Femme à l'éventail (Woman with a fan), 1919
Bronze with brown patina
28 x 61 x 27 cm / 11 x 24 x 10,6 in
Signed with monogram and numbered : HL.5/6. Stamped with the foundry mark : C. Valsuani / Cire Perdue. Edition of 9 proofs including one proof musées nationaux (MN), one artist proof (EA), one proof 0 and 6 copies numbered from 1 to 6/6.
Mr Quentin Laurens, holder of the moral right of Henri Laurens confirmed that this work was listed in his records.

PROVENANCE

Louise Leiris Gallery, Paris. n°8197.5 - photo ref. n°7832. Label inside.
Robert Rothschild's collection, acquired on February 25th 1969.
Directly acquired from Mr Robert Rothschild.


EXHIBITIONS

Degas to Delaunay : Masterworks from the Robert & Maurine Rothschild family collection, Cornell Fine Arts Museum, Winter Park, Florida, March 12th - May 1st 1999.
Tête à tête : Léger, Laurens, Museum Frieder Burda, Baden-Baden, from June 23rd  to November 4th, 2012.

Braque et Laurens : 40 années d'amitié, Musée de l'Annonciade, Saint-Tropez, June 6th - October 8th, 2017.


BIBLIOGRAPHY

Henri Laurens : Sculpteur de 1915 à 1924, Marthe Laurens, Pierre Bérès Editions, Paris, 1955, other model illustrated under the n°IV-1, p.74.
Henri Laurens, Exhibition Catalogue, Stedelijk Museum, Amsterdam, 1962, other model illustrated under the n°3.
Henri Laurens : Exposition de la donation aux Musées Nationaux, Exhibition Catalogue, Grand Palais, Paris, 1967, other model illustrated under the n°3.
The Sculpture of Henri Laurens, Werner Hofmann, Harry N. Abrams Editions, New York, 1970, other model illustrated p.104-105.
Sculpture and Drawings by Henri Laurens, 1885-1954, The Arts Council of Great Britain, 1971, other model illustrated.
Henri Laurens, Exhibition Catalogue, Accademia di Francia a Roma, De Luca Editore, Rome, 1980, other model illustrated under the n°28, p.64.
Henri Laurens: Bronzes, collages, drawings, prints, The Arts Council of Great Britain, 1980, other model illustrated under the n°1.

Henri Laurens : Rétrospective, Exhibition Catalogue, Musée d'art moderne de la Communauté Urbaine de la Lille, Villeneuve-d'Ascq, 1992, other model illustrated under the n°44, p.139.
Degas to Delaunay : Masterworks from the Robert & Maurine Rothschild family collection, Exhibition Catalogue, Cornell Fine Arts Museum, Florida, 1999, illustrated under the n°22, p.24.

Las Formas del Cubismo, Escultura 1909-1919, Exhibition Catalogue, Museo Nacional - Centro de Arte Reina Sofia, Madrid, 2002, other model illustrated under the n°156.
Braque/Laurens : un dialogue, Exhibition Catalogue, around the collections of the Centre Pompidou, Musée national d'art moderne and the Musée des beaux-arts de Lyon, Centre Pompidou Editions, Paris, 2005, other model illustrated p.84.
Tête à tête : Léger, Laurens, Exhibition catalogue, Museum Frieder Burda, Baden-Baden, Hatje Cantz, 2012, illustrated under the n°42, p.84.

Braque et Laurens: 40 années d'amitié, Exhibition catalogue, Musée de l'Annonciade, Saint-Tropez, June 6th - October 8th, 2017, illustrated in color, full page, p.23, listed p.89.


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BIOGRAPHY

Paris 1885 - Paris 1954

Henri Laurens was a French sculptor from the Ecole de Paris. He was one of the brightest representatives of the Cubist movement. Born in 1885 into a family of Parisian workers, Henri Laurens was a self-taught artist, ornamentalist sculptor by training and practiced on construction sites the traditional techniques of carved stone. At the same time, he followed some drawing courses, produced sculptures in the style of Rodin and had a keen interest in Medieval, Romanesque and Gothic sculpture. He approached Cubism as a sculptor, unlike Braque and Picasso who practiced volume in an experimental way. Living in Montmartre, he worked on his own for several years and met Léger during a stay at La Ruche in 1909, and also became a close friend of Braque since 1911.
It was only in 1915 that he produced his first Cubist works. Such as Picasso, he worked on the effects of intersections plans that materialize the guidelines but selects materials (wood, sheet metal) to create tactile variations. And, above all, he insisted on the polychromy, which, according to him, gave to the sculpture its own light. His work would evolve slowly towards a very personal exaltation of feminine shapes in a spirit of complete independence regarding reality.
Women were a recurrent theme into his work, until his death, more or less mythical ; Laurens used it to express his concept of the relations maintained between volumes and vacuum. He conducted researches in a Cubist spirit until 1925, and then went back to the stone and monumental sculptures in the round.
Henri Laurens died in Paris in 1954.

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