Joan Miró

Miro, L'Issue Dérobée, D691, drypoint and aquatint, trial proof

Miro, L'Issue Dérobée, D691, drypoint and aquatint, trial proof, bon à tirer

Miro, L'Issue Dérobée, D692, drypoint and aquatint, trial proof

Miro, L'Issue Dérobée, D691, drypoint and aquatint, trial proof, bon à tirer

L'Issue Dérobée

[The Hidden Issue]

Dupin 691, D692 with D688 (verso), see Cramer 187

drypoint and aquatint in colors with additional etching, 1974, on heavy Arches wove paper, two trial proofs with variants, and wide though somewhat uneven margins (some slight scuffing and inky fingerprints in the margins), along with two BAT (Bon à tirer) proofs, printed to the sheet edges (see below), before the Maeght edition of 200 

Jacques Dupin (1927-2012) was a renowned French poet (who won the Grand Prix national de Poésie in 1988) and art critic, as well as an intimate friend of Miró's. He is furthermore the author of the catalogue raisonné of Miró's œuvre: prints, drawings, and paintings 

The 1974 Maeght edition comprised 11 prints for Dupin's poem, L'Issue Dérobée


Miró's artistic commitment to poetry was deep and long-standing:  he once told Jacques Dupin, "I make no distinction between poetry and painting"* and even executed painting-poems.  Indeed, Miró first came to printmaking through poetry, to illustrate the works. ** (One say say that his intent was rather to visually accompany them...)

(There is a separate catalogue raisonné for them: Patrick Cramer, Joan Miró: The Illustrated Books, Geneva, 1989).

The two proof impressions (D691 and D692) with margins (and deckle edges, left and right) are exceptionally rare, as each impression for L'Issue Dérobée was printed from multiple plates (the different platemarks are quite visible here), and the pages for the published edition were subsequently cut down radically, well within the platemarks, to the size of the compositions (as in the BAT impressions shown here). 

For these BAT impressions (which correspond to the dimensions of the published edition), we thus only give dimensions for the sheet size, as the platemarks are no longer visible.

D691  P. 436 x 500 mm. S. 500x0655 mm.
D691 BAT
S. 320x510 mm.
D692  P. 436 x 547 mm.
S. 500x660 mm.
D692 BAT S. 330x502 mm.

These working proof impressions show a number of variants:

D691  Both impresssions shown here were printed without the blue drypoint sketches (verso), and the BAT impression shows an additional starburst effect in mauve, center left.

D692  Both impressions were printed with with the same blue drypoint sketch (D688, verso), as in the edition, but without the cloudlike embossing in relief that is prominent in the edition. ***


Provenance: Monsieur G., Miró's printer in the Maeght workshop

* Jacques Dupin, Miró (Barcelona and New York: Ediciones Polígrafa & Abrams, 1993)

** Lise Hirtz, Il était une Petite Pie, 1928; Tristan Tzara, L'Arbre des Voyageurs, 1930

*** An impression of D692 from the edition was sold at Cannes-Encheres in 2014, where the embossing is clearly visible: