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La Minotauromachie by Pablo Picasso

Pablo Picasso

La Minotauromachie, 1935

Etching and engraving with scraper, on laid Montval paper
49.8 x 69.4 cm (19.61 x 27.32 in)
Prints & Multiples
Edition of 50
LiveArt Estimate™
Momentum 12M
Last recorded sale at Phillips, London (23 Jan 2020)

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Past Sales
ImageLast Sale DateTitleEdition No.Last SaleLast Sale Auction HouseLast Sale Location
Jan 23, 2020La Minotauromachie
Jun 23, 2014La Minotauromachie
Nov 4, 2013La Minotauromachie
Christie'sNew York
Nov 1, 2011La Minotauromachie
Christie'sNew York
Oct 29, 2010La Minotauromachie3
Sotheby'sNew York
Sep 16, 2010La Minotauromachie
Mar 28, 2006La Minotauromachie
Jun 18, 2004La Minotauromachie
Galerie KornfeldBern
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Artwork Description

Prints & Multiples


49.8 x 69.4 cm (19.61 x 27.32 in)


Etching and engraving with scraper, on laid Montval paper


With watermark


The artist

Marina Picasso collection, with her oval stamp verso (Lugt 3698)

Acquired directly from the above by the present owner


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



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.