Signed upper right Marie Laurencin and dated 1937

PROVENANCE:
Collection of Heinrich Riss, Ranshofen, Austria (acquired around 1930s/1940s to 1969)
Collection of the widow of Heinrich Riss, Vienna (inherited from 1969 till her death in 1989)
Collection of the Riss family (inherited since 1989)



Catalogue Note:
Known as ''La Biche (the Doe)'', Marie Laurencin, a key member of Bateau Lavoir in the early twentieth century, is the only female artist on the same level as Picasso and Braque. Compared with male Cubists,
her dreamy style is widely loved by collectors. Also, she was one of the few female artists recognized for her blooming talent by the art and literature circles of Paris at the time. Her works are also collected in
world-class art institutions, such as Musée de l'Orangerie (Paris), Tate Modern (London), and Metropolitan Museum of Art (New York).

Laurencin was the illegitimate daughter of a French Parliament member. Since childhood, she and her mother suffered social discrimination, causing her to develop a strong and courageous character. Bonded by a similar family background, she and the poet, Guillaume Apollinaire, shared an intense love affair, which became her lifelong source of creative inspiration. In fact, many important cubist masterpieces from her early career were inspired by this time. Laurencin’s unique talent was noticed by legendary art dealer, Paul Rosenberg, who signed a 20 year contract with her. Other artists who worked with Rosenberg also included: Henri Matisse, André Derain, Fernand Léger, Pablo Picasso, and other masters.

Despite a few scenery and still life flower paintings, the themes of Laurencin’s works almost entirely consists of human figures. In addition to portraits of her friends, she accurately depicts noble- and iddleclass ladies during the Belle Epoque of Paris. Their compositions are influenced by Cubism, while lines divide and segment the geometric backgrounds. The woman in the painting has a heart-shaped face,
a pointed chin, and slender limbs. The fine black edges highlight sharp outlines. Standing on tiptoe, the women almost appear to be floating. In groups, they wear elegant clothes as they sing and dance, serving as continuation of the neoclassical representation of groups of nymphs and fairies. However, the subjects in both the self-portraits and portraits are beautifully dressed, wearing bonnets and holding fans. With a sidelong glance that reveals three-quarters of their faces, they look back at the audience with relatively mysterious and proud expressions.

After the First World War, Laurencin was eager to leave the haze of war as well as the unhappiness and constraints brought by her marriage. In 1920, she returned to Paris and re-embraced the world of art,
dedicating her emotions and life to her work. Her works were infused with a feminine temperament that contains a gentle yet determined power that enabled viewers to find temporary relief from the cruelties and melancholy of war. Returning to Paris, Laurencin gained great popularity among social circles. Debutantes and literati would all ask her to draw their portraits. Without the influence of Cubism, her use
of colors is softer and brighter, while the subjects’ limbs are more wellproportioned. In the 1930s, the figures she painted featured gentle gazes and cheeks that were white touched with red. Even more, they
featured more peaceful and noble expressions, indirectly showing the artist’s calmer state of mind due to an elevation of economic status.

''Julia'' was created in 1937. Influenced by literature and theatre, the subject is gorgeously dressed, like a classical Greek goddess. This marked an important creative feature of Laurencin from the 1930s until her death in 1956. The artist combines the ceramic pale skin and color block contracts commonly found in her earlier subjects, while the layers of color are more detailed and rich. The charm of the subject is
vivid and flexible. The upper body is covered with green silk scarves, and the the colorful silk scarves on her neck embellish her chest. Bold and elegant, they do not lose any of its subtlety. Wearing a laurel
wreath on her head, a bead chain around her neck, she is adorned with golden silk hair, echoing the polished whiteness of the pearls next to her ears. The subject's eyes are slightly tilted, looking into the distance to the right. Like a priestess for the wine god Dionysus, she exhibits a moving sense of charm. It can be considered a classical work that represents the mature period of Laurencin’s career.

''Julia'' was originally from the Heinrich Riss collection in Vienna, Austria. The works in his collection were gathered from Germany, France, Italy and other countries from the 1930s to the early 1940s. Prior to 1945, Heinrich Riss served as the Director of Klinkosch Goldund Silberwarenfabrik which is a subsidiary of the longstanding Metallwarenfabrik Arthur Krupp located in Berndorf Niederösterreich, Austria. Riss’ brother, Dr. Franz Riss, also served as secretary-general of the plant until the end of World War II. Riss indeed had a rich collection of works. However, after the war, Austria was occupied by the United
States, the Soviet Union, Britain, France, and other allies. Due to ensuing turbulence, Laurencin’s Julia was never recorded. It was not until Mr. Heinrich Riss passed away in 1969 that the painting was passed down to his family members. As a result, this first appearance at a public auction today marks a very rare occasion.