CHANA ORLOFF (1888 - 1968)

Pregnant Lady, 1916

Bronze with brown patina
The model from 1916, the present cast is a post mortem edition from Susse foundeur
Signed « Ch. Orloff », dated 1916 and and numbered 6/8
Stamped with the foundry stamp Susse Fondeur Paris
Certificate of authenticity delivered by Chana Orloff Comity

H 57 - L 25 - P 19 cm (H 22.4 - W 9.8 - D 7.5 in)


Collection particulière, Paris.


« I am convinced motherhood is necessary for the female artist, in the sense that life is the most profound source of art. »
Those were the words of Chana Orloff and through this adage, she created her first masterpiece. Finely crafted decorative accentuations meet gently veined full volumes,
from which the maternal instinct elapses and exhales. The living and lively potential of art; art being « more lively than life » is Chana Orloff's ultimate prerogative. The literate Paula J. Birnbaum and the Israeli patron Gamzu lightened and commented extensively on this core facet of her thought.


1963 Exposition particulière, Galerie Granoff, Paris.
1965 Exposition particulière, Musée d’Hertzélia, Israël.
1971 Exposition particulière, Musée Rodin, Paris.
1978 FIAC, Galerie Suillerot, Paris.
1980 NRA Exposition particulière, Turin.
1984 Exposition particulière, Galerie Vallois, Paris.
1992 Chana Orloff, Musée Municipal de Boulogne-Billancourt, 2 avril-31 mai.
1994 Chana Orloff, Line and Substance, Open Museums, Tefen, Israël, 6 nov-17 avril.
2010 Hommage à Chana Orloff, Galerie Vallois, Paris.


Kahn, Chana Orloff, Les Feuillets d’Art, n° 5, Juillet 1922.
G. Charles, Salon des Indépendants, Montparnasse, n° 8, 1 Fev. 1922.
Haïm Gamzou, Chana Orloff, Éditions Massada, Tel Aviv, 1951.
Ernest Namenyi, Chana Orloff, Musée Rodin, 1956.
Félix Marcilhac, Chana Orloff, Les Éditions de l’Amateur, Paris, 1991, referenced under the n°18, p. 204 et 205 of the catalogue raisonné and reproduced in photograph (wood) p. 27.