Lithograph and stencil on Lafuma-Navarre wove paper. Unsigned and unnumbered, as issued. Paper size: 10.43 x 8.46 inches. Excellent condition. Notes: From the volume, Marie Laurencin, 1928. Published by Éditions des Quatre Chemins, Paris; printed by Ateliers Daniel Jacomet & Cie, Paris, December 10, 1928. Excerpted from the volume (translated from French), Printing was finished on December 10, Nineteen Hundred and Twenty-Eight by Ducros & Colas, master printers for typography, the facsimiles in color being reproduced by the Ateliers D. Jacomet, and the phototypies in black by Barry Fréres in Paris. It was taken from this volume: I example on Japon Impérial with double etching test on Japon Impérial et sur Chine, the etching states and Marcel Jouhandeau's manuscript; I example on Japon Impérial with an original drawing used for etching, double etching test on Japon Impérial et sur Chine and the states; IX examples on Japon Impérial with double etching proof on Japon Impérial et sur Chine and the states; XX examples on Hollande Van Gelder with a etching and the states; LXIX examples on papier d'Arches with a etching; M examples on Lafuma paper. In addition, XXV non-commercial copies numbered in Roman numerals were drawn. 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.