Pablo Picasso, La Minotauromachie

1935
Etching and engraving with scraper, on laid Montval paper with watermark, with full margins (deckle on all sides).
I. 49.8 x 69.4 cm (19 5/8 x 27 3/8 in.)
S. 57.3 x 77.4 cm (22 1/2 x 30 1/2 in.)
Baer’s seventh (final) state, one of the 23 impressions from the artist’s estate, printed by Roger Lacourière, Paris, in original condition, framed.

Provenance:
The artist
Marina Picasso collection, with her oval stamp verso (Lugt 3698)
Acquired directly from the above by the present owner

Literature:
Christian Zervos et al., Picasso 1930-1935, Cahiers d’art, 1936, p. 85
Paul Eluard, À Pablo Picasso, Geneva & Paris, 1944, pl. 102
Alfred Barr, Jr., Picasso. Fifty Years of his Art, Museum of Modern Art, New York,1946
Daniel E. Schneider, The Painting of Pablo Picasso: A Psychoanalytic Study, College Art Journal 7, 1947-48, pp. 81-95
Curt G. Seckel, Picasso und die Insel des Minotaurus, Betrachtung über eine Raiderung, Das Kunstwerk und das Schöne Heim 4, vol. 5, 1950, pp. 26-29
Wilhelm Boeck, Picasso, Stuttgart, 1955, p. 401
Vicente Marrero Suárez, Picasso y el Toro, Madrid, 1956
Curt G. Seckel, Die Minotauromachie. Bildehafte Meditation aus einem Schicksalsjahr Picassos, Zeitwende, Die Neue Furche 30, 1959, pp. 245-253
Jan Runnquist, Minotauros, En Studie i Förhållandet Mellan Ikonografi och Form I Picassos Konst, 1900-1937, Stockholm, 1959
Sir Herbert Edward Read, The Form of Things Unknown, Essays Towards an Aesthetic Philosophy, New York, 1960, pp. 64-75
Otto J. Brendel, Classic and Non-Classic Elements in Picasso’s ‘Guernica’, Bloomington, Indiana, 1962, pp. 121-162
Albert E. Elsen, Purposes of Art, New York, 1962, pp. 388-405
Alfred Scheidegger, Der Monotauros, Dreissig graphische Blätter von Pablo Picasso, Frankfurt, 1963
Carla Gottlieb, The Meaning of Bull and Horse in Guernica, Art Journal 24, 1964-65, pp. 106-112
Georges Bloch, Catalogue de l'oeuvre gravé et lithographié 1904-1967, Bern, 1968, p. 286, no. 288
Anthony Blunt, Picasso’s Guernica (The Whidden Lectures for 1966), New York, Toronto, 1969
André Fermigier, Picasso, Paris, 1969
Martin Ries, Picasso and the Myth of the Minotaur, Art Journal 32, 1972-73, pp. 142-145
Rui Mário Goncalves, Guernica e os mitos, Coloquio Artes No. 16, 1973, pp. 18-25
Curt G. Seckel, Meister der Graphik – Picassos Wege zur Symbolik der Minotauromachie, Die Kunst und das Schöne Heim 85, 1973, pp. 289-296
Herschel Browning Chipp, Guernica: Love, War, and the Bullfight, Art Journal 33, 1973-74, pp. 100-115
Jürgen Thimme, Picasso und die Antike, Badisches Landesmuseum, 1974
Francis Ponge, Pierre Descargues and Edward Quinn, Picasso, Paris, 1974, p. 212
Timothy Hilton, Picasso, London, 1975, no. 166, p. 225
Mary Mathews Gedo, Art as Autobiography, Chicago & London, 1980
Marc Le Bot, Minotauromachie, L’Arc, Revue trimestrielle, Aix-en-Provence, 1981, pp. 30-34
Jürgen Thimme, Pablo Picasso’s ‘Minotauromachie’, Staatlichen Kunstsammlungen, 1981, pp. 105-122
Lydia Gasman, Mystery, Magic and Love in Picasso, 1925-1938, New York, 1981
Sebastian Goeppert and Herma C. Goeppert-Frank, Pablo Picasso’s ‘Minotauromachie’, 1981, various
Marie-Laure Bernadac, La Minotauromachie, 1935, French Academy in Rome, 1982
Gloria K. Fiero, Picasso’s Minotaur, Art International 26, 1983, pp. 20-30
Brigitte Baer, Picasso the Printmaker: Graphics from the Marina Picasso Collection, Dallas Museum of Art, 1983, pp. 94-97
Brigitte Baer and Bernhard Geiser, Picasso Peintre-Graveur, Bern, 1986, vol. III, p. 17, no. 573
Sebastian Goeppert and Herma C. Goeppert-Frank, Minotauromachy by Pablo Picasso, Geneva, 1987
Brigitte Baer and Bernhard Geiser, Picasso Peintre-Graveur, Bern, 1996, addendum to vols. I-VII, pp. 28-32
Brigitte Léal, Christine Piot and Marie-Laure Bernadac, The Ultimate Picasso, New York, 2000, no. 711, p. 292
Kathleen Brunner, Picasso Rewriting Picasso, London, 2004, pp. 8 and 20-21
Emmanuel Benador, Picasso Printmaker: A Perpetual Metamorphosis, 2005, no. 32
Picasso. Toros, Museo Picasso, Malaga, 2005, p. 84
Stephen Coppel, Picasso Prints – The Vollard Suite, The British Museum, London, 2012, p. 37

Property of an Important European Collector