Joan Miro (1893-1983)
Album 21 - Plate 1, 1978; Lithograph in colors on Arches; Signed by Miró in pencil lower right and numbered 24/75 in pencil lower left; Published by Maeght Editeur, Paris; Size - Sheet 19 1/2" x 25 1/2"; Frame: 34 1/2" x 39"; Catalog Raisonne: Mourlot 1126, Cramer 241; Framed floated using two acid free mats, a black wood frame, and UV conservation clear glass; Price On Request!
Maravillas Con Variaciones Acrósticas En El JardÃn De Miró (Wonders With Aristocratic Variations In Miró's Garden), 1975; Lithograph on Japon paper; Signed Miró in pencil, lower right and numbered II/V in pencil, lower left; Framed using two acid free mats, a black and gold wood frame, and UV conservation clear glass; Size - Image: 21" x 29 1/4"; Sheet 21" x 29 1/4"; Frame: 35" x 43"; Catalog Raisonne: Mourlot 1067, Cramer 211; SOLD!
Prise À L’Hamecon (Catch With the Hook), 1969; Etching, aquatint and carborundum on Arches paper; Signed Miró in pencil, lower right and numbered 39/75 in pencil, lower left; Framed using an acid free linen mat, a black and brown frame, and UV conservation glass; Size - Image: 38 7/8 x 23v 1/2", Sheet: 41 3/4 x 26 7/8", Frame 61 1/2 x 44"; Catalog Raisonne: D. 515; SOLD!
Maravillas Con Variaciones Acrósticas En El JardÃn De Miró (Wonders With Aristocratic Variations In Miró's Garden), 1975; Lithograph on Arches paper; Signed Miró in pencil, lower right and numbered I/XV in pencil, lower left; Framed using two acid free mats, a brown and gold wood frame, and UV conservation clear glass; Size - Image: 21" x 29 1/4"; Sheet 21" x 29 1/4"; Frame: 35" x 43"; Catalog Raisonne: Mourlot 1067, Cramer 211; SOLD!
Joan Miro signed and numbered etching, aquatint, and carborundum titled Prise À L’Hamecon (Catch With the Hook), 1969. This work is on Arches paper and is numbered 39/75 in pencil lower left and hand signed Miro in pencil lower right. Framed using an acid free linen mat, a black and brown frame, and UV conservation glass.
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Joan Miró was one of the most inventive and influential printmakers of the twentieth century, known for his fearless experimentation across a wide variety of media. Over the course of his career, he explored lithography, etching, aquatint, woodcutting, engraving, and drypoint, continually testing the limits of what printmaking could achieve. Miró’s work is defined by a distinctive interplay between form, color, and texture, and his prints often carry the same expressive vitality as his paintings. From early in his career, he approached printmaking not merely as a method of reproduction but as a creative medium capable of producing original, vibrant works of art.
A turning point in Miró’s printmaking came in 1967 with his introduction to the carborundum technique, a method that would redefine his artistic output. Carborundum involves applying an abrasive powder to the surface of an etching plate, producing a textured, granular effect that interacts with ink in striking ways. When combined with traditional techniques like etching and aquatint, carborundum allowed Miró to achieve remarkable depth, tonal variation, and surface richness, resulting in prints that rivaled the intensity and dimensionality of his painted works. This innovation marked a moment of technical and creative liberation, enabling him to create compositions of unprecedented scale and visual impact.
Between 1967 and 1969, Miró’s carborundum-aquatint prints emerged as
some of the most ambitious and celebrated works of his career. These prints display his signature boldness of line and color, often juxtaposing stark blacks with vivid reds, blues, greens, and yellows, creating a dynamic tension that pulls the eye across the composition. The technique enhanced both the tactile and visual qualities of his prints, allowing textures to emerge that seem almost sculptural. Each work from this perioddemonstrates Miró at the height of his technical mastery, balancing spontaneity with meticulous planning, and turning printmaking into a medium of painterly expression.
Miró’s carborundum prints not only reflect his individual genius but also had a profound influence on contemporary printmaking. By blending traditional methods with innovative materials, he expanded the possibilities of what printmaking could be, inspiring a generation of artists to explore texture, scale, and abstraction in their own work. These prints continue to be celebrated for their boldness, beauty, and technical sophistication, standing as a testament to Miró’s lifelong dedication to experimentation and his unyielding pursuit of artistic expression. In these works, viewers encounter a world where line, color, and texture converge to create compositions that are simultaneously playful, powerful, and profoundly expressive.
In this particular work, the carborundum texture can be seen in all the bold black elements. Miro was known for his use of black in carrying other colors and for it's stark contrast to the paper ground. Bold pure stokes of blue, green, red, and yellow are used to pull the image from the ground and the application of aquatint is used to give the image a wonderful depth. "Prise À L’Hamecon" showcases Miro's printmaking skill and has a powerful impact on the viewer, as the framed size is an impressive 61 1/2" x 44"!
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