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PROPERTY FORMERLY IN THE COLLECTION OF DICK VAN DYKE

Pablo Picasso (1881-1973)
Petit buste de femme (A. R. 523)
stamped and numbered 'Madoura Plein Feu/Empreinte Originale de Picasso/42/100' (on the reverse)
partially glazed terracotta plaque
12 7/8 x 10 in. (32.7 x 25.3 cm.)
Conceived in 1964 and executed in a numbered edition of 100

Click on the lot number to be taken to details of the lots displayed in this group image from left to right Lot 37 Femme au chapeau fleuri (A. R. 521) and and Lot 29 Tête de femme à la couronne de fleurs (A. R. 522) and Lot 21 Le déjeuner sur l'herbe (A. R. 517) > and Lot 33 Femme aux cheveux flous (A. R. 520)
Please note this lot is the property of a private individual.
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Lot Essay

Petit buste de femme (the present lot), Tête de femme à la couronne de fleurs(lot 29), Femme aux cheveux flous (lot 33) and Femme au chapeau fleuri (lot 37) 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.

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