MARIE LAURENCIN Le Pont de Passy. Etching, 1908. 149x212 mm; 6x8 1/2 inches, full margins. Edition of only approximately 15. Signed in pencil, lower left. A superb impression of this extremely scarce, early etching. Laurencin (1883-1956) was an important figure in the Parisian avant-garde. A member of both the circle of Pablo Picasso and Cubists associated with the Section d'Or, such as Jean Metzinger Albert Gleizes Robert Delaunay Henri le Fauconnier and Francis Picabia exhibiting with them at the Salon des Indépendants (1910-1911), the Salon d'Automne (1911-1912), and Galeries Dalmau (1912) at the first Cubist exhibition in Spain. She became romantically involved with the poet Guillaume Apollinaire and has often been identified as his muse. In addition, Laurencin had important connections to the salon of the American expatriate and famed lesbian writer Natalie Clifford Barney. She had relationships with both men and women, and her art reflected her life, her "balletic wraiths" and "sidesaddle Amazons" providing the art world with her brand of "queer femme with a Gallic twist," (Pilcher, A Queer Little History of Art, London, 2017, page 37). Marchesseau 13.
MARIE LAURENCIN Le Pont de Passy. Etching, 1908. 149x212 mm; 6x8 1/2 inches, full margins. Edition of only approximately 15. Signed in pencil, lower left. A superb impression of this extremely scarce, early etching. Laurencin (1883-1956) was an important figure in the Parisian avant-garde. A member of both the circle of Pablo Picasso and Cubists associated with the Section d'Or, such as Jean Metzinger Albert Gleizes Robert Delaunay Henri le Fauconnier and Francis Picabia exhibiting with them at the Salon des Indépendants (1910-1911), the Salon d'Automne (1911-1912), and Galeries Dalmau (1912) at the first Cubist exhibition in Spain. She became romantically involved with the poet Guillaume Apollinaire and has often been identified as his muse. In addition, Laurencin had important connections to the salon of the American expatriate and famed lesbian writer Natalie Clifford Barney. She had relationships with both men and women, and her art reflected her life, her "balletic wraiths" and "sidesaddle Amazons" providing the art world with her brand of "queer femme with a Gallic twist," (Pilcher, A Queer Little History of Art, London, 2017, page 37). Marchesseau 13.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
