Jacqueline au chapeau de paille

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An original hand-signed Pablo Picasso linocut print.

(Jacqueline in a Straw Hat)

January 16, 1962

Original linocut printed in five colors (yellow, red, blue, green, black) from one block on Arches wove paper.

Hand-signed in pencil in the margin lower right Picasso.

A superb impression of Baer’s fifth and final state, from the edition of 50, numbered in pencil in the margin lower left (there were approximately 20 additional unsigned artist’s proofs, and one signed and dedicated to Jamie Sabartes at the Picasso Museum at the Picasso Museum, Barcelona). Published by Galerie Louise Leiris, Paris; printed by Hidalgo Arnéra, Vallauris.

Catalog: Bloch 1073; Baer 1281 V.B.a; McVinney 51; Karshan 24

Size Image: 13 ¾ x 10 5/8 inches

Sheet Size: 22 3/16 x 16 15/16 inches

Framed Size: 32 x 26 x 1 1/2 inches

Early in his career, Picasso had mastered the traditional printmaking techniques of intaglio and lithography, integrating these techniques into his artistic output. While he remained based in Paris, the workshops of Fernand Mourlot and Roger Lacourière were close at hand for the proofing of lithographs and etchings respectively. However, in 1955, he moved with Jacqueline Roque to Cannes and in 1958 to Notre-Dame-de-Vie in Mougins. The distance from his Paris printers obviously detracted from the immediacy of his printmaking, and so Picasso returned to linocut. In this endeavor he was assisted by the master printer Hidalgo Arnéra who was living nearby in Vallauris. Until the Crommelynck brothers opened their intaglio press in Mougins in 1964, Picasso’s printmaking concentrated on linocut.

The image of the artist’s second wife, Jacqueline Roque, haunts Picasso’s artistic production from the time of their meeting in 1953 and nowhere is more apparent than in the great series of linocut portraits of 1962 (Bloch 1063-1082) of which “Jacqueline au chapeau de paille” is a superb example.