Lithograph and stencil on papier vélin des Manufactures d'Arches paper. Unsigned and unnumbered, as issued. Paper size: 11 x 8.875 inches. Excellent condition. Notes: From the volume, Les Biches, 1924. Published by Éditions des Quatre Chemins, Paris; printed by Ateliers Daniel Jacomet & Cie, Paris, December 10, 1924. Excerpted from the volume (translated from French), Édition de grand luxe, in-4 carré, printed in CCLX numbered examples, including LX, numbered from I to LX, on papier de Hollande van Gelder, and numbered from LXI to CCX, on papier vélin des Manufactures d'Arches, plus LXXV examples, hors commerce. MARIE LAURENCIN (1883-1956) was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d'Or. During the early years of the 20th century, Laurencin 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) and 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 lesbian writer Natalie Clifford Barney. She had relationships with 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." She had a forty years long love relationship with fashion designer Nicole Groult.