A Hungarian sculptor enamored with svelt curves only slightly more streamlined than those of Ingres’ “Source,” Toth’s affectionate polishing and emphatic utilization of wood-grain enhancements for breasts and bellies reveal a quaint (by current attitudes) penchant for the delectable. Mysterious­ly his ladies suffer a dwindling malady from the hips downward. While his series of small bronzes are more “modernis­tic,” their cliches have no patina of age to afford them a semblance of ele­gance as is the case with the wood sculptures.

—Rosalind G. Wholden