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Lovet-Lorski, B.
inscribed 'Boris Lovet-Lorski/1926' and 'GRANDHOMME-ANDRO. Fondeur. Paris' (on the base)
bronze with brown patina
26 in. (66 cm.) high
Cast circa 1926-29.
Helena Rubinstein, New York.
Lilith Fass Collection, Paris.
Deburaux Du Plessis, Paris, 7 October 2020, lot 72.
Acquired by the present owner from the above.
M. Armitage, Sculpture of Boris Lovet-Lorski, New York, 1937, pp. 50-51, 54, another example illustrated.
M.H. Bush, Boris Lovet-Lorski: The Language of Time, exhibition catalogue, New York, 1967, a brass example illustrated (as Diana and Hounds).
K.O. Janovy, ed., Sculpture from the Sheldon Memorial Art Gallery, Lincoln, Nebraska, 2005, p. 57, another example referenced.
Paris, Musée d'art Juif, Helena Rubinstein: The Adventure of Beauty, March 20-August 25, 2019, p. 248 (as Woman With Dogs).

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Lot Essay

Boris Lovet-Lorski was an Art Deco sculptor who was trained at the Imperial Academy of Art in St. Petersburg, Russia. Russian by birth, he arrived in New York on May 16, 1920, and became a naturalized citizen in February 1925. He took pride in both his work and his citizenship, always insisting that his work be exhibited as American. After his first one-man show at the Grace Horn Gallery in Boston in 1925, the public widely recognized him as one of the most impressive sculptors of his time.

Lovet-Lorski poetically wrote, “With the help of a fragment, just a small piece of sculpture, we can look into the past, or the present. We can look into a different world. A world of beauty, harmony and inner peace.” (as quoted in M.H. Bush, Boris Lovet-Lorski: The Language of Time, Syracuse, New York, 1967, p. 6) Reflecting these words, he drew inspiration from the romantic Gothic aesthetic he grew up with in Russia, as well as from Ancient Crete and Greece. In the present work, Lovet-Lorski explores and stylizes classical design elements. Martin H. Bush explains, "the inventive young artist had been experimenting with new concepts of form in linear designs of lyrical 'Cretan Dancers,' horses, and a rhythmical 'Diana.' They were thinner, flatter, and highly polished brass or bronze sculptures full of force and action, though distinctly decorative in quality." (Boris Lovet-Lorski: The Language of Time, p. 54)

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