Exhibition: Who Needs Colour . . . : original paintings, drawings and prints by Picasso, Matisse, Chagall, Hockney, Riley, Haring, Hirst and Banksy for sale

Comprises of two trial proofs, two artist proofs, an edition of 25 numbered in pencil lower right and one copy in the National Library in Paris. Henri Matisse’s Nadia, Visage de Trois-Quarts (D.795), created in 1948, is a beautiful and refined example of his late-period graphic work. Executed as a lithograph, this portrait exemplifies Matisse’s mastery of line and his ability to express deep character and emotion with minimal detail. The composition is elegantly simple — a few fluid, continuous lines form her face, hair, and neckline, with only the most essential elements included. The expression is calm, introspective, and classically serene, showcasing Matisse’s preference for clarity and balance. The model Nadia is believed to be Nadia Sednaoui, a frequent muse for Matisse during this period. Her features became familiar in many of his works, especially in his explorations of feminine grace and stylized portraiture. This work is part of Matisse’s mature graphic period, in which he concentrated on printmaking and drawing, often due to declining health. The lithograph belongs to a suite of portraits that Matisse produced post-war, focusing more on the essence of the sitter rather than detailed representation. His reduced approach — reminiscent of calligraphy — allowed him to achieve a poetic intimacy with simple, gestural lines. By 1948, Matisse was deep into his "second life" as an artist after major surgery, during which time he turned increasingly to drawing, printmaking, and eventually the famous cut-outs. Nadia, Visage de Trois-Quarts fits into a body of work where he revisited the portrait with a more introspective and philosophical tone. This piece is highly collectible due to its place in the Duthuit catalogue raisonné, its clarity of line, and the rarity of Matisse’s signed and numbered lithographs. It offers a unique blend of modernist abstraction and classical poise — making it sought after by both print collectors and admirers of 20th-century portraiture.