Pablo PICASSO (1881-1973), Marie-Therese as a vestal observing a sleeping minotaur (original author's title)

lithograph, handmade paper, 44 x 33 cm; originally mounted on black acid-free cardboard 50 x 40 cm; signed p. d. facsimile of Picasso's signature, numbered in pencil l. d.: 738/1200, in l. d. corner of the paper a printed head according to Picasso's drawing, on the reverse p. d. footer: PABLO PICASSO, VOLLARD SUITE, Planche [number of the print in Roman numerals], Été tirée a 1.200 exemplaires. Tous, les exemplaires ont été numérotés, Copyright by S.P.A.D.E.M. 1973.

The "Vollard Suite" series is a series of 100 engravings originally done in etching; engraved by Roger Lacouriere (1892-1967) since 1939. The series was created by Picasso between 1930 and 1937 and was named after the art dealer who commissioned them from Picasso, Ambroise Vollard (1866-1939). Vollard did not live to see the publication of the entire series, which was sponsored by the Abby Aldrich Rockefeller Fund after his death. The series includes prints on various subjects, but the most important is the sculptor's studio. Among them is a group depicting a carved head reminiscent of several others that Picasso created inspired by his lover, Marie-Thérese Walter. Many of these engravings depict a female figure reminiscent of Marie-Thérèse, who was his muse and model.
Sexuality is a recurring motif in Picasso's work, depicted in various ways. In the 1930s, he began creating scenes of sexual violence. At the time, Picasso was influenced by Surrealism, which encouraged the exploration of unconscious thoughts and desires.
The mythical Minotaur - part man, part bull - was Picasso's alter ego in the 1930s and part of a broader exploration of classicism that was evident in his work for many years. The minotaur was also a symbol of the Surrealists, who saw him as the personification of forbidden desires. For Picasso, it was an expression of complex emotions during a time of personal turmoil. The Minotaur symbolized lust, violence, guilt and despair.
The lithographs are from the only pencil-numbered series issued for the Müllheim Museum under the control of SPADEM in an edition of 1,200.