Galerie Louise Leiris, Paris
Acquired from the above b𝐆y the mothe꧒r of the present owner in the 1970s

Yvonne & Christian Zervos, 'Pablo Picasso 1969-1970' in Cahiers d'Art, Paris, 1970, no. 45
Rafael Alberti, Picasso en Avignon, Paris, 1971, no. 152
Christian Zervos, Pablo Picasso, Œuvres de 1970, Paris, 1977, vol. XXXII, no. 34, illustrated pl. 20
The Picasso Project, Picasso's Paintings, Watercolors, Drawings and Sculpture. The Final Years 1970-1973, San Francisco, 2004, no. 70-034, illustrated p. 16

Executed on cream wove paper, not laid down. There is a watermark, inherent to the nature of the support, to the bottom left corner. There are a few small tape remnants at intermittent intervals to all four edges of the reverse. Apart from some light discolouration to the very extreme edges and to the reverse, this work is in very good condition. Colours: Overall fairly accurate although the paper tone is warmer and the pastel more vibrant in the original.
"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."

Executed on 19^th January 1971, Femme allongée is a wonderful rendering of the reclining woman, one of two known drawings of this subject executed in January 1970. Picasso's work of this period is increasingly erotic in nature, much of it devoted to the subject of reclining figures. This crucial theme recurs in Picasso's work throughout his career, from the very beginning of the 20th century up until his death in 1973.

The meaning of the grasshopper in the present work remains enigmatic, and it is not certain Picasso attached any symbolic importance to it. But, as so often in Picasso's work, the action of looking is a central theme. As Michel Leiris wrote: 'Taking Picasso's work as a whole, one does not have to research for long before one realises that the action - almost the absence of action - of looking is one of the most frequent themes' (M. Leiris, Picasso 1881/1973, London, 1973, p. 251).