The artist's studio
Private Collection, France

St Germain-en-Laye, Musée Départemental du Prieuré, L'Eclatement de l'impressionnisme, 1982-83, no. 27 (attributed to Henri Matisse)
Turin, Palazzo Bricherasio, Les fauves et la critique, 1999, no. 1
Saint -Tropez, Musée de l'Annonciade, Eclats du fauvisme, 2005

Very good condition. Canvas is lined. Surface has rich and textured impasto. Some minor cracking in lighter pigments under figure's neck. Under UV light, there is no apparent inpainting.
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.

Fig. I, Albert Marquet, Matisse dans l'atelier de Manguin, 1905, oil on canvas, Centre Pompidou, Paris

Fig. 2, Henri Matisse, Marquet peignant un  nu dans l'atelier de Manguin, 1904-05, gouache and watercolor on paper, C🌼entre Pompidou, Paris

At the turn of the 19^th Century, Henri Matisse, Albert Marquet and Henri Manguin endeavored to merge their artistic resources and began what was a period of collective painting. Three prominent students from the studio of Gustave Moreau at the École des Beaux-Art, they often worked together in Manguin's studio in Paris, hiring a model and painting from life. As Hilary Spurling notes, "The three worked side by side, swapping advice, criticizing and comparing their respective canvases, urging each other on" (Hilary Spurling, The Unknown Matisse, A Life of Henri Matisse: The Early Years, 1869-1908, New York, 1998, p.80). The works produced during this time represent not only a significant moment in the history of art, but also make up what is the basis of the Centre Pompidou's Fauvist collection, where three examples from this group of works are on display, one by each of the artists.

Modèle dans l'atelier of 1901, is an excellent souvenir of the collaboration between "The three M's," as they are referred to by the artist Segonzac (A. Segonzac in Pierre Cabane, Henri Manguin, 1964, p.53). This famous relationship, founded on a basis of shared talent and vision, was furthermore irrevocably entwined into the fascinating history of Modèle dans l'atelier when it was for a long time falsely attributed to Matisse. It was not until remarkably recently,♓ after consultation of the Marquet and Duthuit archives, that this painting was in fact acknowledged as having been completed by the hand of Marquet.

In the present work, expressive brushstrokes and dynamic use of color dominate the canvas. The model's presence is powerful yet unimposing. While her face is turned to the side and seems to blend in with her surroundings, the viewer's attention is undoubtedly drawn to everything from her neck down. The beautifully rendered body stands out against the dark blue background, brightly illuminated, highlighting the artist's mastery of anatomical form and dimension. The curves are feminine yet composed. There is a subtle power inherent in this woman's body which the use of brushstrokes and color emphasizes strikingly. Moreover, what Marquet here demonstrates is that his painterly skills extend far beyond the representation of landscape and scenery for which he is more commonly known. Aside from being a stunning work of art in its own right, Modèle dans l'atelier is evidence of a brief but significant creative alliance between three of the most �ꦑ�influential artists of their time.