Henri Laurens

Galerie Claude Bernard, Paris
Private Collection (acquired from the above in 1966; sale: Christie's, New York, 9th November 2006, lot 415)
Purchased at the above sale by the late owner

Paris, Grand-Palais, Henri Laurens. Exposition de la donation aux Musées Nationaux, 1967, no. 20, illustration of another cast
Berne, Kunstmuseum, Henri Laurens, 1985, no. 46, illustration of the terracotta version

Werner Hofmann, The Sculptures of Henri Laurens, Stuttgart, 1970, no. 126, illustration of another cast pl. 126 & illustration of the plaster pp. 34-35

Attractive dark brown/black patina. There is some surface dirt and dust in the crevices. There is some gentle rubbing to the patina of the right leg of the figure and to the left side of the left leg, and light abrasion to the back of the figure's raised left arm as well as to her back. There is a mark of incising to the knee which is original to the cast and a minor 1cm-long scratch on the left shin of the figure. Otherwise this work is in very good overall condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Petite cariatide  relates to the innovative sculpture of both Picasso and Matisse in its dramatic and refined simplification of the human form. Laurens meanwhile powerfully resurrects some of the formal concerns that had dominated Cubism during its first decade of existence. Werner Hofmann considers that with the Cariatide ‘Laurens decided on an archaic regression. Without, perhaps, much consideration, he reverted to the taut, rough masses characteristic of Proto-Cubism around 1907. […] Picasso carved a coarse hybrid caryatid from a tree trunk. Among the works of the period of Les Demoiselles d’Avignon are female figures with their arms bent stiffly over their heads. At the same time, with the Caryatid [sic] Laurens made up for a formal stage he had omitted during his formal beginnings, which had been strongly influenced by Synthetic Cubism… He did this without sacrificing his pure craftsmanship… Perhaps he recognised that his extensive productivity of the 1920s had lured him into a smooth, formal grade. […] I am reminded of the third phase in the creation of The Back, Matisse’s great “work in progress” […] we can only say about the relationship between Matisse and Laurens that at about the same time both men coarsened their sculptural idiom and turned toward the archaic’ (Werner Hofmann, The Sculpture of Henri Laurens, New York, 1970, p. 17).