Moonlight
    oil on canvas 81.3 x 66 cm
    Tate, London

    1949 Dark Figure in Front of the Sun
    oil on canvas 130.5 x 96.5 cm

    1949 Head
    bronze 22.5 x 24.4 x 19.5 cm
    Fundació Joan Miró, Barcelona

    1949 Painting
    oil on canvas 100 x 81 cm
    Fundació Joan Miró, Barcelona

    1949 Untitled
    India ink on paper 25 x 32 cm

    1949 Woman
    bronze 18.6 x 26.4 x 22.4 cm
    Tate, London

    1949 Woman
    bronze 27 x 39.4 x 19.7 cm
    The Metropolitan Museum of Art, New York

    1949 Woman
     bronze 31.3 x 23.4 x 23.4 cm
     Fundació Joan Miró, Barcelona

    1949 Women and Bird in the Moonlight
    oil on canvas 81.3 x 66 cm
    Tate, London

    1949 Women, Birds, and a Star
    oil on canvas 92.7 x 74 cm
    The Metropolitan Museum of Art, New York



    0 0
  • 11/09/18--06:18: Joan Miró - part 6
  • Joan Miró (1893 Barcelona, Spain – 1983 Palma de Mallorca, Spain).

    Early in his career, Miró primarily painted still-lifes, landscapes, and genre scenes. Influences ranging from the folk art and Romanesque church frescoes of his native Catalan region in Spain to 17th-century Dutch realism were eventually superseded by more contemporary ones: Fauvism, Cubism, and Surrealism captivated the young artist, who had relocated to Paris in 1921. His exposure to the ideas of André Breton and Breton's Surrealist circle prompted Miró to make radical changes to his style, although the artist cannot be said to have identified consistently with a single school. Rather, his artistic career may be characterised as one of persistent experimentation and a lifelong flirtation with non-objectivity. Miró's signature biomorphic forms, geometric shapes, and semi-abstracted objects are expressed in multiple media, from ceramics and engravings to large bronze installations.


    For a full biography of Miró see part 1. For earlier works, see parts 1 - 5 also.


    1936 Joan Miró, Paris, by Albert Eugene Gallatin

    Note: All Miro works © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris

    1948-50 Parler Seul
    published by Galerie Maeght


    72 original lithographs by Miró, including 49 in colour, of which 18 are hors-texte. Folio, lithographed chemise, slipcase, and wrappers (not all shown here).


    Slip case

    Slip case

    Cover

    Frontispiece
    colour lithograph on Malacca Pur Chiffon paper 38.2 x 29.5 cm

    Title page











































































    *          *          *          *          *

    1950 Figure and Stars
    colour lithograph on white wove paper 65 x 50.1 cm

    1950 Figure with Reddish-orange Sun
    colour lithograph 69.1 x 49.1 cm

    1950 Figures and Animals
    colour lithograph on white wove paper 76 x 56.6 cm

    1950 Figures in the Night
    oil on canvas
    Private Collection

    1950 Head
    bronze 35 x 22 x 18.5 cm
    Fundació Joan Miró, Barcelona

    1950c Composition, Le Lézard aux plumes d'or
    gouache, India ink, pastel and collage of photos of sculptures on paper

    1951 Comet Bird
    colour lithograph on Pur Fil Marais wove paper 76.5 x 56.5 cm

    1951 Figures in the Garden
    colour lithograph 50.4 x 65.2 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1951 On Four Walls
    colour lithograph ( folded to appear in issue of Derrière le Miroir 1952  ) 25.8 x 79.5

    1952 Barbarian Object
    construction; oil, paper, string, sponge and metal on artists palette and wedges 35.5 x 22 x 5.8 cm
    Fundació Joan Miró, Barcelona

    1952 Dog Barking at the Moon from the series "Book Edition"
    colour lithograph 35.6 x 73.3 cm

    1952 The Rocket-Bird Aims for the Fork Cascading Down Toward the Black Point
    colour etching and aquatint with hand-applied paint ( pochoir ) 50.1 x 60.9 cm

    1952 The Sun Embracing the Lover
    oil on canvas 22 x 16 cm
    Fondation Beyeler, Riehen, Switzerland

    1952-53 Series I
    colour etching and aquatint with engraving on Arches paper 48.5 x 58.4 cm

    1952 Series II
    colour etching and aquatint on Arches wove paper 50.5 x 65.5 cm

    1952 Series II
    etching on paper 37.7 x 45.5 cm
     Tate, London

    1952-53 Series III
    etching and aquatint on Arches paper 24.7 x 32 cm
    Birmingham Museums and Art Gallery, UK

    1953 Astrology I
    colour lithograph 40 x 26.5 cm

    1953 Astrology II
    colour lithograph 38 x 28 cm

    1953 Astrology III
    colour lithograph 40 x 28.9 cm

    1953 Composition from Series III
    colour aquatint on white wove paper 24.4 x 31.6 cm 

    1953 Day
    colour lithograph 38 x 28 cm

    1953 Derriere le Miroir
    colour lithograph 28.6 x 21.5 cm

    1953 Derrière le Miroir No.57/58/59
    colour lithograph 38 x 28 cm

    1953 Derrière le Miroir No.57/58/59
    lithograph 38 x 56 cm

    1953 La Main
    soft ground etching and aquatint in colour on ivory wove paper 35.3 x 48.2 cm ( plate )

    1953 Night
    colour lithograph on wove paper 39.1 x 28.1 cm

    1966 Lunar Bird
    bronze 207 x 204.9 x 147.8 cm
    Hirshorn Museum and Sculpture Garden Smithsonian Institution, Washington, DC

    1966 Solar Bird in Balboa Park, San Diego Museum of Art, CA



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  • 11/12/18--05:31: Joan Miró - part 7
  • Joan Miró (1893 Barcelona, Spain – 1983 Palma de Mallorca, Spain).

    Early in his career, Miró primarily painted still-lifes, landscapes, and genre scenes. Influences ranging from the folk art and Romanesque church frescoes of his native Catalan region in Spain to 17th-century Dutch realism were eventually superseded by more contemporary ones: Fauvism, Cubism, and Surrealism captivated the young artist, who had relocated to Paris in 1921. His exposure to the ideas of André Breton and Breton's Surrealist circle prompted Miró to make radical changes to his style, although the artist cannot be said to have identified consistently with a single school. Rather, his artistic career may be characterised as one of persistent experimentation and a lifelong flirtation with non-objectivity. Miró's signature biomorphic forms, geometric shapes, and semi-abstracted objects are expressed in multiple media, from ceramics and engravings to large bronze installations.


    For a full biography of Miró see part 1. For earlier works, see parts 1 - 6 also.



    Joan Miró 1944 by Joaquim Gomis

    Note: All Miro works © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris


    1953 Poster for Joan Miro, Galerie Maeght
    colour lithograph on Arches paper 75.8 x 55.5 cm

    1953 The Smile of the Flamboyant Wings
    colour lithograph 121 x 164 cm

    1953 Miro Recent Paintings 
    book with three original lithographs:














    1953 Miró Recent Paintings
    colour lithograph for catalogue by Pierre Matisse Gallery 31 x 23.8 cm

    1953 Ubu Roi
    India ink and wax crayon on paper 32.7 x 50.2 cm 
    Fundació Joan Miró, Barcelona:





























































































































































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  • 11/14/18--06:28: Joan Miró - part 8
  • Joan Miró (1893 Barcelona, Spain – 1983 Palma de Mallorca, Spain).

    Early in his career, Miró primarily painted still-lifes, landscapes, and genre scenes. Influences ranging from the folk art and Romanesque church frescoes of his native Catalan region in Spain to 17th-century Dutch realism were eventually superseded by more contemporary ones: Fauvism, Cubism, and Surrealism captivated the young artist, who had relocated to Paris in 1921. His exposure to the ideas of André Breton and Breton's Surrealist circle prompted Miró to make radical changes to his style, although the artist cannot be said to have identified consistently with a single school. Rather, his artistic career may be characterised as one of persistent experimentation and a lifelong flirtation with non-objectivity. Miró's signature biomorphic forms, geometric shapes, and semi-abstracted objects are expressed in multiple media, from ceramics and engravings to large bronze installations.


    For a full biography of Miró see part 1. For earlier works, see parts 1 - 7 also.




    Note: All Miro works © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris


    1953 Untitled
    colour lithograph 31.8 x 49.5 cm

    1953-54 Composition
    etching and aquatint inked a la poupée on ivory wove paper 37.8 x 45 cm ( plate )
    Art Institute of Chicago, IL

    1953c Nocturne
    colour lithograph 38 x 140 cm

    1954 L' aube parfumée par la pluie d'or
    ( Dawn Perfumed by a Shower of Gold )
     watercolour and plaster on composition board 107.9 x 54.3 cm
    San Francisco Museum of Modern Art, CA

    1954 Painting
    oil on canvas 46 x 38 cm
    Fundació Joan Miró, Barcelona

    1954 Project for a Monument
    bell, iron, porcelain hook, oil and grease pencil on cement 53.3 x 13.2 x 15 cm
    Fundació Joan Miró, Barcelona

    1954 Project for a monument
    cement, bronze and copper 55 x 12.5 x 13 cm
    Fundació Joan Miró, Barcelona

    1954 Project for a Monument
    iron, leather, gouache and grease pencil on cement 39.8 x 18.3 x 17.8 cm
    Fundació Joan Miró, Barcelona

    1954 Project for a Monument
    stone, bone, gouache, oil, porcelain hook on iron 46 x 23.5 x 17.3 cm
    Fundació Joan Miró, Barcelona

    1954 The Coffee Grinder
    colour etching and aquatint 76.2 x 63.5 cm

    1954 The Half-Open Sky Gives us Hope
    oil on canvas 130 x 195 cm
    Fundació Joan Miró, Barcelona

    1955 Chien enragé par une nuit de lune hantée par les amours des oiseaux
    oil on paper laid down on cardboard 21.3 x 26.3 cm

    1955 Palotin Giron
    lithograph on Arches paper 107.3 x 88.9 cm

    1955 Stone
    earthenware 82.7 x 41 x 12.7 cm
    Art institute of Chicago, IL

    1956 Air
    colour lithograph 38.1 x 55.9 cm


    1956 Derrière le Miroir No.87-89
    colour lithograph 38 x 28 cm

    1956 Double-sided Monolith
    stoneware and enamel 79.5 x 50 x 6.5 cm
    Fundació Joan Miró, Barcelona

    1956 Joan Miró by Jacques Prévert cover
    colour lithograph 23 x 20.3

    1956 Terres de Grand Feu 
    Terres de Grand Feu was created to celebrate a three-month exhibition at the Galerie Maeght, Paris, of ceramics by Miró and Llorens Artigas in the Gallifa studio between 1950 and 1956. Thraslating roughly to "land of of great fire," the title evokes the ceramic medium and hot belly of the kiln that produces it.

    1956 Poster for Joan Miro, Galerie Maeght
    colour lithograph 75 x 53 cm

    1956 Terres de Grand Feu ( Land of Great Fire )
    colour lithograph on Arches paper 74.6 x 50.8 cm

    1956 The Birds
    colour lithograph on Arches paper 56.8 x 76.2 cm

    1956 Untitled ( Head )
    glazed and fired ceramic, and iron 45.1 x 16.5 x 27.9 cm
    Art Institute of Chicago, IL

    1956 Woman at the Mirror
    colour lithograph on wove paper 37.2 x 55 cm
    National Gallery of Art, Washington, DC

    1956 Xephyr Bird
    colour lithograph 38 x 56 cm

    1956c Three Circles
    colour lithograph 33.6 x 74.1 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1957 Figure on a Blue Background
    colour lithograph 31,4 x 24.3 cm


    1957 Jewel of the Dawn No.6.
    colour etching with aquatint on wove paper laid down on cardboard 13.9 x 11.2 cm ( plate )

    1957 Poster for exhibition at the Galerie Matarasso, Nice
    colour lithograph 62.9 x 47.9 cm

    1956 Bagatelle Végétales
    published by Jean Aubier, Paris 267 copies on vellum of Marais:




    1956 Bagatelle Végétales
    collage, gouache and ink wash 28 x 20 cm

    1956 Frontispiece from Bagatelle Végétales
    colour aquatint with hand-coloured red dot 23.5 x 18 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1956 Compostion from Bagatelle Végétales
    gouache and brush and ink on overlapping sheets of burned paper 23.4 x 16.4 cm

    1956 Untitled Abstract from Bagatelle Végétales
    colour aquatint 23.5 x 18 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1956 Untitled from Bagatelle Végétales
     colour aquatint 23.5 x 18 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1956 Untitled
    colour aquatint 23.5 x 18 cm
     de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1956 Untitled from Bagatelle Végétales
    colour aquatint 23.5 x 18 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA

    1956 Bagatelle Végétales
     India ink, gouache and pastel on paper 23.2 x 36.8 cm

    1957-58 La Bague d'Aurore (The Ring of Dawn) by René Crevel.
    Published in 1957 by Louis Broder, Paris, total edition of 130.





    Title Page
    colour etching

    Frontispiece


    Frontispiece
    colour engraving on Rives vellum paper 16.5 x 13.5 cm


    colour etching 37.1 x 27 cm

    colour etching and aquatint 14 x 11.4 cm

    colour etching and aquatint on Rives paper 14 x 11.5 cm

    colour etching and aquatint on Rives paper 28 x 38 cm


    hand-coloured etching on Rives wove paper 38 x 28 cm





    colour engraving on Rives vellum paper 16.5 x 13.5 cm





    colour engraving on Rives vellum paper 16.5 x 13.5 cm

    colour engraving on Rives vellum paper 16.5 x 13.5 cm

    etching with hand-colouring 13.3 x 11.1 cm

    colour engraving on Rives vellum paper 16.5 x 13.5 cm

    *          *          *          *          *

    1958 A Woman
    colour lithograph on Arches paper 64.7 x 47.6 cm

    1958 Composition
    colour woodcut on white wove paper 51 x 66 cm

    1958 In Any Event
    colour woodcut 52 x 38 cm

    1958 L'Étrangère
    colour lithograph 66.5 x 51.1 cm
    de Young / Legion of Honour Fine Arts Museums of San Francisco, CA


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  • 11/16/18--05:47: Joan Miró - part 9
  • Joan Miró (1893 Barcelona, Spain – 1983 Palma de Mallorca, Spain).

    Early in his career, Miró primarily painted still-lifes, landscapes, and genre scenes. Influences ranging from the folk art and Romanesque church frescoes of his native Catalan region in Spain to 17th-century Dutch realism were eventually superseded by more contemporary ones: Fauvism, Cubism, and Surrealism captivated the young artist, who had relocated to Paris in 1921. His exposure to the ideas of André Breton and Breton's Surrealist circle prompted Miró to make radical changes to his style, although the artist cannot be said to have identified consistently with a single school. Rather, his artistic career may be characterised as one of persistent experimentation and a lifelong flirtation with non-objectivity. Miró's signature biomorphic forms, geometric shapes, and semi-abstracted objects are expressed in multiple media, from ceramics and engravings to large bronze installations.


    For a full biography of Miró see part 1. For earlier works, see parts 1 - 8 also.


    Joan Miró at Mont-roig del Camp, Tarragona

    Note: All Miro works © 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris


    1958 A Toute Épreuve (Proof Against All):


    Plate 1
    4-colour woodcut on Arches paper 33.7 x 26 cm

    Plate 2
    4-colour woodcut on Arches paper 32.4 x 25.1 cm

    Plate 3
    6-colour woodcut on Arches paper 32.4 x 50.5 cm

    Plate 4 & 5 Mock-up
    Fundació Joan Miró Archive

    Plate 4 & 5

    Plate 4a
    5-colour woodcut on Arches paper 32.4 x 25.1 cm

    Plate 4b
     7-colour woodcut on Arches paper 32.1 x 25.2 cm

    Plate 5
    5-colour woodcut on Arches paper 32.4 x 25.1 cm

    Plate 6
    5-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 7
    woodcut in black on Arches paper 32.1 x 25.1 cm

    Plate 8
    3-colour woodcut on Arches paper 32.4 x 24.8 cm

    Plate 9
     7-colour woodcut on  Arches paper 32.7 x 25.1 cm

    Plate 10
     5-colour woodcut on Arches paper 32.4 x 25.4 cm

    Plate 11
    8-colour woodcut on Arches paper 32.4 x 25.4 cm

    Plate 12
     4-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 13
     3-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 14
     4-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 15
     4-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 16
    7-colour woodcut on Arches paper 32.4 x 25.4 cm

    Plate 17
    woodcut in black on Arches paper 32.4 x 25.4 cm

    Plate 18
    5-colour woodcut on Arches paper 32.4 x 24.8 cm

    Plate 19
    woodcut in green on Arches paper 32.4 x 24.8 cm

    Plate 20
    5-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 22
     4-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 23
    5-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 24
    6-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 25
    8-colour woodcut on Arches paper 32.1 x 25.2 cm

    Plate 26
     woodcut in blue on Arches paper 32.1 x 25.2 cm

    Plate 27
     4-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 28
     6-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 29
     3-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 30
    5-colour woodcut on Arches paper 32.5 x 25.1 cm

    Plate 31
    6-colour woodcut on Arches paper 32.5 x 25.1 cm

    Plate 32
    7-colour woodcut on Arches paper 32.5 x 25.2 cm

    Plate 33
    7-colour woodcut on Arches paper 32.1 x 50.8 cm

    Plate 34
    blue woodcut and collage on Arches paper 32.1 x 25.1 cm

    Plate 35
     5-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 36
    woodcut in blue and collage on Arches paper 32.1 x 25.1 cm


    Plate 37
     2-colour woodcut and collage on Arches paper 32.1 x 24.8 cm

    Plate 38
    5-colour woodcut on Arches paper 32.1 x 24.8 cm

    Plate 39
    5-colour woodcut on Arches paper 32.1 x 25.4 cm

    Plate 40
    7-colour woodcut on Arches paper 32.1 x 50.5 cm

    Plate 41
    woodcut in blue on Arches paper 32.1 x 25.1 cm

    Plate 42
     6-colour woodcut on Arches paper 32.1 x 25.4 cm

    Plate 43
    5-colour woodcut on Arches paper 32.1 x 25.4 cm

    Plate 44
    5-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 45
     5-colour woodcut on Arches paper 32.1 x 25.1 cm

    Plate 46
     4-colour woodcut on Arches paper 32.1 x 25.4 cm

    Plate 47
     6-colour woodcut on Arches paper 32.1 x 25.4 cm

    Plate 48
    woodcut in yellow on Arches paper 32.1 x 25.1 cm

    Plate 49
     7-colour woodcut on Arches paper 30.8 x 25.1 cm

    Plate 50
    woodcut and collage on Arches paper 32.4 x 25.1 cm

    Plate 51
    5 colour woodcut on Arches paper 32.1 x 25.2 cm

    Plate 52
    3 colour woodcut on Arches paper 32.1 x 25.2 cm