The title of this composition refers to the country house in Easton, Connecticut that Bourgeois and her family purchased in 1941; it remains in the family.
Bourgeois's grid compositions "classify things in order to control them." Here, as in the "Pinus Sylvestris" greeting card, she analyzed a phenomenon of nature. This print separates the parts of the Laurel. It is very important that it "be complete... that it show the seed, the roots, and the blossoming flower." She described "a passion to look at the fine differences... to find what makes you a specific person." She remembered that the Laurel is the state flower of Connecticut, that there was a lot of it in Easton, and also that it is "the most delicious herb to cook." Bourgeois remembered having "a lot of trouble because this plate was steel." She "could not get into it." (Quotes cited in Wye, Deborah and Carol Smith. "The Prints of Louise Bourgeois." New York: The Museum of Modern Art, 1994, p. 62.)
A photocopy of this impression from c. 1989 shows no initials in the lower left margin. These were added c. 1990.
This plate was reprinted in 1990 for possible inclusion in the "Quarantania" portfolio, but rejected due to corrosion of the plate.
If you are interested in reproducing images from The Museum of Modern Art web site, please visit the Image Permissions page (www.moma.org/permissions). For additional information about using content from MoMA.org, please visit About this Site (www.moma.org/site).