18 ORIGINAL MIRÓ LITHOGRAPHS: LIMITED EDITION OF GOLL'S BOUQUET, SIGNED BY MIRÓ
(MIRÓ, Joan) GOLL, Yvan. Bouquet de Rèves pour Neila. (Paris: Fernand Mourlot, 1967). Quarto, 11 loose gatherings laid into illustrated stiff paper portfolio as issued, original glassine wrapper, original white cloth chemise and slipcase .
Signed limited edition of Goll's poems, number 115 of only 150 copies on velin de rives (from a total edition of only 200 copies), signed by Miró in pencil, with cover design and 18 original color lithographs.
"What is there in a picture by Miró that casts such an irresistible spell over the spectator?… It is a dreamworld transcribed by a master technician… A poetry of the unutterable, of the unreal, of germinations and beginnings, is the secret of his power" (Hazan, 187-188). Miró's lithographic works often display "a whimsical or humorous quality, containing images of playfully distorted animal forms, twisted organic shapes, and odd geometric constructions… and are printed in a limited range of bright colors, especially blue, red, yellow, green, and black [as here]. Amorphous amoebic shapes alternate with sharply drawn lines, spots, and curlicues, all positioned on the stone with seeming nonchalance" (Lenin Gallery). Perhaps the most famous couple on the European avant garde scene during the 1920s and 30s was Claire and Yvan Goll. But, "as a Jew, Goll had to flee from Europe in 1940, reaching New York with the last refugee steamer after Nazi Germany had occupied Paris… Just before he died at the American Hospital in Paris in 1950, Goll stated: 'I leave with a French heart, German mind, Jewish blood, and an American passport" (Wendell Piez). Miró's splendid production of Goll's expressionist poetry was arranged by Claire. The printer of Miró's lithographs, Fernand Mourlot, ran a lithography press in Paris, where such greats as Braque, Chagall, Matisse, Picasso and Miró came to have their designs printed and to learn about this still nascent medium. Text in French. Cramer 115.
A fine copy.