This is an original pochoir in two colors (black, blue) on wove paper. It is an impression of the definitive state from the periodical edition (apart from the separate hand-signed and numbered edition of 48). One of two pochoirs published in the art review Cahiers d'Art, Nos. 1-4, Paris. 1934, to illustrate the text “L'oeuvre de Joan Miró de 1917 a 1933”, by Christian Zervos, Maurice Raynal, Robert Desnos, Benjamin Peret, Ernest Hemingway, Rebe Gaffe, Raynar Hoppe, George Antheil, Will Grohmann, Vincente Huidobro, Pierre Guegen, J.J.Sweeney, Leonide Massine, Herbert Read, J.V.Foix, Jacques Viot and Anatole Jakovski. Published by Editions Cahiers d'Art, Paris; printed by Imprimerie Crété, Corbeil. Catalogue raisonné reference: Dupin 15; Cramer III.B. Along with a number of other artists, such as Picasso and Gleizes, Miró became interested in the medium of the stencil print in the early 1930s. At this period he was concentrating on simplified highly anthropomorphic “dream” forms. The flowing shape made possible with the stencil, together with the smooth flat tones of the ink, were a perfect complement to this imagery. He worked very closely with the stencil cutter for the two pochoirs (stencil prints) that he made for Cahiers d'Art in 1934, and for the one he made in Spain for D'Aci i D'Alla in the same year. They are works of particular interest because no other color prints by Miró exist from this major period at the height of his Surrealism.
This work is part of a carefully curated selection by noted fine art expert Jennifer McCloskey, who was formerly affiliated with Doyle Gallery in New York and is now based in San Francisco.