Cast in an edition of six, this intimate bronze presents a reclining female figure turned to the right, her form distilled into a language of fluid, interlocking volumes that bear the unmistakable formal intelligence of Henri Laurens at the height of his powers. Measuring just 13 by 34.3 centimetres, the sculpture rewards close examination, its dark brown patina deepening the sense of weight and organic warmth that Laurens consistently drew from the tradition of the reclining nude. The composition moves through gentle compressions and expansions of mass, the figure simultaneously grounded and buoyant, a tension that defines much of his late sculptural thinking. By 1954, Laurens had long moved beyond his Cubist beginnings to develop a mature idiom rooted in classical Mediterranean sensibility, yet wholly modern in its rejection of anecdotal detail. The body here is not rendered but felt, shaped by an intuitive understanding of how form inhabits space and how space, in turn, pushes back. The work sits within a distinguished lineage of twentieth-century bronze casting, drawing quiet comparisons with the reclining figures of Maillol and Moore while remaining entirely its own achievement. The signed example carries the full authority of the artist's hand, confirmed through its provenance with Simon Studer Art. For collectors with an interest in School of Paris sculpture, this piece represents a rare opportunity to acquire a late work by an artist whose reputation has grown steadily in institutional and private collections alike. Its compact scale makes it suited to a range of domestic and display contexts, while its sculptural depth and historical significance place it comfortably alongside works of considerably larger ambition.