This work is sold with a photo-certificate from Maya Widmaier-Picasso dated Paris le 3 Avril 2005.
Picasso based this profile drawing of Jacqueline on the female head in the crayon study 26.10.70.II (lot 309), which had as its immediate progenitor the profile seen in various heads of matadors that Picasso painted in mid-October 1970 (see note to lot 309). During the three days prior to this drawing, Picasso had used this profile - characterized by the oblique alignment of the eyes and the figure-of-8 shape of the lips - in three dual-figure paintings (Z., vol. 32, nos. 292-294).
Picasso followed the present drawing on 29 October with five more simply rendered variants, which are numbered II to V, and VII (lots 326, 321, 311, 327 and 320, respectively). The basic outline of this profile is detectable within the male composite visage numbered VI (lot 308). Within this sequence Picasso rounded out the face, and presented it in a three-quarter view. He returned to the original profile as seen in the present drawing, however, having repositioned the eyes on a horizontal level, to depict the head of Jacqueline in Nu couché à la couronne de fleurs, which he painted the next day, 30 October.
Having completed the painting on 30 October, Picasso set aside this particular characterization of Jacqueline's profile until the following spring. Then, on 4 April 1971, he revived it in the painting Buste de femme à l'oiseau (Z., vol. 33, no. 54). He turned to it again in drawings done between 22 and 28 April (The Picasso Project, nos. 71.155-169). It was during this sequence that Picasso returned to the present sketchbook, and on 26 April drew the head on the verso of drawing 29.10.70.VII (see lot 320).