
Aquatint
13 works

The Little Artist (Draughtsman) | Le petit dessinateur, 1954
Original Hand Signed and Numbered Lithograph on Arches Wove Paper
26 x 19.7 in 66 x 50 cm
Edition of 50.
Created in 1954, Le petit dessinateur (The Little Artist) is a striking example of Pablo Picasso’s extraordinary versatility and technical mastery in printmaking. Executed in the lithographic medium, the work captures an intimate and deeply human moment — a young artist, seated on the ground, absorbed in the act of drawing. It is a composition that bridges simplicity and complexity, showing both Picasso’s gift for distilling form into essential lines and his command over layered textures and tonal variations.The central figure — the “little artist” — is depicted with an elegance that balances anatomical precision and abstraction. The boy’s posture is natural yet stylized: legs folded, torso bent forward, arm extended with a brush or pencil in hand. The head tilts down in quiet concentration, the weight of his focus palpable. Picasso’s confident, fluid line traces the contours of the figure with minimal yet deliberate strokes, evoking both volume and tenderness. This economy of mark-making reflects the artist’s belief that the most profound expression often emerges from restraint.Behind the young draughtsman, two framed or window-like forms appear, each containing stylized portraits — one rendered with a soft blue wash, the other in yellow-green. These could be interpreted as the child’s own creations, a glimpse into the imaginative world that exists within his practice. The juxtaposition of the realistically modelled boy with these simplified, almost schematic portraits adds a playful dialogue between artistic representation and abstraction, a theme Picasso often explored.The background is dominated by a monumental figure drawn in fine, hatched lines and pale lilac tones, looming over the scene like a guardian spirit or muse. The ethereal quality of this presence suggests it might be an embodiment of inspiration itself — a visual metaphor for the forces that watch over and guide the act of creation. This layering of figures — corporeal and spectral — demonstrates Picasso’s mastery of compositional depth, even within a two-dimensional space.Technically, Le petit dessinateur is a testament to Picasso’s remarkable printmaking skill. By 1954, Picasso had already been working extensively in various graphic media — etching, aquatint, drypoint, linocut, and lithography — and had developed a virtuosity that allowed him to experiment freely while retaining full control over his materials. In lithography, an artist works by drawing onto a stone or metal plate with greasy crayons or inks; this matrix is then treated chemically so that the drawn areas attract ink and the blank areas repel it. The process allows for a remarkable range of tones, from dense blacks to delicate, transparent washes.Here, Picasso uses the medium’s capacity for tonal layering to great effect. The subtle interplay between the fine hatched textures, the transparent blocks of pastel color, and the confident black contour lines gives the work a dynamic yet balanced rhythm. His handling of space — flattening certain planes while giving others dimensional weight — speaks to his deep understanding of how lithography can merge drawing and painting sensibilities.The work also reflects Picasso’s lifelong fascination with the act of art-making itself. Across his career, he repeatedly depicted painters, sculptors, and draughtsmen — often as surrogates for himself — engaged in their craft. In The Little Artis*, the subject is not an established master but a child, perhaps recalling Picasso’s own prodigious youth, when his father recognized his extraordinary talent. By portraying a young figure immersed in creation, Picasso nods to the purity and intensity of the artistic impulse, unclouded by academic convention or market demands.This piece belongs to a period in the early to mid-1950s when Picasso was living in the south of France and working prolifically across painting, ceramics, and printmaking. His collaborations with master printers such as Fernand Mourlot in Paris had opened new technical possibilities, enabling him to push the lithographic process beyond traditional limits. Works from this period reveal his playful yet rigorous approach — blending spontaneous, gestural marks with calculated compositional structures.In Le petit dessinateur, this synthesis of spontaneity and precision is fully realized. The drawn line is at once swift and exact; the color fields are soft yet purposeful; the interplay between figuration and abstraction invites multiple readings. It is a quiet work, without the overt drama of some of his more famous political or mythological scenes, yet it resonates with the intimacy of observation and the universality of artistic creation.Ultimately, The Little Artist stands as a celebration of creativity itself — a moment suspended between thought and execution, rendered with the authority of an artist who understood that mastery lies not only in technical skill but also in the ability to convey human truth through the simplest of means. It is a work that underscores Picasso’s unparalleled command over printmaking and his enduring fascination with the act of making art.For more information on Le petit dessinateur by Pablo Picasso for sale, contact our galleries using the form below.
Price on Application

The Little Artist (Le Petit Dessinateur) · Pablo Picasso · Los Angeles Modern · 2021-05 · $26,250


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Femme à la Robe

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1950

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Grand Maternite
1963

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Grand Nature Mort au Compotier
1947

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Jacqueline Profile to the Right
1958

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Jacqueline with Roses
1956

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Jeu De La Cape (Bloch 1015)
1961

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Jeunesse
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Le Corsage à Carreaux
1949

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Les Demoiselles d'Avignon
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Paloma et Claude
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Portrait de Femme II
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Reclining Man and Crouching Woman | Homme couché et femme accroupie
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1961

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Tete De Femme Fond Noir
1946

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Tête de Jeune Fille – Portrait de Françoise
1949

Pablo Picasso (1881–1973, born Málaga, Spain) is the most productive and formally transformative artist in the history of Western art — a figure whose influence on twentieth-century painting, sculpture, printmaking, and ceramics is so pervasive that it remains, more than fifty years after his death, genuinely difficult to assess. Born in Málaga to an art teacher father who recognised and encouraged his prodigious talent, Picasso studied in Barcelona and Madrid before arriving in Paris in the early years of the twentieth century, where the encounter with Cézanne, African art, and his own restless intelligence produced Cubism — perhaps the most radical rupture in the history of representation since the Renaissance.
Pablo Picasso prints for sale at Guy Hepner represent one of the most significant collecting opportunities in the modern art market. Our gallery offers original Picasso lithographs, linocuts, etchings, and aquatints — each accompanied by full provenance documentation and catalogue raisonné references. Whether you are seeking a signed Mourlot lithograph, a Vollard Suite etching, a Vallauris linocut, or a late aquatint, Guy Hepner has the expertise and inventory to assist collectors at every level.
Picasso's print output is among the richest and most varied in art history, spanning etchings, lithographs, linocuts, and aquatints produced across seven decades. Understanding the categories is essential to collecting intelligently.
Lithographs were produced primarily through Fernand Mourlot's atelier in Paris, where Picasso worked from 1945 onwards. Mourlot documented over 400 lithographs bearing Picasso's hand, ranging from abstract heads and Cubist still lifes to the monumental Toros y Toreros bull-fighting series. Editions typically run from 50 to 275 copies. Unsigned Mourlot lithographs trade between $3,000 and $40,000; signed examples command $15,000 to $150,000 or more depending on subject and condition.
Linocuts, produced primarily at Vallauris between 1958 and 1963 using Picasso's own colour-reduction technique, are among the most technically revolutionary of all his prints. By cutting progressively deeper into a single block, Picasso achieved complex colour sequences impossible by conventional means. Edition sizes are small — typically 50 copies — and signed linocuts frequently exceed $80,000 at auction.
Etchings span Picasso's entire career, from his earliest Parisian years through to the late suites of the 1960s and early 1970s. The medium suited his restless line perfectly, and his etched output includes some of the finest prints of the twentieth century. Edition sizes vary widely, from the 50 impressions of the Vollard Suite to smaller later editions. Prices range from $5,000 for minor early works to well over $500,000 for Vollard Suite masterpieces.
Aquatints combine etching's linear precision with tonal washes of extraordinary subtlety. Picasso's aquatint work, often produced in collaboration with master printer Roger Lacourière, includes some of his most formally sophisticated printed images. These prints are rarer than his lithographs and command significant premiums accordingly.
Authentication for all Picasso prints relies on the Bloch catalogue raisonné — the definitive scholarly record of his print output — supplemented by Mourlot's lithograph catalogue where applicable.
Picasso's paintings represent the summit of the twentieth-century market. Understanding his periods is essential for collectors.
The Blue Period (1901–1904) produced austere, emotionally charged paintings on themes of poverty, isolation, and melancholy — elongated figures rendered in blue-grey tones that echo El Greco and carry an extraordinary psychological weight. Works from this period are among the most sought-after in the history of art.
The Rose Period (1904–1906) brought warmer hues and more tender subjects — circus performers, saltimbanques, and acrobats rendered with a new formal assurance. The transitional works that followed, leading to Les Demoiselles d'Avignon (1907), represent the hinge on which the entire history of modern painting pivots.
The Cubist period (1907–1921), co-developed with Georges Braque, produced the most intellectually radical body of painting in the twentieth century. Analytic Cubism (1909–1912) fragmented forms into near-monochromatic facets; Synthetic Cubism (from 1912) introduced collage, typography, and bolder colour. Major Cubist paintings are virtually never available on the primary market; they appear at auction rarely and achieve extraordinary prices.
Picasso's auction record stands at $179,365,000 — achieved at Christie's New York in May 2015 for Les Femmes d'Alger (Version O), a 1955 work from his series responding to Delacroix. Nude, Green Leaves and Bust (1932) reached $106,482,500 at Christie's in May 2010. These are benchmark figures for a career that produced well over 16,000 works catalogued by Zervos.
The most desirable areas of the Picasso print market for serious collectors are well-defined.
The Vollard Suite (1930–1937): ninety-seven etchings (and three aquatints with Roger Lacourière) commissioned by dealer Ambroise Vollard. The suite is considered Picasso's greatest print achievement — 100 plates encompassing the Sculptor's Studio sequence, the Minotaur series, and intimate portraits of Marie-Thérèse Walter. Published posthumously by Vollard's estate, the complete suite is extraordinarily rare. Individual plates now trade from $80,000 to over $500,000.
Suite 347 (1968): three hundred and forty-seven etchings completed in seven months when Picasso was eighty-six years old — an astonishing demonstration of creative energy in extreme old age. Themes include Degas's brothel scenes, Spanish picadors, Rembrandt, and Ingres. Published by Galerie Louise Leiris. These prints represent exceptional value relative to their historical importance.
Mourlot lithographs: Fernando Mourlot's catalogue documents Picasso's lithographic output with scholarly precision. The Bloch numbers (B.1 through B.2042 for the complete print oeuvre) and Mourlot numbers together form the authentication framework used by every major auction house.
Crommelynck etchings: Piero and Aldo Crommelynck's Paris workshop produced Picasso's late etchings with extraordinary technical refinement. The 347 Suite plates were printed here, as were the 156 Series etchings (1970–1972) — Picasso's final major print campaign.
Condition criteria for print collecting: look for clean, wide margins with no trimming; avoid foxing (rust-coloured spots from paper acidity) or tide lines; fading affects lithographs most severely — examine under strong light. Impressions on Japan paper or with remarques command significant premiums.
Authentication for Picasso works operates through established institutional channels.
For prints: the Bloch catalogue raisonné (Picasso: His Graphic Work, Volumes I–IV) provides reference numbers for all known prints. Mourlot's catalogue covers lithographs specifically. The Succession Picasso estate stamp appears on many posthumously published editions. Any print without clear catalogue raisonné reference and provenance chain should be examined by a specialist before purchase.
For paintings and works on paper: the Comité Picasso (now dissolved) was the primary authentication body; the Succession Picasso now handles estate matters. The Zervos catalogue raisonné (33 volumes) is the authoritative scholarly record for paintings, drawings, and sculpture. Expert authentication by a recognised Picasso specialist is essential for any major purchase.
Guy Hepner Gallery, 177 Tenth Avenue, New York, offers full provenance verification and catalogue raisonné consultation for all Picasso works. We provide free, confidential valuations for collectors looking to sell, and access to a global network of qualified buyers. Our expertise spans ceramics, prints, linocuts, drawings, and paintings across all periods of the artist's work.