Joan Miro, Ursule hisse les cornes de la biche (Ursula raises the horns of the deer), 1975

Signed Joan Miro, Lithograph, Ursule hisse les cornes de la biche (Ursula raises the horns of the deer), 1975

Miro Lithograph Signed, Ursule hisse les cornes de la biche (Ursula raises the horns of the deer), 1975

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Miro Lithograph Signed, Ursule hisse les cornes de la biche (Ursula raises the horns of the deer), 1975 (thumbnail 5)

Artist:	Miro, Joan (1893 - 1983)
Title:	Ursule hisse les cornes de la biche (Ursula raises the horns of the deer), 1975
Medium:	Original Color Lithograph
Image Size:	34.1 in x 22.4 in (86.5 cm x 57 cm)
Sheet Size:	34.1 in x 22.4 in (86.5 cm x 57 cm)
Framed Size:	52 in x 40 in (132.1 cm x 101.6 cm)
Signed:	This work has a guaranteed authentic signature by Miro in pencil in the lower right hand side of the work
Edition:	Numbered 22/75. Published by Editions Georges Fall, Paris. Printed by Arte Adrien Maeght, Paris
Condition:	Extremely vibrant and saturated color, image occupies full sheet, pristine condition
Price: Item# 2111	$SOLD!

Historical Description:
Playful and mysterious, one must ask, who is Ursula? The title, Ursule Hisse les Cornes de la Biche, loosely translates to “Ursula raises the horns of the deer.” The fervent energy emitted from this piece, along with Miro’s inclusion of the title in the lithograph, builds suspense, as Miro invites us to question, who is Ursula, and what did she mean to Miro? Created in 1975, this work has a guaranteed authentic signature by Miro in pencil in the lower right hand side of the work. It is numbered 22/75. Ursule Hisse les Cornes de la Biche was published by Editions Georges Fall, Paris, and printed on Velin d’ Arches by Arte Adrien Maeght, Paris. A strange and unearthly creature emerges from a chaotic sea of wild text and color. Upon initial glance, the text, which is actually the title of the piece, appears more like strange primal symbols, rather than a discernable French inscription. This mythical black creature erupts from the page, as if liberated from a long unsettling quiet. The large scale makes the detailing and creative “hand” of the artist visible—adding to the enjoyment of this piece. Miro scholar Joseph Young describes Miro’s biomorphic figures as subjects who “Have been transformed by the artist into an imaginative world where the difference between real and hallucinatory is obscured and where geometric no less than biomorphic forms seem imbued with a life and will of their own.” (Taillandier) Catalogue Raisonné & COA: It is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work) : 1) Cramer, Patrick. Joan Miro Lithograph, Maeght Editeur, Paris, vol V, listed as 1082 on pg 185 2) Masterworks Fine Art, Inc. Certificate of Authenticity will accompany this work. About the Framing: Conservation framed in a classically black and gold Spanish frame. Using only museum quality archival materials, the piece is set with a white linen mat and matching gold inner fillet. The sculptural quality of the moulding perfectly compliments the playful and imaginative nature of the piece. Framing is completed with a Plexiglas cover.
Style:	20th Century Modern Master, Surrealism

Historical Description:

Playful and mysterious, one must ask, who is Ursula? The title, Ursule Hisse les Cornes de la Biche, loosely translates to “Ursula raises the horns of the deer.” The fervent energy emitted from this piece, along with Miro’s inclusion of the title in the lithograph, builds suspense, as Miro invites us to question, who is Ursula, and what did she mean to Miro?

Created in 1975, this work has a guaranteed authentic signature by Miro in pencil in the lower right hand side of the work. It is numbered 22/75. Ursule Hisse les Cornes de la Biche was published by Editions Georges Fall, Paris, and printed on Velin d’ Arches by Arte Adrien Maeght, Paris.

A strange and unearthly creature emerges from a chaotic sea of wild text and color. Upon initial glance, the text, which is actually the title of the piece, appears more like strange primal symbols, rather than a discernable French inscription. This mythical black creature erupts from the page, as if liberated from a long unsettling quiet. The large scale makes the detailing and creative “hand” of the artist visible—adding to the enjoyment of this piece. Miro scholar Joseph Young describes Miro’s biomorphic figures as subjects who “Have been transformed by the artist into an imaginative world where the difference between real and hallucinatory is obscured and where geometric no less than biomorphic forms seem imbued with a life and will of their own.” (Taillandier)

Catalogue Raisonné & COA:
It is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work) :

1) Cramer, Patrick. Joan Miro Lithograph, Maeght Editeur, Paris, vol V, listed as 1082 on pg 185

2) Masterworks Fine Art, Inc. Certificate of Authenticity will accompany this work.

About the Framing:
Conservation framed in a classically black and gold Spanish frame. Using only museum quality archival materials, the piece is set with a white linen mat and matching gold inner fillet. The sculptural quality of the moulding perfectly compliments the playful and imaginative nature of the piece. Framing is completed with a Plexiglas cover.

Style:

20th Century Modern Master, Surrealism

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Biography of Joan Miro

Joan Miro (1893 - 1983)

Joan Miró Ferra was born April 20, 1893, in Barcelona. At the age of 14, he went to business school in Barcelona and also attended La Lonja’s Escuela Superior de Artes Industriales y Bellas Artes in the same city. Upon completing three years of art studies, he took a position as a clerk. After suffering a nervous breakdown, he abandoned business and resumed his art studies, attending Francesc Galí’s Escola d’Art in Barcelona from 1912 to 1915. Miró received early encouragement from the dealer José Dalmau, who gave him his first solo show at his gallery in Barcelona in 1918. In 1917, he met Francis Picabia.

In 1920, Miró made his first trip to Paris, where he met Pablo Picasso. From this time, Miró divided his time between Paris and Montroig, Spain. In Paris, he associated with the poets Max Jacob, Pierre Reverdy, and Tristan Tzara and participated in Dada activities. Dalmau organized Miró’s first solo show in Paris, at the Galerie la Licorne in 1921. His work was included in the Salon d’Automne of 1923. In 1924, Miró joined the Surrealist group. His solo show at the Galerie Pierre, Paris, in 1925 was a major Surrealist event; Miró was included in the first Surrealist exhibition at the Galerie Pierre that same year. He visited the Netherlands in 1928 and began a series of paintings inspired by Dutch masters. This year he also executed his first papiers collés and collages. In 1929, he started his experiments in lithography. Miro's first etchings date from 1933. During the early 1930s, he made Surrealist sculptures incorporating painted stones and found objects. In 1936, Miró left Spain because of the civil war; he returned in 1941. Also in 1936, Miró was included in the exhibitions Cubism and Abstract Art and Fantastic Art, Dada, Surrealism at the Museum of Modern Art, New York. The following year, he was commissioned to create a monumental work for the Paris World’s Fair.

Miró’s first major museum retrospective was held at the Museum of Modern Art, New York, in 1941. That year, Miró began working in ceramics with Josep Lloréns y Artigas and started to concentrate on prints; from 1954 to 1958, he worked almost exclusively in Miro prints and ceramics. He received the Grand Prize for Graphic Work at the Venice Biennale in 1954, and his work was included in the first Documenta exhibition in Kassel the following year. In 1958, he was given a Guggenheim International Award for murals for the UNESCO building in Paris. The following year, he resumed painting, initiating a series of mural-sized canvases. During the 1960s, he began to work intensively in sculpture. Miró retrospectives took place at the Musée National d’Art Moderne, Paris, in 1962, and the Grand Palais, Paris, in 1974. He also worked with carborundum around this time. In 1978, the Musée National d’Art Moderne exhibited over 500 works in a major retrospective of Miro original drawings. Joan Miro died December 25, 1983, in Palma de Mallorca, Spain.

Joan Miro prints and unique original works are commonly seen in museums and art galleries in USA and Europe.

Joan Miró created a large wool and hemp tapestry titled "The World Trade Center Tapestry" that adorned the lobby of 2 World Trade Center. It was destroyed by the collapse of the tower on September 11, 2001. ¹

¹ Lives and Treasures Taken. Library of Congress.