Baigneuse, 1931 stamped with monogram, number and foundry mark 'HL 4/6 C. Valsuani Perdue' (on the reverse) bronze with dark brown patina 22 3/8 x 27 1/8in (56.8 x 68.9cm)
PROVENANCE: Galerie Louise Leiris, Paris, France Waddington Galleries, London, England Private Collection, England Leonard Hutton Galleries, New York, New York Private Collection, New York, New York
EXHIBITED: London, England, O'Hana Gallery, Summer Exhibition, 1960, another cast illus. no. 22 Paris, France, Grand Palais, Henri Laurens - Exposition de la Donation aux Musée Nationaux, May-August 1967, another cast illus. pl. 23 Berlin, Germany, Haus am Waldsee, Henri Laurens, Skulpturen, Zeichnungen, Druckgrafik, Buchillustrationen 1905-1954, September 27-November 12, 1967, another cast illus. no. 23 London, England, Waddington Galleries, Twentieth Century Works, 1989, no. 11, another cast illus. p. 27
LITERATURE: R. Huyghe, Larousse Encyclopedia of Modern Art, London, 1965, p. 320, another cast illus. pl. 870 J. Rothenstein, The Tate Gallery, London, 1966, p. 263 W. Hofman and D.H. Kahnweiler, The Sculpture of Henri Laurens, New York, 1970, p. 218, another cast illus. p. 135 R. Alley, Catalogue of the Tate Gallery's Collection of Modern Art, London, 1981, another cast illus. p. 410 E. Cowling and J. Mundy, On Classic Ground, London, 1990, another cast illus. p. 134
Another example of this work is in the collection of the Tate Modern in London, England. They describe this work as follows. "Laurens's early sculpture was Cubist in spirit, with hard edges and angles. Gradually his work acquired a softer, more rounded nature until by the 1930s his figures were large and luxuriant in form. This sculpture is the upper part of 'Reclining Woman', a full length reclining female nude of 1931. The 'Reclining Woman' was sent to the bronze foundry for a cast to be made from the original clay and the cast was damaged. Laurens salvaged the upper half and transformed it into this self-sufficient fragment."
In addition, Elizabeth Cowling and Jennifer Mundy in their 1990 book On Classic Ground write of this version, "The "Bather" in her present state has a 'baroque' quality which is new in Laurens's work, but which is encountered in many subsequent pieces, where complex, off-center, twisting poses create a feeling of animal dynamism and erotic energy."