MATISSE: The Essence of Line, Selected Prints: 1900-1950

M AT I S S E THE ESSENCE OF LINE Selected Prints: 1900-1950

M AT I S S E THE ESSENCE OF LINE Selected Prints: 1900-1950

with essays by M a r i ly n Mc C u l ly foreword by

notes on paper by

Ta r a K . R e d d i

S a r a h b e rta l a n

and chronology by M a r i ly n Mc C u l ly & M i c h a e l R a e b u r n

N e w Yo r k : S e p t e m b e r 1 2 - O c t o b e r 1 2 , 2 0 1 3 l o n d o n : D e c e m b e r 4 , 2 0 1 3 - Ja n ua ry 1 1 , 2 0 1 4 M a d r i d : F EB rua ry - M a rc h 2 0 1 4

M a r l b o ro u g h G a l l e ry

40 West 57th Street New York, NY 10019 +1 212 541 4900 marlboroughgallery.com

M a r l b o ro u g h F i n e A rt

6 Albemarle Street London W1S 4BY +44 (0) 20 7629 5161 marlboroughfineart.com

GALERIA M a r l b o ro u g h

Orfila, 5 28010 Madrid +34 91 319 1414 galeriamarlborough.com

1. Henri Matisse gravant, 1900-03, etching and drypoint

M at i ss e a n d P r i n t m a k i n g

Matisse: The Essence of Line, Selected Prints: 1900-1950 explores a half-century of printmaking by Henri Matisse. During his lifetime he produced over 800 prints in addition to illustrating a number of exquisitely designed livres d’artistes. Although Matisse’s production of prints was prodigious, it differed from that of Pablo Picasso, as William Lieberman observed in 1956 in his pioneering essay on Matisse as a printmaker: “Matisse never sustained a continuous level of interest in printmaking.”

Instead, “it was concentrated into relatively short periods throughout his career.” 1 These highly productive periods in Matisse’s graphic oeuvre are examined in-depth in this exhibition and follow the artist in his print-making endeavors, starting from what is probably his earliest print, Henri Matisse gravant (1900-03, no. 1). Here the pose and composition are reminiscent, as Jay Fisher has pointed out, 2 of Rembrandt’s self-portrait etching, Rembrandt Drawing at a Window (1648).

The process of Matisse’s printmaking, whether he was drawing directly on a plate or on lithographic stone or transfer paper, in some ways parallels the immediate and close relationship that existed between the artist and his models, who might include friends and family. This is reflected especially in the first group of drypoints and etchings (1914-1935), in which the delicacy of line and open space emphasizes the mood or the characterization of his models in interior settings. These works are followed by a large selection of lithographs (1906-1929), featuring nudes, portraits and odalisques, among which are some of Matisse’s most remarkable works in the graphic medium.

The later works in the show – including lino-cuts and aquatints, and works inspired by dance and poetry – correspond to new and different artistic undertakings. Even when his health was failing and he was confined to bed, Matisse nonetheless continued to experiment in printmaking, and the vigor of his powers of invention in his last decade is demonstrated by a series of radical aquatints and the cut-out designs for Jazz that were published as pochoirs by Tériade (1947, no. 79).

Included in this exhibition of more than eighty prints and livres d’artistes, are rare and important impressions in very fine condition, acquired in part from the Matisse family collections, including the estate of the artist’s grandson, Pierre-Noël Matisse. There are also a number of prints that were acquired from the Petiet Estate. Henri Petiet, the connoisseur dealer, bought hundreds of prints directly from Matisse, with whom he corresponded from 1927 until the time of the artist’s death.

There are also a number of bon à tirer or “right to print” impressions, on which the artist indicated his final approval to print an edition; these were acquired by Petiet directly from the artist’s printers.

Matisse: The Essence of Line is one of the first major surveys to take place in New York in many years. Both the exhibition and the catalogue have been greatly enhanced by two notable lenders to the New York venue.

First, I would like to extend our gratitude to Christophe Cherix, Chief Curator, Department of Drawings and Prints at The Museum of Modern Art (MoMA) for agreeing to lend the early and rare self-portrait of the artist working on a copper plate, Henri Matisse gravant (1900-03, no. 1).

I am also grateful for the assistance of Judy Hecker, Assistant Curator, Department of Drawings and Prints, Katherine D. Alcauskas, Collection Specialist, Department of Drawings & Prints, Sydney Briggs, Associate Registrar, and Hope Cullinan, Senior Registrar Assistant at the Museum of Modern Art (MoMA).

I am also deeply indebted to Nelson Blitz, Jr. and Catherine Woodard for lending two masterworks of printmaking, the woodcut Le Grand Bois (1906, no. 2) and the lithograph Grande odalisque à la culotte bayadère (1925, no. 49). This exhibition would not have been complete without these pivotal works.

This exhibition has been enriched by the collaboration with Marc Rosen and Susan Pinsky of Marc Rosen Fine Art Ltd., whose long association with the heirs of Henri M. Petiet has made it possible to acquire rare and important prints.

Also special thanks to Anne-Françoise Gavanon of Frederick Mulder Limited, London, and Peter Kraus and William Wyer of Ursus Books, New York, who have loaned important works to the exhibition.

I would like to acknowledge the assistance of Andrea Fisher-Scherer, at Artist’s Rights Society (ARS), who acted as liaison with the Archives Matisse to coordinate all the necessary approvals and permissions. I would also like to extend our thanks to Georges Matisse and Wanda de Guébriant at the Archives Matisse.

I would like to thank Marilyn McCully for her essay and sharing her expertise and insights about Matisse and printmaking. McCully and Michael Raeburn after viewing the assembled collection of Matisse prints here in New York gave us the beautiful title, “The Essence of Line” for this catalogue and exhibition. They also jointly contributed to the organization and design of the catalogue, selected the documentary black-and-white photographs of Matisse as well as the quotations.

In addition, they collaborated on the informative chronology that accompanies this catalogue.

We extend our gratitude to them both for their excellent contributions and collaboration.

I also wish to thank Sarah Bertalan, paper conservator, who contributed the informative essay on paper, and explored Matisse’s use of paper in printmaking.

This ambitious project would not have come to fruition without the support and great interest of Pierre Levai, President of Marlborough Gallery, New York. I would also like to thank the entire staff of Marlborough Gallery in New York and recognize the assistance of my colleagues: Kim Schmidt, Emily Klasson, and Andrew McElwee of Marlborough Graphics who carefully coordinated cataloguing, framing, photography, and rights and reproduction, as well as our archivists, Daniel McCann, Annie Rochfort, and Laura Stewart. Maeve O’Regan, our Creative Director, designed this beautiful catalogue, which is a tribute to the artist’s work. Kevin Uhl of Project printed the catalogue here in New York.

At Marlborough Fine Art in London, which will be the second venue for this exhibition, I would like to thank Frankie Rossi and Kate Chipperfield, of Marlborough Graphics, London, for their assistance with various aspects of the exhibition and catalogue. I would also like to acknowledge Nuria Misert and her colleagues at Galería Marlborough in Madrid who will be organizing the third venue of this exhibition.

I would hope that this exhibition and catalogue will provide not only a more intimate view of Matisse’s printmaking process but also offer a better understanding of Matisse as a printmaker.

As Lieberman aptly concludes in his 1956 essay, “his accomplishment in black and white, limited though it may be to specific moments during a half century, is a brilliant example of the tradition of peintre graveur.”3

Ta r a K . R e d d i Vice-President M a r l b o ro u g h G a l l e ry

notes

1. William S. Lieberman, Matisse: 50 Years of His Graphic Art, 1956, p. 7.

2. Jay M. Fisher, Matisse as a Printmaker, 2009, pp. 36-37.

3. William S. Lieberman, Matisse: 50 Years of His Graphic Art, 1956, p. 18.

2. Le Grand Bois, 1906, woodcut

M ATI S S E : THE E S S EN C E O F LINE M a r i ly n Mc C u l ly

Matisse’s old friend and artistic rival Picasso once observed that in his approach to drawing Matisse always aimed to clarify line, in the belief that the best line was “the most stripped down … the purest, the definitive one.” Printmaking afforded Matisse the opportunity not only to focus on line (as opposed to color in painting) but also to render it with the purity that the artist so much desired.

Comparisons can indeed be made between the quality of line in Matisse’s prints and in his pencil, ink or charcoal drawings, but when working on a metal plate, the action required from the artist is limited to one determined effort, without the normal allowance in drawings for erasures, overlays or shadows to evoke volume and space. The essence of line in a print, if achieved in the way Matisse wanted, could thus provide all the information that is needed: the presence and character of a model, the definition of spatial relationships within a composition, including both interior and exterior views, and details of a particular setting.

The first print in the Marlborough exhibition is a self-portrait that appears to show the artist at work on the resulting image. Apart from the intensity of Matisse’s gaze, the most impressive quality in this drypoint with etching – which may be his earliest print – is the way in which his command of line, with the contrasts of heavily worked areas and almost empty spaces on the plate, focuses on the act of engraving. This is followed by one woodcut (1906) and a number of etchings and drypoints that were done during the period beginning around the time of World War I and continuing throughout the 1920s. The subject matter, which features portraits and drawings made from the model, is, as ever, closely tied to Matisse’s work in other media of the same period. Nonetheless, in these compositions the subject is expressed with an extraordinary economy of graphic means. In many cases, the positioning of the printed image on the sheet of paper also implies a different sense of space than would normally be created in a drawing or, for that matter, a framed painting. At this time, Matisse usually preferred to have his images occupy the center of the sheet, with an abundance of untouched margins surrounding them. In this way, the space itself can imply the extension of a particular scene or figure. For example, the head in Loulou Masque - chapeau fleuri (1914-15, no. 4) appears to be cropped at the edges, but the space at either side allows for us to imagine the rest of the hat and head. In other cases, such as Nu au fauteuil, main gauche derrière le dos (1926, no. 8), the placement of the relatively small image within broad borders provides an added sense of monumentality.

t h e e ss e n c e o f l i n e

Within a particular composition, the relationship of the model to her surroundings is inventively articulated in Matisse’s prints through the use of subtly different linear techniques. In the etching Le repos sur le lit (1929, no. 9), for instance, the woman, who is stretched out on a divan, gazes outwards in order to engage us as spectators in this scene. Yet the details of the interior are as important as the figure, and, thus, all aspects of the composition command almost equal attention: the dots of the model’s dress continue into the pattern of the bedspread, the curly-haired little dog on her lap merges with the lines around it, while the squared-up wall tiles behind her are matched by the equally flat, almost regular pattern of the hexagonal floor tiles below. Finally, the strong vertical linearity of the upright end of the divan provides compositional stability, as does the oversized hand and forearm in the center.

The position of the boldly rendered model in Nu couché, renversé (1929, no. 15) is emphasized by the spareness of details, which apart from defining the body of the nude, are confined to the criss-crossed screen at the back. Here the etched line does everything – from conveying the curves of the model’s body, hair (including underarm hair) and facial features to the space that she occupies. Although there is no tile pattern below to situate the figure, the carefully modulated line itself indicates that the woman’s head clearly rests on the floor in the foreground, while the screen at the back defines the limits of the enclosed interior that she inhabits. Another etching, Tête penchée et bocal de poissons (1929, no. 17), is equally striking. In this case, line conveys the weight of the woman’s head resting on her forearms (which, in turn, rest on an implied surface) as well as the contour of the bowl at the right, in which we see the goldfish swimming in empty space, which for us “reads” as water.

In addition to etchings and drypoints, Matisse experimented early in his career with the quite different expressive possibilities of lithography. The use of lithographic crayons produces results similar to those in drawings, although the line itself sometimes, as in Nu accroupi, profil à la chevelure noire (1906, no. 30), conveys the uneven quality of the lithographic stone from which it was printed. Again, the placement of the image on the sheet of paper assumes a key role in establishing compositional space. In this work, the nude occupies the whole of the sheet, and she is depicted as if seated and seen from above, although no additional details (chair, floor, etc.) are provided.

In the 1920s Matisse produced some of his most spectacular lithographs, in which the varied effects that can be achieved by using a lithographic crayon are richly explored. He generally preferred to work on transfer paper, rather than directly on the stone, and the results are thus quite close to his drawings. Most of the subjects of the lithographs continue his preoccupation with the figure, focusing on portraits and models, some of whom are portrayed as exotic odalisques or dancers.

Nu au fauteuil sur fond moucharabieh (1925, no. 53), which shows a seated figure in a richly patterned interior, for example, presents a mix of linear markings, rubbing and overlays, while giving much information about the textures and the setting. The shorthand notations at the upper left distinguish the wallpaper from the foliage seen through the window, and the shadows that accentuate the round curves of the nude and also the armchair on which she is seated provide an additional range of lithographic effects. By contrast, the deep, darkened tones that Matisse created for Odalisque à la coupe de fruits (1925, no. 51) not only define the different qualities of the wallpaper, floor, rug, and the model’s costume, but they contribute to the sensuous but moody characterization of the figure.

OPPOSITE: Matisse

drawing a model at no. 1, place Charles-Félix, Nice, 1927-28

t h e e ss e n c e o f l i n e

In late 1925 Matisse began work on a series of lithographs that would be published in folio form as Dix danseuses (nos. 72-74) by the Galerie d’Art Contemporain two years later. In some respects this undertaking on the part of the gallery represented a revival of the publication by dealers in the late-nineteenth century of artists’ albums, which were aimed at collectors of modern art. In the case of the Matisse lithographs, each of the ten sheets is devoted to a single dancer, but rather than showing the young women in rehearsal or performance, he depicted the dancers in much the same way as his regular models – posing for the artist in different attitudes, just as in Degas’s sculptures.

In Danseuse reflétée dans la glace (1927, no. 71), for example, a standing dancer is shown in front of a mirror, and the lithographic techniques used here not only create strong contrasts of light and dark in both the figure and her reflection, but also animate the surroundings. The darkened mirror echoes the door at the left, providing additional illumination on the figure, while the angles of the floor in the foreground (at least in the way it is rendered) emphasize the position of the dancer and her reflection above.

Another important commission (1930) were the illustrations that Matisse did for a luxury edition of Poésies de Stéphane Mallarmé (no. 81), which would be published by the Swiss Albert Skira in 1932. After his reading of the poetry, Matisse responded by creating full-page etchings that he believed provided a pictorial equivalent (in terms of design) to the words on the page: “The problem was to balance each pair of facing pages – the one with the etching white, the other with the typography relatively black. I achieved this by modifying my arabesques in such a way that the spectator’s attention would be interested as much by the entire page as by the promise of reading the text.” The Mallarmé etchings, which combine the essence of line – what the artist described as an arabesque – with the full space of each page, represent a departure point for Matisse’s illustrated books in years to come.

In his later years, as his physical powers declined and he was forced to devise a number of means, including his celebrated cut-outs, with which he could continue producing art, Matisse embarked on new print-making techniques, including white on black lino-cuts and black on white or colored aquatints. While simple in process, they offered him the possibility of creating strong compositions in which contour lines – either cut into the linoleum or aquatint brushed on plates – could convey the essence of forms. In this way, the aquatints, in particular, relate to the designs that Matisse created in glass for the Dominican chapel in Vence (1948-1951). The heads and figures in the late prints are especially moving in their simplicity and stand as evidence of Matisse’s continued search for a purity of line and expression in his art.

notes

1. Picasso in conversation with the photographer Brassaï, early October 1943; in Brassaï, Picasso & Co., 1966, p. 56.

2. See, for example, Henri Toulouse-Lautrec’s Elles (published by Gustave Pellet in 1896) and the Albums des peintres-graveurs (1896, 1897) and albums devoted to individual artists, including Pierre Bonnard (1895-99), Maurice Denis (1898) and Edouard Vuillard (1899), that were published by the dealer Ambroise Vollard.

3. Although Skira commissioned Matisse in 1930, work did not begin on the Mallarmé etchings for at least a year. The idea to produce the book parallels Skira’s commissioning of an illustrated edition of Ovid’s Metamorphoses with engravings by Picasso, published in October 1931.

4. Quoted in William S. Lieberman, Matisse: 50 Years of His Graphic Art, 1956, p. 12.

BrassaĂŻ, Matisse drawing the model Wilma Javor at the Villa AlĂŠsia studio, Paris, 1939

Pa rt I : D ry p o i n t s a n d e t c h i n g s (1914-1935)

One must always search for the desire of the line, where it wishes to enter or where to die away.

Also, always be sure of its source; this must be done from the model.

M at i ss e , ac c o r d i n g t o S a r a h S t e i n , 1 9 0 8

D ry p o i n t s a n d e t c h i n g s

3. Fanny de face, 1914, etching

D ry p o i n t s a n d e t c h i n g s

4. Loulou Masque – chapeau fleuri, 1914-15, etching

D ry p o i n t s a n d e t c h i n g s

5. Emma L., “Rivière,” 1916-17, etching

D ry p o i n t s a n d e t c h i n g s

6. Marguerite, 1919, drypoint

D ry p o i n t s a n d e t c h i n g s

7. Torse, bras gauche derrière la tête, 1926, drypoint

My models, human figures, are never just ‘extras’ in an interior.

They are the principal theme in my work.

M at i ss e , N ot e s o f a Pa i n t e r o n h i s D r aw i n g , 1 9 3 9

D ry p o i n t s a n d e t c h i n g s

8. Nu au fauteuil, main gauche derrière le dos, 1926, drypoint

D ry p o i n t s a n d e t c h i n g s

9. Le repos sur le lit, 1929, etching

D ry p o i n t s a n d e t c h i n g s

10. Nu couché, drapé dans une étoffe fleurie, 1929, etching

D ry p o i n t s a n d e t c h i n g s

11. Nu assis dans l’atelier, 1929, etching

D ry p o i n t s a n d e t c h i n g s

12. Buste, robe fleurie, 1929, etching

D ry p o i n t s a n d e t c h i n g s

13. Nu assis au collier de perles, 1929, drypoint

D ry p o i n t s a n d e t c h i n g s

14. Nu assis, bras croisĂŠs sur la poitrine, 1929, drypoint

I am not conscious of whether, while I am executing [my drypoints], my thought evolves.

I look at the object and I transmit my impression with a continuous line.

C o nv e r s at i o n ( 1 0 Ja n ua ry 1 9 1 4 ) b e t w e e n M at i ss e a n d M at t h e w S t e wa rt P r i c h a r d 1 9 , q ua i S a i n t- M i c h e l , Pa r i s.

(Recorded by William King)

D ry p o i n t s a n d e t c h i n g s

15. Nu couché, renversé, 1929, etching

D ry p o i n t s a n d e t c h i n g s

16. Jeune femme le visage enfoui dans les bras, 1929, etching

D ry p o i n t s a n d e t c h i n g s

17. TĂŞte penchĂŠe et bocal de poissons, 1929, etching

D ry p o i n t s a n d e t c h i n g s

18. Figure endormie dans un intĂŠrieur, 1929, etching

D ry p o i n t s a n d e t c h i n g s

19. Nu couché. Intérieur à la lampe vénitienne, 1929, etching

D ry p o i n t s a n d e t c h i n g s

20. Nu couché sur le côté, les jambes repliées, 1929, etching

D ry p o i n t s a n d e t c h i n g s

21. Figure lisant, 1929, etching

D ry p o i n t s a n d e t c h i n g s

22. Figure assise sur fond de carreaux fleuris, 1929, etching

D ry p o i n t s a n d e t c h i n g s

23. Jeune femme, la cordelière de son peignoir en collier, 1929, etching

D ry p o i n t s a n d e t c h i n g s

24. Figure au col et manchettes de dentelle, 1929, etching

D ry p o i n t s a n d e t c h i n g s

25. La cage de perruches et les poissons rouges, 1929, etching

D ry p o i n t s a n d e t c h i n g s

26. Nu assis, visage de profil, 1931, etching printed with plate tone

D ry p o i n t s a n d e t c h i n g s

27. IntĂŠrieur au feuillage, 1935, etching

D ry p o i n t s a n d e t c h i n g s

28. Vue de Paris – Le Pont St-Michel, 1927, etching

Pa rt II : Lithographs (1906-1929)

What interests me most is neither still life nor landscape, but the human figure.

M at i ss e , N ot e s o f a Pa i n t e r , 1 9 0 8

lithographs

29. Le grand nu, 1906, lithograph

lithographs

30. Nu accroupi, profil Ă la chevelure noire, 1906, lithograph

lithographs

31. Torse de face, 1913, lithograph

lithographs

32. Nu au rocking chair, 1913, lithograph

lithographs

33. Nu assis dans un fauteuil, une jambe repliĂŠe, 1922, lithograph

lithographs

421

34. Nu assis, chevelure foncĂŠe, 1922, lithograph

lithographs

422

35. Nu assis, chevelure claire, 1922, lithograph

I ended up discovering that the likeness of a portrait comes from the contrast which exists between the face of the model and other faces, in a word from its particular asymmetry.

Each figure has its own rhythm and it is this rhythm which creates the likeness.

M at i ss e , P o rt r a i t s , 1 9 5 4

lithographs

36. La capeline de paille d’Italie, 1923, lithograph

lithographs

37. La robe d’organdi, 1922, lithograph

lithographs

38. Jeune fille au col d’organdi, 1923, lithograph 39. Jeune fille en robe fleurie au col d’organdi, 1923, lithograph

BrassaĂŻ, The model Wilma Javor at the Villa AlĂŠsia studio, Paris, 1939

lithographs

40. Petite liseuse, 1923, lithograph

lithographs

41. Nu couchĂŠ au paravent Louis XIV, 1923, lithograph

lithographs

42. Jeune fille assise au bouquet de fleurs, 1923, lithograph

lithographs

43. Lassitude, 1925, lithograph

lithographs

44. Visage de profil reposant sur un bras, paravent Louis XIV, 1924, lithograph

lithographs

45. Arabesque, 1924, lithograph

lithographs

46. Nu assis dans un fauteuil au dĂŠcor fleuri, 1924, lithograph

lithographs

47. Nu couchÊ au visage incomplet - Étude de jambes, 1925, lithograph

lithographs

461

48. Nu couché, jambe repliée - Étude de jambes, 1925, lithograph

lithographs

462

49. Grande odalisque à la culotte bayadère, 1925, lithograph

Windows have always interested me because they are a passageway between the exterior and the interior.

As for odalisques, I had seen them in Morocco, and so was able to put them in my pictures back in France without playing make-believe.

M at i s s e s p e a ks , 1 9 5 1

lithographs

50. IntĂŠrieur, la lecture, 1925, lithograph

lithographs

51. Odalisque Ă la coupe de fruits, 1925, lithograph

BrassaĂŻ, Matisse drawing the model Wilma Javor at the Villa AlĂŠsia studio, Paris, 1939

lithographs

52. Nu au fauteuil bistre, 1925, lithograph

lithographs

48.

49.

50.

51.

52.

53.

Odalisque à la coupe de fruits, 1925 Nu au fauteil bistre, 1925 Nu au fauteuil sur fond moucharabieh, 1925 Nu assis, bras gauche sur la tête, 1926 Nu, Main gauche près de l’Epaule, 1926 Nu couché à la Coupe de Fruits, 1926

53. Nu au fauteuil sur fond moucharabieh, 1925, lithograph

lithographs

54. Nu assis, bras gauche sur la tĂŞte, 1926, lithograph

lithographs

55. Nu, main gauche près de l’épaule, 1926, lithograph

lithographs

56. Nu couché à la coupe de fruits, 1926, lithograph

Expression, for me, does not reside in passions glowing in a human face or manifested by violent movement.

The entire arrangement of my picture is expressive: the place occupied by the figures, the empty spaces around them, the proportions, everything has its share.

M at i ss e , N ot e s o f a Pa i n t e r , 1 9 0 8

lithographs

57. Nu couchĂŠ de dos, 1929, lithograph

lithographs

508

58. Jeune Hindoue, 1929, lithograph

lithographs

59. Orientale sur lit de repos, sol de carreaux rouges, 1929, lithograph

lithographs

60. La Persane, 1929, lithograph

lithographs

61. Odalisque, brasero et coupe de fruits, 1929, lithograph

lithographs

62. Figure devant tapa africain, 1929, lithograph

lithographs

63. Le renard blanc, 1929, lithograph

Henri Cartier-Bresson, Matisse with his model Micaela Avogadro, Nice, February, 1944

lithographs

64. Repos sur la banquette, 1929, lithograph

Pa rt III : L i n o - c u t s a n d Aq uat i n t s (1938-1952)

I have often thought that this simple medium is comparable to the violin with its bow: a surface, a gouge – four taut strings and a swatch of hair.

M at i ss e , o n l i n o - c u t s, 1 9 4 6

L i n o - c u t s a n d Aq uat i n t s

65. Femme impure, 1938, linocut

Michel Sima, Matisse in his studio at the Villa Le RĂŞve, Vence, 1948

L i n o - c u t s a n d Aq uat i n t s

66. Jeune ĂŠtudiant de trois-quarts, 1952, aquatint

L i n o - c u t s a n d Aq uat i n t s

67. BĂŠdouine au large visage, 1947, aquatint

L i n o - c u t s a n d Aq uat i n t s

68. Visage de jeune femme, 1948, aquatint

The effort needed to see things without distortion takes something very like courage; and this courage is essential to the artist, who has to look at everything as though he saw it for the first time: he has to look at life as he did when he was a child and, if he loses that faculty, he cannot express himself in an original, that is, a personal way.

M at i ss e , f ro m “ L o o k i n g at l i f e w i t h t h e Ey e s o f a C h i l d, � 1 9 5 3

L i n o - c u t s a n d Aq uat i n t s

70. Bédouine au long visage, 1947 71. Bédouine au large visage, 1947 72. Visage de jeune femme, 1948 73. Marie-José en robe jaune, 1950 74. Jeune étudiant de trois-quarts, 1952 [Move 75 to end of Part I]

69. Bédouine au long visage, 1947, aquatint

L i n o - c u t s a n d Aq uat i n t s

70. Marie-JosĂŠ en robe jaune, 1950, aquatint

Pa rt I V: da n c e a n d p o e t ry

Matisse drawing with a bamboo stick, 1931

DAN C E AND P OETRY

Early in his career, in 1910, when Matisse was planning a large mural composition devoted to the subject of dance for the Russian collector Sergei Shchukin, he was inspired, he later recalled, by a Sunday afternoon spent at the celebrated Moulin de la Galette dance hall in Montmartre. There Matisse particularly enjoyed watching the groups of dancers doing the lively farandole. His memories of these dancers with their linked hands held aloft would inspire other compositions over the years, including the mural La Danse, which he created for the collector Albert Barnes (1932). The rare color etching (no. 78), which Matisse asked his printer Lacourière to pull in 1935-36, was actually based on his first, unused design for the three-part mural for Barnes.

At the invitation of the ballet impresario Serge Diaghilev, Matisse designed the sets and costumes for the Ballets Russes production of Stravinsky’s Le Chant du rossignol in 1920. One lasting consequence of this collaboration was his friendship with the choreographer and dancer Léonide Massine. They would work together again in 1938 on the Ballets Russes de Monte Carlo production of Rouge et Noir (also known as L’Etrange Farandole), in which the set designs were freely adapted from the Barnes Foundation La Danse. Matisse also evoked the world of the ballet in the portfolio of lithographs Dix danseuses (issued in 1927, nos. 72-74).

When it came to the visual inspiration for the illustrated book Jazz (1947, no. 79), Matisse once again drew on popular entertainment, including his memories of the circus, popular tales and travel.

The twenty plates were created as pochoirs from cut and pasted designs. By cutting (rather than etching or using lithographic techniques) Matisse explored the possibilities of drawing in color, as it were, with scissors. The simple texts that appear alongside the images were, according to the artist, chosen “to calm the simultaneous oppositions of my chromatic and rhythmic improvisations, to provide a kind of ‘resonant background,’ which carries them, surrounds them and thus protects their distinctiveness.”

Rhythmic movement and arabesques also characterize the illustrations that Matisse created for one of his most beautiful illustrated books, Poésies de Stéphane Mallarmé (1932, no. 81). For each of the pure white pages, Matisse employed the finest of etched lines for the images, in order to reinforce the ideas conveyed in the poet’s words. The reader is thus invited to consider the quality of the line, including its own rhythms and poetic associations, in concert with the accompanying text.

I like dance very much.

Dance is an extraordinary thing: life and rhythm.

M at i ss e , i n a n i n t e rv i e w w i t h C h a r b o nn i e r , 1 9 5 1

da n c e a n d p o e t ry

71. Danseuse reflĂŠtĂŠe dans la glace, 1927, lithograph

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72. Dix danseuses, 1927, lithograph

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73. Dix danseuses, 1927, lithograph

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74. Dix danseuses, 1927, lithograph

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75. Danseuse endormie, 1926-27, lithograph

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491

76. Danseuse cambrĂŠe au visage coupĂŠ, 1927, lithograph

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492

77. Danseuse au miroir, 1927, lithograph

78. La Danse, 1935-36, etching and aquatint

L’Etrange Farandole, Monte Carlo, 1938. Stage, set design and costumes by Henri Matisse Š 2013 Succession H. Matisse / Artists Rights Society (ARS), New York. Photo: D.R.

Matisse at work on a paper cut-out in his studio at the H么tel Regina, Nice-Cimiez, 1952

da n c e a n d p o e t ry

79. Jazz: Le clown, 1947, pochoir (plate 1)

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plate 2

Jazz: Le cirque, 1947, pochoir (plate 2)

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plate 4

Jazz: Le cauchemar de l’éléphant blanc, 1947, pochoir (plate 4)

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plate 5

Jazz: Le cheval, l’écuyère et le clown, 1947, pochoir (plate 5)

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plate 6

Jazz: Le loup, 1947, pochoir (plate 6)

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Jazz: Les Codomas, 1947, pochoir (plate 11)

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plate 12

Jazz: La nageuse dans l’aquarium, 1947, pochoir (plate 12)

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plate 14

Jazz: Le cow-boy, 1947, pochoir (plate 14)

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plate 18

Jazz: Le lagon, 1947, pochoir (plate 18)

This is the work I have completed after reading Mallarmé with pleasure…

The drawing is not massed toward the center as usual but spreads across the entire page.

The problem was to balance each pair of facing pages – the one with the etching white, the other with the typography relatively black.

I achieved this by modifying my arabesques in such a way that the spectator’s attention would be interested as much by the entire page as by the promise of reading the text.

M at i ss e , f ro m “ C o m m e n t j e fa i s m e s l i v r e s, ” 1 9 4 4

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80. Poésies de Stéphane Mallarmé: La coiffure d’Hérodiade, 1932, etching

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81. Poésies de Stéphane Mallarmé, 1932 (title page)

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Poésies de Stéphane Mallarmé, 1932, etching and text (pages 8, 9)

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Poésies de Stéphane Mallarmé, 1932, etching (page 15)

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Poésies de Stéphane Mallarmé, 1932, etching and text (page 35)

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Poésies de Stéphane Mallarmé, 1932, etching and text (page 75)

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Poésies de Stéphane Mallarmé, 1932, etching (page 129)

Ina Bandy, Matisse drawing on a lithographic stone, 1947-48

A n o t e o n M at i ss e Pa p e r s C h i n a pa p e r

Wo v e pa p e r

Long before the artist’s first lithographs, paper imported from China was a preferred support for this medium.

It had been widely used by publishers of fine art portfolios in the nineteenth century. Due to its quality and appealing tone, prints on China paper commanded higher prices, and this thin yet opaque substrate was often used for luxury editions. European manufacturers attempted to make comparable papers, but those used for Matisse’s lithographs are true Chinese papers of the finest quality. Irregularities, such as unusually long or dark fibers or bits of chaff, are inherent to these papers, and in transmitted light they show delicate patterns typical of sheets formed by hand on a mould.

Wove is the term used to describe paper with an even, smooth surface. It was made using a woven screen rather than the wire construction of the traditional European papermaking mould. In the twentieth century, French manufacturers such as Arches, Canson and BFK Rives excelled at the production of wove (vélin) papers for artists and fine art publications.

J a pa n e s e v e l l u m

Japanese vellum was exported to Europe beginning around 1875 and was widely used for printmaking. As the term suggests, the paper is as durable as parchment (vellum) and remains virtually unchanged over time.

These substantial supports are particularly suited to the press, and the combination of lithography and Japanese vellum successfully preserved the artist’s technique of contour drawing, in which the expression of a figure is captured on a broad expanse of smooth, polished paper.

C h i n e a p p l i q u é , a nn a m a p p l i q u é

The term chine appliqué refers to the practice of printing onto a smooth, thin tissue, applied with pressure (appliqué) to a larger, secondary support paper. Any thin tissue could be used, regardless of country of origin. A good-quality, longfibered and strong tissue conforms to the etched plate surface and pulls ink from even the most lightly etched lines. Because of its delicacy, mounting to a thicker secondary support provides mechanical stability. Matisse’s choice to use chine appliqué was a fortunate one, since the thin primary supports on which the etchings were printed are, without exception, extremely resilient and long-lived. Annam paper, whose name suggests an origin in Indo-China, was widely used by French publishers in the twentieth century and provided the support for some of Matisse’s aquatints.

Preferences

One never sees a Matisse print on a poor quality paper or a scrap. To my knowledge, the artist never signed a work of art in an ink or color known to fade, using only the most stable media for his drawing and signature.

Undoubtedly, the artist knew the importance of good materials and seems never to have done without them, even early in his career and in wartime.

It appears that the strong appliqué papers also suited the artist’s aesthetic preference. The color, between offwhite and buff, provided a kind of mid-range tint, which contains and grounds the image. For a 1925 publication, Dessins, the reproductions of drawings were printed on a background to match as closely as possible, at the artist’s request, the chine paper of the accompanying etching.

Matisse sought papers to correspond to the character of his work. On more than one occasion, he stated that a “pearlescent” Japanese paper (Japon nacré) would not be suitable. In 1943, in a letter to his publisher, the artist offered a kind of wish list of preferred papers, “Chine de préférence (c’est celui que j’aime – il est d’un ton rare et d’une richesse discrète) ou peut-être, beau Holland, blanc comme celui de Mallarmé, une partie pouvant être sur bel Arches blanc si nécessaire.” [Preferably chine (this is the one I like – it has that rare tone and a sober richness) or perhaps a beautiful white Holland paper, such as the Mallarmé, some could be on a beautiful white Arches paper if necessary.] (Catalogue raisonné des ouvrages Illustrés, 1988, p. 305) S a r a h B e rta l a n conse rvato r , w o r k s on pa p e r

Matisse in front of La Danse (in background) and still-life A la Danse, in his studio, Issy-les-Moulineaux, 1909 or 1912

M ATI S S E : A C HRONOLOGY M a r i ly n M c C u l ly & M i c h a e l R a e b u r n

1869 31 December: Birth of Henri Matisse at Le Cateau-Cambrésis in the north of France 1890 Decides to pursue a career as an artist, rather than in the law. He spends as much free time as he can from his work as a legal clerk at the art school in Saint-Quentin. With the grudging support of his father, he moves to Paris to study – at the Académie Julian; later at the Ecole des Arts Décoratifs, and with Gustave Moreau at Ecole des Beaux Arts. He continues his studies at various academies and studios until 1900.

1904 1–18 June: First solo exhibition at Ambroise Vollard’s gallery in Paris includes 45 paintings and one drawing.

1905 mid-May–early September: In Collioure, where he produces a few woodcuts.

18 October–25 November: Exhibition of Matisse’s recent work at the 3rd Salon d’Automne causes a sensation; birth of the term Fauve to describe the new direction in painting.

1896 Starts exhibiting in official Salons.

1906 Early lithographs and woodcuts

1898 February–August: Visit to Corsica, his first encounter with the Mediterranean.

1899 First sculptures.

1900 Matisse works on copper for the first time 1901 Ceases to receive financial support from his family.

1903 31 October–6 December: Exhibits two paintings in the first Salon d’Automne at the Petit Palais. Until the outbreak of World War I this becomes the principal public exhibition opportunity for avantgarde artists, although Matisse continues to show also at the Salon des Indépendants at the Grand Palais each spring.

19 March–7 April: Second solo exhibition, at the Druet gallery, Paris, includes 55 paintings, 3 sculptures, watercolors and drawings, plus a group of lithographs and woodcuts made since the previous autumn.

Autumn: Woodcuts by Gauguin from the collection of Paco Durrio are included in the exhibition of the artist’s work at the Salon d’Automne at the Grand Palais, Paris.

1907 20 March–30 April: Matisse exhibits his painting Blue Nude, inspired by his visit to Algeria the previous May, two drawings and three woodcuts at the Salon des Indépendants, Paris. Georges Desvallières, in a review, remarks on the largest of the woodcuts, in which he observes “wilful deformations, a bit too premeditated, above all in the large figure.”

c h ro n o l o g y

1908 Early January: Matisse opens the Académie Matisse, where he gives instruction once a week; over the next three years the academy attracts international students until it closes in 1911.

December: Galerie Flechtheim’s inaugural exhibition includes works by Matisse: four paintings, three sculptures, several drawings and five prints.

5 December: Bernheim-Jeune acquires recent prints

by Matisse.

6–25 April: Exhibition of Matisse watercolors, drawings and lithographs at Alfred Stieglitz’s Photo-Secession (291) gallery in New York; organized by Edward Steichen, who had met Matisse through Sarah Stein in Paris.

25 December: Publication of Matisse’s “Notes d’un peintre,” in La Grande revue.

1909 July: Takes up residence at Issy-les-Moulineaux, where that summer he has a huge prefabricated structure built as a permanent studio.

January–February: Exhibition of Primitive Japanese Prints at the Musée des Arts Décoratifs; first of a series of annual exhibitions at the beginning of each year until 1914, aiming to trace the history of Japanese prints.

Late 1913–early 1914 Matisse purchases a small etching press 1914 1 January: Matisse takes a studio in Paris at quai Saint-Michel, where he sets up his printing press; he is assisted by his daughter Marguerite.

During the year he enthusiastically takes up printmaking again, producing approximately 10 large lithographs (the “Second Series”) and 14 monotypes (with a white line on black), as well as over 50 smaller drypoints and etchings, including many portraits of family and friends (originally intended for an album, but instead issued separately in editions of 5-15 proofs each).

1913 5 July: Félix Fénéon writes to Matisse concerning his contribution of an etching (he later produces a lithograph instead) after a work by Cézanne for Bernheim-Jeune’s album on Cézanne, which is published in 1914.

1 March: Bernheim-Jeune announces Les estampes d’Henri Matisse in its Bulletin, no. 3.

August: Matisse tries to enlist, but is rejected; his brother Auguste is taken to a labor camp in Germany.

September: Matisse becomes friendly with Juan and Josette Gris, who are in Collioure; later (November), when they are all in Paris, Matisse hires Josette as a model.

12 October–16 January 1914: Post-Impressionist and Futurist Exhibition, Doré Galleries, London; Matisse is represented by two paintings and five lithographs.

November: Exhibition at Kunstsalon Fritz Gurlitt, Berlin, includes twelve paintings plus drawings and lithographs.

November: Matisse does a series of prints bearing images of Marguerite; their frequently narrow vertical format recalls the Japanese print masters.

c h ro n o l o g y

1915 20 January–27 February: Matisse exhibition, organized by Walter Pach, at Montross Gallery, New York; in addition to 14 paintings, 11 sculptures and 5 drawings, 25 etchings (all but one of 1914), 2 woodcuts (1906) and 17 lithographs (some early, some recent) are included.

Spring–summer: Matisse sells his prints in an effort to raise money to send food to prisoners taken by the Germans from Bohain-en-Vermandois, his home village near Le Cateau. In June a large group of prints is bought by Jacques Doucet.

Summer: At Issy-les-Moulineaux, works extensively on prints.

1925 Autumn: On return to Nice from a visit to Amsterdam, executes a series of lithographs of odalisques. Also does the series Dix danseuses published as an album by Galerie d’Art Contemporain, Paris, in 1927.

1927 24 January–4 February: Exhibition of drawings and lithographs at Bernheim-Jeune, Paris.

1928 January: Exhibition of Matisse drawings, etchings, and lithographs at Leicester Galleries, London.

June–October: Exhibits 40 paintings, 6 sculptures, 13 prints and drawings at 16th Venice Biennale.

1916 18 November–10 December: Matisse is represented with 4 paintings, 10 drawings and 10 etchings in Den franske utstilling i Kunstnerforbundet exhibition in Oslo, organized by the Norwegian dealer and painter Walther Halvorsen, who had been a student at the Académie Matisse.

1928–29 In Nice, in addition to painting, drawing and sculpture, Matisse produces some 125 etchings and drypoints within a few months, working from a model and devoted to many variations on the same theme.

1929 3–14 June: Exhibition Quarante lithographies originales de Henri-Matisse at Galerie BernheimJeune.

Matisse spends winter in Nice for the first time; until the 1930s he generally spends summers in Paris and/or Issy-les-Moulineaux and winters in Nice.

1922–29 Matisse’s most prolific period as a printmaker 1922 Resumes work on stone, prompted by a plan by Editions Frapier, to do a series of volumes devoted to peintres-graveurs.

1923 20–31 October: Solo exhibition at BernheimJeune, Paris, Gravures d’Henri Matisse.

After 1930 Matisse’s principal work as a printmaker is for illustrated books 1930 15 February–19 March: Large solo exhibition at the Thannhauser gallery, Berlin, includes 83 paintings, sculptures, drawings, and many prints.

March–June: Travel (via the USA) to Tahiti.

1931 3 November–6 December: Retrospective exhibition, Museum of Modern Art, New York, organized

by Alfred H. Barr, Jr., includes 70 paintings, 13 sculptures, 54 drawings, 5 monotypes and 2 woodcuts.

c h ro n o l o g y

16 June–25 July: Retrospective exhibition at the Georges Petit gallery, Paris, includes 141 paintings, 1 sculpture and a selection of prints and drawings; a version of the same show moves to the Kunsthalle Basel later in the year.

1932 October: Swiss publisher Albert Skira publishes Matisse’s first illustrated book, Poésies de Stéphane Mallarmé, with 29 etchings, printed by Lacourière.

The following spring Baltimore collector Etta Cone purchases a group of 250 drawings, prints and the copper-plates for this book.

1934 Mid-June–mid-August: while staying at the Hôtel Lutétia in Paris, works on illustrations for Joyce’s Ulysses, commissioned by George Macy for the Limited Editions Club in New York. His designs were drawn through paper onto soft ground which covered the copper plates; these were then etched. The publication, issued in 1935, contained 6 etchings and 20 reproductions of preliminary drawings.

1936 11 January–24 February: Retrospective exhibition of 30 paintings, 4 sculptures, several works on paper, including prints, at the San Francisco Museum of Art. 1937 May–October: Exhibition L’Art indépendant at the Petit Palais, for which one of Matisse’s paintings is used on a poster. In connection with this, he meets the lithographer Fernand Mourlot.

1941 January: Following cancer surgery in Lyon, he is confined to bed for much of the time.

Agrees with Skira on a new book project: Pierre de Ronsard’s Amours; this becomes Florilège des amours de Ronsard, with 135 lithographs and is published in 1948.

1942–43 Winter: Starts work on Poèmes de Charles d’Orléans, published in 1950.

1943 June: When Nice is evacuated for fear of air raids, moves to Vence, where he acquires the villa Le Rêve.

1943–44 Works on cut-outs for Jazz, which was issued

by E. Tériade in 1947 as a folio of twenty color plates, reproduced from pochoirs based on the paper cut-outs.

1944 May: Martin Fabiani publishes Henry de Montherlant’s Pasiphaé: Chant de Minos (Les Crétois), with 148 linocut illustrations by Matisse.

Early September: Completes series of thirty-five heads on lithographic transfer paper as illustrations for Baudelaire’s Fleurs du mal. There are technical problems with the printing, and a second attempt, printed this time by Mourlot, results in an album, Twenty-three Lithographs, published in an edition of five in 1946; finally, La Bibliothèque Française publishes Les Fleurs du mal with photo-lithographic reproductions of Matisse’s illustrations in 1947.

Eight illustrated books of the 1940s 1940 During the German invasion of France Matisse travels towards the south, settling at the end of August in Nice. He refuses offers of refuge in the USA.

1945 July–November: First of several extended visits to Paris made after the end of the war.

c h ro n o l o g y

1946 Publication of two books of poetry with Matisse illustrations initiated during the war: Mariana Alcaforado’s Les lettres d’une réligieuse portugaise, with lithographic illustrations, published by Tériade; and Pierre Reverdy’s Visages, with 14 lithographs, printed

by Mourlot and published by Editions du Chêne.

1947 Publication by Editions du Bélier of André Rouveyre’s Repli, with lithographs by Matisse.

1948–51 Works on the decoration of the Dominican chapel at Vence.

1948–52 Produces numerous aquatints 1950 Publication by Tériade of Poèmes de Charles d’Orléans, with decorations and 54 full-page lithographs, printed by Mourlot.

1951 13 November–13 January 1952: Exhibition at The Museum of Modern Art, New York, organized

by Alfred H. Barr, Jr., includes 74 paintings, 29 sculptures, 24 drawings, watercolors, prints and illustrated books, 14 paper cut-outs. It travels to Cleveland, Chicago and San Francisco.

1952 End December: Publication of Verve 27-28 with 5 lithographs by Matisse entitled La Tristesse du roi.

Publication by Mourlot, in an edition of fifteen, of Echos, poems by Jacques Prévert, André Verdet and Nazim Kismet with six lithographs by Matisse.

1954 Begins last book illustration project, John-Antoine Nau’s Poésies antillaises, which is issued posthumously in 1974.

3 November: Death of Matisse in Nice

Ina Bandy, Matisse drawing on a lithographic stone, 1947-48

Checklist I n t ro d u c t i o n :

1. Henri Matisse gravant, 1900-03 Etching and drypoint, fourth state Signed in ink and numbered from the edition of 30 Plate: 5 15/16 x 7 15/16 inches (15.1 x 20.1 cm) Sheet: 12 5/8 x 20 1/16 inches (32 x 51 cm) Duthuit 1

Collection The Museum of Modern Art, New York.

Gift of Louise Reinhardt Smith

2. Le Grand Bois, 1906 Woodcut, on laid paper Signed in ink and numbered from the edition of 50 Image: 18 3/4 x 15 inches (47.5 x 38 cm) Sheet: 22 7/8 x 18 1/4 inches (58.2 x 46.3 cm) Duthuit 317

Collection Nelson Blitz, Jr. and Catherine Woodard, New York

PART I : DRY P OINT S a n d ET C HING S

3. Fanny de face, 1914 Etching, on chine appliqué Signed in ink and numbered from the edition of 15 Plate: 6 1/4 x 2 3/8 inches (15.9 x 6 cm) Sheet: 11 x 7 3/8 inches (27.9 x 18.7 cm) Duthuit 37 4. Loulou Masque – chapeau fleuri, 1914-15 Etching, on chine appliqué Signed in pencil and numbered from the edition of 15 Plate: 6 5/16 x 2 3/8 inches (16 x 6 cm) Sheet: 11 x 7 7/16 inches (27.9 x 18.9) Duthuit 54 5. Emma L., “Rivière,” 1916-17 Etching, on chine appliqué Signed in pencil and inscribed Tirage à quinze ex.

Sixième épreuve, from the edition of 15 Plate: 7 x 5 1/16 inches (17.8 x 12.9 cm) Sheet: 14 15/16 x 11 inches (37.9 x 27.9 cm) Duthuit 75

6. Marguerite, 1919 Drypoint, on chine appliqué Signed in ink and numbered from the edition of 15 Plate: 7 1/16 x 5 1/8 inches (17.9 x 13 cm) Sheet: 14 15/16 x 11 inches (38 x 27.9 cm) Duthuit 79 7. Torse, bras gauche derrière la tête, 1926 Drypoint, on chine appliqué Signed in pencil and numbered from the edition of 7 Plate: 5 13/16 x 3 7/8 inches (14.8 x 9.8 cm) Sheet: 12 3/16 x 8 13/16 inches (31 x 22.4 cm) Duthuit 94 8. Nu au fauteuil, main gauche derrière le dos, 1926 Drypoint, on chine appliqué Signed in pencil and numbered from the edition of 10 Plate: 7 x 5 inches (17.8 x 12.7 cm) Sheet: 17 5/8 x 12 3/16 inches (44.8 x 31 cm) Duthuit 95 9. Le repos sur le lit, 1929 Etching, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 7 1/16 x 9 3/4 inches (17.9 x 24.8 cm) Sheet: 11 x 14 15/16 inches (27.9 x 37.9 cm) Duthuit 120 10. Nu couché, drapé dans une étoffe fleurie, 1929 Etching, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 3 7/8 x 9 13/16 inches (9.8 x 24.9 cm) Sheet: 11 x 14 15/16 inches (27.9 x 37.9 cm) Duthuit 121 11. Nu assis dans l’atelier, 1929 Etching, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 8 x 6 1/16 inches (20.3 x 15.4 cm) Sheet: 15 x 11 1/4 inches (38.1 x 25.6 cm) Duthuit 134 12. Buste, robe fleurie, 1929 Etching, on chine appliqué Signed in ink and numbered from the edition of 15 Plate: 8 13/16 x 5 15/16 inches (22.4 x 15 cm) Sheet: 14 15/16 x 11 1/4 inches (37.9 x 25.6 cm) Duthuit 137

checklist

13. Nu assis au collier de perles, 1929 Drypoint, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 5 9/16 x 4 inches (14.1 x 10.1 cm) Sheet: 14 15/16 x 11 inches (37.9 x 27.9 cm) Duthuit 148 14. Nu assis, bras croisés sur la poitrine, 1929 Drypoint, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 5 9/16 x 3 15/16 inches (14.1 x 10 cm) Sheet: 14 7/8 x 11 inches (37.8 x 27.9 cm) Duthuit 157 15. Nu couché, renversé, 1929 Etching, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 3 5/8 x 4 7/8 inches (9.2 x 12.4 cm) Sheet: 11 x 14 15/16 inches (27.9 x 37.9 cm) Duthuit 163 16. Jeune femme le visage enfoui dans les bras, 1929 Etching, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 3 3/4 x 5 1/2 inches (9.5 x 14 cm) Sheet: 11 x 14 7/8 inches (27.9 x 37.8 cm) Duthuit 168 [also illustrated on cover] 17. Tête penchée et bocal de poissons, 1929 Etching, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 5 7/8 x 7 11/16 inches (14.9 x 19.5 cm) Sheet: 11 1/4 x 14 15/16 inches (28.6 x 37.9 cm) Duthuit 177 18. Figure endormie dans un intérieur, 1929 Etching, on chine appliqué Signed in pencil and inscribed Bon à tirer, the final proof approved by the artist for the edition of 25 Plate: 3 5/8 x 4 15/16 inches (9.2 x 12.5 cm) Sheet: 11 x 14 15/16 inches (27.9 x 37.9 cm) Duthuit 180 19. Nu couché. Intérieur à la lampe vénitienne, 1929 Etching, on chine appliqué Signed in pencil and inscribed Bon à tirer, the final proof approved by the artist for the edition of 25 Plate: 3 5/8 x 4 15/16 inches (9.2 x 12.5 cm) Sheet: 11 x 14 15/16 inches (27.9 x 37.9 cm) Duthuit 181

20. Nu couché sur le côté, les jambes repliées, 1929 Etching, on chine appliqué Signed in pencil and inscribed Bon à tirer, the final proof approved by the artist for the edition of 25 Plate: 3 11/16 x 4 7/8 inches (9.4 x 12.4 cm) Sheet: 11 x 14 15/16 inches (27.9 x 37.9 cm) Duthuit 189 21. Figure lisant, 1929 Etching, on chine appliqué Signed in pencil and inscribed Bon à tirer, the final proof approved by the artist for the edition of 25 Plate: 4 5/16 x 5 15/16 inches (10.9 x 13.5 cm) Sheet: 11 1/4 x 14 15/16 inches (28.6 x 37.9 cm) Duthuit 191 22. Figure assise sur fond de carreaux fleuris, 1929 Etching, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 4 3/8 x 5 7/8 inches (11.1 x 14.9 cm) Sheet: 11 1/4 x 14 15/16 inches (28.6 x 37.9 cm) Duthuit 192 23. Jeune femme, la cordelière de son peignoir en collier, 1929 Etching, on chine appliqué Signed in pencil and inscribed Bon à tirer, the final proof approved by the artist for the edition of 25 Plate: 5 1/16 x 7 1/16 inches (12.9 x 17.9 cm) Sheet: 11 1/4 x 14 15/16 inches (28.6 x 37.9 cm) Duthuit 193 24. Figure au col et manchettes de dentelle, 1929 Etching, on chine appliqué Signed in pencil and inscribed Bon à tirer, the final proof approved by the artist for the edition of 25 Plate: 4 15/16 x 3 5/8 inches (12.5 x 9.2 cm) Sheet: 14 15/16 x 11 1/4 inches (37.9 x 28.6 cm) Duthuit 197 25. La cage de perruches et les poissons rouges, 1929 Etching, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 9 3/8 x 6 5/8 inches (23.8 x 16.8 cm) Sheet: 15 x 11 1/8 inches (38.1 x 28.3 cm) Duthuit 213

checklist

26. Nu assis, visage de profil, 1931 Etching printed with plate tone, on wove paper Signed in pencil and numbered from the edition of 25 Plate: 9 1/2 x 7 inches (24.1 x 17.8 cm) Sheet: 12 3/16 x 9 1/6 inches (31 x 23.3 cm) Duthuit 228

32. Nu au rocking chair, 1913 Lithograph, on Japanese vellum Signed in ink and numbered from the edition of 50 Image: 18 15/16 x 10 11/16 inches (48 x 27.2 cm) Sheet: 19 13/16 x 13 inches (50.3 x 33 cm) Duthuit 410

27. Intérieur au feuillage, 1935 Etching, on chine appliqué Signed in pencil and numbered from the edition of 25 Plate: 5 1/2 x 4 5/16 inches (14 x 10.9 cm) Sheet: 14 15/16 x 11 inches (37.9 x 27.9 cm) Duthuit 244

33. Nu assis dans un fauteuil, une jambe repliée, 1922 Lithograph, on Japanese vellum Signed in ink and numbered from the edition of 50 Image: 15 7/8 x 9 3/4 inches (40.3 x 24.8 cm) Sheet: 17 1/4 x 11 inches (43.8 x 27.9 cm) Duthuit 420

28. Vue de Paris – Le Pont St-Michel, 1927 Etching printed with plate tone, on wove paper Signed in pencil, from an unrecorded early state. The final state of this etching was included in the book Tableaux de Paris, Émile-Paul Frères, Paris, 1927.

Plate: 5 15/16 x 7 7/8 inches (15.1 x 20 cm) Sheet: 9 5/8 x 12 7/8 inches (24.4 x 32.7 cm) Duthuit, Henri Matisse: Catalogue raisonné des ouvrages illustrés, no. 4 (see also Duthuit 107-108)

34. Nu assis, chevelure foncée, 1922 Lithograph, on Japanese vellum Signed in ink and numbered from the edition of 50 Image: 14 13/16 x 9 5/16 inches (37.6 x 23.6 cm) Sheet: 17 5/16 x 11 inches (44 x 27.9 cm) Duthuit 421

PART II : LITHOGRA P H S

29. Le grand nu, 1906 Lithograph, on China paper Signed in pencil and numbered from the edition of 50 Image: 11 1/4 x 10 inches (28.6 x 25.4 cm) Sheet: 17 3/4 x 13 7/8 inches (45.1 x 35.2 cm) Duthuit 403 30. Nu accroupi, profil à la chevelure noire, 1906 Lithograph, on Japanese vellum Numbered in ink from the edition of 25, with the collector’s stamp of Heinrich Stinnes (Lugt 1376a) Image: 15 9/16 x 8 7/16 inches (39.5 x 21.4 cm) Sheet: 17 11/16 x 11 inches (44.9 x 27.9 cm) Duthuit 395 31. Torse de face, 1913 Lithograph, on Japanese vellum Signed in ink and numbered from the edition of 50 Image: 18 1/16 x 11 13/16 inches (45.9 x 30 cm) Sheet: 19 11/16 x 13 inches (50 x 33 cm) Duthuit 407

35. Nu assis, chevelure claire, 1922 Lithograph, on Japanese vellum Signed in ink and numbered from the edition of 50 Image: 15 3/8 x 9 5/16 inches (39.1 x 23.7 cm) Sheet: 17 3/16 x 11 inches (43.7 x 27.9 cm) Duthuit 422 36. La capeline de paille d’Italie, 1923 Lithograph, on China paper Signed in pencil and inscribed epr. d’artiste 6/10, a proof aside from the edition of 50 Image: 17 11/16 x 15 3/4 inches (44.9 x 40 cm) Sheet: 22 7/16 x 18 1/16 inches (57 x 45.9 cm) Duthuit 430 37. La robe d’organdi, 1922 Lithograph, on China paper Signed in ink and inscribed epr. d’artiste 1/10, a proof aside from the edition of 50 Image: 16 3/4 x 10 15/16 inches (42.5 x 27.8 cm) Sheet: 21 1/16 x 13 15/16 inches (53.5 x 35.4 cm) Duthuit 423 38. Jeune fille au col d’organdi, 1923 Lithograph, on China paper Signed in pencil and numbered from the edition of 50 Image: 7 7/8 x 5 15/16 inches (20 x 15.1 cm) Sheet: 14 15/16 x 11 3/8 inches (37.9 x 28.9 cm) Duthuit 428

checklist

39. Jeune fille en robe fleurie au col d’organdi, 1923 Lithograph, on China paper Signed in pencil and numbered from the edition of 50 Image: 8 9/16 x 5 3/4 inches (21.7 x 14.6 cm) Sheet: 14 15/16 x 11 1/4 inches (37.9 x 28.6 cm) Duthuit 429 40. Petite liseuse, 1923 Lithograph, on Japanese vellum Signed in pencil and inscribed epr. d’artiste 3/12, a proof aside from the edition of 50 Image: 10 9/16 x 8 3/4 inches (26.8 x 22.2 cm) Sheet: 17 3/16 x 11 inches (43.7 x 27.9 cm) Duthuit 431 41. Nu couché au paravent Louis XIV, 1923 Lithograph, on China paper Signed in pencil and numbered from the edition of 50 Image: 6 1/2 x 8 3/4 inches (16.5 x 22.2 cm) Sheet: 11 1/8 x 14 5/8 inches (28.3 x 37.1 cm) Duthuit 435 42. Jeune fille assise au bouquet de fleurs, 1923 Lithograph, on Japanese vellum Signed in pencil and inscribed 53/60 epr. d’artiste, Duthuit indicates that there were ten proof impressions which were numbered 51 through 60 Image: 6 3/4 x 7 1/2 inches (17.1 x 19 cm) Sheet: 17 1/4 x 11 inches (43.8 x 27.9 cm) Duthuit 438 43. Lassitude, 1925 Lithograph, on Japanese vellum Signed in pencil and numbered from the edition of 50 Image: 7 1/2 x 5 1/16 inches (19 x 12.9 cm) Sheet: 13 7/8 x 10 7/8 inches (35.2 x 27.6 cm) Duthuit 451 44. Visage de profil reposant sur un bras, paravent Louis XIV, 1924 Lithograph, on China paper Signed in pencil and numbered from the edition of 50 Image: 11 13/16 x 9 7/16 inches (30 x 24 cm) Sheet: 26 x 20 1/16 inches (66 x 51 cm) Duthuit 447

45. Arabesque, 1924 Lithograph, on China paper Signed in pencil and inscribed epr. d’artiste 4/10, a proof aside from the edition of 50 Image: 19 x 12 9/16 inches (48.3 x 31.9 cm) Sheet: 24 1/2 x 18 1/8 inches (62.2 x 46 cm) Duthuit 449 46. Nu assis dans un fauteuil au décor fleuri, 1924 Lithograph, on China paper Signed in pencil and numbered from the edition of 250 Image: 18 7/8 x 12 5/8 inches (47.9 x 32 cm) Sheet: 23 3/4 x 15 7/8 inches (60.3 x 40.3 cm) Duthuit 445 47. Nu couché au visage incomplet - Étude de jambes, 1925 Lithograph, on Japanese vellum Signed in pencil and numbered from the edition of 50 Image: 11 1/4 x 20 11/16 inches (28.6 x 52.5 cm) Sheet: 17 7/8 x 22 1/16 inches (45.4 x 56 cm) Duthuit 462 48. Nu couché, jambe repliée - Étude de jambes, 1925 Lithograph, on Japanese vellum Signed in pencil and numbered from the edition of 50 Image: 10 x 18 11/16 inches (25.4 x 47.5 cm) Sheet: 18 x 22 1/16 inches (45.7 x 56 cm) Duthuit 461 49. Grande odalisque à la culotte bayadère, 1925 Lithograph Signed in pencil and numbered from the edition of 50 Image: c. 21 5/16 x 17 3/8 inches (54.2 x 44.2 cm) Sheet: c. 29 ½ x 22 11/16 inches (75 x 56 cm) Duthuit 455

Collection Nelson Blitz, Jr. and Catherine Woodard, New York

50. Intérieur, la lecture, 1925 Lithograph, on China paper Signed in pencil and numbered from the edition of 50 Image: 10 11/16 x 7 1/2 inches (27.1 x 18.3 cm) Sheet: 15 3/8 x 12 3/16 inches (39 x 31 cm) Duthuit 457

checklist

51. Odalisque à la coupe de fruits, 1925 Lithograph, on China paper Signed in pencil and numbered from the edition of 50 Image: 13 1/16 x 10 1/4 inches (33.2 x 26 cm) Sheet: 18 7/8 x 12 3/8 inches (47.9 x 31.4 cm) Duthuit 466 52. Nu au fauteuil bistre, 1925 Lithograph printed in bistre, on Japanese vellum Signed in pencil and numbered from the edition of 25 Image: 12 5/16 x 9 1/4 inches (31.3 x 23.5 cm) Sheet: 18 5/16 x 11 15/16 inches (46.5 x 30.3 cm) Duthuit 469 53. Nu au fauteuil sur fond moucharabieh, 1925 Lithograph, on wove paper Initialed in pencil and inscribed Essai 4, a proof aside from the edition of 50 Image: 21 1/4 x 17 5/16 inches (54 x 44 cm) Sheet: 25 3/4 x 19 11/16 inches (65.4 x 50 cm) Duthuit 470 54. Nu assis, bras gauche sur la tête, 1926 Lithograph, on Japanese vellum Signed in pencil and numbered from the edition of 50 Image: 17 5/16 x 21 inches (44 x 53.3 cm) Sheet: 18 1/16 x 22 1/16 inches (45.9 x 56 cm) Duthuit 473 55. Nu, main gauche près de l’épaule, 1926 Lithograph, on Japanese vellum Signed in pencil and inscribed Essai Henri Matisse, one of six proofs aside from the edition of 50 Image: 17 1/8 x 21 inches (43.5 x 53.3 cm) Sheet: 18 1/8 x 22 inches (46 x 55.9 cm) Duthuit 474 56. Nu couché à la coupe de fruits, 1926 Lithograph, on Japanese vellum Signed in pencil and numbered 8/10, a proof aside from the edition of 50 Image: 17¼ x 21½ inches (43.8 x 54.6 cm) Sheet: 18 1/8 x 22 1/8 inches (46 x 56.2 cm) Duthuit 475

57. Nu couché de dos, 1929 Lithograph, on wove paper Signed in pencil, inscribed Bon à tirer and dated 15/10/29, the final proof approved by the artist for the edition of 50 Image: 18 1/16 x 22 inches (45.9 x 55.9 cm) Sheet: 19 7/8 x 26 inches (50.5 x 66 cm) Duthuit 496 58. Jeune Hindoue, 1929 Lithograph, on wove paper Signed in pencil and inscribed Essai, a proof aside from the edition of 50 Image: 11 x 14 1/4 inches (27.9 x 36.2 cm) Sheet: 15 1/2 x 19 3/4 inches (39.4 x 50.2 cm) Duthuit 508 59. Orientale sur lit de repos, sol de carreaux rouges, 1929 Lithograph, on wove paper Signed in pencil and inscribed Essai, a proof aside from the edition of 50 Image: 10 5/16 x 18 11/16 inches (26.2 x 47.5 cm) Sheet: 19 7/8 x 26 inches (50.5 x 66 cm) Duthuit 513 60. La Persane, 1929 Lithograph, on wove paper Signed in pencil and numbered from the edition of 50 Image: 17 5/8 x 11 3/8 inches (44.8 x 28.9 cm) Sheet: 24 13/16 x 17 1/2 inches (63 x 44.5 cm) Duthuit 507 61. Odalisque, brasero et coupe de fruits, 1929 Lithograph, on wove paper Signed in pencil and inscribed Essai, a proof aside from the edition of 100 Image: 10 15/16 x 14 13/16 inches (27.8 x 37.6 cm) Sheet: 14 15/16 x 22 7/16 inches (37.9 x 57 cm) Duthuit 504 62. Figure devant tapa africain, 1929 Lithograph, on Japanese vellum Signed in pencil and numbered from the edition of 50 Image: 21 x 17 3/16 inches (53.3 x 43.7 cm) Sheet: 25 3/8 x 19 11/16 inches (64.5 x 50 cm) Duthuit 515

checklist

63. Le renard blanc, 1929 Lithograph, on wove paper Signed in pencil and numbered from the edition of 75 Image: 20 1/4 x 14 1/4 inches (51.4 x 36.2 cm) Sheet: 26 x 19 3/4 inches (66 x 50.2 cm) Duthuit 514 64. Repos sur la banquette, 1929 Lithograph, on wove paper Signed in pencil and numbered from the edition of 50 Image: 17 1/2 x 21 7/16 inches (44.5 x 54.5 cm) Sheet: 19 1/2 x 25 3/4 inches (49.5 x 65.4 cm) Duthuit 520

69. Bédouine au long visage, 1947 Aquatint, on annam appliqué on wove paper Signed in pencil and inscribed ep. d’artiste 2/5, a proof aside from the edition of 25 Plate: 12 7/16 x 9 15/16 inches (31.6 x 25.2 cm) Sheet: 19 7/8 x 14 15/16 inches (50.5 x 37.9 cm) Duthuit 778 70. Marie-José en robe jaune, 1950 Aquatint, on wove paper Initialed in pencil and numbered 20/20, one of twenty proofs printed in ochre, black and burnt orange Plate: 21 1/16 x 16 3/8 inches (53.5 x 41.6 cm) Sheet: 29 7/8 x 22 1/4 inches (75.9 x 56.5 cm) Duthuit 817

PART III : l i n o - c u t s a n d aq uat i n t s

65. Femme impure, 1938 Linocut, on wove paper Signed in pencil and numbered from the edition of 25 Image: 10 15/16 x 7 7/8 inches (27.8 x 20 cm) Sheet: 23 13/16 x 15 15/16 inches (60.5 x 40.5 cm) Duthuit 716 66. Jeune étudiant de trois-quarts, 1952 Aquatint, on wove paper Signed in pencil and numbered from the edition of 15 Plate: 17 3/16 x 13 5/8 inches (43.7 x 34.6 cm) Sheet: 25 9/16 x 19 7/8 inches (64.9 x 50.5 cm) Duthuit 821 67. Bédouine au large visage, 1947 Aquatint, on annam appliqué on wove paper Stamped with initials H.M. and stamped Essai, a proof aside from the edition of 25 Plate: 12 7/16 x 9 7/8 inches (31.6 x 25 cm) Sheet: 20 1/16 x 14 15/16 inches (51 x 37.9 cm) Duthuit 780 68. Visage de jeune femme, 1948 Aquatint, on wove paper Signed in pencil and numbered from the edition of 25 Plate: 13 5/8 x 9 11/16 inches (34.6 x 24.6 cm) Sheet: 21 13/16 x 14 15/16 inches (55.4 x 37.9 cm) Duthuit 790

PART I V: DAN C E AND P OETRY

71. Danseuse reflétée dans la glace, 1927 Lithograph, on China paper Signed in pencil and inscribed Essai, a proof aside from the edition of 50 Image: 15 5/8 x 11 3/16 inches (39.7 x 28.4 cm) Sheet: 20 9/16 x 14 3/8 inches (52.2 x 36.5 cm) Duthuit 490 72. Dix danseuses, 1927 Lithograph, on wove paper Signed in pencil and numbered from the edition of 130, from the portfolio of the same title published in 1927

by Galerie d’Art Contemporain, Paris Image: 11 x 18 1/16 inches (27.9 x 45.9 cm) Sheet: 12 15/16 x 19 7/8 inches (32.9 x 50.5 cm) Duthuit 489 73. Dix danseuses, 1927 Lithograph, on wove paper Signed in pencil and inscribed épreuve d’artiste 5/10, a proof aside from the edition of 130, from the portfolio of the same title published in 1927

by Galerie d’Art Contemporain, Paris Image: 10 15/16 x 18 1/16 inches (27.8 x 45.9 cm) Sheet: 13 x 19 3/4 inches (33 x 50.2 cm) Duthuit 484

checklist

74. Dix danseuses, 1927 Lithograph, on wove paper Signed in pencil and numbered from the edition of 130, from the portfolio of the same title published in 1927

by Galerie d’Art Contemporain, Paris Image: c. 18 1/16 x 11 inches (45.9 x 28 cm) Sheet: c. 19 3/4 x 13 inches (50.2 x 33 cm) Duthuit 482

d. Le cauchemar de l’éléphant blanc (Plate 4) - illustrated e. Le cheval, l’écuyère et le clown (Plate 5) - illustrated f. Le loup (Plate 6) - illustrated g. Le cœur (Plate 7) h. Icare (Plate 8) i. Formes (Plate 9) j. L’enterrement de Pierrot (Plate 10) k. Les Codomas (Plate 11) - illustrated l. La nageuse dans l’aquarium (Plate 12) - illustrated m. L’avaleur de sabres (Plate 13) n. Le cow-boy (Plate 14) - illustrated o. Le lanceur de couteaux (Plate 15) p. Le destin (Plate 16) q. Le lagon (Plate 17) r. Le lagon (Plate 18) - illustrated s. Le lagon (Plate 19) t. Le tobogan (Plate 20)

75. Danseuse endormie, 1926-27 Lithograph, on Japanese vellum Signed in pencil and annotated C, one of a few proofs before the edition of 50 Image: 8 5/8 x 17 15/16 inches (21.9 x 45.6 cm) Sheet: 17 5/16 x 22 inches (44 x 55.9 cm) Duthuit 479 76. Danseuse cambrée au visage coupé, 1927 Lithograph, on Japanese vellum Signed in pencil and numbered from the edition of 50 Image: 17 11/16 x 10 inches (44.9 x 25.4 cm) Sheet: 22 7/16 x 15 11/16 inches (57 x 39.8 cm) Duthuit 491 77. Danseuse au miroir, 1927 Lithograph, on Japanese vellum Signed in pencil and numbered from the edition of 50 Image: 16 7/16 x 10 5/16 inches (41.8 x 26.2 cm) Sheet: 22 7/16 x 15 11/16 inches (55.9 x 39.8 cm) Duthuit 492 78. La Danse, 1935-36 Etching and aquatint, on wove paper Signed in pencil and numbered from the edition of 50 Plate: 9 1/4 x 29 1/8 inches (23.5 x 74 cm) Sheet: 11 3/4 x 31 5/8 inches (29.8 x 80.3 cm) Duthuit 247 79. Jazz, 1947 A portfolio of twenty pochoirs, on wove paper From the deluxe edition of 100, published by Tériade, Paris.

Each sheet: c. 16 1/2 x 25 1/2 inches (42 x 65 cm) Duthuit, Henri Matisse: Catalogue raisonné des ouvrages illustrés, no. 22 bis, plates 1-20

a. Le clown (Plate 1) - illustrated b. Le cirque (Plate 2) - illustrated c. M. Loyal (Plate 3)

80. Poésies de Stéphane Mallarmé: La coiffure d’Hérodiade, 1932 Etching, on wove paper Sheet: 13 1/8 x 9 7/8 inches (33.5 x 25 cm) Signed in pencil and inscribed Essai, one of only a few trial proofs of an unused version of plate 12 for the illustrated book Poésies de Stéphane Mallarmé, Albert Skira et Cie, Lausanne, 1932 Duthuit, Henri Matisse: Catalogue raisonné des ouvrages illustrés, no. 5 81. Poésies de Stéphane Mallarmé, 1932 A book of poems by Stéphane Mallarmé with twenty-nine etchings by Henri Matisse Signed and numbered 89 on the colophon page, one of 95 copies printed on wove paper, from a total edition of 145, published by Albert Skira et Cie, Lausanne Each sheet: 13 1/8 x 9 7/8 inches (33.5 x 25 cm) Duthuit, Henri Matisse: Catalogue raisonné des ouvrages illustrés, no. 5

Selected illustrations: pages 8, 9, 15, 35, 75, 129

All artworks by Henri Matisse are © 2013 Succession H. Matisse / Artists Rights Society (ARS), New York, unless otherwise noted.

references

RE F EREN C E S

Alfred H. Barr, Jr., Matisse: His Art and His Public. New York: The Museum of Modern Art, 1951 William S. Lieberman, Etchings by Matisse. New York: The Museum of Modern Art, 1955 William S. Lieberman, Matisse: 50 Years of His Graphic Art. New York: George Braziller, 1956 Henri Matisse, Ecrits et propos sur l’art; ed. Dominique Fourcade.

Paris: Hermann, 1972 Jack D. Flam, Matisse on Art. New York: E.P. Dutton, 1978 (first pub. 1973) Henri Matisse 1869-1954: Drawings, Paper Cut-Outs, Illustrated Books, exh. cat. London: Theo Waddington (2 July–2 August 1980)

Matisse Prints from The Museum of Modern Art, exh. cat. Fort Worth: The Fort Worth Art Museum, etc. (5 October 1986– 27 February 1988) Margrit Hahnloser, Matisse: The Graphic Work. New York: Mallard Press, 1987 Claude Duthuit, with the collaboration of Françoise Garnaud, Henri Matisse: Catalogue raisonné des ouvrages illustrés; preface by Jean Guichard-Meili. Paris: C. Duthuit, 1988 John Elderfield, Henri Matisse: A Retrospective, exh. cat.

New York: The Museum of Modern Art (24 September 1992– 12 January 1993) Matisse et Mallarmé, exh. cat. Vulvaines-sur Seine: Musée départemental Stéphane Mallarmé (7 April–14 July 2002)

Susan Lambert, Matisse, Lithographs. New York: Universe Books, 1982

Jay M. Fisher, Matisse as Printmaker: Works from the Pierre and Tana Matisse Foundation. New York: American Federation of the Arts, 2009

Marguerite Duthuit-Matisse and Claude Duthuit, with the collaboration of Françoise Garnaud, Henri Matisse: Catalogue raisonné de l’œuvre gravé; preface by Jean Guichard-Meili, 2 vols.

Paris: C. Duthuit, 1983

Stephanie d’Alessandro and John Elderfield, Matisse: Radical Invention 1913-1917, exh. cat. Chicago: The Art Institute of Chicago (20 March–20 June 2010) and New York: The Museum of Modern Art (18 July–11 October, 2010)

John Elderfield, The Drawings of Henri Matisse. New York: The Museum of Modern Art and Thames & Hudson, 1984

Une autre langue: Matisse et la gravure, exh. cat. Paris: Mona Bismarck Foundation (1 December 2010–15 February 2011)

Pierre Schneider, Matisse. London: Thames & Hudson, 1984 Jack D. Flam, Matisse: The Man and His Art, 1869-1918.

London: Thames & Hudson, 1986

q u o tat i o n S o u rc e s

Lieberman, Matisse: 50 Years of His Graphic Art, 1956: p. 12 Flam, Matisse on Art, 1978: pp. 43, 81, 38, 151, 135, 36, 109, 148 d’Alessandro and Elderfield, Matisse: Radical Invention 1913-1917, 2010: p. 143

photographic credits

Matisse’s studio at the Hôtel Régina, Nice-Cimiez, 1953 photographic credits

Henri Matisse gravant, 1900-03, Etching and drypoint. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY Matisse drawing a model at no. 1, place Charles-Félix, Nice, 1927-28.

Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY Brassaï, Matisse drawing the model Wilma Javor at the Villa Alésia studio, Paris, 1939, Private Collection. © RMN–Grand Palais / Art Resource, NY; © Estate Brassaï–RMN Brassaï, The model Wilma Javor at the Villa Alésia studio, Paris, 1939, Private Collection. © RMN–Grand Palais / Art Resource, NY; © Estate Brassaï–RMN Brassaï, Matisse drawing the model Wilma Javor at the Villa Alésia studio, Paris, 1939, Private Collection. © RMN–Grand Palais / Art Resource, NY; © Estate Brassaï–RMN

L’Etrange Farandole, Monte-Carlo, 1938. Stage sets and costumes by Henri Matisse. © 2013 Succession H. Matisse / Artists Rights Society (ARS), New York Matisse at work on a paper cut-out in his studio at the Hôtel Régina, Nice-Cimiez, 1952. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY Ina Bandy, Matisse drawing on a lithographic stone, 1947-48. © Ina Bandy / Gamma-Rapho Henri Matisse in front of La Danse (background) and still-life A la Danse in his studio in Issy-les-Moulineaux, 1909 or 1912.

The Pierre Matisse Gallery Archives, The Pierpont Morgan Library © 2013 The Pierpont Morgan Library / Art Resource, NY Ina Bandy, Matisse drawing on a lithographic stone, 1947-48. © Ina Bandy / Gamma-Rapho

Henri Cartier-Bresson, Matisse with his model Micaela Avogadro, Nice, February 1944. © Henri Cartier-Bresson / Magnum Photos, New York

Matisse’s studio at the Hôtel Régina, Nice-Cimiez, 1953. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY

Michel Sima, Matisse in his studio at the Villa Le Rêve, Vence, 1948. © Michel Sima–Rue des Archives / The Granger Collection

Matisse’s studio at the Villa Le Rêve, Vence, 1947. Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY

Matisse drawing with a bamboo stick, 1931. © The Barnes Foundation, Philadelphia, Pennsylvania / The Bridgeman Art Library, New York

Hélène Adant, The Rocaille Armchair, Villa Le Rêve, Vence, 1946. © Bibliothèque Kandinsky, Centre Pompidou, Musée National d’Art Moderne, Paris

Matisse’s studio at the Villa Le Rêve, Vence, 1947

About the authors

M a r i ly n Mc C u l ly

is an independent art historian based in London. She and Michael Raeburn were authors of Celebrating the Muse: Women in Picasso’s Prints 1905-1968, Marlborough Gallery, 2010.

Michael Raeburn

is an independent author, editor, designer, and book producer.

S a r a h B e rta l a n

is a conservator specializing in works of art on paper and collections care, in and around New York City.

Ta r a k . R e d d i

is the Vice President of Marlborough Gallery, in New York.

She served as President of the International Fine Print Dealers Association from 2010 to 2012, and on its board from 2001to 2012.

She most recently collaborated with Marilyn McCully and Michael Raeburn on the catalogue and exhibition Celebrating the Muse: Women in Picasso’s Prints 1905-1968, Marlborough Gallery, 2010.

N e w Yo r k /

Madrid /

Marlborough Gallery, Inc. 40 West 57th Street New York, NY 10019 Telephone 212.541.4900 Fax 212.541.4948 mny@marlboroughgallery.com www.marlboroughgallery.com

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Marlborough Fine Art Ltd. 6 Albemarle Street London W1S 4BY Telephone 44.20.7629.5161 Fax 44.20.7629.6338 mfa@marlboroughfineart.com www.marlboroughfineart.com Marlborough Graphics 6 Albemarle Street London W1S 4BY Telephone 44.20.7629.5161 Fax 44.20.7495.0641 graphics@marlboroughfineart.com Marlborough Contemporary 6 Albemarle Street London, W1S 4BY Telephone 44.20.7629.5161 info@marlboroughcontemporary.com www.marlboroughcontemporary.com

//

Important Works available by: Twentieth-Century European Masters; Post-War American Artists e d i t o r s / Marilyn McCully, Michael Raeburn, Tara Reddi D e si g n /

Maeve O’Regan

p r o d u c t i o n / Emily Klasson, Daniel McCann, Andrew McElwee, Annie Rochfort, Laura Stewart, Elsa Bouchez, Nathalie Samoïlov p h o t o g r a p h y / Annie Rochfort, Bill Orcutt, Andrew McElwee, Francis Ware

P r i n t e d i n N e w Yo r k b y p r o j e c t

© 2 0 1 3 M a r l b o r o u g h G a l l e r y, I n c .

I S BN 9 7 8 - 0 - 8 9 7 9 7 - 4 5 3 - 0

Hélène Adant, The Rocaille Armchair, Villa Le Rêve, Vence, 1946

M AT I S S E THE ESSENCE OF LINE

Selected Prints: 1900-1950

N e w Yo r k : S e p t e m b e r 1 2 - O c t o b e r 1 2 , 2 0 1 3 l o n d o n : D e c e m b e r 4 , 2 0 1 3 - Ja n ua ry 1 1 , 2 0 1 4 M a d r i d : F e b rua ry - m a rc h , 2 0 1 4