The pochoir process flourished for a brief thirty-year period in the early 20th century but is now almost completely forgotten. Wildly luxurious and labour intensive, it involved using ink and stencils to create reproductions of paintings and watercolours. The process was done completely by hand - stencils were cut from sheets of metal or celluloid and the inks applied with a variety of coarse and soft brushes. Layers of colour were added to build the image - 8 to 15 for a basic print, and over forty for more detailed works - and the skill of the craftsman took centre stage. Given the labour and expense involved, it's unfortunate but hardly surprising that the technique fell out of favour.

During the early 1920s Picasso was able to balance two completely different styles with perfect mastery: Cubism and Neo-Classicism. Switching seamlessly between the two, he confounded artistic expectations and stood at the vanguard of the two defining narratives of avant-garde Paris after the War. This pochoir is based upon a typical composition from this time. Producing small scale gouache studies that sought to exploit the discoveries of cubism in a flatter, more decorative manner, he was able to relax and adopt a calmer approach to his subject matter. These were years of personal and professional contentment for Picasso, and as ever this was reflected in his work.

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