Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Jacques Dupin, Joan Miró: Life and Work, trans. by Norbert Guterman (New York, 1962), p. 517, no. 205 (ill.).
Jacques Dupin and Ariane Lelong-Mainaud, Joan Miró: Catalogue Raisonné, Paintings, vol. 1 (Paris, 1999), p. 178, no. 232 (ill.).
Roland Penrose, Roland Penrose: Scrapbook 1900–1981 (Painters and Sculptors) (London, 1981), p. 168, fig. 420.
Brussels, Palais des Beaux-Arts, Joan Miró, January–February 1956; traveled to Amsterdam, Stedelijk Museum, February–March 1956, n.p., cat. no. 30 (ill.), as Le cheval and Het paard.
London, Tate Gallery, Arts Council of Great Britain, Joan Miró, August 27–October 11, 1964; traveled to Zurich, Kunsthaus, October 31–December 6, 1964, p. 27, no. 68.
Madrid, Galeria Kreisler Dos, January–February 1979, as Caballo de circo. Houston, Museum of Fine Arts, Miró in America, April 21–June 27, 1982.
Columbus, Ohio State University, Wexner Center for the Arts, Staging Surrealism, September 19, 1997–January 4, 1998, p. 82.
Paul Éluard (died 1952), Paris, by June 1938 [inventory of Éluard collection reproduced in Penrose 1981, fig. 420]; sold to Roland Penrose (died 1984), London, June 1938–1965 [Penrose 1981, fig. 420 and letter from Antony W. R. Penrose, January 3, 2004, in curatorial file]; given to his son, Antony W. R. Penrose, Sussex, England, by 1965–1975 [letter cited above]. Mr. and Mrs. Leigh Block, Chicago; given to the Art Institute, 1988.
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