Pablo Picasso (Spanish, 1881-1973), Tête de Femme (Jacqueline au Chapeau Noir)

1962 (later impression 1963), pencil signed and numbered 44/50 (from the edition of 50, there were also 35 artist's proofs), with full margins, Arnéra, Vallauris, Paris, printer, Galerie Louise Leiris, Paris, publisher. Linocut in colors on Arches, the third (final) state.
Image: 25 1/8 x 20 5/8 in. (63.8 x 52.4cm)
Sheet: 29 1/2 x 24 1/2 in. (74.9 x 62.2cm)
[Bloch, 1028; Baer, 1311]

Provenance
“Old Master, Modern and Contemporary Prints,” Sotheby's, New York, September 27, 2011, lot 106.Hamilton-Selway Fine Art, West Hollywood, California.Private Collection, Los Angeles, California (acquired directly from the above, c. 2014).

Lot essay
Tête de Femme (Jacqueline au Chapeau Noir) is a significant print by Pablo Picasso, which was completed in 1962, during a period in his life when he was deeply immersed in exploring the theme of portraiture. This particular piece captures the essence of his muse and second wife, Jacqueline Roque, who became a central figure in his later works. Picasso's unique cubist style is evident in this print, as he deconstructs Jacqueline's features into geometric planes and lines, portraying her with a certain intensity and complexity that reflects both his personal connection to her and his artistic innovation.

The print demonstrates Picasso's masterful use of line work and shading to create depth and dimension, despite the inherently two-dimensional nature of printmaking. The contrasting darks and lights in the composition, particularly accentuated by the striking black hat Jacqueline wears, add to the sense of drama and dynamism in the artwork. Picasso's manipulation of form and space in Tête de Femme highlights his ability to capture the essence of his subject while simultaneously infusing the piece with his signature abstract and emotional depth, making it a quintessential example of his late-career artistic prowess.