Pablo Picasso

Bucholz Gallery (Curt Valentin), New York
Eliot Elisofon, New York
Richard L. Feigen & Co., New York
Galerie Rudolf Zwirner, Cologne (acquired from the above in 1978)
Private Collection, Germany (acquired from the above in 1979)
Galerie Berndt, Cologne
Private Collection, Germany (acquired in 1999; sale: Sotheby's, London, 6th February 2007, lot 174)
Purchased at the above sale by the present owner

Tokyo, Musée de la Ville de Tokyo, Picasso, 1977, no. 126

Jean Leymarie, Dessins de Picasso, Lausanne, 1967, illustrated p. 63

Executed on cream wove paper, not laid down, hinged to the mount in the top two corners, floating in the mount. There are two minor paper infills to the reverse of the top two corners, supportive tape to the reverse of all four edges and some remnants of tape residue to the lower corners on the reverse, due to previous mounting. Apart from some minor studio dirt, this work is in very good condition. Colours: The paper tone is warmer and the ink is stronger in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The theme of the Minotaur appears repeatedly in Picasso's work of 1933 and 1934, but as with other symbolic forms in the artist's oeuvre, it is impossible to pin down any singular meaning of this mythological figure. In a group of etchings executed in 1933, Picasso portrayed Minotaurs carousing with naked men and women, dying in front of an audience in a bullfight and finally as a powerless, blind figure, being led by a child. All of these various guises represent facets of the artist's volatile relationships with lovers and family. Picasso's fiery, sexually charged relationship with Marie-Thérèse Walter was key to his work in the mid-1930s. In the minotaur series, Picasso thought himself a sexual animal hungrily devouring everything placed in his way.