Henri Laurens, ‘Femme à l'eventail (Woman with Fan)’, cast in 1921, Phillips
Henri Laurens, ‘Femme à l'eventail (Woman with Fan)’, cast in 1921, Phillips
Henri Laurens, ‘Femme à l'eventail (Woman with Fan)’, cast in 1921, Phillips

Property Subject to VAT Section 4, 5%; Property Subject to Artist's Resale Right (see Conditions of Sale for further information)
Property from the Triton Collection Foundation

Signature: incised with the artist's monogram and numbered 'HL 2/6' and stamped by the foundry on the lower right side

New York, World House Galleries, Sculpture, Daumier to Picasso, February - March 1962, no. 38
London, The Hayward Gallery; Belfast, The Ulster Museum, Sculpture and Drawings by Henri Laurens, 1885-1954, 19 May - 30 August 1971, p. 81 (another example exhibited and illustrated, p. 33)
Paris, Grand Palais, Henri Laurens, Exposition de la donation aux musées nationaux, May - August, 1967, no. 4, n.p. (another example exhibited and illustrated)

Galerie Louise Leiris, Paris
World House Galleries, New York
The Estate of Henri-Georges Doll (acquired from the above in 1965)
Christie's, New York, 13 May 1992, lot 239
Private Collection (acquired at the above sale)
Leonard Hutton Galleries, New York
Acquired from the above by the present owner in 2008

About Henri Laurens

Henri Laurens began his career creating wood and polychrome plaster sculptures, drawing on the tenets of Cubism and adopting such typically Cubist subjects as dissected human figures, guitars, and still lifes. For instance, Clown (1915), which drew on Pablo Picassos’s assemblages, consists of juxtaposed spheres, cones, and cylinders. As his career progressed, Laurens shifted toward subtler low-relief terracottas, eventually forsaking his fragmented geometric style in favor of a more natural, curvilinear one. He became known for highly abstract, rhythmic female nudes, often reclining or bathing, made from stone or bronze. Works such as La Grande Sirène (1945) and Amphion (1952) reinterpret themes from Greco-Roman mythology; Laurens approached his sculptures with a vague notion of how they should look, but increasingly succumbed to subconscious inspiration. Besides sculpting, he was also prolific in collage, printmaking, and illustration.

French, 1855-1954, Paris, France