Galerie Kahnweiler, Paris.
Raoul La Roche, Paris.
Andreas L. Speiser, Basel (by descent from the above).
Galerie Beyeler, Basel.
Acquired from the above by the late owner, 1967.
PROPERTY FROM THE PRIVATE COLLECTION OF THE ESTATE OF THE LATE PATRICIA A. WITHOFS
Patricia Ann Withofs was born in Sydney in 1934. At the early age of 20 she was already collecting the tribal art of Australia, the South Pacific and Africa and soon thereafter developed an interest in twentieth century art. Mrs. Withofs was fascinated by the connection between primitive art and its relation to the twentieth century, traveling extensively in these regions in an effort to better understand the culture and to expand her collection.
Patricia Withofs was a student of the ballet, becoming a member of the Royal Academy of Dance, and established her own school based in Sydney. She acted briefly as an assistant in choreography with the Royal Ballet, traveling to Scandinavia with the troupe.
A talented photographer, Mrs. Withofs documented the ancient Egyptian monuments in advance of their re-siting during the damming of the Nile at Aswan for Herbert Mayer, director of the World House Galleries in New York. She later served as a consultant on modern painting for World House Galleries.
She was married to the Belgian art dealer René Withofs, and after they separated she continued to pursue her own independent career in the art world. She spent time in New York, London and Sydney, making the acquaintance of many of the leading modern artists and collectors of the time, including Pablo Picasso and Henry Moore. She collected tribal art of great quality and advised and assisted in major museum shows, including many at Galerie Beyeler, Basel, as well as the groundbreaking exhibition Primitivism and 20th Century Art in 1980 at The Museum of Modern Art, New York.
(fig. 1) Patricia A. Withofs and Pablo Picasso, Mougins, 1971.
(fig. 2) The London residence with Pablo Picasso's Figure, 1927.
(fig. 3) Patricia and René Withofs in Egypt, circa 1961.
C. Zervos, Pablo Picasso, Paris, 1942, vol. 2*, no. 141 (illustrated, pl. 73).
W. Boeck and J. Sabartés, Picasso, New York, 1955, p. 461 (illustrated, fig. 46; titled Buste de femme).
F. Russoli and F. Minervino, L'opera completa di Picasso cubista, Milan, 1972, no. 245 (illustrated).
P. Daix and J. Rosselet, Picasso, The Cubist Years 1907-1916, Neuchâtel, 1979, p. 237, no. 253 (illustrated).
J. Palau i Fabre, Picasso, Cubism 1907-1917, Barcelona, 1990, p. 127, no. 357 (illustrated).
London, Grafton Galleries, Second Post-Impressionist Exhibition. British, French and Russian Artists, October-December 1912, no. 19. Basel, Galerie Beyeler and Paris, Galerie Knoedler, Le cubisme. Braque, Gris, Léger, Picasso, May 1962, no. 3 (illustrated).
Frankfurt, Frankfurter Kunstverein, Picasso. 150 Handzeichnungen aus sieben Jahrzehnten, May-July 1965, no. 37 (illustrated).
Basel, Galerie Beyeler, Picasso--Werke von 1900-1932, November 1966-January 1967, p. 36, no. 14 (illustrated).
Winterthur, Kunstmuseum; Basel, Galerie Beyeler; and Cologne, Wallraf-Richartz Museum, Picasso: 90 dessins et oeuvres en couleurs, October 1971- February 1972, no. 9 (illustrated).
Minneapolis Intitute of Arts; Sarah Campbell Blaffer Gallery, University of Texas, Houston; Basel, Kunstmuseum (no. 16); and San Francisco Museum of Art, Picasso, Braque, Léger: Masterpieces from Swiss Collections, October 1975-September 1976, no. 7.
Tübingen, Kunsthalle and Dusseldorf, Kunstsammlung Nordrhein-Westfalen, Pablo Picasso, Aquarelle, Zeichnungen, Pastelle, April-July 1986, p. 276, no. 62 (illustrated in color).