Lithographs by Joan Miro
From the book Maravillas con variaciones acrósticas en el jardín de Miró, Copy No. 396
"Maravillas con Variaciones Acrósticas en el Jardín de Miró" is a collaborative artist's book created in 1975 by the Spanish poet Rafael Alberti and the Catalan surrealist artist Joan Miró.
About the Book
Title Translation: Wonders with Acrostic Variations in Miró’s Garden
Author: Rafael Alberti
Illustrator: Joan Miró
Publisher: Ediciones Polígrafa, S.A., Barcelona
Year: 1975
Literary Content
The book features poems by Rafael Alberti, many of which are acrostics - a poetic form where the first letter of each line spells out a word or message.
These poems are dedicated to Joan Miró, celebrating his artistic vision and whimsical imagination.
Artistic Content
Miró’s illustrations are not mere accompaniments to the text—they are parallel artistic expressions, filled with abstract forms, vibrant colours, and playful depictions of nature.
The imagery evokes a fantastical garden filled with butterflies, flowers, and surreal creatures—an homage to Miró’s love of nature and symbolic abstraction
Editions and Format
The deluxe edition includes 75 hand-signed and numbered copies on Velin d’Arches paper.
There are also additional editions: 5 on Japon paper, 15 with Roman numerals, and 15 black state proofs.
A broader edition of 315 copies and a printed signature edition of 1500 were also produced
Physical Details
Size: Approximately 29.5 x 23.25 inches (75 x 59 cm)
The book is housed in a lithographic cream cloth-covered portfolio.
The following lithographs are 355mm x 500mm. Numbered on the back of each - being either 2, 3, 4, 5, 6, 7, 8, or 9 and hand signed by Miro.
Larger Joan Miro Lithographs
These lithographs are 710mm x 500mm. Numbered 1, 11, 111, 1V, V, or V1.
Each piece was folded by Miro to fit into the Book of Poetry and so has the crease from the fold. All pieces have 'Miro' signed on the front.
Joan Miró was known for adding improvised tools and techniques to his lithographs, including using items like nails, screwdrivers, and even his fingers and hands, to create a more spontaneous and tactile quality in his prints. He also incorporated elements of chance, like stains and splashes, to introduce unexpected visual accidents into his work.
