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Lot 113
Marguerite Lavrillier-Cossaceanu (1893-1980), 'Eros', a bronze sculpture, the naked Eros with his left arm raised, signed in the cast, also Sandra and George to each wing, raised on a marble base, height of Eros 26 cm. Margaret studied sculpture from 1910 to 1913 at the School of Fine Arts in Bucharest under Dimitrie Paciurea. In 1921, she obtained a scholarship enabling her to go to Rome to pursue her studies at the Academy of Fine Arts. It was during this stay that she met French engraver-medalist André Lavrillier, he took her to Paris, and introduced her to sculptor Antoine Bourdelle. After being awarded the Grand Prize at the Academy of Fine Arts in 1922, she left Rome to settle in Paris, where she attended the workshop of her compatriot Constantin Brâncusi whilst continuing her studies at the Académie de la Grande Chaumière. Bourdelle took her as a collaborator in his workshop at impasse du Maine, she continued to work with him until his death in 1929. Provenance; our vendor inherited from her parents and can remember the sculpture since the early 1960's.
Lot 109
The Knesset medal, bronze, designed by Jacob Zim 1971, number 11047, in box inscribed ‘With best wishes from Jerusalem, to the Rt. Hon Sir Harold Wilson, dated Oct 31st 1977, 59mm diameter, along with a Hebrew University medal suspended in clear resin, designed by Dudu Shenhav 1965, celebrating the first Hebrew university to be established in Palestine in 1925, 59mm diameter of medal [2]
Lot 111
A silver plated bronze medal showing Hubert H Humphrey to one side, the reverse ‘presented by the Hubert H Humphrey institute of public affairs, struck by the Medallic Arts Company of Danbury, Connecticut, boxed with presentation plaque to Sir Harold Wilson from Leonard H Marks, 1977, 6.9 cms diameter, along with a silver medal from the Guinness Rindalbourne parliamentary delegation to Romania led by Harold Wilson, hallmarked London 1985, by Asprey & Co. Ltd, 5 cms diameter, [2]
Lot 114
A cast bronze medallion in presentation box from the Conference on security and cooperation in Europe, Helsinki 1975, the medallion measuring 11 cms diameter, the front showing a building (possibly the Dipoli building at Aalto university) with the words Helsinki 1975, Finlandia written to bottom right and initials RH75 , verso depicts a stylised map of Europe and text around the sides reads ' Conference on security and cooperation in Europe'.
Lot 513
After the antique, "The Capitoline Wolf", a mythical she-wolf suckling twins the Romulus and Remus`, the green patinated bronze figure on marble plinth base with presentation inscription plaque engraved: Il Sindaco de Roma Amerigo Petrucci - AL PRIMO MINISTRO DEL REGNO UNITO DI GRAN BRETAGNA E DELL'IRLANDA DEL NORD On. HAROLD WILSON Campidoglio 28 Aprile 1965 Note: Amerigo Petrucci was Mayor of Rome 1964-67.
Lot 585
A plaster maquette of the Huyton, Merseyside bronze figure of Harold Wilson seated on a plinth, H approx 50 cms, length 38.5 cms, depth 35 Along with supporting documents to include signed letter from Tony Blair to Mary Wilson thanking her for attending the unveiling, photographs of Tony Blair with the sculpture and Mary Wilson, original letter with unveiling details from Knowsley Metropolitan Borough Council and an article from the Huddersfield Daily Examiner featuring the unveiling dated Monday, September 25, 2006. conditon: main figure coming loose from plinth, some cracks due to the nature of the material.
Lot 628
Corriere Della Sera, bronze plaque in the form of a newspaper dedicated to Prime Minister Harold Wilson, 1965, housed in red velvet-lined presentation box. Together with a miniature miner's lamp bearing presentation plaque engraved to Harold Wilson to commemorate the Yorkshire Miners Centenary Year, June 1958 (2)
Lot 95
A collection of Continental awards/medallions without personal inscriptions including: Russian bronze medal, cased 1966 Russian enamel and white metal pentagon shaped medal and triangular , cased Russian CCCP 1755 1955 commemorative medal, in high relief, cased Czech medal the reverse showing: Narodni Divadlo v Praze 1868-1968 (National Opera Centenary) cased Hotel Bucuresti Romania 1972 medal Republic Socialista Romania medal, in leather embossed case (6)
Lot 51
§ Oswald Herzog, (German, 1881-1939), reclining female nude, bronze, signed in the bronze, Noack, Berlin foundry mark 20.50 x 40cm (8 x 16in) Other Notes: A Polish-born artist, Oswald Herzog, grew up in Germany and became renowned primarily as a sculptor. By 1919, when his works were first exhibited in the Galerie Der Sturm exhibition, Herzog was a well-established artist based in Berlin and associated with the famous Sturm circle of artists. Set up by Herwarth Walden (1879-1941), the German Expressionist artist and one of the greatest champions of German avant-garde art of his time, Der Sturm exhibitions became the mainstay of Berlin's modern art scene. Displaying the likes of Pablo Picasso, Jean Metzinger, Paul Klee, Gino Severini and others, the exhibitions aimed to introduce the works of Cubists, Italian Futurists and Expressionists to Germany. In 1933, Herzog's art was condemned as 'degenerate' and was exhibited at the 'Entartete Kunst' exhibition in Munich in 1937 among the 650 works of modern art deemed degenerate by the Nazi Party. In his own writings on art theory, Herzog often referred to his own work and labelled his sculptures as 'Abstract Expressionist'. By the 1920s, the human form and individualised modelling of his sculptures gradually gave way to more abstract, elongated and distorted shapes, only vaguely reminiscent of a human figure. The surfaces of his works are typically smooth and glossy. His sculptures, which come to the market rarely, have been likened to those of Alexander Archipenko and William Wauer.
Lot 52
§ Rudolf Belling, (German, 1886-1972), Cubist Composition, bronze, signed in the bronze and dated 1950, Noack, Berlin foundry stamp 50cm (20in) Other Notes: One of the most eminent German sculptors of classical modernism and a pioneer of sculptural abstraction, Rudolf Belling originally started out as a stage and costume designer. He produced sculptures and props for the theatre and films, notably receiving commissions from Max Reinhardt (1873-1943). A prolific and eclectic artist, Belling did not limit his work to sculpture alone, working also as scenographer, designer and architectural sculptor. Belling was much influenced by Expressionism, particularly by the painter and architect Hans Poelzig (1869-1936), however, he had the talent to move between styles. His artistic development was shaped by a variety of styles including futurism, constructivism, abstraction and naturalism. In 1919, he produced the first non-figurative abstract sculpture in the German-speaking world - 'Dreiklang' (Triad) - an iconic and pioneering example of abstract sculpture in Germany. Against the predominant theories of his time, put forward by the German sculptor Adolf von Hildebrand (1847-1921), Belling conceived his sculptures in space, adopting the so-called 'Belling System'. The present sculpture, which can be viewed from different perspectives, is an example of this then revolutionary approach to sculpture, as it encourages the observer to circle around it. One of the founding members of the artists' association, 'Novembergruppe', in Berlin, his political views did not conform with the Nazi ideology. Shortly after being elected a member of the Prussian Academy of Arts in 1931, he was forced to resign and he was banned from working in Germany, with his works being labelled as 'degenerate'. Unable to stay in his home country, Belling emigrated to Istanbul, where he lived for thirty years before being allowed to return to Germany at the age of 80. In the year before he died, Belling created the bronze sculpture, 'Blütenmotiv als Friedenssymbol' (Flower Motif as a Peace Symbol), which became the international landmark of the 1972 Olympic Games in Munich.
Lot 54
§ Michael Ayrton (British, 1921–1975), Siren, 1963, bronze, etched no. 0/9 to underside, unsigned 22.50cm (9in) Provenance: Acquired by the vendor directly from the artist's estate Literature: Michael Ayrton, Drawings and Sculpture, Michael Ayrton, Cory, Adams and Mackay, London, 1962, (ill. b&w pl.158) Michael Ayrton: An Illustrated Commentary, Peter Cannon-Brookes, City Museums and Art Gallery, Birmingham, 1978 (ill. b&w pl.180) Other Notes: An eclectic artist and writer, Michael Ayrton established his reputation as a distinguished painter, printmaker, sculptor, designer, illustrator and critic. Starting out as a painter alongside the Neo-Romantics including Paul Nash, John Piper and Graham Sutherland, Ayrton did not discover his interest in sculpture until 1948 when he visited Pisa and came across the sculptures of Giovanni Pisano (c. 1250-1315). Turning to sculpture in 1953 without any previous training, Ayrton mostly relied on the advice given to him by Henry Moore and his own study of Donatello, Rodin and Degas. Ayrton's versatile production of sculptures, illustrations and poems reflect his interest in mythological themes. Trips to Cumae, Greece and Crete immersed Ayrton in the world of Ancient Greek mythology. In 1956, his first visit to the ancient site of Cumae, near Naples, had a profound effect on his art. From the early 1960s onwards, Ayrton created and wrote numerous works drawing upon the myths of the Minotaur and Daedalus and Icarus, which pervaded his art for the rest of his career. In the present work, Ayrton certainly took inspiration from his travels. According to Peter Cannon-Brookes, the figure was inspired by the Cumaen Sibyl from Ovid's 'Metamorphoses'. In the story recounted by Ovid, the Sibyl asked the god Apollo for eternal life - taking a handful of sand and asking to live for as many years as the grains of sand she held. Later, when the Sibyl rejected the god's love, Apollo tricked her and let her wither away, claiming she should have asked for eternal youth instead. Eventually, she grew thinner and more decrepit with age and after a thousand years, only her voice was left. In the present sculpture, the emaciated figure, stripped to the bone, is highly reminiscent of the fate of the Cumaen Sibyl and illustrates the capriciousness of divine intervention.
Lot 55
Kenjiro Azuma (Japanese, born 1926), a limited edition bronze, the abstract form based around the artists 'MU' series, signed in the bronze and numbered 58/400 16 x 13.50cm (6 x 5in) Born in Japan, Azuma Kenjiro enrolled at the Tokyo University of the Arts to study sculpture, before leaving for Italy to further his training at the Accademia di Belle Arti di Brera in 1956. He went on to spend six decades of his life in Milan. Working in the workshop of the Italian sculptor, Marino Marini (1901-1980), Kenjiro was much encouraged to draw on his Japanese identity and Eastern philosophies, which inspired him to develop the MU series - of which the present lot is an example. From 1962 onwards, all his sculptures were named 'MU' followed by a number - MU meaning 'nothing' in Kanji and Chinese. The current lot epitomizes the MU series in its abstract shape and geometric as well as symbolic features. The hollow dots and marks are recurring features throughout his sculptures, referring to the passing of time. Its surrealistic undertones are characteristic of the Punto Art Movement. In 1961, Kenjiro joined the Punto Art Movement, established in Milan by the Chinese-born abstract painter, Hsiao Chin, (b.1935). Representing Japan, Kenjiro became the only member working predominantly with sculpture. In 1963, he was awarded the Japanese National Museum of Modern Art prize. In 1975, his work was acquired by the Vatican Museum, and became its first collection by a Japanese artist. In very good condition.
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