Tête de femme à la couronne de fleurs (lot 38), Femme aux cheveux flous (the present lot), Femme au chapeau fleuri (lot 50) and Le verre sous la lampe (lot 54) are four of seven terracotta plaques which Picasso produced with the Ramiés at Madoura in the early 1960s. In addition to his collaboration with the Ramiés in Vallauris since 1947, Picasso had also started an equally fruitful and creative working relationship with the local printmaker Hidalgo Arnéra in 1954, where Picasso created this series of seven linocuts. The ceramics produced at Atelier Madoura and the linocuts produced at Imprimerie Arnéra highlight the breadth of collaboration between Picasso and these two studios at this time, each renowned for their mastery of their respective craft.
Said to expound the strong dark features of the artist’s partner, Jacqueline Roque, this beautiful design employs a varied and experimental technique to achieve her captivating features. Picasso uses only two colors, enabling the texture and craftsmanship to remain the most vocal feature of the work, creating the additional depth which at other times may be achieved with the use of color. In these plaques, Picasso shows his versatility and his mastery of the two dimensional plane, bringing it to life beyond these parameters. These textures, including the use of engraving and the linocut style of mark-making, harp back to his cubist roots. As though elements of collage, they differ in direction and tempo to provide depth, form and movement to each plane.

A visit to the New York apartment of Dr. Arthur and Mrs. Anita Kahn provided any visitor with a true celebration for the senses. During a lifetime of collecting, these dedicated connoisseurs assembled one of the most remarkable collections of Pablo Picasso ceramics and works on paper, and postwar American art. From their significant holdings of the work of Alexander Calder to Richard Pousette-Dart’s crowning glory, his 1958 painting Blood Wedding—the collection captures the energy and excitement of this important period. Though the couple came from humble beginnings—he, the son of an immigrant candy store owner, and she, the daughter of a seamstress—their interest in, and admiration for, the creative process led them to be rewarded with a collection that encompassed some of the most important artists of the postwar period. From Alexander Calder to Pablo Picasso, and David Smith to Stuart Davis, their holdings of art demonstrated an astute understanding of the creative process and their sheer joy at the works in their collection.