The majority of graphic works by Miro sold world-wide were created in limited editions, are numbered (or annotated) and hand-signed. Miro’s editions were published by various editors, printers, galleries, museums and publishers who worked with the artist throughout his long career. These include among others:

• Christian Zervos, (beginning in 1930, who was also the editor of Picasso’s catalog raisoneé of paintings and drawings)
• Editions Montaigne (beginning 1930)
• Teriade (Stratis Eleftheriades) (beginning 1933)
• Cahiers d’Art (beginning 1933)
• Pierre Matisse and Pierre Loeb (beginning 1938)
• Editions Sagesse (beginning 1938)
• Joan Prats (beginning 1944)
• Curt Valentin (beginning 1947)
• Galerie Maeght (beginning 1947)
• Laurel Gallery (beginning 1947)
• Editions du Sagittaire (beginning 1950)
• Atelier Mourlot (beginning 1953)
• Albin Michel (beginning 1956)
• Louis Broder (beginning 1956)
• Galerie Matarasso (beginning 1957)
• Gerald Cramer (beginning 1958)
• Galerie Berggruen ( beginning 1959)
• Galerie Cordier (beginning 1959-60)
• Editions Surrealists (beginning 1960)
• Jean Hughes (beginning 1960)
• Edwin Engelberts (beginning 1961)
• Musee National d’Art Modern (Paris) (1962)
• Ediciones Poligrafa (beginning in 1968)
• Gustau Gili (beginning 1974)
• Lacourier et Frelaut (beginning 1976)
• Georges Visat (beginning 1976)
• Daniel Lelong (beginning 1981)

Sources: Miro Engravings vols. I-IV; Dupin; 1989; Rizzoli;
Joan Miro Lithographs vols. I-VI; Leiris/Mourlot;1972-1992; Tudor Publishing;
Joan Miro, The Illustrated Books; Cramer; 1989; published by Patrick Cramer.

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Market Prices of Miro graphics.

Miro’s graphic works have maintained international desirability for decades. Record-breaking prices for Miro graphics were established at auction in 1989 (some of these records still stand) and other record prices have been achieved in more recent years. His work is sought after among collectors in all graphic media with particular emphasis on his brightly colored images which feature aquatint and carborundum, a technique at which Miro was particularly expert. Carborundum involves the application of carborundum particles mixed with heavy glue and applied to the plate, which creates an embossing effect. When combined with the vivid color of his aquatint technique the effect is dramatic and adds a textural richness to these works.

Since 1998, the most dramatic increase in Miro’s sales price index was 36% between the years 2004-2005. $100 US spent on Miro artwork in 1998 has an average value of $331 (US) in March of 2009. (Source: artprice.com)

The following are notable prices for Miro individual graphic works (intaglios and lithographs) sold between the years of 1989 and 2008.

• $717,650 Mallet; 9/2008; “Untitled (from l’ Oiseau Solaire, l’ Oiseau Lunaire, Etincelles)”; 1967, D.447, color etching, aquatint; edition of 75
• $463,000 Mallet; 9/2008; “Cave Painting XII;” 1979, D. 1046, color etching; edition of 30
• $165,000 Sotheby's NY; 11/1989; “Equinoxe;” 1967, D. 428, color etching, aquatint, carborundum; edition of 75
• $154,000 Sotheby's NY; 11/1989; “Somnambule;” 1974, B. 217, color etching, aquatint, carborundum; edition of 75
• $101,200 Sotheby's Tokyo; 10/1989; “Woman at the Mirror;” 1956, M. 242, color lithograph, edition of 150
• $86,782 Sotheby's Barcelona; 2/1989; “Fashion Frenzy, Blue-Red-Green;” 1969, M. 654, color lithograph, edition “HC”
• $72,000 Christie's NY; 5/2005; 2/1989; “Makemono;” 1956, W. 183, scroll with box, color lithograph, edition of 50
• $71,869 Christie's London; 4/2008; “Serie Noir et Rouge: One Plate;” 1938, D. 38, etching, edition of 30
• $68,200 Sotheby's NY; 5/1989; Femme toupee;” 1974, B. 214, color etching, aquatint, carborundum, edition of 50
• $64,977 Christie's, London 3/2006; “Marchand de Couleurs;” 4/2008; “1981, D. 1131, color etching, aquatint, carborundum, edition of 60

Source: Gordon’s