Druskieniki, Lithuania 1891 - Capri, Italy 1973
Chambranle de cheminée
Dimensions (HxWxD): 18 5⁄16 x 59 1⁄4 x 12 7⁄8 in.
Acc. No.: 1986.4
Credit Line: Gift of Charlotte F. and Irving W. Rabb and Insurance Fund
Photo credit: Museum of Fine Arts, Boston
- 1928, commissioned by Jacques Doucet (with andirons, 1986.5-6) for the Cabinet de l'Orient, in his residence in Neuilly, France
- 1929, at Doucet's death, presumably by inheritance to his wife, Jeanne Roger Doucet, Neuilly
- by 1986, Paris, Galerie Brame et Lorenceau
- 1986, June 25, sold by Hector Brame-Jean Lorenceau to the MFA, Gift of Charlotte F. and Irving W. Rabb and Insurance Fund
- Museum's website, 28 February 2012 and 20 March 2012
- 2000 Wilkinson
Alan G. Wilkinson, The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, Vol. 2 The American Years 1941-1973, London, Thames and Hudson, 2000, p.20, repr.
- 2000 New York
Jacques Lipchitz: Sculpture 1910-1940, The Paris Years, New York, The Marlborough Gallery, 1996
This Is the Modern World: Furnishings of the 20th Century, Boston, Museum of Fine Arts, July 30, 1996-January 9, 1997
2003-2005 London/Toronto/San Francisco/Boston
Art Deco, 1910-1938, London, Victoria and Albert Museum, March 27-July 20, 2003; Toronto, The Royal Ontario Museum, September 15, 2003-January 4, 2004; San Francisco, Museum of Fine Arts, March 13-July 5, 2004; Boston, Museum of Fine Arts, August 22-January 9, 2005
- Pair of Andirons, c. 1928, Boston, Museum of Fine Arts, acc. no. 1986.5-6.
- Museum's website, June 29, 2011:
A large rectangular block of limestone forming the lintel of a mantelpiece. Carved in bas-relief with two stylized dogs barking at two stylized birds at center.
Museum's label texte, 1997:
In 1928 the Cubist sculptor Jacques Lipchitz received the commission for a mantelpiece and andirons from Jacques Doucet, a Parisian fashion designer. Doucet was a pioneering collector of eighteenth-century and, later, of twentieth-century art. Lipchitz wrote of the mantepiece and andirons: "These decorative works were done, frankly, as commissions to make a little money but... I think one can see the development of certain ideas in my sculpture from cubism to a pattern of greater anthropomorphic freedom." (Jacques Lipchitz, H. H. Arnason, My Life in Sculpture, New York, The Viking Press, 1972, p. 100-103)