Joan Miró, ‘Ruthven Todd Album, Joan Miró poem: two impressions’, 1947, Phillips

Both images: 8 1/4 x 6 7/8 in. (21 x 17.5 cm)
One sheet: 16 1/8 x 13 1/8 in. (41 x 33.3 cm)
One sheet: 15 1/8 x 11 in. (38.3 x 28 cm)

Signature: Annotated 'essai couleur' (color test) and 'essai encrage' (inking test) respectively by Piero Crommelynck in pencil (both 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, both 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