Pablo Picasso

Gifted by the Artist to Julian Trevelyan in the 1930s

With margins, generally in good condition, apart from overall discolouration, scattered handling marks, a few short creases (mostly in the margins), a tiny tear at the lower sheet edge, a handful of very faint fox marks, traces of graphite in the margins, remains of tape along the sheet edges verso, taped to the front mount along the upper sheet edge verso, framed.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Picasso, along with Max Ernst, Joan Miro, Alberto Giacometti and Sergio Brignoni, all worked on their etchings at Stanley Hayter's studio Atelier 17 in Montparnasse and it was here that Julian Trevelyan met Picasso in the early 1930s. He suggested, so the story goes, that Picasso use a mirror in his etchings to make his writing more legible. Picasso, however, kept his lettering in reverse believing they were more 'alive' this way. On settling at Durham Wharf, Trevelyan hung his Picasso etching alongside works by Viera del Silva and an early mobile by Alexander Calder, now gifted to the Tate, London.

'Some people's way of seeing is so intense that we find ourselves, so to speak, seeing with their eyes. These are the great artists, the Van Goghs, the Cezannes, the Picassos, who change the way we see.' (Julian Trevelyan, The Artist and His World, p.13)