VARIOUS PROPERTIES
Pablo Picasso (1881-1973)

Femme et chat

Details
Pablo Picasso (1881-1973)
Femme et chat
signed and dated top right 'Picasso 3.1.54.'
brush and black ink on paper mounted at the edges on board
12 5/8 x 9½in. (32 x 24.2cm.)
Drawn on January 3, 1954
Provenance
Galerie Louise Leiris, Paris
Literature
intro. R. West, M. Leiris and Tériade, "Suite de 180 dessins de Picasso, 28 novembre 1953 au 3 février 1954," VERVE, nos. 29-30, Vallauris, Sept., 1954 (illustrated, n.p.)
intro. R. West, M. Leiris and Tériade, A Suite of 180 Drawings by Picasso: Picasso and the Human Comedy, New York, 1954 (reprint and English translation of the VERVE double-issue; illustrated, n.p.)
C. Zervos, Pablo Picasso, Paris, 1965, vol. 16 (Oeuvres de 1953 à 1955), no. 101 (illustrated, pl. 38)
Exhibited
Washington, D.C., Obelisk Gallery, Masters of our Time, Part II, Nov.-Dec., 1958, no. 25
Luxembourg, Musée Nationale d'Histoire et d'Art (on extended loan since 1975)

Lot Essay

A short time ago there occured what is perhaps the most prodigious artistic event of the present century. Pablo Picasso, at the age of seventy-two, opened his sketch book on the twenty-eight of November, 1953, and went on a drawing frenzy of industry until the third of February, 1954. In those nine weeks he produced one hundred and eighty drawings of great beauty. This would be an amazing feat for an artist still at the noon of his physical powers. But the drawings, which are now issued in a single volume by the great French firm of art publishers, VERVE, have a value beyond the fantastic circumstances in which they were produced and the superb wit and justice of their line. Picasso simply set down on paper the images which passed through his mind during those nine weeks, which were for him a period of acute emotional disturbance. This volume takes us, therefore, inside the mind of the most gifted artist of his time, who has always presented a special problem precisely because he has refused to confide in his age, and has been indifferent when his art has been resented as enigmatic. (R. West, op. cit., p. 21)