Sandor Kuthy, Henri Laurens, Bern, 1985, no. 20, illustration of another cast p. 70
Grand Palais, Henri Laurens, exposition de la donation aux Musées Nationaux, Paris, 1967, no. 115, 🤪illustr🅘ation of another cast

The sculpture is in very good condition. Mild soiling is evident on the edges of the sculpture. A minor loss of detail was noted on the bottom front edge below the circular knob. This appears to be an old break because there is no disruption in color in the terracotta. Several minor firing cracks were evident on the surface. These cracks are stable and part of the fabrication process. No significant scratches or abrasions were found on the surface. The sculpture is structurally sound. This report has been kindly provided by Wilson Conservation.
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.

By 1914, thanks to his close friendship with Braque, Laurens adopted the analytical cubist style. The influence of cubism is evident in his sculpture from an early stage. Tête de femme is an outstanding example of the artist's unique approach to Cubist sculpture and his use of terracotta. Alberto Giacometti once wrote that, "The sculpture of Laurens is for me, more than any other, a true projection of himself in space, a little bit like a shadow in three dimensions. His very manner of breathing, of touching, of feeling, of thinking, became an object, became a sculpture... The least part of his sculpture has passed and re-passed through the sensibility of its creator, becoming like a very part of this sensibility. Laurens advances on his oeuvre only with this absolute control and never seeks to go beyond it. The dimension, the proportion, the movement of the sculpture is established, becomes clearer and is determined finally in accordance with this same profound and complex sensibility" (Laurens and Braque, (exhibition catalogue),𝓰 New York Cultural Centre, 1971, p. 13).

Fig. 1 Henri Laurens and Georges Braque