Lot Essay
Cette œuvre est enregistrée sous le numéro 8103 du Nouveau Catalogue Raisonné de sculptures de Balthazar Lobo à être édité prochainement par la Galerie Freites.
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Maternité sur socle (Esquisse pour Caracas)
Details
Baltasar Lobo (1910-1993)
Maternité sur socle (Esquisse pour Caracas)
signé et numéroté 'Lobo H.C. 2/4.' (sur la base); avec la marque du fondeur 'Susse Fondeur Paris' (au dos de la base)
bronze à patine brun foncé
77 x 79 cm.
Conçu en 1981; cette épreuve fondue en 1989 dans une édition de 4 exemplaires plus 4 épreuves d'artiste plus 4 épreuves hors commerce
signed and numbered 'Lobo H.C. 2/4.' (on the base); with the foundry mark 'Susse Fondeur Paris' (on the back of the base)
bronze with dark brown patina
30 3/8 x 33 1/8 in.
Conceived in 1981; this bronze cast in 1989 in an edition of 4 plus 4 artist's proofs plus 4 hors commerce proofs
Maternité sur socle (Esquisse pour Caracas)
signé et numéroté 'Lobo H.C. 2/4.' (sur la base); avec la marque du fondeur 'Susse Fondeur Paris' (au dos de la base)
bronze à patine brun foncé
77 x 79 cm.
Conçu en 1981; cette épreuve fondue en 1989 dans une édition de 4 exemplaires plus 4 épreuves d'artiste plus 4 épreuves hors commerce
signed and numbered 'Lobo H.C. 2/4.' (on the base); with the foundry mark 'Susse Fondeur Paris' (on the back of the base)
bronze with dark brown patina
30 3/8 x 33 1/8 in.
Conceived in 1981; this bronze cast in 1989 in an edition of 4 plus 4 artist's proofs plus 4 hors commerce proofs
Provenance
Atelier de l'artiste.
Galeria Freites, Caracas.
Collection particulière, Suisse.
Galeria Freites, Caracas.
Collection particulière, Suisse.
Literature
Baltasar Lobo, cat. exp., Galeria Freites, Caracas, 1999, p. 4 et 105, no. 33 (une autre épreuve illustrée).
Special Notice
Artist's Resale Right ("droit de Suite").
If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collection
details.
Further Details
Baltasar Lobo fuit le conflit de la guerre civile en Espagne en se rendant à Paris au printemps de 1939. Il trouva sa place très rapidement parmi un groupe dynamique d’artistes internationaux qui habitaient principalement dans les quartiers de Montparnasse et de Montmartre. Il se lia d’amitié avec Jacques Lipchitz, Pablo Picasso, et surtout Henri Laurens, se retrouvant au coeur des théories artistiques et des discussions de l’avant-garde parisien. Pendant la prochaine décennie, il porta toute son attention au potentiel expressif du nu féminin monumental, un thème qui dominera son œuvre. Lobo était fasciné par la simplification des formes et les volumes amplifiés que l’on retrouve dans la sculpture ibérique, qu’il avait découverte dans sa vingtaine lors de ses visites du Museo Arqueológico Nacional de Madrid. Ce sont ses volumes purs et clairement définis qu’il essayait de retranscrire dans sa propre approche stylisée pour la représentation du corps, tel en est l’exemple dans cette Maternité pleine de joie, innocence et amour.
When Baltasar Lobo arrived in Paris during the spring of 1939, fleeing the conflict of the Civil War in Spain, he quickly found his place amongst the vibrant group of international artists living and working in Montmartre and Montparnasse. Forming important friendships with Jacques Lipchitz, Pablo Picasso and, in particular, Henri Laurens, he immersed himself in the artistic theories and discussions of the Parisian avant-garde, and over the course of the following decade, focused his attention on the expressive potential of the monumental female nude, a subject that would come to dominate his oeuvre. Lobo was fascinated by the simplified forms and accentuated volumes of Iberian sculpture, which he had discovered during visits to the Museo Arqueológico Nacional in Madrid in his early twenties, and sought to translate their clearly defined, pure volumes into his own highly stylized treatment of the body, as seen in the present sculpture of a mother and child, conveying joy, innocence and love.
When Baltasar Lobo arrived in Paris during the spring of 1939, fleeing the conflict of the Civil War in Spain, he quickly found his place amongst the vibrant group of international artists living and working in Montmartre and Montparnasse. Forming important friendships with Jacques Lipchitz, Pablo Picasso and, in particular, Henri Laurens, he immersed himself in the artistic theories and discussions of the Parisian avant-garde, and over the course of the following decade, focused his attention on the expressive potential of the monumental female nude, a subject that would come to dominate his oeuvre. Lobo was fascinated by the simplified forms and accentuated volumes of Iberian sculpture, which he had discovered during visits to the Museo Arqueológico Nacional in Madrid in his early twenties, and sought to translate their clearly defined, pure volumes into his own highly stylized treatment of the body, as seen in the present sculpture of a mother and child, conveying joy, innocence and love.
Brought to you by
Jetske Homan van der Heide
Senior Specialist, Senior Director