Joan Miró, Flowery Ram, Hand Signed Lithograph

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Ships to: US,
Item: 125869424718

Condition:Used An item that has been used previously. See the seller’s listing for full details and description of any imperfections. See all condition definitionsopens in a new window or tab
Seller Notes:“The piece is in overall good condition. Minimal wear was visible upon close examination: no tears, … Read moreabout the seller notes“The piece is in overall good condition. Minimal wear was visible upon close examination: no tears, foxing, or notable damage. Please view the photos for further reference.” Read Lessabout the seller notes
Artist:Joan Miró
Unit of Sale:Single Piece
Image Orientation:Landscape
Size:Small
Signed:Yes
Material:Paper
Certificate of Authenticity (COA):No
Item Length:11.6 in
Original/Licensed Reprint:Reproduction
Framing:Unframed
Subject:Famous Paintings/Painters
Type:Print
Style:Surrealism
Theme:Art
Features:Multi-Colour
Item Width:8.3 in

eBay Joan Miró, Flowery Ram, Hand Signed Lithograph Edition: E.A. Size Sheet: 29.6 x 21 centimetres = 11.6” x 8.3” (inches) approximately Material: Thick paper Signature: Hand-signed in pencil Free shipping worldwide It sells as a copy – ’As is’ No certificate of authenticity (COA) You will receive the item from the photos. The items are purchased from Germany, Austria, France, Switzerland, Netherlands, Belgium, Spain and the United Kingdom various dealers, auctions, sales, antique shops, markets, and art collectors. I accept return within 14 days The lithograph will be without a frame LITHOGRAPHY is a printing process that uses a flat stone or metal plate on which the image areas are worked using a greasy substance so that the ink will adhere to them by, while the non-image areas are made ink-repellent. A printing process based on the fact that grease and water do not mix. The image is applied to a grained surface (traditionally stone but now usually aluminium) using a greasy medium: such as a special greasy ink – called tusche, crayon, pencils, lacquer, or synthetic materials. Photochemical or transfer processes can also be used. A solution of gum arabic and nitric acid is then applied over the surface, producing water-receptive non-printing areas and grease-receptive image areas. The printing surface is kept wet so that a roller charged with oil-based ink can be rolled over the surface, and ink will only stick to the grease-receptive image area. Paper is then placed against the surface, and the plate is run through a press. Lithography was invented in the late eighteenth century, initially using Bavarian limestone as the printing surface. Its invention made it possible to print a much wider range of marks and areas of tone than possible with earlier printmaking relief intaglio methods. It also made colour printing easier: areas of different colours can be applied to separate stones and overprinted onto the same sheet. Offset lithography involves printing the image onto an intermediate surface before the final sheet. The process is ‘offset’ because the plate does not come in direct contact with the paper, which preserves the quality of the plate. With offset lithography, the image is reversed twice and appears on the final sheet the same way round as on the stone or plate. ETCHING is a printmaking technique that uses chemical action to produce incised lines in a metal printing plate which then hold the applied ink and form the image The plate, traditionally copper but now usually zinc, is prepared with an acid-resistant ground. Lines are drawn through the ground, exposing the metal. The plate is then immersed in acid, and the exposed metal is ‘bitten’, producing incised lines. Stronger acid and longer exposure produce more deeply bitten lines. The resist is removed, and ink applied to the sunken lines but wiped from the surface. The plate is then placed against the paper and passed through a printing press with great pressure to transfer the ink from the recessed lines. Sometimes ink may be left on the plate surface to provide a background tone. Etching was used for decorating metal from the fourteenth century but was probably not used for printmaking much before the early sixteenth century. Since then many etching techniques have been developed, which are often used in conjunction with each other: soft-ground etching uses a non-drying resist or ground, to produce softer lines; spit bite involves painting or splashing acid onto the plate; open bite in which areas of the plate are exposed to acid with no resistance; photo-etching (also called photogravure or heliogravure) is produced by coating the printing plate with a light-sensitive acid-resist ground and then exposing this to light to reproduce a photographic image. Foul biting results from accidental or unintentional erosion of the acid resist. Like engraving, etching is an intaglio technique. Intaglio refers to all printing and printmaking techniques that involve making indents or incisions into a plate or print surface which hold the ink when ink is applied to the surface and then wiped clean. Disclaimer – Our prints/original art are purchased from various dealers, auctions, sales, antique shops, markets, and art collectors and are sold by us as such. However, in the unlikely event that you do not like the article, we will make an immediate and full refund, without hesitation, if the item is returned to us in the same condition it was received, with no damage, marks or folds, within 14 days of receipt. Joan Miró was a seminal figure in the 20th-century avant-garde painting. The Spanish artist’s innovative use of line, organic shapes, and colour represent a major contribution to Surrealism. Representative of his ability to conjure evocative space—Miró’s famed triptych Blue I, II, II (1961), portrays a floating world using only blue, orange, and black. “Little by little, I’ve reached the stage of using only a small number of forms and colours,” the artist reflected. “It’s not the first time that painting has been done with a very narrow range of colours. The frescoes of the tenth century are painted like this.” Born on April 20, 1893, in Barcelona, Spain, the artist first studied commerce before defying his parents and enrolling at the art academy in his hometown. In 1919, Miró moved to Paris where he fell into the Surrealist milieu, befriending Andre Breton, Max Ernst, Jean Arp, and Andre Masson. Miró’s work profoundly influenced several American painters, including Arshile Gorky and Mark Rothko. The artist died at age 90 on December 25, 1983, in Palma de Mallorca, Spain. Today, his works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the Tate Gallery in London, and the Fundació Joan Miró in Barcelona, a museum dedicated to the artist and his legacy.

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