Galerie Louise Leiris, Paris
Acquired from the above by the present owner in 2003

Paris, Galerie Louise Leiris, Henri Laurens, 60 terres cuites, 1998, no. 34

The sculpture is in very good condition. The terracotta displays a slightly dark uneven tone that is inherent part of 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. There are a few traces of red chalk on the back of her head and just in front of the figure. 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.

Throughout his prolific career,  Laurens was particularly interested in celebrating the female form in his art.  The theme of the recumbent nude was ever-present and is seen as early as 1919 in his Cubist-inspired Femme à l'éventail (Fig. 1).  Although Braque and Laurens worked closely beginning in 1911 and explored the potential of Cubism, Laurens also fell under the spell of Aristide Maillol and his approach conveying a more sensuous surface in his oeuvre.  In order to convey the sensuality of the present figure,  Laurens strategically distributes weight and volume throughout the form, grounding the torso and legs while conveying a sense of lightness with the flowing streamer behind the legs and feet.  The sexuality of the nude is accentuated by her nubile breasts and Venus-like torso. Laurens once commented, "I strive for the ripeness of forms- I would like to make them so full and luscious that nothing more could be added to them" (Werner Hoffman, The Sculpture of Henri Laurens, New York, 1970, p. 32).

Although influenced by the voluptuous nudes of Maillol and Matisse, Laurens developed his own distinctive manner of portraying the female form. Combining organic volumes with energetic angles and curves, Laurens sculpture alludes to the Cubist penchant for deconstructing and recombining the composition. The dealer Daniel-Henry Kahnweiler described this quality of Laurens' work: "The appearance of curvilinear forms in Laurens' work in no way signaled a renunciation of Cubism but was a part of normal evolution towards a new orientation" (ibid., p. 50).

Fig. 1  Henri Laurens, Femme à l'éventail, bronze, 1919

Fig. 2  Madame Laurens, Henri Laurens, Aristide Maillol and Christian Zervos in Maillol's garden, Marly-le-Roi, 😼1925