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Henri LaurensHenri Laurens, Sirens, from XXe siecle, 19381938
1938
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About the Item
This exquisite linocut by Henri Laurens (1885–1954), titled Sirenes (Sirens), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no. 4, Noel, 1938, originates from the 1938 edition published by Gualtieri di San Lazzaro, editeur, Paris, in collaboration with Societe Internationale d'Art XXe siecle, Paris, and printed by Mourlot Freres, Paris. Sirenes reflects Laurens’s mastery of Cubist structure translated into lyrical rhythm, embodying his lifelong fascination with the harmony of form, balance, and movement.
Executed as a linocut on velin paper, this work measures 9.75 × 12.5 inches (24.77 × 31.75 cm). Signed in the plate and unnumbered, as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris.
Artwork Details:
Artist: Henri Laurens (1885–1954)
Title: Sirenes (Sirens), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no. 4, Noel, 1938
Medium: Linocut on velin paper
Dimensions: 9.75 × 12.5 inches (24.77 × 31.75 cm)
Inscription: Signed in the plate and unnumbered, as issued
Date: 1938
Publisher: Gualtieri di San Lazzaro, editeur, Paris, in collaboration with Societe Internationale d'Art XXe siecle, Paris
Printer: Mourlot Freres, Paris
Catalogue raisonne references: Volker, Brigitte, et al. Henri Laurens: Werkverzeichnis Der Druckgraphik. Edition Brusberg, 1985, illustration 13
Condition: Well preserved, consistent with age and medium
Provenance: From the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no. 4, Noel, 1938, published by Gualtieri di San Lazzaro, editeur, Paris
About the Publication:
Gualtieri di San Lazzaro's XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs printed by the foremost ateliers of Paris, including Mourlot, Arte, and Bellini, creating a uniquely rich dialogue between text and image. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, Surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design, an enduring testament to Gualtieri di San Lazzaro's belief that the visual arts are the soul of the modern age.
About the Artist:
Henri Laurens (1885–1954) was a pioneering French sculptor, collagist, and illustrator whose transformation of Cubist principles into sculpture made him one of the most influential artists of early modernism. Born in Paris, Laurens began as a stonemason and ornamental carver, a discipline that gave him a deep understanding of material and structure—skills that became central to his mature artistic vision. After meeting Georges Braque and encountering the revolutionary work of Pablo Picasso around 1911, Laurens joined the Cubist movement, adapting its radical geometry and fractured planes into three-dimensional space. His early carvings in wood and stone explored the interplay between solid mass and spatial rhythm, while his later works evolved into fluid, organic forms that bridged figuration and abstraction. A vital figure in the avant-garde community of early 20th-century Paris, Laurens moved in creative dialogue with Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like him, redefined the boundaries of art and perception. Laurens’s sculptures, collages, and monumental public works celebrated the harmony of form, movement, and material, embodying both the intellect of Cubism and the warmth of human emotion. His synthesis of geometry and sensuality profoundly influenced later sculptors including Henry Moore, Barbara Hepworth, and Cesar, as well as generations of abstract and minimalist artists who admired his balance of architectural structure and organic vitality. Today, Laurens’s works are held in major museum collections such as the Centre Pompidou, MoMA, and the Tate, and continue to be prized for their timeless elegance, innovation, and humanism. His highest auction record was achieved by Le Boxeur, which sold for $2,660,433 at Sotheby’s, London, in 2020, affirming his enduring stature among the great sculptors of the modern era.
Henri Laurens Sirenes (Sirens), Laurens XXe siecle, Laurens 1938 linocut, Laurens Mourlot, Laurens velin paper, Laurens Cubism, Laurens modern sculpture, Laurens collectible print.
- Creator:Henri Laurens (1885 - 1954, French)
- Creation Year:1938
- Dimensions:Height: 9.65 in (24.52 cm)Width: 12.4 in (31.5 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Southampton, NY
- Reference Number:1stDibs: LU1465216659732
Henri Laurens
Henri Laurens was born in Paris in 1885. Impaired by tuberculosis when he was only 17, he was leg-amputated seven years later. First a stone cutter, he then became a sculptor. In 1899, he studied drawing. Laurens was strongly influenced by cubism, he discovered as soon as 1908 at La Ruche. Attracted by the Montparnasse artists group, in 1911, he started sculpting in a cubist way. Friends of Juan Gris and Picasso, Laurens was also extremely close to Braque (who considered Laurens as a brother). Laurens who dedicated most of his work to the human face destroyed a lot of art pieces only to leave the ones accomplished. Laurens being recognized worldwide, his last 10 years production (La Grande baigneuse, 1947, L'Automne, 1948) was bought by the most famous museums. “His way of breathing, touching, feeling, thinking becomes an object, becomes sculpture.“ wrote Giacometti. Laurens died in 1954 in Paris.
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