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Joan Miró, Le courtisan grotesque, 1974, num 671, black and white
Joan Miró, Le courtisan grotesque, 1974, catalogue underlined
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HomePrintsMiró, Joan Joan Miró, Le courtisan grotesque, 1974 (D. 671)
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Joan Miró, Le courtisan grotesque, 1974, num 665, black and white
Joan Miró, Le courtisan grotesque, 1974 (D. 665) 2,650.00 € IVA
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Joan Miró, Le courtisan grotesque, 1974, num 673, black and white
Joan Miró, Le courtisan grotesque, 1974 (D. 673) 2,650.00 € IVA

Joan Miró, Le courtisan grotesque, 1974 (D. 671)

2,650.00 € IVA

1974
Etching and aquatint on Auvergne Richard de Bas paper
41,5 x 58,2 cm
Signed in red pencil and numbered VI/XV from edition of 15
From the book with 16 mixed etchings, some with aquatint and drypoint, with text by Adrien de Montluc, comte de Cramail (French, 1571–1646), published by Le degré quarante and the russian-born publisher Ilia Zdanevitch, who published under the name of Iliazd
Literature: Dupin, num. 664, 665, 671, 673 y 674 (page 61 and ss)
Patrick Cramer (pag. 450) quoted: in adition of the regular edition, there were printed 15 proofs on Auvergne Richard de Bas paper, numbered from I to XV and signed in pencil by the artist
In very good condition

Russian-born publisher Ilia Zdanevitch, who published under the name of Iliazd, was very meticulous in the layout of his books, often predetermining the number and size of the illustrations he required of the artists he chose to work with. Type design was of extreme importance to Iliazd, and he often spent hours laying out each page.
In Le courtisan grotesque (a work by an obscure 17th-century satirical writer, rediscovered by Iliazd), he varied the printing of the type by turning some of the letters on their sides, orienting words both horizontally and vertically.
Iliazd chose Joan Miró to illustrate Le courtisan grotesque, and in 1951 wrote to him to propose the project. Miró enthusiastically agreed to provide color etchings for the book, but still had produced nothing 10 years later, to Iliazd’s despair. It was not until 1974 that the book was finally published. All ended well between publisher and artist; on the eve of publication, Iliazd wrote to Miró, “It has taken fourteen years, but the papers held up well and so did we”.

1974
Aguafuerte y aguatinta sobre papel Auvergne Richard de Bas
Firmada y numerada a mano VI/XV de una edición de 15 ejemplares
41,5 x 58,2 cm
Del libro con 16 grabados entre aguafuertes, aguatintas y puntasecas, con texto de Adrien de Montluc, comte de Cramail (Francia, 1571–1646), publicado para Le degré quarante por el editor ruso Ilia Zdanevitch, quien publicó bajo el nombre de Iliazd
Bibliografía: Dupin, num. 664, 665, 671, 673 y 674 (págs. 61 y ss.)
Patrick Cramer (pág. 450), anota que dentro de la edición se hicieron 15 ejemplares sobre papel Auvergne Richard de Bas, numerados del I al XV en números romanos y firmados a lápiz por el artista
En muy buen estado

 

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Category: Miró, Joan Tags: joan miró, joan miró 1974, joan miró aguafuertes, joan miro and adrien de montluc, joan miro and ilia zdanevitch, joan miro and iliazd, joan miró etchings, joan miró grabados, joan miro le courtisan grotesque 1974, joan miró prints
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Description

1974
Etching and aquatint on Auvergne Richard de Bas paper
41,5 x 58,2 cm
Signed in red pencil and numbered VI/XV from edition of 15
From the book with 16 mixed etchings, some with aquatint and drypoint, with text by Adrien de Montluc, comte de Cramail (French, 1571–1646), published by Le degré quarante and the russian-born publisher Ilia Zdanevitch, who published under the name of Iliazd
Literature: Dupin, num. 664, 665, 671, 673 y 674 (page 61 and ss)
Patrick Cramer (pag. 450) quoted: in adition of the regular edition, there were printed 15 proofs on Auvergne Richard de Bas paper, numbered from I to XV and signed in pencil by the artist
In very good condition

Russian-born publisher Ilia Zdanevitch, who published under the name of Iliazd, was very meticulous in the layout of his books, often predetermining the number and size of the illustrations he required of the artists he chose to work with. Type design was of extreme importance to Iliazd, and he often spent hours laying out each page.
In Le courtisan grotesque (a work by an obscure 17th-century satirical writer, rediscovered by Iliazd), he varied the printing of the type by turning some of the letters on their sides, orienting words both horizontally and vertically.
Iliazd chose Joan Miró to illustrate Le courtisan grotesque, and in 1951 wrote to him to propose the project. Miró enthusiastically agreed to provide color etchings for the book, but still had produced nothing 10 years later, to Iliazd’s despair. It was not until 1974 that the book was finally published. All ended well between publisher and artist; on the eve of publication, Iliazd wrote to Miró, “It has taken fourteen years, but the papers held up well and so did we”.

1974
Aguafuerte y aguatinta sobre papel Auvergne Richard de Bas
Firmada y numerada a mano VI/XV de una edición de 15 ejemplares
41,5 x 58,2 cm
Del libro con 16 grabados entre aguafuertes, aguatintas y puntasecas, con texto de Adrien de Montluc, comte de Cramail (Francia, 1571–1646), publicado para Le degré quarante por el editor ruso Ilia Zdanevitch, quien publicó bajo el nombre de Iliazd
Bibliografía: Dupin, num. 664, 665, 671, 673 y 674 (págs. 61 y ss.)
Patrick Cramer (pág. 450), anota que dentro de la edición se hicieron 15 ejemplares sobre papel Auvergne Richard de Bas, numerados del I al XV en números romanos y firmados a lápiz por el artista
En muy buen estado

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