Lot 189
  • 189

Marie Laurencin

100,000 - 150,000 GBP
157,250 GBP
bidding is closed


  • Marie Laurencin
  • signed Marie Laurencin and dated 1927 (lower right)
  • oil on canvas


Galerie Paul Rosenberg, Paris
Georges Bénard, Paris (sale: Hôtel Drouot, Paris, 9th June 1933, lot 46)
Acquired by the present owner in the 1950s


Tokyo, Mitsukoshi Gallery & Osaka, Daïmaru Museum (& travelling in Japan), Marie Laurencin, 1984-85, no. 32, illustrated in colour in the catalogue


Marcel Jouhandeau, Marie Laurencin, Paris, 1928, illustrated pl. XXX
Daniel Marchesseau, Marie Laurencin, Catalogue Raisonné de l'Œuvre Peint, Japan, 1986, no. 415, illustrated p. 196 

Catalogue Note

Clarence J. Bulliet, the influential art critic of the Chicago Evening Post, summarized Laurencin's position in the art world in 1930. She had 'caught something from Picasso's Blue Period—something that filtered through from Botticelli—and developed it into the most original and delicately feminine art the world has ever known.' He identified her feminine touch as a continuation of the tradition of Vigée Le Brun and Berthe Morisot. Bulliet also compared Laurencin to Mary Cassatt whose brush strokes were 'almost challengingly masculine' despite her fondness for painting children. Bulliet explained that many critics failed to recognize Laurencin's genius because her delicacy is misinterpreted 'as mere triviality'. Instead, he was convinced that her delicacy and her whimsicality were the source of her refreshing originality (Douglas K.S. Hyland & Heather McPherson, Marie Laurencin: Artist and Muse, Birmingham, 1989, p. 70).




IMAGE ID: 121L11007_649HV_COMP
The artist in her studio circa 1952