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BALTASAR LOBO | Femme assise main croisées grande taille
Estimate
250,000 - 350,000 USD
bidding is closed
Description
- Baltasar Lobo
- Femme assise main croisées grande taille
- Inscribed Lobo, numbered 1/8 and stamped with the foundry mark Fonderia Art. F.lli Bonvicini Somma Campagna
- Bronze
- Height: 75 1/2 in.
- 192 cm
- Conceived in 1968, this enlargement conceived in 1991; this example cast in 1993.
Provenance
Acquired from the studio of the artist by the present owner
Literature
Lobo (exhibition catalogue), Galería Freites, Caracas, 1993, no. 41, illustration of another cast n.p.
Baltasar Lobo (exhibition catalogue), Galería Freites, Caracas, 1999, illustration in color of another cast on the cover of the catalogue
Baltasar Lobo: Esculturas Monumentales (exhibition catalogue), Plaza de Zorrilla y Acera de Recoletos, Valladolid & traveling, 2007-10, illustration in color of another cast p. 49
Baltasar Lobo (exhibition catalogue), Galería Freites, Caracas, 2010, illustration in color of another cast p. 35
Baltasar Lobo (exhibition catalogue), Instituto valenciano de arte moderno, Valencia, 2011, illustration in color of another cast n.p.
Baltasar Lobo, 1910-1993 (exhibition catalogue), University of Zaragoza, Zaragoza, 2011, illustration in color of another cast n.p.
Baltasar Lobo (exhibition catalogue), Galería Freites, Caracas, 1999, illustration in color of another cast on the cover of the catalogue
Baltasar Lobo: Esculturas Monumentales (exhibition catalogue), Plaza de Zorrilla y Acera de Recoletos, Valladolid & traveling, 2007-10, illustration in color of another cast p. 49
Baltasar Lobo (exhibition catalogue), Galería Freites, Caracas, 2010, illustration in color of another cast p. 35
Baltasar Lobo (exhibition catalogue), Instituto valenciano de arte moderno, Valencia, 2011, illustration in color of another cast n.p.
Baltasar Lobo, 1910-1993 (exhibition catalogue), University of Zaragoza, Zaragoza, 2011, illustration in color of another cast n.p.
Condition
The work is in excellent condition. Attractive rich black patina. Some surface dust in deeper crevices. There are a few tiny nicks to the back of the proper right leg and around the proper right shoulder. Some pitting to the bronze in places, inherent to the casting process.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
Femme assise main croisées grande taille exemplifies Lobo’s fascination with the feminine form. Born in the small Zamora village of Cerecinos de Campos in 1910, Lobo fled his home country in 1939 following the Spanish Civil War. On moving to Montparnasse he formed friendships with Pablo Picasso as well as fellow sculptors Jacques Lipchitz and Henri Laurens. Lobo became particularly close with Laurens who offered him a job working in his studio and provided Lobo with his own space.
Working alongside Laurens and his reclining nudes, Lobo discovered his affinity for the female figure. This was an interest further inspired by the Iberian and Cycladic sculpture he first encountered on a visit to the Archaeological Museum in Madrid. Lobo parted from Laurens in the 1950s and transitioned toward his elegant and refined style inspired by the work of Constantin Brancusi and Jean Arp. The present work, with its soft curves and abstracted minimal form is a classic example of twentieth-century sculpture.
Working alongside Laurens and his reclining nudes, Lobo discovered his affinity for the female figure. This was an interest further inspired by the Iberian and Cycladic sculpture he first encountered on a visit to the Archaeological Museum in Madrid. Lobo parted from Laurens in the 1950s and transitioned toward his elegant and refined style inspired by the work of Constantin Brancusi and Jean Arp. The present work, with its soft curves and abstracted minimal form is a classic example of twentieth-century sculpture.