HENRI MATISSE

André Petit, Paris
Bernard Zehrfluss, Paris (acquired from the above circa 1950)
Thence by descent to Patrick Modiano (and sold: Christie's, London, June 22, 2006, lot 492)
Acquired at the above sale

Very good condition; not laid down; taped into mat at edges (shadow from tape slightly visible at outer edges.) The charcoal has been smudged (possibly by the artist) across her face; pin holes at top two corners.
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.

Like Pablo Picasso, the virtuoso talents of Matisse as a painter, draftsman, sculptor and print maker inevitably draw many comparisons between both artists.  Indeed, during their lifetimes, Picasso and Matisse enjoyed a friendly rivalry and both artists compared notes and regularly critiqued each other's recent output.  Picasso was the great innovator; Matisse, the great colorist of the twentieth century, though, is also known for his calligraphic line. 

The core of Matisse, though, lies in the rhythm of his line.  Matisse stated, "My drawing is the most direct and purest translation of my emotion.  This is made possible by simplification of media.  I have the feeling that my emotion expresses itself through the medium of plastic writing.  As soon as my line - inspired, so to speak, with a life ot its own - has molded the light of the empty sheet without destroying the tender whiteness of the paper, I stop.  I can no longer add or change.  The page is written, no correction is possible"  (William Lieberman, Jean Leymarie, Herbert Read, Henri Matisse, University of California Press, Berkeley, 1966, p. 25).