Lot 116: TOMA ROSANDIC

TOMA ROSANDIC CROATIAN 1878-1959 DESIRE signed: T ROSANDIC walnut 73cm., 28¾in.

Grafton Galleries 1917

Rosandic, Yugoslav Gallery of Fine Arts, 1920, fig. 58
S. Casson, Some Modern Sculpture, London, 1928, fig. 37
K. Parkes, The Art of Carved Sculpture: Vol II Central and Northern Europe, London, 1931, p. 124
A. Durst, 'Wood Carving' in Studio, 1938, pp. 78-9, fig. 55
Sculpture in Britain Between the Wars, ex. cat. The Fine Art Society, London, 1986, fig. 88, p. 127

F. M. S Winand;
On loan to the Victoria and Albert Museum, London in the 1920s and 30s

Toma Rosandic was born in Split on the Dalmatian coast, the son of a stoneworker. A contemporary and friend of the great Ivan Mestrovic (1883-1962), Rosandic was one of the most prominent of the Yugoslav sculptors of his day. During the early years in Split, Rosandic learnt to carve in wood as well as stone and was much inspired by the younger Mestrovic who had moved there from Otavice. Both sculptors studied abroad before returning to Split, Rosandic touring Italy and exhibiting in Milan in 1906 and Belgrade in 1912.

With the outbreak of war Rosandic left for London. Desire formed part of the artist's one-man show at the Grafton Galleries in 1917. Writing in 1928 Stanley Casson described Desire as one of Rosandic's best works. The figure was also singled out for praise by Alan Durst who wrote that 'the carving is entirely free; there is no suggestion of restraint.' Although the movement in the figure was suggested by the natural shape of the walnut block, the languorous stretch of the woman's body has a striking naturalism. Desire is a truly three-dimensional sculpture, with each view adding to the powerful evocation of mood.

Through the post-war foundation of a school in Belgrade, known as the "Master Workshop'' Rosandic gave guidance and instruction to a new generation of sculptors. Amongst the many artists and public personalities that frequented the workshop was Henry Moore, during his exhibition in Belgrade in March 1955.