With Tabard's signature, date, hand stamps and penciled notations on verso.
Maurice Tabard (Photo Poche), 14 and 17.
This visual motif, in which Tabard uses multiple negatives and overlays, exemplifies his apparent fascination with depicting women in confined situations. He explored the theme in "Nu a l''echelle" (1929) and "La prisonniere, Collete" (1930).