- Pablo Picasso
- FEMME DANS UN ROCKING-CHAIR
- Signed Picasso (lower right); dated 25.3.56 II on the reverse
- Oil on canvas
- 76 3/4 by 51 3/8 in.
- 195 by 130 cm
Waddington Galleries Ltd., London
Private Collection, United States (acquired from the above in November 1997)
Sale: Christie's, New York, November 6, 2001, lot 59
Acquired at the above sale
Tokyo, National Museum of Modern Art; Kyoto, National Museum of Modern Art & Nagoya, Prefectural Museum of Art, Pablo Picasso Retrospective 1899-1963, 1964
Tel Aviv Museum & Jerusalem, Israel Museum, Picasso, 1966, no. 47, illustrated in the catalogue
Paris, Grand Palais, Hommage à Pablo Picasso, 1966-67, no. 244, illustrated in the catalogue
Culan, Forteresse Medievale, Exposition Picasso: Gravures, peintures ceramiques, 1967
Paris, Galerie Schmidt, Maîtres français XIX-XX siecles, 1986, no. 48 illustrated in color in the catalogue
Montreal, Landau Fine Art, Pablo Picasso and Fernand Léger, 1991, p. 21, illustrated in color in the catalogue
The Picasso Project, Picasso’s Paintings, Watercolors, Drawings and Sculpture. The Fifties I, 1950-1955, San Francisco, 2000, no. 56-047, illustrated p. 15
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Soon after Picasso completed the present work, he went on to incorporate the image of Jacqueline seated in a rocking-chair within a series of depictions of the interior of his studio. Presented within this larger format, the organic structure of the rocking-chair complemented the arabesques of the doorframe and the branches of the palm trees and plants within the studio. But depicted as a single object, as in the present picture, the chair's elaborately twisted wooden frame accentuates the curves of the woman's body. It appears as if Picasso has drawn the chair and the torso of the figure with one continuous line. He positions her within a field of solid color patches and distinguishes her from the chair and the surrounding architecture by the subtlest of physical details. Picasso painted this work just two years after the death of Henri Matisse, and the bold and colorful style of the composition recalls the cut-outs of his departed friend and colleague.
The image of Jacqueline, seated in profile, had come to define her soft-spoken persona in the 1950s. The present picture was created just as her relationship with Picasso was solidifying and hints at the steady and powerful force she would become in the artist’s life until his death in 1973. William Rubin provided the following characterization of Jacqueline and her long relationship with Picasso: "Her understated, gentle, and loving personality combined with her unconditional commitment to him provided an emotionally stable life and a dependable foyer over a longer period of time than he had ever before enjoyed” (quoted in Michael FitzGerald, Picasso, The Artist's Studio (exhibition catalogue), Wadsworth Atheneum Museum of Art, Hartford and The Cleveland Museum of Art, 2001-2002 , p. 154).