Between 1909 and 1914, Pablo Picasso and Georges Braque shared an intense visual dialogue that would transform the work of both artists and bring about the birth of Cubism. In 1911, their progressive art dealer, Daniel-Henry Kahnweiler, provided the opportunity for this breakthrough by commissioning prints from both artists. For his commission, Braque created a suite of large-format drypoints, including the abstract composition Fox, which takes its name from a sign hanging on the wall of a café. Picasso, for his part, made etchings for "St. Matorel" (1911), a book of poems by his friend Symbolist poet Max Jacob (1876–1944). The illustrations seen here are two versions of Jacob’s character, "Mademoiselle Léonie". Unlike Braque’s Fox, in which the dry printing emphasizes the linear character of the design, the richly printed impression of Picasso’s etching "Mademoiselle Léonie on a Chaise Longue" draws one’s attention to a more modulated, volumetric approach to Cubism. The two impressions on view were issued in a supplementary edition separate from the publication of Jacob’s book.