Arlequin Artificier

Year: 1980
From the edition of 50 on Velin d’Arches, signed and numbered. Apart from an edition of 12 on Velin d’Arches, signed and marked H.C.
Medium: Lithograph on Arches Paper
Sheet Size: 35.4 x 23.8"
Frame Size: 41 x 29.5"
Hand Signed Lower Right, Numbered Lower Left
Reference: Mourlot 1195
Certified by Rosa Maria Malet
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Homenatge a Joan Prats (Quad) 

Year: 1971
Medium: Lithograph
Edition: Special unnumbered print from the collection of the printer, aside from the edition of 25 numbered from I to XXV on Guarro paper, 75 numbered from 1 to 75 on Guarro paper, 8 copies lettered from A to H, and 5 H.C.
Sheet Size: 29.5 x 39.3” (each)
Hand signed in pencil

La Luge des amants I

Year: 1981
Medium: Lithograph on Paper
Size: 45 x 29.2 in
Edition of 100
Hand Signed Lower Right
Certified by Rosa Maria Malet on Verso


La Triple Roue II (1).JPG

La Triple Roue II

Year: 1981, part of the suite “Allegro Vivace” published in 1987
Medium: Lithograph on paper
Sheet Size: 25 ½ x 34 7/8”
From the edition of 100 on Velin d’Arches, signed and numbered 1/100 to 100/100
Hand signed lower right, numbered lower left in pencil
Reference: Mourlot 1236
Certified by Rosa Maria Malet
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Le Calin Catalan

Year: 1981
Medium: Lithograph on Arches Paper
From the edition of 100, signed and numbered
Size: 24.75 x 35.25”
Framed size: 30.5 x 41.5”
Hand signed lower right, numbered lower left
Reference: Mourlot 1242
Certified by Rosa Maria Malet



Joan Miró

Born in Barcelona, Spain, in 1893, Joan Miró was the son of a goldsmith and a jewelry maker. Although he showed an early aptitude and passion for art, his parents discouraged him from pursuing it as a career. At the age of 14, Miró attended both business school and La Lonja’s School of Fine Arts in Barcelona. After three years of study, Miro followed his parents’ wishes and took a job as an accountant. He worked for nearly two years before suffering a nervous breakdown. After his recovery, he abandoned his business career and committed himself to his art studies, enrolling at Francesco Gali’s Escola d’Art in Barcelona.

Miró’s early work was heavily influenced by Fauvism and Cubism, as well as the folkloric Catalan art of his heritage. He held his first solo exhibition in 1918 at José Dalmau’s gallery in Barcelona. In 1920, Miró made his first trip to Paris, where he was introduced to Pablo Picasso, André Breton, and other emerging artists of the time. Joan Miró aligned himself with the Surrealist movement, led by Breton, but (even though his future work was influenced by the tenets of Surrealism) never fully accepted the movement’s creed and always remained on its periphery. Despite this, Breton was later quoted describing Miró as “the most Surrealist of us all.”

Miró ultimately developed his own unique style, rooted in memory, imaginative fantasy, and the irrational. Miró’s works are distinguished by the use of brilliant pure colors against flat neutral backgrounds. Abstract amoebic shapes are juxtaposed against sharp lines, creating visions that are often whimsical and ethereal. In contrast to his art, Miró’s personality was orderly, detail-oriented, and meticulous. Unlike many of his more bohemian contemporaries, he was known for attending gallery exhibition in dark business suits. Throughout his career, Miró experimented with many media, including etchings, lithographs, ceramics, sculpture, and tapestries. In 1956, Miró settled in a villa in Palma de Majorca, Spain, which was later transformed into the Miró Museum. Joan Miro died December 25, 1983.