Estate of the artist
Marina Picasso (the artist’s granddaughter; acquired from the above)

Paris, Musée Picasso, Picasso et la photographie, à plus grande vitesse que les images, 1995, no. 128, illustrated in colour in the catalogue
Geneva, Galerie Jan Krugier, Ditesheim & Cie & New York, Jan Krugier Gallery, Pablo Picasso, Metamorphoses, Works from 1898 to 1973 from the Marina Picasso Collection, 2001-02, no. 118, illustrated in colour in the catalogue
Barcelona, Museu Picasso, Picasso de la caricatura a las metamorfosis de estilo, 2003, no. 322, illustrated in colour in the catalogue

David Douglas Duncan, Goodbye Picasso, New York, 1974, illustrated in colour p. 222

This work is in overall good condition. There are some gentle undulations to the sheet and a few faint flattened creases, the longest of which is approximately 5cm. and located to the left part of the upper edge. There are some thin scattered surface scratches in places which are possibly inherent to the artist's process. A few small nicks and handling marks along the extreme edges and three further small nicks to the paper along the crown of the left figure.
"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."

The present photograph, taken by the celebrated photographer David Douglas Duncan, depicts Picasso in animated conversation with his friend, the architect Jacques Couёlle. Known as the Twentieth Century Caveman for his extraordinary houses which recalled primitive caves in structure and form, Couёlle worked primarily in the South of France. Picasso’s witty additions to the surface of this image imbue the scene with mock seriousness, adorning himself and Couёlle in the garb and laurel wreaths of Roman senators.