Henri Laurens

Efstrattios Eleftheriades, known as 'Tériade' (gifted by the artist circa 1945)
Alice Tériade (Sold: Christie's, London, June 24, 2003, lot 18)
Acquired at the above sale by the present owner

Académie de France, Henri Laurens (exhibition catalogue), Rome, 1980-81, illustration of another terracotta version no. 23
Kunstmuseum, Henri Laurens (exhibition catalogue), Berne, 1985, illustration of another terracotta version  p. 79
Musée Picasso, Henri Laurens, Escultures i dibujos (exhibition catalogue), Paris, 1989, illustration of another terracotta version no. 52
Château de Biron, Henri Laurens (exhibition catalogue), 1990, illustration of another terracotta version no. 39
Musée d'art moderne de la Communauté Urbaine de Lille, Villeneuve d'Ascq, Henri Laurens, Rétrospective (exhibition catalogue), 1992-93, illustration of another terracotta version p. 56

Very good condition. Very slightly dirty in places. Very tiny hairline crack above upper part of her hairline, and a few tiny flecks of loss along the back edges of the work (form being moved in the past) but very good condition overall.
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.

By 1914, thanks to his close friendship with Braque, Laurens adopted the analytical cubist style. The influence of cubism is evident in his sculpture from an early stage. Femme à l'Eventail is an outstanding example of the artist's unique approach to Cubist sculpture and his use of terracotta. Alberto Giacometti once wrote that "the sculpture of Laurens is for me, more than any other, a true projection of himself in space, a little bit like a shadow in three dimensions. His very manner of breathing, of touching, of feeling, of thinking, became an object, became a sculpture... The least part of his sculpture has passed and re-passed through the sensibility of its creator, becoming like a very part of this sensibility. Laurens advances on his oeuvre only with this absolute control and never seeks to go beyond it. The dimension, the proportion, the movement of the sculpture is established, becomes clearer and is determined finally in accordance with this same profound and complex sensibility" (Laurens and Braque, (exhibition catalogue), New York Cultural Centre, 1971, p. 13).

This work was owned by the famous admirer and supporter of modern art Efstrattios Eleftheriades, also known as "Tériade." He became one of the most influential art publishers of the 20th century, working closely with Laurens, as well as Braque, Giacometti, Bonnard, Miró, and Matisse, among others, including their works in his celebrated chronicles of contemporary art. His ownership of the current work is a testament to its significance within the artist's oeuvre.

 

Fig. I  Henri Laurens, Tériade and Georges Braque at Saint-Jean-Cap-Ferrat in 1949