Henri Matisse

Theodore Schempp, New York

James Vigeveno Galleries, Los Angeles (sold: Parke-Bernet Galleries, New York, March 31, 1949, lot 134)

Jacques Wertheimer, New York (acquired at the above sale)

Albert Loeb & Krugier Gallery, New York

Acquired from the above in November 1969

Christian Zervos, Cahiers d'Art, nos. 20-21, Paris, 1945-46, illustrated p. 180 (bearing the artist's original inscription)

Art News, New York, April 1948, illustrated p. 13

Excellent condition. Along the left edge at the bottom and midway along the right edge there is a faint variation in the tone of the sheet resulting from the artist's uneven application of fixative. The paper is clean, the medium is fresh and the work is in overall excellent 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.
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.

This exquisite charcoal drawing is the first in a series of four versions that Matisse completed of a model named Souty during the autumn of 1945.  In the lower left corner, one can see traces of his original inscription "1er État Souty" which he eventually erased and replaced with his signature.  Of the four, the present one is the most detailed, showing the floral patterning on the model's blouse and the heavy knot that falls just below her sternum.

Matisse completed this work at a point in his career when he had all but abandoned oil painting in favor of cut-outs, and his drawings of this period show his clear preference for linear compositions.  In the present drawing, for example, we can see how he has vigorously worked his charcoal into the surface of the paper, rubbing out certain areas to create shadow and defining others with a highly defined line.