Goodman Gallery, Johannesburg
Acquired from the above by the present owner circa 1985

Christian Zervos, Pablo Picasso: Œuvres de 1965 a 1967, Paris, 1972, vol. XXV, no. 200, illustrated p. 27
The Picasso Project (ed.), Picasso's Paintings, Watercolors, Drawings and Sculpture. The Sixties II, 1964-1967, San𓆉 Fran🅺cisco, 2002, no. 66-003, illustrated p. 232

Executed on cream wove paper, not laid down, and taped to the overmount along the upper edge. The upper edge is perforated. There are a few small undulations to the centre of the upper edge. There is a very fine scratch to the black pigment above the woman's breast, most probably inherent to the artist's process. Otherwise, this work is in very good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The motif of the female nude fascinated Picasso throughout his career. In various periods of his work, Picasso's art was closely related to his personal life, and the women depicted in his work were always influenced by Picasso's female companions at the time. In Femme Assise de Profil the figure is inspired by Jacqueline, the last love of his life, whom Picasso married in 1961. Although she is not a direct likeness of Jacqueline𝐆, with her characteristic hair style, she bears🌞 the features with which Picasso usually portrayed his last muse.

The essence of J🌄acqueline, who never posed as Picasso's model, is always present in his portraits of the period, as in the present work. Though her features are disti🐟nctly feminine in the present work he has added an element of caricature in the multiple profiles which grow ever larger in the background. The heavy black wash in which they are executed also serve to introduce an element of menace with the final profile growing into a looming black shadow which dominates the composition.