322
322

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

Baltasar Lobo
JEUNE FILLE ASSISE DE FACE
JUMP TO LOT
322

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION

Baltasar Lobo
JEUNE FILLE ASSISE DE FACE
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Day Sale

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Baltasar Lobo
1910 - 1993
JEUNE FILLE ASSISE DE FACE
Inscribed Lobo, numbered 8/8, inscribed with the foundry mark Susse. Frères. Paris and stamped with the Susse seal
Bronze
Height: 75 1/4 in.
191 cm
Conceived in 1989.
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Provenance

Galería Freites, Caracas
Acquired from the above

Literature

Patrice de La Perrière, "Baltasar Lobo" in Arts Actualités Magazine, March 1991, illustration of another cast p. 33
Philippe Gurdjian, Femmes chefs-d'oeuvre, Paris, 1991, illustration of another cast p. 218
Laurence Pythoud, "Susse Frères Fondeur, L'Art et la Manière" in L'Oeil, April 1992, no. 440, illustration of another cast p. 61
Baltasar Lobo: La Perennidad de la Escultura: Problema Primordial (exhibition catalogue), Galería Freites, Caracas, 2005, illustration of another cast p. 20
Archives Malingue S.A., no. 8905

Catalogue Note

Jeune fille assise de face exemplifies Lobo’s lifelong fascination with the feminine form. Born in the small Zamora village of Cerecinos de Campos in 1910, he fled his home country following the Spanish Civil War in 1939. Moving to Montparnasse, he soon formed close friendships with not only Pablo Picasso, but also fellow sculptors Jacques Lipchitz and Henri Laurens. Lobo became particularly close with Laurens, who offered him a job working in his studio and provided him with his own work space. Working alongside Laurens and his reclining nudes, Lobo further discovered his affinity for the female figure, an interest also inspired by the Iberian and Cycladic sculpture that he first encountered on a visit to the Archaeological Museum in Madrid. Lobo parted from Laurens in the 1950s and transitioned toward his signature, elegantly refined style inspired by the work of Constantin Brancusi and Jean Arp. The present work, with its soft curves, abstracted minimal form and extraordinary patina, exemplifies the most desirable qualities of twentieth-century sculpture.

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