Reclining Sculptor and Model with Mask

Autoportrait sous trois formes: Peintre couronne, sculpteur en buste et Minotaure amoureux

Original Etching, Paris, 18th May 1933 , on small Montval Fillegree paper, with Vollard watermark signature, bears signature of the artist Edition: 260 

Literature: Bloch, Georges. (GB.79) - 1968-1979. Pablo Picasso, catalogue de l'oeuvre gravé et lithographié, 4 vol. No 191

Berne: Kornfeld and Klipstein. (I:191)

Bois, Yve-Alain, ed. 2008. Picasso Harlequin 1917-1937. Milano: Skira. (V 33)

Bolliger, Hans & Bernhard Geiser. 1956, 1977, 1994. Picasso's Vollard Suite. London: Thames and

Hudson. (84)

Boudaille, Georges, Marie-Laure Bernadac, & Marie-Pierre Gauthier.(GB.87) 1987. Picasso. New York:

Longmeadow Press. (308)

Clair, Jean, ed. 2001. Picasso Érotique. New York: Prestel. (156)

Esteban Leal, Paloma. 2000-2001. Picasso / Minotauro. Madrid: Museo Nacional Centro de Arte Reina

Sofía. (10)

Florman, Lisa Carol. 2000. Myth and Metamorphosis: Picasso's Classical Prints of the 1930's. Cambridge

MA.: MIT Press. (4.2)

Geiser, Bernhard and Brigitte Baer. [GB.96] (Ba) 1986-1996. Picasso: Peintre Graveur, Catalogue raisonné de l'oeuvre gravé et des monotypes, 7 vols. Berne: Kornfeld. (350)

Goeppert, Sebastian & Herma Goeppert-Frank (G.G.87) 1987. L Minotauromachie de Pablo Picasso.

Geneva: Patrick Cramer. (32p)

Mallen, Enrique, ed. (OPP)1997-2015. Online Picasso Project. Sam Houston State University. (33:005)

Size: 44.5 x 34 (paper size) ; 297 x 365 mms (plate size)

Public Collections: British Museum, London. The Museum recently acquired a complete series of the Vollard Suite which includes this work. They were all on public display in 2012 in the Department of prints and drawings Musee Picasso, Paris, France 

Note: The publication of the hundred etchings created by Picasso between 1930 and 1937 was one of Ambroise Vollard's most impressive undertakings. Vollard was one of the greatest art dealers and publishers of his time and his championship of some of the most celebrated artists of the day deserves the thanks of later generations. His artists, to name but a few, included Cezanne, Renoir, Gauguin, Van Gogh, Rousseau, Rouault and Picasso. Picasso met Vollard in Paris in 1901 and worked with him over an extended period. When the Vollard Suite etchings were first made they were in fact rarely signed (with the exception of some rare proofs made on vellum in editions of 3). Vollard died tragically in a car accident in 1939 and eventually, after the Second World War, most of the Vollard Suite passed into the hands of the famous Dealer Petiet. Petiet knew that Picasso , would never sign anything until he was paid for it and the artist required a substantial fee for putting his signature on the Vollard Suite etchings. Accordingly Petiet gave his buyers the option of buying them either unsigned or, for 10% more on the cost, signed. This meant that Picasso signatures from 1939 until the artists death appear on Vollard Suite etchings. Obviously there is a difference in the artists signature as he aged. This etching is completely genuine but we believe that the signature may be apocryphal which is why we have described it as “bears signature”