Boris Lovet-Lorski, Art Deco Style Horse, 1970s, Silver-Plated Metal with Marble Base

“Horse,” silver-plated metal and marble, Boris Lovet-Lorski, Art Deco style, 1970s – United States

Exceptional sculpture by renowned artist Boris Lovet-Lorski, depicting a majestic horse in a completely stylized pose, with elongated shapes and gentle curves. The legs are simple, reduced to their essentials, resembling slender columns, giving it an architectural, sculptural feel. The body flows with a continuity of lines that harmonize with the aerodynamics of Art Deco industrial design. Both the mane and tail have simplified, geometric shapes; the sculptor uses parallel lines that evoke the architectural ornaments of the period. It presents an extreme stylization: the horse's body is highly simplified and elegantly elongated. He does not strive for anatomical realism, but rather for an idealized, almost geometric form. The curves of the neck, posture, and musculature are graphically clean and refined, evoking a sense of contained or potential movement. The horse has a serene and dignified expression, one might say almost anthropomorphic; it has few details, but they are very carefully and clearly defined.

It is one of the artist's most recognized works and has become a classic example of animalistic Art Deco, which combines the nobility of the animal with the stylized elegance of the form. It is not a naturalistic horse, but a symbol of power, grace, and modern design. To some extent, it is reminiscent of Egyptian and classical art, reinterpreted from a modern and decorative perspective. It seeks both decorative beauty and a sense of serene power, very typical of the Art Deco spirit of glorifying pure form. It is a piece that brings elegance to any room in the home and will impress any visitor.

About Boris Lovet-Lorski

Boris Lovet-Lorski was born in Lithuania in 1894 and was a sculptor, lithographer, and painter who made a significant contribution to the Art Deco movement in the United States. He trained as an architect at the Royal Academy of Architecture in St. Petersburg and throughout his career was interested in both volume and structural space. He also integrated architectural background elements into the simplified aesthetic of his Art Deco Neoclassicism, hallmarks of his unique and elegant style.

His style was highly distinctive, combining various modern, tribal, oriental, archaic, and Germanic influences. His modernism was softened by a Slavic undertone and an eclectic approach, imbuing it with a profound lyricism and an aura of mystery. His work displays a high level of technical mastery. Linking him to the avant-garde sculpture of his time is feasible, though not essential. The enormous bookends—authentic clock stands, paperweights, and pen holders worthy of executives—aspire to enter the category of fine art, with a pomp that surpasses the many decorative objects of the 1920s and 1930s.

Lorski's works from the 1920s and 1930s were characterized by exotic nudes, busts, and refined horses. His most well-known and notable works are his female nudes, with narrow, defined hips, chests that progressively widen from the waist to the shoulders, and widely open arms and clasped hands, placed both behind and above heads with classical features, which rest on the torsos.

His vision of art is fully in tune with the mechanized spirit of his time: streamlined airplanes, automobiles, and impressive skyscrapers acted as almost sacred symbols of the interwar period.

Materials: Silver-plated metal and marble base
Author: Boris Lovet-Lorski
Style: Art Deco
Period: 1970s
Country of Origin: United States
Good condition commensurate with age and use
Dimensions: 38 x 50 x 10 cm.