Browse Lots

Global notice COVID-19 Important notice
MATISSE, Henri. Autograph letter signed to Monsieur Corot ('Cher Monsieur'), 132 Boulevard Montparnasse, Paris, 30 July 1937, 2½ pages, 4to, including a drawing in pen and ink of a woman's head, approximately 105 x 85 mm, on the upper portion of the second leaf, on verso (ivory paper, slightly browned, ink faded), autograph envelope addressed to Corot at the 'Galerie Rosenberg et Helft' in London, and signed with his address in Paris on verso.
MATISSE, Henri. Autograph letter signed to Monsieur Corot ('Cher Monsieur'), 132 Boulevard Montparnasse, Paris, 30 July 1937, 2½ pages, 4to, including a drawing in pen and ink of a woman's head, approximately 105 x 85 mm, on the upper portion of the second leaf, on verso (ivory paper, slightly browned, ink faded), autograph envelope addressed to Corot at the 'Galerie Rosenberg et Helft' in London, and signed with his address in Paris on verso.

Details
MATISSE, Henri. Autograph letter signed to Monsieur Corot ('Cher Monsieur'), 132 Boulevard Montparnasse, Paris, 30 July 1937, 2½ pages, 4to, including a drawing in pen and ink of a woman's head, approximately 105 x 85 mm, on the upper portion of the second leaf, on verso (ivory paper, slightly browned, ink faded), autograph envelope addressed to Corot at the 'Galerie Rosenberg et Helft' in London, and signed with his address in Paris on verso.

MATISSE WRITES OF ONE OF HIS MOST STRIKING WORKS. Saying first that Mr Mortimer will call to choose a drawing after the exhibition ends, he notes one which is not his, and identifies another, which he wishes to keep, 'celui qui est derrière la colonne à droite et qui représente une tête je veux le garder. Le voici...'. He continues with directions for protecting the paint of 'La grande robe bleue' from contact with the glass, 'car les noirs sont des couleurs gommeuses longues à sécher et qui peuvent coller au verre, ce qui est très mauvais' [blacks are tacky colours which take a long time to dry and may stick to the glass, which is very bad]. A final piece of advice suggests sticking paper on the back as a dust barrier.

'La grande robe bleue, fond noir' (later known as 'Lady in blue') depicts Matisse's blonde Russian model, Lydia Delectorskaya, full of charm and elegance, in a voluminous violet-blue gown against a bold background of scarlet, yellow and black. Completed in the spring of 1937, it was first shown at the exhibition of his latest works at Paul Rosenberg's gallery in Paris, in June, before the exhibition moved to London. It was purchased for a private collection in Philadelphia.
;

More from 20TH CENTURY BOOKS AND MANUSCRIPTS

View All
View All