La Toilette from 1895 presents one of Suzanne Valadon's most intimate and assured early explorations of the female form, rendered in softground etching and etching with monotype wiping in brown and black on Van Gelder Zonen laid paper. The technique is quietly remarkable: the monotype wiping introduces tonal warmth and atmospheric softness that pure line etching could never achieve, while the underlying drawn marks preserve a directness and nervous energy entirely characteristic of Valadon's hand. The composition occupies a plate measuring roughly 22.7 by 22.5 centimeters within a sheet of 32.7 by 28.3 centimeters, a scale that keeps the encounter with the subject close and unguarded. Valadon arrived at printmaking not through academic channels but through the intensity of her own observational instincts, and that self-taught authority is fully legible here. Where contemporaries might have softened or idealized a bathing figure, she renders the body with candid physical presence, refusing the mythologizing conventions that dominated depictions of women in this period. The work sits in distinguished company: the National Gallery of Art in Washington holds an example, affirming the place this print occupies within serious institutional collections of late nineteenth-century French works on paper. Signed by the artist, this impression represents a particularly compelling opportunity for collectors focused on the transition between Impressionist-era draftsmanship and the bolder figurative language that would define early modernism. The combination of intaglio precision and painterly monotype warmth gives La Toilette a visual richness that reproduces poorly and rewards sustained, close attention to the original sheet.