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Last updated: 1/25/2017
Home / Gallery Tour 1 / The Cosmological Vision of Joan Miró / Gallery Tour 2 / Artists
A Virtual Tour of "Miró 2006," Part I / A Virtual Tour of "Miró 2006," Part II
Gallery News

Joan Miró: The 1930s: Original Lithographs, Etchings, and a Pochoir

Miró 1930s / Miró 1930s_2 / Miró 1940s / Miró L'Antitete / Miró 1950-53 / Miró 1953-56 / Miró 1956: Prevert / Miró 1957-60
Miró 1961 / Miró 1963 / Miró 1963-65 / Miró Flux (1964) / Miro Ubu Roi / Miró 1966-69 /
Miró Sans le Soleil / Miró Sans le Soleil 2 / Miró Sans le Soleil 3
Miró 1970-73 / Miró Lezard (1971) / Miró Beasts (1972) / Miró Lithographs (1972) / Miro 1974-79 / Miró Lithographe 2 1975
Miró Lapidari 1981

Heroic Poetry: Brinkman / Frankenthaler / Mitchell / Motherwell / Nevelson / Tàpies
In the 1930s, Miro was exploring using the pochoir (stencil) process to achieve color in prints, learning how to make etchings and lithographs, and executing his first and only linocut (see below). In his pochoirs, all of the color is brushed on, giving the print the surface of a gouache. This technical experimentation coincided with his involvement in the Surrealist movement and, even more so, the Surrealist vision. It also coincided with the Spanish Civil War (Miro was a Republican Loyalist and hated fascists of all stripes, particularly Franco, who would outlaw the teaching of Catalan in the public schools during his long reign), which inspired Miro to create one of his most explicitly political works, a powerful pochoir designed to elicit support for the Spanish Republic, under attack by Franco in a war that was turning into a testing ground for the larger war to come as the German Air Force tried out various bombing strategies and the Western Democracies did nothing.
L'Air (Benhoura 395). Original color lithograph, 1937. Edition size unknown; published in Paris in the first issue of the deluxe art review, Verve, in 1937. This is Miró's first color lithograph. It was included in the catalogue of Miro's complete prints made for the print retrospective held at the Musee D'Art Moderne de la Ville de Paris in 1974 and published by the museum. Miró participated actively in the show and created an original etching for the deluxe version of the catalogue itself. There is also a painting of the same title. Interestingly, the painting was done in 1938 after the lithograph (see Jacques Dupin and Ariane Lelong-Mainaud, Joan Miró: Catalogue raisonné. Paintings, Volume II:1931-1941, n. 604 (p. 213). The lithograph (published in 1937, and made 1936-37) was thus the model for the painting, not vice versa as one might expect. Signed in the plate. Image size: 355x265mm. Price: $1825.
Stars and Dancers (Dupin 19, Benhoura 3). Original color etching, 1938. 34 signed & numbered impressions + 667 impressions from the cancelled plate published in in Dix Ans d'Edition in 1956 to celebrate the 10th anniversary of Galerie Maeght, Miró's dealer. Executed and first published at the height of the Spanish Civil War, the drama seems to have moved from the earth to the heavens. Image size: 69x96mm. Price: $1375.

During November 2007, we found one of the signed and numbered impressions in Paris for $33,695.
The Man with the Plumed Hat (D. 105, B. 22). Original etching, published 1956. 30 signed & numbered impressions + 667 impressions from the cancelled plate published in in Dix Ans d'Edition in 1956 to celebrate the 10th anniversary of Galerie Maeght, Miró's dealer. Although not published until 1956, this plate was probably executed at the height of the Spanish Civil War. It is likely that Franco's bombing of Guernica is represented by the man with the shark-like teeth and the fancy hat with feathers who watches eagerly while an airplance drops bombs that have blown Miró's name apart. Image size: 120x90mm. Price: $1450.
L'ete / Summer (Dupin 1310, Benhoura 396). Original color pochoir, 1938. Edition size unknown; published in the deluxe art review, Verve, in 1938. The technique of this work has just been reevaluated. It was included as a lithograph in the catalogue of Miro's complete prints made for the print retrospective held at the Musee D'Art Moderne de la Ville de Paris in 1974 and published by the museum. Miro participated actively in the show and created an original etching for the deluxe version of the catalogue itself. This work was reproduced on the cover of Guy Weedon's 1988 monograph on Miro where it was also identified as a lithograph. It is also featured as a full-page illustration in Amy Dempsey's Art in the Modern Era: A Guide to Styles, Schools & Movements 1860 to the Present (Abrams, 2002) in the chapter on Surrealism. It was not included in volume 1 of the catalogue raisonne of Miró's lithographs. It has now been included in the final volume of Jacques Dupin's Miró Graveur as a pochoir executed not by Mourlot but by Daniel Jacomet. Careful examination reveals that this is indeed hand-painted. Signed in the plate. Another impression of this work sold at auction in September 2004 for $5290. Image size: 350x260mm. Price: $4750.
L'ete (verso) (Dupin 1310, Benhoura 396). Original lithograph, 1938: for the reverse of the work above, Miró exexuted this work giving the title, his name, and the date as published in the deluxe art review, Verve, in 1938. Image size: 350x260mm.

The apparent darkening in the corners is just a function of poor lighting (4 of our large windows ar boaded up for protection while wee have some work done on our roof.

Spaightwood Galleries, Inc.

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