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Charcoal and white chalk on grey paper. Signed lower right: “M. Švabinský”. In his essay “One Hundred Drawings”, Antonín Matějček says about “Bouquet”: “The lively gorgeousness of garden flowers, whose juiciness evokes Mánes's garlands around the Silva-Tarouca coat of arms, competes with the warm incarnation of female bodies. Already in the studies, the nude of the younger woman shows that the painter was formulating his new typology of a beautiful body, which does not deny consanguinity with the Mánes ideal. The new female ideal of the nudes in “Bouquet” indicate a new, subsequent period for Švabinský.” The drawing comes from the Bohuslav Dušek collection. Literature: Antonín Matějček, Max Švabinský, Sto kreseb, 1923, Jan Štenc, p. 32; Max Švabinský, Prameny, sbírka dobrého umění, Volume II, with an introductory study by Antonín Matějček, Mánes Union of Fine Artists, 1948.