Lot 44
Lot 44
PROPERTY FROM THE COLLECTION OF PAULA REGO
PABLO PICASSO (1881-1973)

Minotaure caressant une Dormeuse, from: La Suite Vollard

Price Realised GBP 69,300
Estimate
GBP 40,000 - GBP 60,000
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PABLO PICASSO (1881-1973)

Minotaure caressant une Dormeuse, from: La Suite Vollard

Price Realised GBP 69,300
Price Realised GBP 69,300
Details
PABLO PICASSO (1881-1973)
Minotaure caressant une Dormeuse, from: La Suite Vollard
drypoint, 1933, on Montval laid paper, watermark Picasso, signed in pencil, a fine impression printing with much burr, from the edition of 260 (there were also fifty impressions with wider margins), published by Ambroise Vollard, Paris, 1939
Plate 295 x 365 mm.
Sheet 334 x 448 mm.
Provenance
With Frederick Mulder, London (with a fragment of their label on the reverse).
Paula Rego (1935-2022), London; then by descent to the present owners.
Literature
Bloch 201; Baer 369
Sale Room Notice
Please note the condition report has been updated for this lot.
Brought to you by
Alexandra GillSenior Specialist
A Christie's specialist may contact you to discuss this lot or to notify you if the condition changes prior to the sale.

Lot Essay

This impression of Picasso's Minotaure caressant une Dormeuse (Minotaur caressing a Sleeping Woman) belonged to the artist Paula Rego RA. According to her son Nick Willing, Rego was an enormous admirer of Picasso’s work:

`When she was able to afford a print she bought The Minotaur Caressing the Hand of a Sleeping Girl with his Face and kept it propped up on the mantel piece in her living room in London in front of where she would always sit. It inspired her to push harder and experiment. Printmaking was one of Paula’s passions that she returned to regularly throughout her life. She once said that printmaking was like drinking a cool glass of water after a long time in the desert. She acquired The Blind Minotaur (see lot 43) a few years later and propped that up on the other side of the mantle piece. When Paula was working on her series of Female Genital Mutilation prints at Pauper’s Press, she took it to show printer Simon Marsh so that he could emulate the deep blacks in the print'.

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