February 2013 - Russell Kaplan Auctioneers

Transcription

auctioneers&property
auctioneers
Fine Art
-1-
16 February
Fine 2013
Art
Session 2
P94 William Kentridge, Untitled I
auctioneers
Art Auction
Saturday, 16 February 2013
1:00 PM
www.rkauctioneers.co.za
t +27 11 789 7422
f +27 11 789 7609
c +27 83 675 8468
e rka@global.co.za
P01
Shilakoe, Cyprian Mpho (SA 1946 - 1972)
Follow the footsteps you will find her sleeping
Etching, signed, 1970, edition 22/25
29 X 40,5cm
R15 000 – R20 000
Cyprian Shilakoe was trained at the famous Rorke’s Drift art and Craft Centre in Natal in the 1960’s
alongside artists including Azaria Mbatha, John Muafangejo and Vuminkosi Zulu. He is generally less
well known than his contemporaries mostly because he died tragically in a car accident at the age of 26.
Using aquatint and drypoint etching techniques, Shilakoe made dark, but shimmering images of lonely
figures in desolate spaces. Unlike Mbatha and Muafangejo, Shilakoe made little reference to religious
stories, rather presenting a deeply personal, psychological state drawing on his dreams and his cultural
belief systems. In Follow the footsteps you will find her sleeping, the high contrast image seems quite
abstract at first, but tracing the odd shapes, one can make out two ungainly figures. A large abstracted
character lies horizontally across the centre of the picture plane, with starkly white legs, no arms and a
haunting, hollow face. In front of her is a smaller figure standing with its back to us, whose arms are also
tightly contained within a cylindrical body. It has been suggested that the “sleeping” figure is Shilakoe’s
grandmother, with whom he was very close. Made not too long before the artist’s death, this print is
almost prophetic, Shilakoe’s grandmother beckoning him into the afterlife. It also has a deep sense of
powerlessness and anxiety, reflecting the socio-political circumstances of the time, but in a remarkably
different style. In fact, Shilakoe’s style is perhaps more closely related to that of contemporary artists
such as Penny Siopis and Robert Hodgins.
S V*
Reference: 1. SACK, S. 1988. The Neglected tradition: towards a new history of South African art (1930-1988), Johannesburg Art Gallery, 23
November 1988 - 8 January 1989. Johannesburg: Johannesburg Art Gallery. 2. WINTERS, Y. 2009. Indigenous Aesthetics and Narratives in the Works
of Black South African Artists in Local Art Museums. Unpublished Masters Dissertation. Faculty of Human and Management Sciences, University of
KwaZulu Natal, Pietermaritzburg.
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P02
P03
Broadley, Robert (SA 1908 – 1988)
Broadley, Robert (SA 1908 - 1988)
Coastal scene with figures
Fishing boats
Watercolour, signed, 1963
27,5 x 37,4cm
R1 200 – R1 800
27,5 x 37,2cm
R1 200 – R1 800
P04
Hesselbarth, Berhnard Franz (Berne)
(SA 1903 - )
Figures under trees
Oil on board, signed
51 x 66cm
R1 000 – R2 000
P05
Fielding, Aubrey (SA 1903 - 1981)
Farmhouse and trees
39,5 x 49,5cm
R2 000 – R3 000
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P06
Flint, William Russell Sir
(British 1880 - 1969)
Carmalita
Colour print, signed
28 x 31,5cm
R1 000 – R1 500
P07
Kobeli, Eli (SA 1932 - 1999)
Washday
Mixed media on paper, signed
49 x 71cm
R2 000 – R3 000
P08
Campbell - Quine, Nina (SA 1911- ?)
Portrait and Man on horse
Mixed media and monoprint, signed
24,7 x 19,2cm & 19,6 x 25,8cm
R800 – R1 200
P09
Mokgosi, Nat (Nathaniel) (SA 1946 - )
Two birds
29,5 x 31,2cm
R1 000 – R1 500
-3-
P10
Sash, Cecily (SA 1924 - )
Wire bird with cart VII
Mixed media on paper, signed, 1990
49,5 x 68,5cm
R500 – R800
P11
Saoli, Winston (SA 1950 - 1995)
Cow and bird
49,5 x 68,5cm
R1 000 – R1 500
P12
Macdonald,
Longford (British/
South African
1905-1957)
Collecting the hay
44,5 x 55cm
R4 000 – R6 000
-4-
P13
Packer, Mary (SA 1892 - 1977)
Cape Dutch house
Watercolour, signed
39 x 53cm
R1 500 – R2 000
P14
Hodgins, Robert Griffiths (SA 1920 - 2010)
Golden girl
Lithograph, signed, 2005, edition 6/40
55 x 75cm
R8 000 – R10 000
P15
Catching a chicken
34 x 52cm
R1 000 – R1 500
-5-
P16
P17
Joubert, Keith Eric
(SA 1948 - 2013)
Joubert, Keith Eric
(SA 1948 - 2013)
Giraffe
Marabu stork
Watercolour on paper,
signed
35 x 25cm
R800 – 1200
Watercolour on paper,
signed
35 x 25cm
R800 – 1200
P18
Joubert, Keith Eric (SA 1948 - 2013)
Warthog
Watercolour on paper, signed
25 x 35cm
R800 – 1200
P19
Kudu doe
23 x 24cm
R800 – 1200
P20
Elephant
29 x 22cm
R800 – 1200
P21
Hasegawa, Shoichi (Jap 1929 - )
Matincalme
Coloured etching, signed, edition 109/110
73,5 x 54,5cm
R1 000 – R1 500
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P22
P23
Baldinelli, Armando (SA 1908 - 2002),
Boys, George (SA 1930 - )
Figure Studies
Nude Study
55 x 36,7cm
R3 000 – R5 000
96 x 66cm
R2 500 – R3 500
P24
Ntukwana, Hargreaves (SA 1938 - 1997)
Figure lying down
74 x 121cm
R1 000 – R1 500
P25
Abrams, Lionel (SA 1931 - 1997)
Abstract compositions
Mixed media on paper, signed, two works
in the lot, 24 x 32cm each
R800 – R1 200
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P26
Emmanuel, Paul (South African 1969 -)
Parade of shadows
Lithograph, signed, 2009, edition 6/35
79 x 156cm
R15 000 – R20 000
-8-
P27
Clarke, Peter (SA 1929 - )
Empty bottles
Linocut, signed
11,5 x 10,6cm
R2 500 – R3 500
P28
Mayer, Ernst Karl (Erich)
(SA 1876 - 1960)
Landscapes
Pencil sketch, signed, two works in the
lot, 7,5 x 12cm & 8 x 10,5cm
R1 500 – R2 000
P29
Van Blommestein, Peter Daniel (South African 20thC),
Still life vase with anthuriums
46,5 x 28cm
R2 000 – R2 500
P30
Skotnes, Cecil Edwin Frans (SA 1926 - 2009)
Black and white head
Woodcut print, signed, 1966/12/11, edition 5/10
41 x 15,5cm
R800 – R1 200
-9-
P31
Paravano, Dino
(South African 1935 - )
Landscape with river
running through trees
29 x 39,5cm
R2 500 – R3 500
P32
Paravano, Dino
Landscape with mountains,
river and trees
35,5 x 45,5cm
R2 500 – R3 500
P33
Paravano, Dino
Landscape with river
and trees
35,5 x 45,5cm
R2 500 – R3 500
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P34
Harrs, Hannes
(SA 1927 - 2006)
Abstract compositions
Lithograph, signed, edition
19/30 two works in the lot
42 x 31,5cm each
R1 000 – R1 500
P35
Hinwood, Lionel
(South African 1936 - 2012)
In the clouds
Oil on board, signed, 1979
119,5 x 120cm
R2 500 – R3 500
P36
Gundersen, Eustace (SA 20th Century)
Landscape
Oil on board, signed, 44 x 59cm
R1 000 – R1 500
P37
Boys, George (SA 1930 - )
Abstract composition
black and red
47 x 67,4cm
R2 000 – R3 000
- 11 -
P38
Gray, Loughridge
(South African
20thC)
Still life with roses
121 x 75cm
R8 000 – R12 000
- 12 -
P39
Tyrrell, Barbara Eleanor
Harcourt (SA 1912 - )
Tribal dress
Hand coloured prints, signed,
five works in the lot
24 x 18cm each
R1 500 – R2 500
P40
Amaler- Raviv, Arlene
Wicker armchair
Oil on canvas, signed
50 x 50cm
R4 000 – R6 000
- 13 -
P41
Desmond, Nerine (SA 1908 - 1993)
Basutho ladies
49,5 x 39,5cm
R40 000 – R60 000
- 14 -
P42
Henkel, Irmin (SA 1921 - 1977)
Still life flowers
Oil on canvas, signed, 1975
44 x 54cm
R60 000 – R80 000
- 15 -
P43
Catherine, Norman Clive (SA 1949 - )
Thoughts of the day 4th March 1999
55,5 x 64,5cm
R70 000 – R80 000
The ways in which meaning is made from visual objects often means that they become diaries of their
makers and begin to reflect the context of their production. This is reflected in the title of this painting
Thoughts of the Day, 4th March 1999 making it clear that the artist is creating a kind of visual journal
entry. Contextually the date may have a specific reference – it was the day that former president Nelson
Mandela announced the 2000 elections, signalling his retirement from politics. Norman Catherine is
well known for his socio-political commentary through cartoon-like doodles of anamorphic animals and
humanoid figures. Here, he combines a number of scenes together in a kind of storyboard. The largest
figure is the profile of a face in bold black lines, which forms a kind of a landscape: the hair atop his flat
head resembling grass. A black sun and a winged Icarus figure float above this cliff face and a large
arrow points down towards a menagerie of horned, spiked and snouted characters. On the right hand
side of the canvas more complex scenes develop: a three-headed hyena walks on another flat-headed
face, an anthropomorphic figure in a straight jacket has a “yes” and a “no” sign on either shoulder and
a large blue shark-like figure watches from a reservoir as a small shark swims in someone’s bath. This
complex array of symbols and references is almost dream-like: filled with bewilderment and perplexity.
S V*
References: 1. MCGREAL, C. 1999. Mandela Announces Election Date. The Guardian Thursday 4 March 1999. 2. FRIEDMAN, H. et al. 2000. Norman
Catherine. Johannesburg: Goodman Gallery.
- 16 -
P44
Zeelie, Adelo Zagni (South African 1911 - 1991)
Hout bay
90 x 120cm
R15 000 – R20 000
- 17 -
P45
Ullman, Ernest
(South African 1900 - 1975 )
Washing ladies Johannesburg
30 x 22,2cm
R5 000 – R8 000
P46
Battiss, Walter Whall
(SA 1906 - 1982)
Giles 4 jaar oud
Watercolour, signed, 26-Jun-42, paper label
on reverse with title from exhibition Pretoria
art museum
22 x 17,5cm
R8 000 – R10 000
- 18 -
P47
Coetzer, Willem Hermanus (South African 1900 - 1983)
Bushveld with village scene
19 x 36,5cm
R18 000 – R24 000
- 19 -
P48
Bushveld
19 x 36,5cm
R18 000 – R24 000
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P49
Mashile, Colbert (South African 1972 - )
Group of figures
97,5 x 97,5cm
R20 000 – R30 000
In Group of Figures, Colbert Mashile brings together a crowd of strange and often phallic shapes –
people standing with their backs to us. We are shown what they are looking at: a field of scribbled
shapes and symbols, perhaps drawn on a blackboard, perhaps patterns in the night sky. At the age
of 10, Mashile underwent traditional circumcision and uses his artistic practice to reflect on what he
experienced as trauma and violence and many of his works refer back to these ritual ceremonies
and practices. In this painting the figures seem to be wrapped in blankets, which directly suggests a
circumcision ritual. The painting also features the symbol of the cowrie shell (on the far right hand side),
which was used repeatedly by Mashile in this time period to signify an ancestral presence. Interestingly,
the shell normally appears at the very top or bottom of the image but here becomes the head of one of
the initiates. Additionally, this work is unique in that it makes quite a direct and illustrative reference to his
subject matter, whereas other artworks tend to be much more metaphorical and emblematic.
S V*
Reference: SMITH, M. 2006. Artbio- Colbert Mashile. Artthrob Issue 105. [Online]. Available: http://www.artthrob.co.za/06may/artbio.html. Date
accessed: 2013-02-09.
- 22 -
P50
Mason Attwood, Judith Seelawder (SA 1938 - )
Figure in landscape
91 x 121,5cm
R45 000 – R55 000
- 23 -
P51
Mayer, Ernst Karl (Erich) (SA 1876 - 1960)
Herdsman with cattle street scene Pretoria
Watercolour, signed
9 x 15,8cm
R1 500 – R2 000
P52
Mayer, Ernst Karl (Erich) (SA 1876 - 1960)
Landscape with cottages
Watercolour, signed
9 x 15,8cm
R1 500 – R2 000
P53
Strickland, Anthony (SA 1920 - )
Houses with figures and trees
Oil on board, signed, small crack top left hand side
34,5 x 49,8cm
R4 000 – R6 000
P54
P55
Wyllie, W L (20th Century)
Broadley, Robert (SA 1908 - 1988)
View of False Bay from St James
Storm brewing over ocean
34 x 46,3cm
R5 000 – R8 000
26 x 33cm
R5 000 – R6 000
- 24 -
P56
Moonrise at sunset Bubye River, Dyers Camp Southern Rhodesia
Oil on board, signed, 1962, titled on reverse
39,5 x 49,8cm
R25 000 – R35 000
- 25 -
P57
Battiss, Walter Whall ( SA 1906 - 1982 )
Redelinghuys, Albert (SA 1968 - )
Coetzee, Christo (SA 1929 - 2001)
Spies, Chris (SA 20thC)
Figures
Mixed media on paper, signed, collaboration work, signed by all
44,5 x 58,3cm
R20 000 – R30 000
- 26 -
P58
McDorman, Donald (American 20th Century)
Still life with bottle
45 x 26cm
R2 000 – R3 000
P59
Boyley, Errol Stephen (SA 1918 - 2007)
Landscape with trees
50 x 75cm
R25 000 – R30 000
- 27 -
P60
Pierneef, Jacob Hendrik (SA 1886 - 1957)
Landscape with cottage and view over ocean
Watercolour, signed
20 x 14cm
R20 000 – R25 000
- 28 -
P61
Boshoff, Adriaan Hendrik (SA 1935 - 2007)
Herding the cattle
24,5 x 35cm
R20 000 – R25 000
- 29 -
P62
Battiss, Walter Whall (SA 1906 - 1982)
Tails end
Oil on canvas, signed, recto verso – figures and head
40,5 x 49,5cm
R20 000 – R30 000
Verso
- 30 -
P63
Boshoff, Adriaan Hendrik
(SA 1935 - 2007)
Making calls – telephone booth
31 x 21cm
R20 000 – R25 000
P64
Boshoff, Adriaan Hendrik
(SA 1935 - 2007)
Posting the mail
31 x 21cm
R20 000 – R25 000
- 31 -
P65
Bevington, William George William
(South African 1881-1953)
View of Table Bay and
Lions head
40 x 55cm
R3 000 – R5 000
P66
Battiss,
Walter Whall
(SA 1906 - 1982)
Nude study
Pencil sketch, signed, 23-Nov-42
39,5 x 29,5cm
R8 000 – R12 000
P67
Douglas, Frank (1907-1975)
Interior scene with sculpture
60 x 75cm
R2 000 – R2 500
- 32 -
P68
Zeelie, Adelo Zagni
(SA 1911 - 1991)
Malayan Kaap
44,4 x 59,5cm
R3 500 – R4 500
P69
Vorster, Gordon Frank
(SA 1924 - 1988)
Buck in landscape
53 x 72,5cm
R5 000 – R7 000
P70
Squibb, Ruth Audrey
(SA 1928 - )
Street scene
52 x 70cm
R5 000 – R8 000
- 33 -
P71
Kentridge, William Joseph (SA 1955 - )
Light to lens
Etching, signed, edition 19/20
35,3 x 40cm
R16 000 – R20 000
P72
Strickland, Anthony (SA 1920 - )
Mothers and children
34 x 49cm
R4 000 – R6 000
- 34 -
- 35 -
P73
Sekoto, Gerard (South African 1913 - 1993)
Township scene
Gouache on paper, signed, 1971
37,7 x 56cm
R70 000 – R80 000
Gerard Sekoto is internationally recognised for his use of social realism to depict urban scenes during
apartheid. From 1947, Sekoto lived in self-imposed exile in Paris, leaving South Africa just before the
Afrikaner Nationalist party came into power. Painting from memory, Sekoto’s vivid recollections of
township life are filled with a sense of poignancy and the alienation of exile. In Women in the Village,
Sekoto’s gentle brushstrokes render visible a street scene on the edge of a small community. Two
women pass each other as they go about their days and a man on a bicycle climbs a small hill in the
background. On the right side of the painting, the hint of rolling hills and open space gives a sense of the
remoteness of the place, mirroring Sekoto’s own isolation and perhaps also suggesting the segregation
that formed part of the apartheid system. The vivid, but demure colour palette and loose style also gives
the painting a dream-like quality, as if the image was half-remembered and about to vanish altogether.
This painting features in Barbara Lindop’s seminal book on the artist, which was published in 1988.
S V*
References: LINDOP, B. 1988. Gerard Sekoto. Randburg: Dictum Publishing. pp. 248. 2. MANGANYI, N.C. 1996. A Black Man Called Sekoto.
Johannesburg: Witwatersrand University Press.
- 36 -
P74
Kentridge,
William Joseph
(SA 1955 - )
What Will Come
Exhibition poster,
Goodman gallery
2007, signed, edition
36/250
52 x 79,5cm
R3 000 – R5 000
P75
Goldblatt Sidney
(SA 1919 - 1979)
The Guitarist
Mixed media, signed
40x 26,3cm
R3 500 – R4 500
- 37 -
P76
Winding road Sabi Transvaal
Oil on board, signed, 1946, titled on reverse
28,5 x 39,3cm
R20 000 – R30 000
- 38 -
P77
Tugwell, Christopher
(SA 1938 - )
Still life carnations in jar
72 x 59cm
R10 000 – R15 000
P78
Schimmel, Fred
(SA 1928 - 2009)
Mixed media on paper,
signed, 2005
75 x 58cm
R8 000 – R12 000
- 39 -
P79
Bosch, Cornelius (SA 1956 - 2011)
Fruits of the earth
74 x 89cm
R10 000 – R15 000
- 40 -
- 41 -
P80
Battiss, Walter Whall (SA 1906 - 1982)
Shy girl
Oil on canvas, signed, 1982, signed 155
60 x 50,4cm
R60 000 – R80 000
Walter Battiss’s Shy Girl was painted in the year of his death. The focal point of the painting is the
young girl referenced in the title, who sits exposed to the viewer, shielded only by her hands, which rest
strategically in between her legs. Her embarrassment is illustrated with simple red dots of paint to the
cheeks giving her already simplified face a vulnerable, doll-like quality. On the left of the painting is a
large, female character whose nude body extends and elongates into a stack of bulbous shapes, she
is totemic and otherworldly. In the background numerous roughly painted figures dance led by a main
male character who is also naked. This late painting references Battiss’ early interest in rock art and
San culture. Even the seemingly abstract brown and yellow shape on the right hand side of the work
suggests a stereotypical San body type. Interestingly, this artwork is signed “155”, which the artist often
used in the longer form of “Batt155”, using the likeness of the numerical digits to the letters “iss” in the
end of the artist’s surname. In an undated self portrait, Battiss extends the wordplay to read “Alpha Batt
155” above which letters of the alphabet float, arranged as if in some sort of code. Battiss explored his
interest in the creative potential of language in many of his artworks, including his extensive project Fook
Island, for which he invented an entire language and alphabet.
S V*
Reference: VAN RENSBURG, W. 2008. Walter Battiss (1906 - 1982) 9 - 30 August 2008. Exhibition essay. Gallery AOP, Johannesburg.
- 42 -
P81
Desmond, Nerine
(SA 1908 - 1993)
Basutho riders
Watercolour, signed
27,7 x 37,7cm
R3 000 – R4 000
P82
Klar, Otto (SA 1908 - 1994)
Watercolour, signed
11 x 18cm
R4 000 – R5 000
- 43 -
P83
Davies, Llewellyn (Zimbabwean, 1950)
Reclining otter
Bronze on wooden base, signed, edition 9/50. Bought from Johans Borman gallery and has certificate,
height 23cm
R7 000 – R10 000
- 44 -
P84
Davies, Llewellyn (Zimbabwean, 1950)
Kinship
Bronze on wooden base, signed, edition 6/15. Bought from Johans Borman gallery and has certificate
height 27cm
R7 000 – R10 000
- 45 -
P85
Temporary house of Baragwanath, New Leydsdorp Nothern Transvaal
Oil on board, signed, 1943, titled on reverse and provenance Dennis Hotz Gallery on reverse
27 x 57cm
R25 000 – R35 000
WH Coetzer, as the artist was most commonly referred to, produced impressionist style paintings of the
South African landscape. His primary interest was the history and spirit of Afrikanerdom and in addition
to doing extensive research into Afrikaans culture and collecting Africana, Coetzer also travelled the
Voortrekker routes through the country by foot. Many of his paintings are in fact recreations of Voortrekker
scenes and stories and he became an expert on the costumes and equipment of the period. In 1938,
Coetzer designed the Great Trek Commemorative Postage Stamps. In this painting, Coetzer refers to
the Baragwanath family, who arrived in 1850 in Port Natal on the immigration ship “Lady Bruce”. South
African art historian, Esmé Berman interestingly notes that Coetzer’s landscape paintings were the most
closely matched to his own temperament, associating his images of the mountainous countryside with
a “grand concept”, a “historical saga” and a sense of “majestic drama” (1983:103). This painting typifies
Berman’s suggestion: the landscape is a theatrical meeting of mountains, sea and sky, which sets a kind
of stage around the small ‘temporary’ house and its residents.
S V*
References: 1. BERMAN, E. 1983. Art and Artists of South Africa. Cape Town: A.A.Balkema. pp. 102-103. 2. OGILVIE, G (ed.). 1988. Dictionary of
South African Painters and Sculptors. Johannesburg: Everard Read. pp. 136-137.
- 46 -
P86
Abstract
Bronze
40 x 20 x 10cm
R2 000 – R3 000
P87
Frank Gehry
Fish
Bronze, sculpture designed exclusively
for Condé Nast traveller by Frank Gehry
14 x 27 x 9cm
R2 500 – R3 500
P88
Bosch, Essias (SA 1923 - 2010)
Earthenware glazed bowl
41cm diam x 19cm height
R4 000 – R6 000
- 47 -
P89
Erri, Fleur (South African, 1926-2004)
Cranes
120 x 100cm
R15 000 – R20 000
- 48 -
- 49 -
P90
Mahlanghu, Speelman (South African, 1958-2004)
The Spear
Bronze, signed, edition 11/11
height 42,5cm
R30 000 – R40 000
Speelman Mahlangu is the late nephew of well-known Ndebele mural artist Esther Mahlangu. Drawing
on Ndebele culture, myths and visual traditions, the younger Mahlangu produced paintings, pots and
relief murals, but is mostly recognised for his brooding sculptures in bronze. Mahlangu studied at the
Katlehong Art Centre in the late 1970’s and had a continued involvement there until his untimely death.
The Spear, which ironically shares its title with a controversial painting by Brett Murray, portrays a thin
and elongated figure straddling a bull. The bull lies on its back, resigned, perhaps dead. Commonly,
spears and bulls are symbols of power and wealth and yet in this sculpture the figure looks slightly
forlorn, gazing up into the distance. Similarly, the overall scene that Mahlangu presents us with is not
one of struggle and drama, which may be expected given the subject matter and title, but rather is
intensely pensive and sober. It could be that Mahlangu is depicting a sacrifice scene, a bull offered up
to an anxious figure’s ancestors. Conventionally, sculptures of this kind are so filled with potency and an
almost aggressive energy, which makes The Spear all the more unique and unassuming.
S V*
References: 1. Esther Mahlangu. 2002. Press Release from 34 Long Gallery. [Online]. Available: http://www.vgallery.co.za/34long/em07_press/indx.
htm. Date accessed: 2013-02-09. 2. Mahlangu. Artist Profile from Knight Galleries International. 2002. [Online]. Available: http://www.knightgalleries.
net/artist/mahlangu. Date accessed: 2013-02-09.
- 50 -
P91
Hodgins, Robert Griffiths (SA 1920 - 2010)
Directors meeting 2pm: old boardroom
Oil on canvas, signed, 2005/06
35 x 100cm
R130 000 – R180 000
Featuring on the solo exhibition of Hodgins’ work at the Goodman Gallery, Johannesburg in 2007,
Director’s meeting: 2pm: Old boardroom depicts five men in large, almost overpowering, black suits,
from their waists up. The frieze format gives the painting a sense of authority and orderliness, echoing
the subject matter. The painting is split into three horizontal sections: the suits, which bleed into the
background, the faces which float on a stark cream panel and the only hint at a background, a long
brown stripe; perhaps a wooden dado rail. Hodgins is renowned for his use of luminous bright colours,
but in this painting he contains the colours to punctuations of pinks and oranges in the faces of the five
men. These odd shapes – the inside of a mouth, the outline of an ear, a large and bulbous nose – are
acutely visceral and have a sense of fury and simultaneous vulnerability. Hodgins’ later paintings and
prints are full of these kinds of ambiguities in corporate settings. As meditations on the patriarchal,
capitalist and elitist world of big business, these works are pithy and unsettling, but also have a strong
sense of wit and humour.
S V*
References: 1. SMITH, M. 2007. Robert Hodgins at Goodman Gallery. Artthrob Issue 116. [Online]. Available: http://www.artthrob.co.za/07apr/reviews/
goodman.html. Date accessed: 2013-02-09. 2. WILLIAMSON, S. 2008. Robert Hodgins at the Goodman Gallery Cape. Artthrob Issue 116. [Online].
Available: http://www.artthrob.co.za/08dec/reviews/goodmanc.html. Date accessed: 2013-02-09.
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Detail
- 52 -
- 53 -
P92
Goldblatt, David (South African 1930)
Mrs Miriam Mazibuko watering her garden, Extension 8, Far East Alexandra
Township, Johannesburg. 12 September 2006
Silver gelatine on fibre based paper, signed, 2006/12/09, edition 2/10
81 x 104cm
R50 000 – R70 000
Documentary photography in South Africa is inextricably linked to the name David Goldblatt. Having
photographed for about 60 years, and still actively producing new work, Goldblatt has created a prolific
archive of images that elucidates the complex history of the country in a way that intimately communicates
its particular struggles. More recently, Goldblatt has photographed the current socio-political mileu,
exposing contemporary strife, anxiety and the aftermath of apartheid. Mrs Miriam Mazibuko watering her
garden, Extension 8, Far East Alexandra Township, Johannesburg depicts a woman outside her newly
constructed RDP (Reconstruction and Development Programme) house which only has one room. The
photograph tells the story of Mrs Mazibuko, whose four children live with their grandparents because
of the lack of space in her government-awarded house. Goldblatt’s composition of this photograph is
almost painterly. In the far distance the headstones form one band of tiny rectangular shapes. In front
of this a band of informal housing is cramped together in such a way that only the haphazard roofs are
visible – a larger set of forms. The focal point of the photograph is a single rectangle – Mrs Mazibuko’s
house – and the repetition of similar shapes, which increase, as they get closer to the foreground,
creates a sense that they are progressive: people moving out of one box and into another until their final
resting place in a box beneath the ground.
S V*
Reference: ENWEZOR, O. 2008. ‘The Indeterminate Structure of Things Now’. Bedeutung Magazine Issue 1: Nature & Culture. pp. 90 – 101.
- 54 -
- 55 -
P93
Victor, Diane Veronicique
(SA 1964 - )
Confessions of a bell boy
Charcoal and pastel on paper, signed, 1992
238 x 107,8cm
R25 000 – R35 000
Known for marrying a combination of intricate mark-making and difficult subject matter, Diane Victor’s
highly charged and often controversial images have brought her international recognition. Working
primarily in etching and other forms of printmaking, Victor sketches mostly from memory and often uses
her own body and face in the scenes she creates. In this pre-1994 drawing, Victor depicts a fragmented
and yet crowded set of symbols, figures and backgrounds in a limited colour palette. Two central seminude figures, a bell boy and a woman (Victor) embrace awkwardly, her hands preventing his confession
and covering his genitals. The bell boy, wearing the top half of his uniform, has his hands held out as in
a gesture of of openness and of vulnerability: he is perhaps an icon of baggage, a burdened history. On
his right hand a cross, resembling a mark on a voting ballot, becomes a kind of stigmata, emphasized
by his Christ-like pose. Beneath this central image a large rabbit sits atop what could be a ballot box
in a pose that strongly resembles Albrecht Durer’s Hare of 1503. Symbolically, rabbits and hares have
been associated with fertility, sexual desire and resurrection. The drawing is loaded with other symbolic
references including a platter of fish, a pear, and a golden bell to name a few. In the background of
the image a mass of delicately drawn plants converges into a domed building, which is most likely to
be the dome of St. Peter’s Basilica in Rome. The image is separated into two planes by a gold strip of
writing that is partially concealed by small panels of drawings. The Latin word morte meaning ‘death’
is perhaps the only part of the writing easily translatable. With this loaded array of references, symbols
and fragments, Victor constructs an image that surely must reflect the context of South Africa in the time
leading up to the first democratic elections of 1994.
S V*
Reference: RANKIN, E. & VON VEH, K. 2008. Taxi 013: Diane Victor. Johannesburg: David Krut Publishing.
- 56 -
- 57 -
P94
Kentridge, William Joseph
(SA 1955 - )
Untitled I
Bronze, edition 1/14 with signed and editioned certificate
32 x 39 x 22cm
R350 000 – R450 000
This sculpture is from Kentridge’s extensive project situated around a short story by Nikolai Gogol
entitled The Nose and published in 1837. The narrative follows an egotistical Russian bureaucrat
named Kovalyov who is somehow separated from his nose. The nose assumes Kovalyov’s identity
and soon climbs the social ladder far beyond its ambitious owner. “I am not the horse. The horse is not
mine,” which Kentridge uses as a central metaphor and starting point for much wordplay, is a Russian
expression, which implies a lack of guilt and responsibility. In Untitled I, the large nose character sits
rather triumphantly upon the horse with a strong sense of sturdiness. In a style typical of Kentridge’s
more recent work, the horse is largely fragmented, which in the artist’s own words, illustrates the “fragility
of coherence” (2009:86). The use of characters like Kovalyov is a key feature of Kentridge’s practice
and in many ways this small sculpture encapsulates Gogol’s story while at the same time reflecting the
contemporary socio-political context of South Africa.
S V*
Reference: SHAMAN, S. S. 2009. Review of William Kentridge’s ‘I am Not the Horse. The Horse is Not Mine’ at the Goodman Gallery and Iziko South
African National Gallery, Cape Town. Art South Africa 7(3):86-87.
- 58 -
P95
Mabasa, Noria (South African, 1938)
Legend of Hlopeka
Wood, provenance Gallery 181 Johannesburg
height 176cm; width 173cm; depth 145cm
R250 000 – R350 000
Noria Mabasa was the first, and at this stage still the only, female Venda sculptor to become nationally
and internationally recognised. Her primary subject matter captures the daily life around her and in
many instances reflects the experience of apartheid through her own particular context and perspective,
importantly giving voice to a woman’s point of view. This artwork, which is also titled The Legend of the
Death of Hlopeka is an impressively large sculpture that swarms with figures, animals and combinations
of the two. Each form of the sculpture is attached at some point and the middle section of the sculpture
is hollow, creating a kind of vortex composition that is high in energy. The figures are mostly nude and
their jaggedly carved forms and contorted gestures mirror the drama of the composition. Hlopeka is a
Tsonga name, which means to be poor and/or to be suffering (Mabasa’s ex-husband was Tsonga, hence
her Tsonga surname). In the context of apartheid South Africa this sculpture elucidates and embodies
the struggle for freedom from suffering, which is why it formed a focal point of the Constitutional Court
Art Collection for over three years.
S V*
References: 1. LEE, D. 2006. Noria Mabasa: Carving her Name in History. Middleburg: Awareness Publishing. 2. ARNOLD, M. & SCHMAHMANN, B.
2005. Chapter Nine: “Narratives of Migration in the Works of Noria Mabasa and Mmakgabo Sebidi”. Between Union and Liberation: Women Artists in
South Africa 1910 – 1994. United Kingdom: Ashgate Publishing. pp. 174.
- 59 -
- 60 -
P96
P97
Nitsch, Richard (German, 1866 - 1945)
Nitsch, Richard (German, 1866 - 1945),
Lady holding book and cane
Lady holding grinder
17 x 13,3cm
R2 000 – R3 000
17 x 13,3cm
R2 000 – R3 000
P98
Nitsch, Richard
(German,
1866 - 1945)
Lady holding
book & lady
holding joint of
meat
Oil on board, signed,
two works in the lot
16,5 x 12,4cm each
R2 000 – R3 000
- 61 -
P99
Carter, Sydney (SA 1874 - 1975)
Tree trunks
Gouache, signed
21 x 27,5cm
R1 500 – R2 500
P100
Battiss Walter Whall (SA 1906 - 1982)
Floating goddess
Lithograph, signed, Proof - some flocking on edge of paper - unframed
52 x 63,5cm
R8 000 – R12 000
- 62 -
P101
Bailey, Beezy (SA 1962 -)
Spaceman’s cabaret
Coloured drypoint etching, signed,
1995, E U 6/7
139 x 100cm
R8 000 – R12 000
P102
Bailey, Beezy (SA 1962 -)
The dead man spoke of
many things
Coloured drypoint etching, signed,
1996, E U 7/7
139 x 100cm
R8 000 – R12 000
- 63 -
P103
Dali, Salvador (Spanish 1904 - 1989)
Les Floralies
Set of fifteen etchings, signed, edition 75/350
35 x 25cm each
R30 000 – R40 000
- 64 -
P104
Botha, Hardy (SA 1947 - )
Nudes and horse
Aquatint, signed, 1977, edition 27/50
21 x 20cm
R500 – R800
P105
Carter, Sydney
(South African
1874 - 1975)
Still life with roses
and lemons
40 x 24cm
R6 000 – R9 000
- 65 -
P106
P107
Parsons, Mike (SA 1941 - )
Papageorge, Georgie (SA, 1941)
Bottled fruit
Ngorongoro Crater
35 x 35cm
R800 – R1 200
Mixed media on board with handpainted frame
42 x 42cm
R1 000 – R2 000
P108
P109
Head
Chicken
36 x 51,5cm
R1 000 – R1 500
49 x 65cm
R1 000 – R1 500
- 66 -
P110
Battiss,
Walter Whall
(SA 1906 - 1982)
Liza
Silkscreen, signed,
edition 67,5 x 54,4cm
- unframed
67,5 x 54,4cm
R8 000 – R10 000
P111
Battiss,
Walter Whall
(SA 1906 - 1982)
Hair
Lithograph, signed
33,5 x 47cm
R5 000 – R8 000
- 67 -
P112
Coleman, Trevor
(1936 - )
Shoppers
Marrakesh
Oil on canvas
signed, 1999
91 x 122cm
R7 000 – R10 000
P113
Page, Frederick Hutchison (Fred) (SA 1908 - 1977)
The Mask
Ink on paper, signed, 1969
21,3 x 53,5cm
R7 000 – R10 000
- 68 -
P114
Flint, William
Russell Sir
(British 1880 - 1969)
Ladies in studio
Colour print, signed
49,5 x 66cm
R3 000 – R5 000
P115
Hinwood, Lionel (SA 1936 - 2012)
Geometric composition
118,5 x 173cm
R2 500 – R3 500
P116
Macdonald,
Longford
(British/South
African 1905-1957)
The road to
the south
Oil on board, signed,
paper label with title on
reverse, 49,8 x 60cm
R4 000 – R6 000
- 69 -
P117
Skotnes, Cecil Edwin Frans (SA 1926 - 2009)
Three faces
62 x 45cm
R25 000 – R30 000
P118
Coleman, Trevor
(1936 - )
Organics
Mixed media on
canvas, signed, 1964
122 x 153cm
R8 000 – R12 000
- 70 -
P119
Beck, Sidney (SA 1936 - )
Three men
Pastel on paper, signed
72 x 49cm
R1 000 – R1 500
P120n
Coleman, Trevor (1936 - )
Fruit seller
Mumbai
101,5 x 76,5cm
R7 000 – R10 000
P121
Macala, Ben (South African 1938 - 1997 )
Two figures and donkey
91 x 63cm
R1 000 – R1 500
- 71 -
P122
Stern, Rhona (South African 1940 - )
Bust of Louis Donnele
Bronze, signed, 1956
34cm height
R2 000 – R3 000
P123
Ampenberger, Iris (SA 1916 - 1981)
Figure studies – The lesson
Pen and ink, signed
32 x 28,7cm
R1 000 – R1 500
P124
Two heads
Charcoal, signed, 1970
35,5 x 25cm
R1 000 – R1 500
- 72 -
P125
De Jongh, Marthinus
Johannes (Tinus)
(SA 1885 - 1942)
The old mill Ceres
Coloured etching, signed,
21 x 28cm
R1 200 – R1 800
P126
De Jongh, Marthinus Johannes (Tinus)
(SA 1885 - 1942)
Waterhof Kaapstad
Coloured etching, signed
24 x 18cm
R2 200 – R2 600
P127
Claerhout, Fr.
Frans Martin
(SA 1919 - 2006)
Portraits
Prints, signed
27 x 21cm each
R1 000 – R1 500
- 73 -
P128
Blampied, Clifford
George (British, 1875)
Lake scene
Watercolour, signed
25 x 35,5cm
R1 000 – R1 500
P129
Carter, Sydney
(SA 1874 - 1975),
Basuto lady
Gouache, signed,
28,7 x 23,5cm
R3 000 – R5 000
- 74 -
- 75 -
P130
Emmanuel, Paul (South African 1969)
Untitled - Transitions
Hand incised on exposed and processed photographic paper
70 x 70cm
R10 000 – R15 000
Transitions is a series of painstakingly made images by Paul Emmanuel, which toured as a solo
exhibition to venues including the National Museum of African Art, Smithsonian Institution in Washington
DC, as well as the Apartheid Museum and Constitution Hill in Johannesburg to name a few. The artist’s
intention of the series was to explore transitory moments in (particularly South African) masculinity –
infancy (circumcision), youth (military service), adulthood (marriage), and old age (a 90th birthday toast)
– ritualized moments that arguably shape the male identity. The images in the series were combined
as stills, with five in each set, the format itself evoking a transition and shift. Emmanuel, who was born
in Zambia, works mainly in printmaking and photography and many of his artworks have a focused
engagement with surface. The works from the Transition series, for instance, lie somewhere between
drawings and photographs. In making them, Emmanuel worked directly from photographs, carefully
copying the images onto photographic paper with a sharp blade. The result is an intricately detailed
surface of crosshatched lines, which shimmer as if the photo-realistic scenes are about to change. The
process of making these images was intensely laborious and time-consuming – it took Emmanuel three
years to complete the artworks that were exhibited as part of the Transitions show.
S V*
Reference: LALLARA, P. 2011. ‘Paul Emmanuel’s Transitions: The White South African Male in Process’. Nka Journal of Contemporary African Art
(2011)28:58-66.
- 76 -
P131
Hodnett, Noel (South African, 1949 - )
Landscape
35 x 55cm
R10 000 – R13 000
P132
Catherine, Norman Clive
(SA 1949 - )
Figure studies
Khoki on paper, signed, 1986
42 x 49,5cm
R2 000 – R3 000
- 77 -
P133
De Waal Von Maltitz, Gerda (SA, 1911-2006)
Abstract figures
Watercolour, signed
34 x 50cm
R1 000 – R1 500
P135
P136
Snake
Two figures
50 x 35cm
R5 000 – R7 000
50 x 35cm
R5 000 – R7 000
- 78 -
P137
Maseko Joseph Ramapulane (Joe) (SA )
Township scene
39 x 58cm
R3 000 – R5 000
P138
Le Roux, Isabel (South African 1943 - )
Village scene
Oil, signed, 1994
29 x 33cm
R2 500 – R3 500
- 79 -
P139
Victor, Diane Veronicique (SA 1964 - )
Ex libris
Etching, signed, 2001, edition 5/10
15 x 9,8cm
R1 000 – R2 000
P140
Gray, Doug (South
African 1950 - )
Gemsbok and
Wildebeest
120 x 90cm
R2 500 – R3 500
P141
Kentridge, William Joseph (SA 1955 - )
Standard Bank National Arts poster 1999
Signed, edition 8/250
98 x 67cm
R2 000 – R3 000
- 80 -
Detail
P143
Palmer, Alfred (South African, 1877 - 1951)
Four oil on canvas panels for Manners Mansions Jeppe street
Johannesburg 1937
Signed, unframed and needs restoration
two works 5m62cm x 90cm & two works 4m15cm x 151cm
R10 000 – R20 000
Alfred Palmer is perhaps best known for his large tempera tondo The Bathers, which was exhibited at
the Royal Academy in 1925. In the same year Palmer relocated from London to Durban, where he taught
art and lived for 15 years. In this time he travelled through the rural areas of South Africa painting both
the landscapes and the people he encountered. In 1937 Palmer was commissioned to paint the murals
for the main entrance foyer of the newly built Art Deco skyscraper ‘Manners Mansions’ which is situated
on the corner of Jeppe and Joubert Streets in the Johannesburg CBD. The four enormous paintings
depict the city of Johannesburg before World War II; clearly industrial, with its iconic tall skyscrapers
and signature mine dumps. What is striking, however, are the rolling hills and obviously rural space
surrounding the city – space which today is filled with suburban housing and shopping malls. In one
panel, groups of people interact on a grassy hill overlooking the relatively small city, which seems to be
surrounded by a grove of trees. In another, the jagged edges of mine dumps clear in the centre to reveal
a similarly harsh skyline beneath a typical Highveld sky. These important historical records, which are
painted in Palmers typical fluid, painterly style, were fortunately saved by building contractors in 1981
when the Manners Mansions building was refurbished.
S V*
References: 1. LIEBENBERG-BARKHUIZEN, E. 2003. Mary Steinbank, Modernism and the ‘Spirit of Africa’. Unpublished seminar paper presented
to the History and African Studies Seminar in the McIntyre Library. 2. YARKER, G. 2011. ‘Alfred Palmer’. The Dorset Magazine: Dorset Life. [Online]
Available: http://www.dorsetlife.co.uk/2011/09/alfred-palmer/. Date accessed: 2013-02-07.
- 82 -
P144
Waite, Margaret Hebe “Maisie” (South African, 1907-1986)
Landscape with trees
Watercolour, signed
36 x 53,5cm
R3 000 – R5 000
- 83 -
P145
Eight lithographs from the portfolio Twenty South African Graphics
including works by Braam Kruger, Lionel Abrams, Jan Redlinghuis
32 x 30cm each
R1 500 – R2 500
- 84 -
Credit
*S V – Stacey Vorster is a part time lecturer in the Wits History of Art department as well as the
curator of the Constitutional Court Art Collection.
P92 David Goldblatt, Mrs Miriam Mazibuko watering her garden, Extension 8, Far East Alexandra
Township, Johannesburg
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