皮爾斯畫廊，紐約（1939年購入）
歐文．斯旺，紐約
私人收藏

「1910年前的畢加索」，紐約，皮爾斯畫廊，1939年，品號11，圖錄附圖版 (稱《西方酒店》)
紐約，哥倫比亞大學，借展
「卡羅琳和歐文．斯旺繪畫和素描珍藏」，波特蘭，波特蘭藝術博物館、紐約，現代美術館、西雅圖，西雅圖藝術博物館、鹽湖，鹽湖藝術博物館、科羅拉多斯普林斯，科羅拉多斯普林斯藝術中心、堪薩斯城，威廉．羅克希爾．納爾遜美術館、密歇根，密歇根大學藝術博物館、德頓，德頓藝術中心， 1964年，品號61，見展覽圖錄圖版（畫題：《西方酒店，22號房》）
紐約，佩斯畫廊，「畢加索與素描」，1995年，品號2，圖錄附彩色圖版
「畢加索在波哥大」，波哥大，哥倫比亞國家博物館，2000年，品號9，圖錄附彩色圖版

克里斯奇恩．澤佛斯，《巴布羅．畢加索，第1至5冊之補編》，第6冊，巴黎，1954年，品號616，圖版75
皮耶．戴克斯和喬治．布達葉爾，《畢加索，1900-1906年作品專題目錄》，巴黎，1966年，品號XI 14，圖版頁250
艾伯特．莫拉維亞和保羅．力卡丹洛．《畢加索藍色和玫瑰時期作品全集》，米蘭，1968年，品號148，圖版頁98
喬賽普．帕勞．伊法布利，《畢加索早年，1881-1907年》，巴塞隆拿，1985年，品號1009，圖版頁393
菲利斯．塔奇曼，「畢加索的標記」，《美國藝術》，LXXXVI，第2冊，1998年2月，第115頁
畢加索方案編，《畢加索的繪畫、水彩、素描及雕塑，藍色時期-1902至1904》，三藩市，2011年，品號1904-085，圖版頁214

This work is in good condition. Executed on buff colored wove paper affixed to a mat at center of left and right edges and at top corners. Some minor repaired tears at extreme edges, at the lower left corner, center of the top edge, and upper right corner. Sheet is slightly time darkened. The stippling throughout the sheet is likely a result of the aging process of the medium.
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.

In the summer of 1904, Picasso received a commission from Gustave Coquiot to design posters for a new theatrical production, entitled Saint-Roulette that Coquiot had co-authored with Jean Lorrain, a rather scandalous Parisian novelist, and poet. Picasso had known Coquiot at least since 1901, when he had written the catalogue for the 1901 Vollard show of works by P💙icasso and another Spanish artist, Francisco Iturrino. Picasso painted Coquiot's portrait twice during 1901. In one, he is depicted sitting in three-quarters length, his face harshly illuminated, dancing girls and a crowd visible in the background. In the other portrait he sits in a green chair, the wall behind him overflowing with artwork, paintings piled and leaning on the wall to his right and left.

Coquiot would later be one of the first critics, if not the first, to coin the terms "blue period" and "rose period" in reference to Picasso's work during the first decade of the twentieth century. These terms, now so well known, appeared in an article about Picasso that Coquiot wrote in 1914, which discussed Picasso's fame and importance as a Cubist painter: "He breaks new ground with the "blue period." Works of that time are now much sought after by collectors.... It is the skeletal period of famished couples, transfixed before a glass of absinthe.... Then comes the "rose period" and we are graced with some exceptional portraits.... He keeps attempting the impossible, and he goes down each and every road" (Gustave Coquiot as quoted in Marilyn McCully, ed., Picasso, The Early Years 1892-1906, (exhibition catalogue), National Ga⛄llery of Art, Washington, 1997, pp. 146-147).

L'Étrangleur was created as Picasso left his blue period and entered his rose period. The figures in this composition – the victim, the strangler, and the two accomplices, all stand at the front of the picture plane, their gazes, except for that of the victim, center on the victim's face. In the final version of the poster (fig. 1), the figures have rotated away from the viewer and a fireplace with decorative elements has appeared in the background at left. The title of the production and of the theater have been added at top and bottom; the palette has become darker. In L'Etrangleur the faces are full of emotion - surprise, ferocity, anger. The dynamism and expectꦫations of the melodrama that this work would have at one point a⛦dvertised are clearly expressed.