The great art dealer and famous art publisher Ambroise Vollard (1866–1939) was one of Picasso’s earliest champions. The first dealer to exhibit the artist’s work, Vollard bought his first Picasso painting in 1906 and eventually assembled a renowned collection of the artist’s works. During the 1920'ies, he began publishing Picasso’s prints. 1927 represents a pivotal year in the collabration between Picasso and Vollard. It is then that Vollard asks Picasso to illustrate Balzac's artistically seminal "Le Chef-d'œuvre inconnu".

Balzac's hugely important "The Unknown Masterpiece" constitutes one of the most important literary reflections on art, and it came to have an massive influence on modern artists, including Picasso. The work was a part of Balzac'z vast "La Comedie Humaine", but unlike most of the other stories here, "Le Chef d'Oeuvre Inconnu" was set in the 17th century, in 1612. Three artists are potrayed in this oddly fascinating story, and of these, Poussin and Porbus were real artists of the 17th century, whereas Frenhofer is a purely fictional character. Several of our greatest modern artists came to identify themselves with Frenhofer, eg. Cezanne, who famously said "Frenhofer, c'est moi" (I am Frenhofer). Critic Jon Kear argues that Cézanne's own attempts to paint the nude were heavily influenced by Balzac's portrayal of Frenhofer's work.

As Cezanne, Picasso also became extremely fascinated by the text while working on the project and also identified with Frenhofer - so much so that he moved to the rue des Grands-Augustins in Paris, where Balzac located Porbus' studio. Picasso lived here during WWII, and it was there that he painted his own masterpiece, Guernica. 

"Vollard made a sterling, almost inspired choice in commissioning Picasso... Presenting the genius of Picasso in all its remarkable diversity, Vollard realized the importance of meticulous planning as to the type, paper and general format which would best complement the text and illustrations. How well he succeeded is demonstrated by the volume itself. Not only does it rank as one of the world's most beautiful books, but it establishes Vollard's distinction as a publisher" (Johnson).

"The diversity, yet harmony of Picasso's genius is represented here by the inclusion of both abstract and classical styles in a single volume. The wood-engravings reproduce Cubist figures, still-lifes, and the sparkling 'constellation drawings' of 1926, while the etchings are classical in character, combining pure line with cross-hatching" (The Artist and the Book).

This magnificent Bonet-binding is described in the "Carnets" of Paul Bonet, nr. 1.104. This "canvas" of a binding with its focus on the heart of art within the art magnificently alludes to the central theme of Balzac's great novel, which essentially is a grand reflection on art.