Joan Miró, ‘Ruthven Todd Album, An Alien World for Dolores Miró: five impressions’, 1947, Phillips

All images: approx. 9 7/8 x 8 1/4 in. (25 x 21 cm)
All sheets: various sizes: largest Sheet: 22 3/4 x 15 5/8 in. (57.7 x 39.6 cm)
From the Catalogue:
"Perhaps commercial artists will free themselves from the inherent contradiction of their title and become sufficiently familiar with the elements of the printing process, on which the reproduction of their work depends, to be able to compose directly on those processes, instead of employing the ingenuity of photographers to break down their sketches and the industry of printers to put them together again. After all, this is no more than what is demanded of the "fine" artist working in the print medial for less reward" Stanley William Hayter, New Ways of Gravure, 1949, p. 275
Courtesy of Phillips

Signature: Annotated 'épreuve reprise par J.M (pour cliché) (test taken by J.M (for cliche), essai encrage couleur (color ink test), mauvaise, noir bavé (wrong, black ink has run), essai encrage couleur (color ink test) respectively by Piero Crommelynck in pencil, and the pochoir dated 'I 28/1/57' with directions by Miró in pencil (all unsigned unique working proofs without the text/poem), there were only 6-10 impressions printed with text, printed by the artist and Stanley William Hayter at Atelier 17, New York, all unframed.

Jacques Dupin, Miró Engraver I, pp. 16-17
Patrick Cramer books 14

Piero Crommelynck Collection, Paris
(inkstamp on reverse)

About Joan Miró

Joan Miró rejected the constraints of traditional painting, creating works “conceived with fire in the soul but executed with clinical coolness,” as he once said. Widely considered one of the leading Surrealists, though never officially part of the group, Miró pioneered a wandering linear style of Automatism—a method of “random” drawing that attempted to express the inner workings of the human psyche. Miró used color and form in a symbolic rather than literal manner, his intricate compositions combining abstract elements with recurring motifs like birds, eyes, and the moon. “I try to apply colors like words that shape poems, like notes that shape music,” he said. While he prized artistic freedom, Miró revered art history, basing a series of works on the Dutch Baroque interiors of Hendrick Sorgh and Jan Steen. In turn, Miró has inspired many artists—significantly Arshile Gorky, whose bold linear abstractions proved a foundational influence on Abstract Expressionism.

Spanish, 1893-1983, Barcelona, Spain, based in Paris and Catalonia, Spain