After the conclusion of World War I, Picasso's printmaking took on a withdrawn and gloomy character, underlined by by a series of prints depicting three women, three bathers, the Three Graces or three goddesses, who are rather plain and totally self-absorbed. One can see here the beginning of a theme which Picasso was to use throughout his life: that of women together. This is linked to his childhood, when he was the only male in the totally feminine universe of his mother, aunts, sisters, female cousins and maids who communicated with each other in a manner which was totally foreign to him. A richly printed impression of Geisers only state, printed with the plate corrosion and warm plate tone characteristic of this etching from the edition of 50, numbered in pencil in the margin lower left (there were 19 additional impressions designated artists proofs, for an overall edition of 69 printed in 1961 at Atelier Frlaut, Paris, apart from 4 trial proofs printed on various papers by Frlaut in 1960, apart from one impression printed by Picasso in 1923 and one impression prtinted by Louis Fort in 1930). One of 45 plates comprising the suite La Caisse Remourds issued by Galerie Louise Leiris, Paris, 1981. Signed with the artists estate stamp signature in black ink in the margin lower right Picasso. Catalogue reference: Bloch 61; Geiser 107 B.b.
This work is part of a carefully curated selection by noted fine art expert Jennifer McCloskey, who was formerly affiliated with Doyle Gallery in New York and is now based in San Francisco. If you have questions about any of the works in this selection, please send an email to email@example.com.