Galerie Louise Leiris, Paris
Dunkelman Gallery, New York
Fanny de Margoulies Rosenak, New York
Sale: Sotheby's, New York, N⛄ovember 11, 1999, lot 394

The Picasso Project, Picasso's Paintings, Watercolors, Drawings and Sculpture. The Sixties II, 1964-1967, San Francisco, 1997, no. 66-032, illustrated p. 239
Christian Zervos, Pablo Picasso: Oeuvres de 1965 à 1967, vol. 2, Paris, 1972, no. 197, illustrated p. 103

In very good condition, this work is backed with Japan paper (the verso, which had another drawing on it, has been separated from the sheet). There is a small repaired tear in the lower sheet edge. Otherwise fine.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In the final years of his life, Picasso rebelled against time by pouring himself into his art.  This period bore witness to an incredible output of work, executed with remarkable vigor and boldness. 

Musketeers, acrobats, pierrots, painters and heads of smokers continued to populate his compositions.  However, when considered in the context of Picasso's looming mortality, these subjects took on new meanings.  The musketeer now symbolized the artist's waning virility; the smoker, vices of old.  Marie-Laure Bernadac analyzes the figures from this period as follows, "With their bearded, elongated faces, their huge questioning eyes, their long hair with or without hats, these 'Heads' represent one last concession on the painter's part to the 'all too-human.'  By contrast with the musketeers  who all have the same face - these are true portraits, strongly characterized and individual.'" She continues, "Picasso's confrontation with the human face, which makes him into the great portrait-painter of the twentieth century, brings him back to a confrontation with himself, the painter, young or old" (Marie-Laure Bernadac, Late Picasso: Paintings, Sculpture, Drawings, Prints, 1953-72, (exhibition catalogue), London, 1988, pp🐟. 82-83).

Tête d'Homme is a quintessential example of Picasso's late work.  🐽Wide-eyed, this man, who encompasses almost the entire sheet, boldy stares back at the viewer.  He is built up from strong, swirling lin💙es imbued with a frenetic sense of energy.  Picasso's presence is undeniably strong in this drawing.  While he may not be able to conquer time, he is determined to leave his mark.