Estate of the artist

Waddington Galleries, Ltd., London

Vivian Horan Fine Arts, New York

Richard Gray Gallery, Chi🐭cago (acquired from above in 1986)

Private Collection, US (1986-96)

Private Collection, NY (acquired fro♚m the above 1997)

John Elderfield, Matisse in the Museum of Modern Art (exhibition catalogue), The Museum of Modern Art, New York, 1978, fig. 103, illustrated p. 214

Excellent condition. Hinged at the top corners to the mount. There are typical artist's pinholes in all four corners. The surface is in pristine condition. In the upper right corner, there is some minute additional paper loss around the pinholes. Otherwise in a superb state.
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 lovely drawing from 1922 is a study for the painting, La Blouse rouge, formerly in the collection of the Museum of Modern Art, New York (see fig. 1).   The main difference between the two works is their backgrounds, but the rest of the composition -- the pose of the model and 🎉the pattern on the table cloth -- is essentially the same in both the drawing and the oil.  Matisse must have been extremely satisfied with the result of this drawing, and we know this not only by the nearly identical oil but also because of the highly finished appearance of the charcoal composition itself.  He has taken great care here to highlight areas of the model's face, the bend of her wrist and the shadowed indentation of the cheek that is pressed against her fingers.  There is absolute certainty in his rendering of the model's distinctive facial features, which express the ease she must have felt as she was posing for this picture.

Matisse's familiarity with this model is well🧜 documented.  The sitter for this picture was Henriette Darricarrère, a young music student who worked very closely with Matisse throughout the 1920s.  Henriette acted both as a model and an assistant to the artist, and even formed a friendship with his daughter Marguerite.  Matisse wasꦇ impressed with the luminous, sculptural quality of her body and featured her in some of the best compositions of his Nice period. 

Fig. 1, Henri Matisse,  La Blouse rouge, 1922, oil on canvas, formerly in the collection of the Museum of Modern Art, New🅷 York