Estate of the artist
Lumley Cazalet, London
O'Hara Gallery, New York

 

Executed on white wove paper, not laid down, T-hinged to the mount at three points along the top edge and at the bottom of the left and right edges. There are artist's pinholes to the top two corners and towards the bottom right edge, and a watermark inherent to the sheet running down the right edge. Apart from a small area of foxing to the top left edge and some minor surface dirt, mainly to the bottom edge, 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 present work was executed during the same year in which Matisse completed his mural and stained-glass interior of the Chapel du Rosaires in Vence. The bold lines of the present work intimate a similar theme in his drawing as to his ambitious collages and paintings of the time. Simplicity of line is to the fore in this work as&ꦫnbsp;the charcoal is applied in careful, exact strokes to capture the form of the sitter without complicating the graphic impact of the work. The sitter, Doucia, was a local Russian girl who proved a willing sitter for Matisse as she is depicted in the majority of his charcoal portaits from this time.