Extremely rare linocut printed in white with extensive hand-additions in black china ink, 1963, signed in ink, a fine, strong impression of the third (final) state printing with great contrasts, one of only five proof impressions of this state and in this colour combination (there was no edition of this subject), cited and illustrated in Zervos, on Arches wove paper 

With full margins, in good condition apart from remains of hinge tape at lower corners of sheet verso, framed.
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Picasso met Jacqueline Roque in 1952, and she was soon to become his model and later, in 1961, his second wife. Her portraits dominate his oeuvre during the twentyꦅ years they lived together and her stunning profile is recognisable in many of his paintings.

It was also in about 1952 that Picasso started experimenting with linocuts, producing some simple posters for the Village of Vallauris above Cannes. By 1958 he had fully embraced the techni🍸que and in true 'Picasso-style', made it his own. However, he found the original way of producing linocuts frustrating as, in order to print with different colours, he had to re-ink the same block and register it over the paper several times. In order to avoid the difficulties of the registration he developed the so-called 'reduction' technique, which allowed him to use the same block for different colours.

Before abandoning linocuts in 1963 he produced a small group of épreuves rincées, rinsed proofs. These wonderful and often very atmospheric prints are created by printing the linocut in creamy white ink on a sheet of paper. Picasso then brushed over the sheet with encre de Chine. Once this had dried he rinsed the sheet with water, removing the black ink from the printed areas, whereas in the unprinted areas the encre de Chine had been absorbed by the paper, creating 🌠a negative image of the ori😼ginal composition.

Portrait de Jacqueline de Profil  is a unique portrait of Jaqueline, showing her characteristic and beautiful profile. Onlܫy six other proofs of this print are recorded, each of them different due to the volatile nature of the technique. This example is particularly remarkable due to its wonderfꦛully strong contrasts.