Jacques Dubourg, Paris
Acquired from the above in 1954

Overall this black conte on paper is in good and stable condition without tears, paper losses, or planar distortions. Four small pinholes are found at the corners; these are original to the execution of the drawing and should be considered a part of the intended appearance of the artwork. Visually, though slight discoloration is seen at the four edges, this is nearly negligible. Otherwise the paper is clean and the medium appears intact without signs of smudging, drift, or loss. The above condition report has been provided by Antonio Alvarez of Alvarez Fine Art Services, Inc. 26 West 36th St. New York, NY 212-244-5255, info@alvarezfas.com, an independent restorer who is not an employee of Sotheby's.
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.

The present work exemplifies Matisse's line drawings, an approach the artist championed as perhaps his most powerful. Tête de Femme corresponds with Matisse's renewed interest in broadly rendered ink drawings, which were not a central part of his oeuvre until the 1940s. These works were particular favorites of Matisse, who writes, "my line drawing is the purest and most direct translation of my emotion. The simplification of the medium allows for that" (John Elderfield, The Drawings of Matisse, London, 1984, p. 15).

Executed near the end of his life, Tête de Femme simply and elegantly depicts the outline of the human form through exclusive use of the contour line. The work is closely related to Matisse's brush-drawings of the late 1940s, reminiscent of calligraphy and possessing a refined sense of overall design. His drawings of this period show his clear preference for linear compositions, as evidenced by the precision of the contour used to render the model's features. In the present work, we can see how he has confidently applied his medium with smooth, sweeping gestures. For Matisse, drawing was an essential art form that most directly expressed his emotions and thoughts. As he quoted to his students, "drawing is like making an expressive gesture with the advantage of permanence" (quoted in ibid., p. 10).

Fig. 1 The artist, circa 1953