Estate of the artist
Pierre Matisse Gallery, New York
Max Lang Fine Art, New York 
Acquired from the above, 2003

Very good condition. Work is not laid down. Affixed to board at edges (sporadically). Pinholes at 3 corners.
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.

Between 1946 and 1948, Matisse concentrated on a series of large-scale drawings that are closely related to paintings of the same date. While continuing to investigate color in his cutouts, Matisse reached a new level of intensity in his investigation of line and form. Conscious of his skill, Matisse observed "If I have confidence in my hand that draws, it is because as I was training it to serve me, I never allowed it to dominate my feeling. I very quickly sense, when it is paraphrasing something, if there is any disaccord between us: between my hand and the 'je ne sais quoi' in myself which seems submissive to it. The hand is only an extension of sensibility and intelligence. The more supple it is, the more obedient. The servant must not become the mistress" (Ernst-Gerhard Güse, Henri Matisse, Drawings and Sculpture, Munich, 1991, pg. 213). The present work is a splendid example of the precision and unwavering conviction with which the artist articulated some of his finest line compositions. Infused with an elegant simplicity of form, Visage, yeux baissés is a testament to Matisse's mastery of the medium.