(Picasso, Pablo, illus.)

4to (11 5/8 x 10 in.; 295 x 253mm). Half-title, title-page printed in red and black, initials printed in red, 30 etchings (15 full-page and 15half-page) by Picasso, printed by Roger Lacourière. Red morocco by H. Alix, spine gilt-lettered, edges gilt, mustard-colored liners, original printed wrappers bound in; minimal wear at spine ends and edges.

Artist & the Book 224; Cramer 19; Castleman Century 111; Skira 292

As described in catalogue entry.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The first of Picasso's major illustrated books. This copy number 120 of 95 copies (numbered 31 to 125), signed by Picasso (of a whole edition of 145).

Albert Skira, intent on making a stunning debut in the publishing world, eagerly sought Picasso's collaboration for his first livre d'artiste. Picasso had agreed to produce fifteen illustrations, but the text had not yet been determined. In response to Picasso's retelling of dream in which women transformed themselves into fishes, and a propos of Skira's project, Pierre Matisse suggested that Picasso illustrate the Metamorphosis.  Skira selected fifteen books from Ovid's work that most suitably lent themselves to illustration. In addition to the fifteen full-page engravings, Skira had persuaded Picasso to produce another fifteen drawings that would be used as half-page chapter headings.  A rare instance in which Picasso faithfully followed the text, his images evoked "classical forms without excess, even in scenes of violence," through the sensuousness of pure line and contour (Cramer).