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PROPERTY OF AN IMPORTANT PRIVATE COLLECTOR

Pablo Picasso
FEMME AU CHAPEAU ASSISE, BUSTE
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
4,000,0006,000,000
LOT SOLD. 5,308,500 USD
JUMP TO LOT
29

PROPERTY OF AN IMPORTANT PRIVATE COLLECTOR

Pablo Picasso
FEMME AU CHAPEAU ASSISE, BUSTE
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
4,000,0006,000,000
LOT SOLD. 5,308,500 USD
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Evening Sale

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New York

Pablo Picasso
1881 - 1973
FEMME AU CHAPEAU ASSISE, BUSTE
Signed Picasso (center right); dated 29.10.62. (on the reverse)
Oil on canvas
31 7/8 by 25 1/2 in.
81 by 64.7 cm
Painted on October 29, 1962.
Read Condition Report Read Condition Report

Provenance

Galerie Louise Leiris, Paris

Dunkelman Gallery, Toronto (sold: Sotheby Parke Bernet, New York, October 22, 1975, lot 188)

Galería Theo, Madrid & Valencia

Private Collection, Spain (acquired from the above in 1981 and sold: Sotheby's, London, February 3, 2004, lot 51)

Haaken Christensen, Norway (acquired at the above sale and sold by the Estate: Sotheby's, London, June 25, 2008, lot 32)

Edward Tyler Nahem Gallery, New York

Acquired from the above

Exhibited

Toronto, Dunkelman Gallery, Picasso, 1969-70, no. 3, illustrated in the catalogue 

Oslo, Galleri Haaken, Picasso: Peintures - Sculptures - Dessins, 2004, n.n., illustrated in color in the catalogue

Literature

Christian Zervos, Pablo Picasso, Paris, 1971, vol. XXIII, no. 62, illustrated pl. 27 

Catalogue Note

Executed in luminous, expressionistic brushstrokes Femme au chapeau assise, buste is a powerful depiction of Picasso’s second wife, Jacqueline. According to the photographer Edward Quinn, whose photographs document Picasso's studio work in the early 1960s at Notre-Dame-de-Vie, Jacqueline was the driving force behind Picasso's ceaseless production: "His close friends agree that Jacqueline's presence and attention were mainly responsible for Picasso's having remained so active until his death. His outlook on life and his enthusiasm for work helped him defy old age and stay young in mind, and even in body. He liked to be with younger people, and his 'eternal youth' coupled with Jacqueline's adaptability, made the great difference between their ages unimportant" (E. Quinn & P. Daix, The Private Picasso, New York, 1987, p. 291).

Throughout their life together, Jacqueline served as a model for several of Picasso's reinterpretations of art historical masterworks, including his studies of Manet's Déjeuner sur l'herbe and Delacroix' Femmes d'Algiers. But here, the artist has chosen to paint her not in any narrative context, but rather as the singular object and focus of his attention. In the present composition Jacqueline’s large eyes are combined with her other characteristic attributes – a strong nose and accentuated eyebrows – creating an expression that is at once self-assured and apprehensive. According to Elizabeth Cowling, “One of Jacqueline’s attractions for Picasso was her uncanny ability to inhabit and blend with now one picture in his musée imaginaire, now another” (E. Cowling in Picasso Portraits (exhibition catalogue), National Portrait Gallery, London, 2016-17, p. 184). Picasso painted Jacqueline in a variety of manners, from the more naturalistic, frontal depictions he explored in a range of media, to the more stylized, abstract renderings reminiscent of his earlier portraits of Dora Maar, including the present work. In the present work Jacqueline is depicted in characteristic double-profile, a jaunty hat set on her head and the outline of one of the chairs she regally inhabited, picked out in bold strokes of white and aquamarine.

During his final decades, Picasso reexamined artists who had come before. At one point in the 1960s Picasso was so fixated on Van Gogh that he carried in his wallet the original news article detailing Van Gogh’s self-mutilation of his ear. It was here on his hilltop in Notre Dame de Vie that Picasso would further deepen his study of the old masters. According to Elizabeth Cowling “In old age, when he no longer went to Paris and left his country house outside Mougins with the greatest reluctance, Picasso immersed himself in masterpieces like Poussin’s Massacre of the Innocents (1628), Rembrandt’s Night Watch (1642) and a van Gogh Self Portrait (1889) by projecting slides blown up to a gigantic scale onto his studio wall” (Picasso, Challenging the Past (exhibition catalogue), National Gallery, London, 2009, pp. 12-13). Vincent van Gogh was the artist Picasso admired most and he referred to him frequently throughout his career. In Picasso’s final decade, Van Gogh came to be the greatest source of inspiration: “Of all the artists with whom Picasso identified, van Gogh is the least often cited but probably the one that meant the most to him in later years. He talked of him as his patron saint, talked of him with intense admiration and compassion, never with any of his habitual irony or mockery. Van Gogh, like Cézanne earlier in Picasso’s life, was sacrosanct…. Why, one wonders, should a great artist want to paint self-portraits in the guise of another great artist?... The answer is surely that in losing your identity to someone else you gain a measure of control over them…I suspect that Picasso also wanted to galvanize his paint surface…with some of the Dutchman’s Dyonisian fervor. The surface of the late paintings has a freedom, a plasticity, that was never there before; they are more spontaneous, more expressive and more instinctive than virtually all his previous work" (J. Richardson in Late Picasso, Paintings, sculpture, drawings, prints 1953-1972, Tate Gallery, London & Musée National d’Art Moderne, Paris, 1988, pp. 31-34).

Impressionist & Modern Art Evening Sale

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New York