1881 - 1973
MATERNITÉ (B. 1829; BA. 726)
Hectograph, 1938, from the edition of approximately 12, on laid paper with the A. Gestetner's watermark, unframed
sheet: 310 by 210 mm 12¼ by 8¼ in
With uneven discoloration and creasing throughout. Sheet edges with a few tiny tears, the longest measuring 10 mm at bottom, and a tiny loss to the lower right corner. A very thin inconspicuous scratch and a small spot of rubbing at lower left. Verso with two tape-stains at bottom sheet edge, hinge remnants along upper sheet edge and minor surface soiling.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
According to Brigitte Baer in Picasso, Peintre-Graveur, III, the technique Picasso used for five rare works in 1938 was analogous to the mimeograph process used before the appearance of the photocopy, or closer still to the process of drawing on a magic slate (ardoise magique). The matrix or stencil is a sheet of felted fibers coated with a layer of wax. Picasso drew directly on the stencil, removing the wax, allowing the ink to pass through the wax-free areas. The process thus can be classified as both a mechanical reproduction of a drawing and an engraved work as Picasso worked directly on the matrix.
Only a small number of experimental impressions appear to have been produced from any of these subjects, and the original drawings on specially treated paper for most of these works are presumed lost.