Henri Matisse

(Probably) Albert Marquet, Paris (a gift from the artist, June 1948)
Maison de la Pensée, Paris
Private Collection (acquired from the above in 1948)
Thence by descent to the present owner

Executed on cream wove paper, the work is hinged with tape in the top two corners and has deckled edges. There are 8-10 spots around the edges of the verso due to previous hinging with rice paper. There are 4 small repaired tears, between 1 and 2.5cm. in length, near the lower right edge. There is a minor 5cm. area of staining to the left hand edge and in the centre of the top edge. Apart from a few foxing marks, this work is in good condition. Colours: The paper tone is whiter and slightly warmer in the original.
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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."

This drawing is a wonderful example of Matisse's draughtsmanship, displaying the artist's unique facility to capture the essence of his subject using the simplest of techniques. Around 1928-29, Matisse began to focus on developing his drawing technique, creating a new stylistic vocabulary which emphasised simplicity, neatness and clarity of line. This work, dating from the end of the 30's, displays the delicacy and sureness of draughtsmanship the artist had acquired during the course of his studies.  He successfully captures the essence of his sitter and a mood of serene calm that is so particular to his works on paper.

The touching dedication to the artist's old friend and companion Albert Marquet adds another level of interest to this work. 'Mon compagnon de tous les orages' refers to the shared struggles of both artists after they left the studio at the Ecole des Beaux Arts in 1898. In 1904-05, they shared adjoining easels in Manguin's studio, and in 1908 they took neighbouring studios in the insalubrious 19 Quai St. Michel. Numerous paintings exchanged and reciprocal portraits from this period attest to the intimacy between the two men, developed by the constant difficulties of making ends meet as well as a shared artistic vision. Unusually in the history of 20^th century art, this relationship remained warm throughout the two men's lives, despite a divergence in their respective artistic directions later in life.