Top-100 artists:

Tête De Femme, De Profil by Pablo Picasso

Tête De Femme, De Profil, 1905

Drypoint on cream wove paper
29.3 x 25 cm (11.54 x 9.84 in)
Prints & Multiples
Edition of 28
LiveArt Estimate™
$******
Momentum 12M
11.2%
CAGR
**%
Last recorded sale at Swann Galleries, New York (08 May 2018)
$******

Get More Art Market Insights With Free LiveArt Account

We use our proprietary AI - Estimate LiveArt Estimate™ to calculate current market value for each artwork. Based on this data LiveArt is able to provide numerous insights into artist and artwork financial performance, including:

  • LiveArt Price History
    LiveArt Price History
  • Artist Career Path
    Artist Career Path

Free to sign up. No credit card required.

Past Sales
help
ImageLast Sale DateTitleEdition No.Last SaleLast Sale Auction HouseLast Sale Location
May 8, 2018Tête De Femme, De Profil
Swann GalleriesNew York
Similar Artworks
help
Artwork Description
Category

Prints & Multiples

Dimensions

29.3 x 25 cm (11.54 x 9.84 in)

Materials

Drypoint on cream wove paper

Signature

Signed in ink, lower right

Description

Drypoint on cream wove paper, 1905. 293x250 mm; 11 5/8x9 7/8 inches, full margins. One of only a few early artist's proofs, before steel-facing of the plate, aside from the edition of 28 on Japan paper and the regular edition of 250 on Van Gelder wove paper. Signed in ink, lower right. From Saltimbanques. A brilliant, richly-inked impression of this extremely scarce, early print, with warm plate tone, selective wiping and velvety, inky burr.

Coinciding with his Rose Period (or Circus Period) of painting, Picasso's first series of etchings in 1905, generally known as La Suite des Saltimbanques, and created at the outset of his career at only 24 years old, are mostly candid representations of the lives and private moments of acrobats and gypsies. Picasso frequently attended the Cirque Médrano in Montmartre, Paris, where he associated with circus folk who, like himself, had chosen to follow a bohemian lifestyle, preferring a life on the fringes of society to one of a young bourgeois professional, Picasso's artworks exuded a fresh, avant-garde quality that dazzled and impressed contemporary art collectors.

During his first years in Paris, Picasso printed only a handful of proofs of the Saltimbanques plates, which were put aside and then, in 1913, steel-faced by the printer Louis Fort and published by Vollard in the editions of 28 (Japan paper) and 250 (Van Gelder paper). Early proof impressions such as the current work, typically signed by the artist, are exceedingly scarce. Bloch 6; Geiser 7.