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Provenance
The section organizes the available documentation and provenance signals so the artwork can be reviewed as a traceable object, not only as an image.
Real client case
Woman and bull drawing
Real client case reviewed by ConfirmArt for Woman and bull drawing, attributed or related to Pablo Picasso. The public page presents selected visual evidence and a rendered report viewer without exposing the private commissioned PDF.
- Artist / group
- Pablo Picasso
- Identifier
- 0506-06/2025
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02
Notes
Executed just six days before the large blue-paper wash drawing of 24 June 1933, this drypoint is one of Picasso's earliest graphic explorations of the Minotaur–woman theme that would dominate his work of the mid-1930s and culminate in the Vollard Suite . The print's spare linearity anticipates the etched plates of that suite, while the tight, square format underscores Picasso's interest in compressing narrative drama into a decorative, relief-like field. Impressions are rare; the present catalogue number refers to
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Catalogue Note
Selected evidence from this section shows how ConfirmArt structures a real client case for Pablo Picasso, combining visual review with documented comparables.
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Basic Record @ Art Institute of Chicago
The Minotaur Pablo Picasso (Spanish, 1881--1973) 24 June 1933 (Boisgeloup) Brush and black ink with wash on blue wove paper 48 63 cm (18 15/16 24 13/16 in.) VIDALON-LES-ANNONAY CANSON \ MONTGOLFIER Signed in black ink, lower right: Picasso . Dated in black ink, lower left: 24 juin XXXIII-I Boisgeloup Prints and Drawings Drawing (Works on Paper) Margaret Day Blake Collection 1967.516 Currently off view Henry Kleemann, New York; Sylvester W.Labrot, Jr., Hobe Sound, Florida; E.V.Thaw \ Co., Inc., New York; acquired by
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Notes
Executed just four days after the large blue-paper sheet of 24 June 1933, this more compact drawing reprises the theme of the Minotaur's violent embrace. Set against warm cream paper, the figures are articulated by crisp pen lines and concentrated pools of wash, lending the scene a sculptural weight that contrasts with the vaporous atmosphere of the earlier version. The work belongs to the sequence of Minotaur compositions that culminated in the Vollard Suite etchings, reinforcing Picasso's exploration of erotic ra
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Inauthenticity Concerns
The front side of the unframed graphite on paper labeled as A1. The woman's torso abuts the Minotaur's chest without spatial transition, leaving no physical room for hips or legs; no lower limbs are indicated, an anatomical lapse unprecedented in Picasso's 1930s drawings. Head orientation vs.\ gravity on the breasts.
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Signature Inconsistencies
Morphology of the surname In authentic mid‑century signatures the first P rises in a long spear before looping back; the c and a tilt slightly right; the double s drops below the baseline. Samples reproduced in J.\ Castagno's Signatures and Monograms of Modern European Artists (Fig. ) show a consistent stroke sequence: each starts with a steep left‑leaning ascender and ends in a tapering final o.
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