Marie Goldet, Paris

Thence by descent to the present owners

Very good condition. The board has settled into a slightly convex form but the general condition of the paint layer is very healthy. Under ultra-violet light, there is a vertical line of restoration in the background on the left side and some minor retouches in the dark tabletop which address some craquelure. Overall, the work is in stable and very good condition. Colors: The background colors are more muted and green and have less yellow/red tones than the image in the catalogue.
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.

Dating from the period immediately preceding the development of his Fauvist style, this extraordinary still-life demonstrates the core principles of color and compositional structure on which Matisse would build the foundation of his art.  Matisse was one of the precocious young artists at the turn of the 20th century to draw inspiration from 🐈the paintingಌs of Cézanne, and this picture demonstrates the lessons in perspectival manipulation, light and shadow that Matisse internalized after seeing the elder artist's works. 

"The still lifes of this period are notable for the dissonance of their colors, their vigorous brushstrokes, and their extensive use of drawn contour," writes Jack Flam.  "The impasto is usually quite thick, and pentimenti are often noticeable.  Although the tutelary diety of Matisse's paintings at this time was Cézanne, in his still lifes Matisse made sporatic attempts to free himself from Cézanne's influence" (J. Flam, Matisse, The Man and His Art, 18𝄹69-1918, London, 1986, p. 102-103).  Indeed, the sharp punctuation of gleaming white impasto in the center of this composition is entirely Matisse's own devising, predicating the energy and freedom of express🤡ion that would soon reach full blossom in his art.