After the pose or Lady combing her hair (Dopo la posa o Fanciulla che si pettina)

The plaster was exhibited by Troubetzkoy at the 2nd Milanese Triennale of 1894. C.B. (1894) states that the interest “was especially towards a figure of a lady with slender arms which is pulling her hair backwards”. C.B. also reports that the “spontaneity of the nude” places the plaster in the category of Troubetzkoy’s “best and most promising sculptures”. Rebora (2017) states that the plaster appears to be similar in style as the Monument to Luigi Cadorna in Pallanza (1892). The features also resemble to the model of Bust of a Lady or Spring (1894 ca.)Rebora (2017) signals that there are numerous bronze casts of the plaster: among the older ones, there is one at the Galleria d’Arte Moderna of Milan, a second one is at the Galleria d’Arte Moderna of Genova, whilst at the Museo del Paesaggio in Verbania is preserved a marble depicting the same subject (inv T. 215). An additional plaster or marble depicting the same subject was owned by Gian Pietro Lucini, however, its current location is unknown. Of the subject there is also another version which was previously owned by Luigi Conconi.

Paul Troubetzkoy (1866-1938), Italy, until 1938;
By descent to the heirs, Rhoda Muriel Marie Somerwell and Luigi Troubetzkoy;
Donated to the Museo del Paesaggio, 1938-1939

Esposizione Annuale alla Famiglia Artistica, Milano 1894;
n. 1018;
Museo del Paesaggio, Verbania, 1990, n. 29

C.B., L'esposizione alla Famiglia Artistica in "L'Italia del Popolo", 29-30 December 1894, p. 70;
S. Rebora, in Paolo Troubetzkoy 1866-1938, exh. cat., Turin, 1990, p. 101;
Paolo Troubetzkoy, La Collezione del Museo del Paesaggio, Palazzo Viani Dugnani, Verbania, 2017, p. 60