May 2013

auctioneers&property
auctioneers
Fine Art
11
May 2013
Fine
Art
Session 2
-1-
P93 Peter Clarke, Lovers in a bleak landscape
auctioneers
Art Auction
Saturday, 11 May 2013
1:00 PM
www.rkauctioneers.co.za
t +27 11 789 7422
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P01
Mbatha, Eric (SA 1948 - )
Miners in cage
Etching, signed, 2000, edition 3/20
58 x 44cm
R2 000 – R3 000
P02
Mbatha, Eric (SA 1948 - )
Township sangoma
Etching, signed, 2000, edition 23/20
58 x 44cm
R2 000 – R3 000
P03 (This image cannot be displayed due to license/royalty constraints)
Mason Attwood, Judith (South African 1938 - )
Patchwork I & II
Lithograph, signed, 1981, edition 11/60,
70 x 49.5cm
R3 000 – R5 000
-2-
P04
Bailey, Beezy (SA 1962 - )
Abstract composition with boat
Oil on canvas, signed
45 x 41cm
R10 000 – R15 000
P05
Macala, Benjamin Mzimkulu (Ben)
(South African 1938 - 1997)
Horse
Pastel on paper, signed, 62 x 100cm
R1 200 – R1 800
-3-
P06
Vasarely, Victor
(French/Hungarian, 1906-1997)
Tuz (Gardes series)
Silkscreen, signed, edition 36/340
40 x 39,5cm
R5 000 – R8 000
P07
Vasarely, Victor
(French/
Hungarian,
1906-1997)
Geometric
composition
purple and green
Silkscreen, signed,
edition 84/200
64 x 64cm
R6 000 – R9 000
-4-
P08
Forain, Jean Louis (French, 1852-1931)
The Patient
Pastel on paper, signed
17 x 21,1cm
R2 000 – R3 000
P09
Van Heerden, Pieter Gerhardus (Piet) (South African 1917 - 1991)
Golden landscape
Oil on canvas laid on board, signed
24 x 30cm
R15 000 – R20 000
-5-
P10
Goldblatt, Sidney (SA 1919 - 1979)
Village scene
Oil on board, signed
43 x 74,5cm
R15 000 – R20 000
-6-
P11
Marini, Marino (Italian 1901 - 1980)
Figure and horse
Lithograph, signed, edition 34/75
51 x 61cm
R7 000 – R9 000
P12
Matsoso, Leonard (SA 1949 - )
Xhosa woman
Pen, ink and pencil, signed
26 x 17cm
R1 000 – R1 500
-7-
P13
Catherine, Norman Clive (South African 1949 - )
Dreaming of horrible things and lizards
Airbrush on paper, signed, has paper stains
32 x 26,5cm
R500 – R1 000
P14
Battiss,
Walter Whall
(SA 1906 - 1982)
Belly D.G.
Watercolour, signed,
1978/11/04
45 x 33,5cm
R4 000 – R7 000
P15
De Jongh, Marthinus Johannes (Tinus) (SA 1885 - 1942)
Rhodes monument Cape Town
Etching, signed
25 x 30cm
R500 – R1 000
-8-
P16
Battiss, Walter Whall
(SA 1906 - 1982)
Nudes
Silkscreen, signed
edition 71/79
45 x 64cm
R4 000 – R7 000
P17
Oldert, Johannes (South African 1912 - 1984)
Bluegums
Oil on board, signed
60 x 45cm
R1 500 – R2 500
P18
Fern, Emily Isabel (SA 1881 - 1953)
Cottages in the woods
Oil on board, signed
39 x 44cm
R4 000 – R7 000
P19
Macala, Benjamin Mzimkulu (Ben) (South African 1938 - 1997)
Lady holding calabash
Mixed media on paper, signed
79,5 x 58cm
R1 000 – R1 500
-9-
P20
Meerkotter, Dirk Adriaan (SA 1922 - )
Abstract composition
Silkscreen, signed, 1974, three works in the lot edition 15/25, 40 x 40, 38 x 49 & 51 x 31cm
R1 200 – R1 800
P21
Macala, Benjamin Mzimkulu (Ben) (South African 1938 - 1997)
Woman holding calabash
Mixed media on paper, signed
79,5 x 58cm
R1 000 – R1 500
P22
Boys, George
(South African 1930 - )
Cosmos
Oil on board, signed
59 x 79cm
R3 000 – R5 000
- 10 -
P23
Vasarely, Victor (French/Hungarian, 1906-1997)
Gaia II green
Silkscreen, signed, edition 93/250
83 x 83cm
R8 000 – R12 000
- 11 -
P24
Vasarely, Victor (French/Hungarian, 1906-1997)
Globe
Silkscreen, signed, edition 63/250
65,5 x 65,5cm
R6 000 – R9 000
- 12 -
P25
Hodge, Simon (Scottish 1903 - 1973)
Gateway Damascus
Watercolour, signed
44 x 65cm
R1 500 – R2 500
P26
Catherine,
Norman Clive
(South African
1949 - )
Identikit
Silkscreen, signed,
1983, edition 30/40
47,5 x 56,5cm
R3 000 – R5 000
- 13 -
P27
Schreuders, Claudette
(South African 1973 - )
Voels I
Coloured etching, signed,
edition 4/25
26 x 28cm
R3 500 – R4 500
P28
Schreuders, Claudette
(SA 1973 - )
Voels II
Coloured etching, signed,
edition 4/25
26 x 28cm
R3 500 – R4 500
P29
Schreuders, Claudette
(SA 1973 - )
Voels III
Coloured etching, signed,
edition 4/25
26 x 28cm
R3 500 – R4 500
- 14 -
P30
Koenig, Dezso (SA 1902 - 1972)
Man with pipe
Pastel on paper, signed
44 x 30cm
R800 – R1 200
P31
P32
Dyaloyi, Ricky (South African 1974 - )
Dyaloyi, Ricky (South African 1974 - )
Cab
The family
Pastel, signed
49 x 38cm
R4 500 – R5 500
Pastel, signed
47 x 51cm
R4 500 – R5 500
P33
Mokgosi, Nat (Nathaniel) (SA 1946 - )
Man with pot on his head
Pastel on paper, signed
83,5 x 58,5cm
R2 500 – R3 500
- 15 -
P34
Seage, Lucas (South African, 1957)
Abstract composition
Mixed media and collage, signed
49 x 69cm
R4 500 – R5 500
P35
Du Toit, Paul (South African, 1965)
Abstract composition of a man
Acrylic, signed, 2008
67 x 103cm
R40 000 – R50 000
- 16 -
P36
Catherine, Norman Clive (SA 1949 - )
Private show
Oil stick on paper, signed
74 x 100cm
R40 000 – R50 000
- 17 -
P37
Catherine, Norman Clive (South African 1949 - )
A tribute to King Ferd III
Lithograph, signed, AP 4
69 x 77cm
R1 500 – R2 500
P38
Van Den Berg, Chris
(South African 1937 - )
Crucifixion
Oil on board, signed, 1959, from his
first exhibition Cape Town, 49,5 x 39cm
R2 000 – R3 000
- 18 -
P39
Battiss, Walter Whall (SA 1906 - 1982)
Rainbow family group, Gila river
Pencil sketch, signed, 6.7.1977, 26 x 34cm
R10 000 – R13 000
- 19 -
P40
Diedericks, Chris (SA 1965 - )
Chance II inside out
Signed, February 2002
18 x 97cm
R5 000 – R7 000
P41
Cohen, Steven (SA 1956 - )
Crowned madonna
Handcoloured silkscreen on fabric
196 x 134cm
R15 000 – R25 000
- 20 -
P42
Battiss,
Walter Whall
(SA 1906 - 1982)
Orgy
Pencil sketch, signed,
has some spotting
20 x 30cm
R4 000 – R6 000
P43
Battiss,
Walter Whall
(SA 1906 - 1982),
Lady Grey
Ink on paper,
signed, 1944
28 x 38cm
R5 000 – R8 000
- 21 -
P44
De Jongh, Marthinus Johannes (Tinus) (SA 1885 - 1942)
Meiringsport
Oil on board, signed
51 x 76cm
R45 000 – R55 000
- 22 -
P45
Catherine, Norman Clive (SA 1949 - )
Fast food
Oil on canvas, signed
40,5 x 51cm
R35 000 – R45 000
- 23 -
- 24 -
P46
Lock, Freida (South African, 1902-1962)
Bo-Kaap in the forties
Oil on canvas laid on board, signed, 1943
59,5 x 49,5cm
R200 000 – R300 000
Freida Lock was a founding member of the Cape Town based New Group and exhibited on their first
exhibition in 1938. Born in Cheshire, England, and having studied there in 1932, Lock was closely
associated with “progressive painting” in the context of early 20th century Cape Town. Bo-Kaap in the
Forties shows the influence of European Impressionist and Post Impressionist movements in its use
of visible brushstrokes and vivid, shimmering light. The image is a study of a street scene in the BoKaap, historically inhabited by the Cape Malay community, which was predominantly Muslim before
its recent ‘gentrification’. Lock captures the painted facades of buildings that are quintessentially
associated with the neighbourhood as well as the tip of Table Mountain, which dominates the skyline
behind the buildings. The image is peaceful in quality; people stroll along the quiet streets and a
keenly observed red rickshaw is parked in the near distance.
S V*
Reference: BERMAN, E. 1970. Art and Artists of South Africa. Cape Town: A. A. Balkema. pp. 183 – 184.
- 25 -
P47
Cohen, Steven (SA 1956 - )
Boy with sunglasses
Hand coloured silkscreen on fabric
237 x 130cm
R20 000 – R30 000
- 26 -
P48
Sibiya, Lucky Madlo
(SA 1942 - 1999)
Abstract figural
composition
Carved, incised and painted
panel, signed
90 x 60cm
R50 000 – R70 000
The images that Lucky Sibiya has left the world are distilled and refined in a way that is evocative of early
South African rock paintings and even some aboriginal sand drawing. His ability to manoeuvre abstract
forms into the surface of an image was recognised by his close mentor and friend Cecil Skotnes, who
not only helped to develop Sibiya’s work, but also drew on it in his own artistic practice. This large,
painted relief carving is an accumulation of abstract forms that form a kind of landscape, in which
simplified naturalistic and abstracted figures interact. As such the image reads in one sense like a kind of
storyboard, drawing the viewer’s eye through a number of scenes. The largest figure depicted has three
heads and a large elongated body, which ends in a set of tiny legs. The figure’s arms are open wide –
beckoning, giving it a Christ-like appearance – and all other figures throughout the fragmented image
seem to reach towards it mirroring its pose. On another pictorial level the delineated shapes that frame
these scenes are map-like and the strong linear elements suggest a way of walking or moving through
the image that defines the realms of the figures, but also seems completely separate.
S V*
Reference: PEFFER-ENGELS, J. 1999. In Memoriam: Lucky Madlo Sibiya, 1942 – 1999. African Arts 32(3):86.
- 27 -
- 28 -
P49
Alexander, Keith (South African, 1946-1998)
Suburbia
Oil on canvas, signed, 1995
59 x 64cm
R130 000 – R180 000
Alexander, who passed away suddenly in his early fifties, is mostly recognized for his hyper-real, postapocalyptic landscapes inspired by the Namib Desert. This late painting is unique in that it is one of the
few closed off interior spaces depicted in the artist’s oeuvre – most interior scenes open up to vistas
of endless sandscapes or at the very least are filled with sand, such as in the paintings of Kolmanskop
– the largest ghost town on the Skeleton Coast. Suburbia retains the typical level of photographic
detail common to Alexander’s work and in addition has a sense of deep space and timelessness that
is evoked so clearly in his images of the desert, despite the limited pictorial depth. This immaculately
empty scene is dominated by an ornate lamp, which astutely characterizes the suburban quality of
the image referenced in the title. However, the narrative is not without depth or drama – a spider is
camouflaged in the darkness and the open curtains reveal not a window, but a padlocked steel screen.
The lamp is switched on, implying human presence, but at the same time the image is so entirely bare
and quiet: a suspension of time in an empty world.
S V*
Reference: ROBBINS, D. 2000. Keith Alexander: The Artist in Retrospect. Johannesburg: Jonathan Ball.
- 29 -
P50 (This image cannot be displayed due to license/royalty constraints)
Skotnes, Cecil Edwin Frans (SA 1926 - 2009)
Two figures
Woodblock print, signed, edition VI/VIII
20 x 24cm
R1200 – R1 800
P51
Van, Rijn, Rembrandt (Dutch, 1606-1669)
The artist’s mother seated in black widow’s
dress and gloves
Etching, signed in the plate top left - Reference B344 H+91
19 x 14,5cm
R2 500 – R3 500
P52
Romm, Nina (SA 1949 - )
Punk rock hero (slash)
criminal memories
Oil, mirror and mixed media on
canvas, signed
51 x 40,3cm
R8 000 – R12 000
- 30 -
P53
Kentridge, William Joseph (SA 1955 - )
Nose 3
Etching, signed, edition 2/50
36,3 x 41,2cm
R30 000 – R40 000
- 31 -
P54
Joseph, Helen (South African)
Nude figure study
Charcoal on paper, signed
53 x 39cm
R1 500 – R2 500
P55
Mokgosi, Nat
(Nathaniel) (SA 1946 - )
Musicians
Pastel on paper, signed
49 x 69cm
R2 000 – R3 000
P56
Buthelezi, Mbongeni (SA 1965 - )
Portrait study yellow
Molten plastic on plastic, signed, 2008
70 x 55cm
R8 000 – R12 000
- 32 -
P57
Glossop, Allerley (Joe) (SA 1870 - 1955)
Landscape with river
Oil on board, signed
28,5 x 37cm
R3 000 – R5 000
P58
Battiss, Walter Whall (SA 1906 - 1982)
Trees in landscape
Pen and ink, signed, 1929
33 x 42cm
R10 000 – R15 000
- 33 -
P59
Claerhout, Frans Martin Fr (South African 1919 - 2006)
Labola
Oil on board, signed
50 x 59cm
R25 000 – R35 000
- 34 -
P60
Thackwray, James Vicary (South African 1919 - 1994)
Lady with blue scarf
Oil on board, signed
44 x 25,6cm
R3 000 – R5 000
P61
Claerhout,
Frans Martin Fr
(South African
1919 - 2006)
Portrait of a
young girl
Oil on board, signed
57 x 39cm
R14 000 – R18 000
- 35 -
P62
Davis, Miles (American)
Dancing figure, lithograph
edition 164/450
65 x 48cm
R4 000 – R5 000
P63
Zerffi, Florence
(South African, 1882-1962)
Still life with potplant
Oil on canvas, signed
62 x 39,5cm
R20 000 – R30 000
- 36 -
P64
Dykman, Henry John (1893 - 1972)
Still life with roses
Oil on board, signed
60 x 76cm
R1 200 – R1 800
P65
Paravano, Dino (SA 1935 - )
Farm cottages
Oil on board, signed
51,5 x 77cm
R6 000 – R8 000
- 37 -
P66
Du Toit, Paul (SA
1922 - 1986)
Landscape
Oil on board, signed,
1952
55 x 59cm
R45 000 – R55 000
P67
Buthelezi, Mbongeni (SA 1965 - )
Portrait study
Molten plastic on plastic, signed, 2007
88x 60cm
R8 000 – R12 000
- 38 -
P68
Catherine, Norman Clive (SA 1949 - )
Heavyweight
Oil on canvas, signed
40,5 x 51cm
R35 000 – R45 000
Heavyweight is a fairly atypical example of Norman Catherine’s work insofar as the image depicted is
more or less naturalistic and lacks the artist’s usual animal-human hybrids. The painting has a lighthearted and comical quality that is quite alluring. The only subject is a muscular figure who kneels under
the weight of a large barbell in the traditional weightlifting pose. His gaze is raised as if looking to the
heavens for assistance and a large toothy grimace spread across the lower half of his face. There are
subtle moments where Catherine’s style is so plainly clear, as in the subject’s widely set, almost snoutlike, nose and the pliability of his bent legs. The use of the colour red is also interesting. It overwhelms
the background so much so that it reflects off the figure and the edges of the weights. Catherine’s
work is archetypally invested with political comment and we can safely assume that although blithe,
Heavyweight is certainly not a simple depiction of a body builder straining under the burden of his task.
S V*
Reference: FRIEDMAN, H. et al. 2000. Norman Catherine. Johannesburg: Goodman Gallery.
- 39 -
P69
Roux, Francois (Jacobus)
(Zimbabwe/South Africa 1927 - )
Seascape
Oil on board, signed
32 x 39cm
R3 000 – R5 000
P70
Ullmann, Ernest (South African 1900 - 1975)
Grecian figures
Oil on board, signed
32 x 29cm
R3 000 – R5 000
P71
Roux, Francois (Jacobus)
(Zimbabwe/South Africa 1927 - )
Rocky Outcrop
Oil on canvas, signed
55 x 70cm
R3 000 – R5 000
- 40 -
P72
Boshoff, Willem
(SA 1951)
Neves I
Etching, signed, 2003,
edition 18/25
53 x 61,5cm
R5 000 – R8 000
P73
Boshoff, Willem
(SA 1951)
Neves II
Etching, signed, 2003,
edition 18/25
53 x 61,5cm
R5 000 – R8 000
- 41 -
P75
Mahlangu, Speelman Makwe (SA 1958 - 2004)
Two ladies
Oil on board, signed
59 x 74,5cm
R4 000 – R5 000
P76
Oldert, Johannes
(South African 1912 - 1984)
Farmhouse and trees
Oil on board, signed
59,5 x 90cm
R2 500 – R3 500
- 42 -
P77
Clarke, Peter (SA 1929 - )
Coming from shopping
Gouache, signed, 31.1.1967
18 x 12cm
R25 000 – R35 000
- 43 -
P78
Carter, Sydney (South African 1874 - 1945)
Figures in farmyard
Oil on canvas laid on board, signed
44 x 60cm
R12 000 – R16 000
- 44 -
P79
Le Sueur (Louis) (South African 1942 - )
Pig at high velocity
Bronze, edition 1/1 exhibited at Lidchi in 1966,
23cm height x 22 x 24cm
R2 000 – R3 000
P80
P81
Alexander, Keith
(South African,
1946-1998)
Alexander, Keith
(South African,
1946-1998)
Abstract form
Abstract form
Carved wood, signed
80cm height
R8 000 – R10 000
Straight top, carved
wood, signed
67cm height
R8 000 – R10 000
- 45 -
P82
South African 20th Century
Head
Bronze
48cm height
R2 000 – R3 000
P83
Welz, Jean Max Friedrich (SA 1900 - 1975)
Portfolio
64 x 52cm
R3 000 – R4 000
- 46 -
P84
Verster, Andrew Clement (SA 1937 - )
Seferis portfolio
Silkscreen, signed, ten works in the portfolio - edition 37/100
59 x 42,5cm
R13 000 – R16 000
- 47 -
P85
Rabinowitz, Hyme (South African 1920 - 2009)
Bowl with sgrafitto decoration in tenmoku glaze
10 x 13cm
R500 – R800
P86
Rabinowitz, Hyme (South African 1920 - 2009)
Square dish with floral decoration
8 x 20 x 24,5cm
R600 – R900
P87
Rabinowitz, Hyme (South African 1920 - 2009)
Bottle vase with sgrafitto decoration in celedon glaze
22cm height
R1 000 – R1 500
P88
Rabinowitz, Hyme
(South African 1920 - 2009)
Rectangular dish in tenmoku glaze
51 x 22 x 6cm
R1 000 – R1 500
P89
Rabinowitz, Hyme (South African 1920 - 2009)
Tile
31 x 31cm
R400 – R600
- 48 -
P90
Reynolds, Patrick (South African)
Nude study
Bronze, signed, edition 3/25
37cm height
R4 000 – R6 000
P91
Tretchikoff, Vladimir Griegorovich (SA 1913 - 2006)
Ring bound book and self portrait print
Both signed, 32 x 25,5cm
R1 200 – R1 800
- 49 -
P92
Ngatane, Ephraim (SA 1938-1971)
Musician
Oil on board, signed, 1969
39,5 x 29,5cm
R50 000 – R60 000
- 50 -
P93
Clarke, Peter (SA 1929 - )
Lovers in a bleak landscape
Gouache, signed, 3.6.1966
24 x 30,5cm
R60 000 – R80 000
Earlier this year, Peter Clarke was featured in a major retrospective exhibition at Rivington Place gallery
in London. The show, entitled Peter Clarke: Wind Blowing on the Cape Flats follows the 2011/12 major
exhibitions at the Iziko South African National Gallery in Cape Town and the Standard Bank Gallery in
Johannesburg. Clarke’s impressive oeuvre spans over the last sixty years and includes an incredibly
versatile range of media, formats and even styles. Clarke is an accomplished printmaker, draughtsman,
and painter and most recently he has used collage and concertina books. Lovers in a Bleak Landscape,
characteristically depicts figures within a dry and harsh setting. Clarke’s keen observation of subjects
within space began in Simon’s Town, where he grew up: he would draw from his bedroom window,
which looked out over the ocean. In the late 1950’s Clarke moved to Tesselaarsdal (near Calendon in
the Overberg district) and started working full time as an artist. The images made in this early stage
of Clarke’s career were filled with anxiety and a sense of hopelessness, tracing the despair of the
disintegrating communities after the institution of the Group Areas Act of 1950. Interestingly, Clarke
dates this painting to a particular day, 3 June 1966, which gives it a sense of intense specificity that is
quite rare in depictions of this kind. In some sense the date further alienates the two subjects, allowing
us to feel the coldness of the winter air in which they embrace.
S V*
Reference: HOBBS, P. & RANKIN, E. 2011. Listening to Distant Thunder: The Art of Peter Clarke. Johannesburg: Standard Bank of South Africa.
- 51 -
- 52 -
P94 & P95
William Kentridge, perhaps South Africa’s most famous contemporary artist, created these two largerthan-life linocut prints for an exhibition entitled Self at the Klein Karoo National Arts Festival in 2002,
curated by Clive van den Berg. Since then, both images have been exhibited all over the world and have
made their way into prominent art collections including the Metropolitan Museum of Art, the Museum
of Modern Art (MoMA) as well as the Virginia Museum of Fine Arts. Walking Man was also included in
the seminal blockbuster exhibition Impressions from South Africa: 1965 to Now, which took place at the
MoMA in 2011.
One editioned set of these two linocut prints was originally printed on Japanese rice paper, but in 2003
Kentridge set out to print an additional set on canvas. The edition was interrupted by the tragic fire at
the Artist Proof Studios in Johannesburg, in which both linocut plates were destroyed, resulting in the
Walking Man set being limited to only 4 out of the 9 copies. In this sense, each of these editions was the
last run of each linocut plate.
The two processional images seem to reference the multiplicity of approaches to art-making that
Kentridge employs: both have a quality of movement that seems almost like animation and both also
evoke the large public sculpture Firewalker, which Kentridge designed with fellow South African artist
Gerhard Marx in 2010. The monumentality of the two images is part of what makes them so powerful;
the bodies of the anamorphic figures are so intimately relative to our own that there is almost a sense of
empathy into the psychology of the two subjects.
In Walking Man a large tree takes the place of the head of the subject, leaving his suit-clad body leaning
forward under its immense weight. The figure dominates the finely gradated background: an endless sky
and in the far distance a set of electricity pylons watch the figure go by. The image can be interpreted
on a number of levels: in one sense it evokes a relationship between man and nature and in another it
calls back to the protest action associated with apartheid.
Telephone Lady on the other hand, is morphed from the waist up into a large rotary telephone. Her bare
legs and feet are covered only by a sheer floral skirt, which billows up as she takes an enormous step
forward. In some sense this reads as a comment on the relationship between man and technology, but
also carries the connotations of voice that is symbolised by the telephone.
S V*
References: 1. MCCRICKARD, K. 2012. William Kentridge. London: Tate. p.39. 2. HECKER, J. 2010. William Kentridge: Trace: Prints from the
Museum of Modern Art. New York: Museum of Modern Art; London: Thames and Hudson. pp. 13; 61.
- 53 -
P94
Kentridge, William Joseph
(SA 1955 - )
Walking man
Lino cut on canvas, signed,
edition 4/9, only four canvasses
were printed as the lino was
destroyed in a fire before the
edition was completed
245 x 102,5cm
R230 000 – R330 000
- 54 -
P95
Kentridge, William
Joseph (SA 1955
-)
Telephone lady
Lino cut on canvas,
signed, edition 7/9
209 x 102cm
R230 000 – R330 000
- 55 -
P96
Roworth, Edward (Prof) (SA 1880 - 1964)
Farmhouse in landscape
Oil on board, signed
29 x 38cm
R5 000 – R8 000
P97
McCaw, Terence John
(SA 1913 - 1978)
Villa Medici Rome
Watercolour
Signed, 1967
35 x 48cm
R2 500 – R3 500
- 56 -
P98
Tennant, Alice
(SA 1890 - 1976)
Proteas
Oil on board, signed,
47,8 x 56cm
R3 000 – R5 000
P99
Murray, Brett (South African 1961 - )
Soccer ball lamp
Steel and perspex, with paper tag
33cm diam
R800 – R1 200
P100
Catherine, Norman Clive
(South African 1949 - )
Stamp sheet King Ferd III
commemoration
Lithograph, signed, AP 4/40
37 x 46cm
R3 000 – R5 000
- 57 -
P101
Klar, Otto (SA 1908 - 1994)
Houses and huts in landscape
Oil on board, signed
30,5 x 55cm
R15 000 – R25 000
- 58 -
P102
Higgs, Cecil (SA 1900 - 1986)
Shell
Charcoal sketch, signed
35 x 49cm
R2 000 – R3 000
P103
Koenig, Dezso (SA 1902 - 1972)
Farmhouse at river
Oil on canvas, signed
35 x 50cm
R1 200 – R1 800
- 59 -
P104
Cilliers-Barnard, Bettie
(SA 1914 - )
Pink Head
Monotype, signed, 1979
64 x 49cm
R4 000 – R7 000
P105
Portway, Douglas Owen
(SA 1922 - 1993)
Abstract composition
Soft-ground etching with aquatint in
colour, signed, 1967
50 x 37cm
R3 000 – R5 000
- 60 -
P106
Van Den Berg, Chris
(South African 1937 - )
Sphinx
Oil on canvas, signed, 1970
91 x 60cm
R8 000 – R12 000
Chris van den Berg was born in Namibia and studied at Michaelis School of Art at the University of
Cape Town. Painting intermittently throughout his life, van den Berg has primarily worked as a designer
in the performing arts industry. His paintings have a Surrealist quality and often tend to reference the
work of South African modernist Alexis Preller. In Sphinx, an abstracted female torso transforms into a
window, framed by her crossed arms, revealing a camouflaged wall constructed upon a rocky hilltop.
The wall evokes the ruins of Great Zimbabwe in the way that it is built into the landscape. The female
figure is also a kind of landscape; the delineated shapes which define her arms, her chest and her face
are like sand dunes in the way they sharply undulate. Her face is also segmented into two halves like
the dramatic masks of comedy and tragedy. Another reference to performance is the peculiar mask she
holds in one hand, which on one side has a gargoyle-style face and on the other resembles a collection
of bones. Van den Berg’s sensitivity to the theatrical is clearly evident in this otherworldly painting.
S V*
- 61 -
P107
Klopcanovs, Alexander (SA 1912 - 1997)
Eight ladies
Oil on canvas, signed, 1973
54 x 74cm
R1 500 – R2 500
P108
Hinwood, Lionel (South African, 1936-2012)
Abstract red composition
Oil on board, signed
108,8 x 66cm
R5 000 – R8 000
- 62 -
P109
Rundle, Margaret
(South African
20thC)
Abstract
composition with
chequers
Oil on canvas, signed
90 x 121cm
R2 000 – R3 000
P110
Vermeulen-Breedt,
Marie (SA 1954 - )
Reflection
Oil on paper, signed
48 x 36cm
R3 000 – R5 000
- 63 -
P111
Hinwood, Lionel
(South African, 1936-2012)
Fantasia with creeper
Oil on board, signed
84 x 104cm
R5 000 – R8 000
- 64 -
P112
Roux, Francois (Jacobus) (Zimbabwe/SA1927 - )
Gully
Oil on canvas, signed
60 x 50cm
R5 000 – R8 000
- 65 -
P114
Valadie, Jean- Baptiste (French, 1933)
Mother and daughter
Oil on canvas, signed
59 x 36cm
R3 000 – R5 000
P115
Roux, Francois
(Jacobus)
(Zim/SA 1927 - )
Rocks
Oil on canvas, signed
40 x 46cm
R3 000 – R5 000
- 66 -
P116
Roux, Francois (Jacobus) (Zimbabwe/South Africa 1927 - )
Grasses
Oil on board, signed
22 x 29cm
R5 000 – R8 000
- 67 -
P117
Meerkotter, Dirk Adriaan (SA 1922 - )
Abstract composition
Silkscreen, signed, 1976, edition 65/90
50 x 58cm
R800 – R1 200
P118
Verster, Andrew Clement (SA 1937 - )
Portrait
Pencil sketch, signed, 1975
25 x 20cm
R500 – R1 000
P119
Penstone,
Constance
(SA 1865 - 1928),
Hottentots
Holland
mountains
20 x 32cm
R2 000 – R3 000
- 68 -
P120
Fasciotti, Titta (South African 1927 - 1993)
House in winter landscape
Oil on board, signed
29 x 40cm
R10 000 – R15 000
- 69 -
P121
Jaroszynski, Tadeusz (SA 1933 - )
The conspirators
Oil on canvas, signed
49,8 x 44,5cm
R10 000 – R15 000
Jaroszynski was born in Makarska, Yugoslavia (now Croatia) but moved to South Africa with his parents
as a teenager. He studied at an art school in Helsinki where he met his wife Karin who also practiced
as an artist. In the 1970’s and 80’s he exhibited regularly in Johannesburg as well as in Paris at the
Romanet Gallery. The Conspirators was featured in an exhibition at the Gertrude Posel Gallery at the
University of the Witwatersrand in 1976, where he showed alongside his wife. The painting depicts a
window behind which four mask-like faces huddle together, each gazing out at the viewer with derisive
suspicion. The dramatic quality of the image lies in Jaroszynski’s use of light and dark – in some cases
revealing starkly pale skin and in other instances disguising the subjects under a veil of shadows. The
style of the conspiratory faces is characteristic to Jaroszynski who, as Esmé Berman argues, drew on
a “psychological and artistic background far removed from sunny southern Africa…” retaining instead
the “haunting mental images of the symbolical masked carnivals he witnessed in his Yugoslavian
childhood…”
S V*
Reference: BERMAN, E. 1970. Art and Artists of South Africa. Cape Town: A. A. Balkema. p. 149.
- 70 -
P122
Roux, Francois (Jacobus)
(Zimbabwe/South Africa 1927 - )
Proteas
Oil on board, signed
29 x 34cm
R3 000 – R5 000
P123 (This image cannot be displayed due to license/royalty constraints)
Skotnes, Cecil Edwin Frans (SA 1926 - 2009)
Head
Woodblock print, signed, 1979, edition 2/10
53,5 x 38cm (sheet size)
R2 000 – R3 000
P124
De Clercq, Hannetjie (SA 1958 - )
Horse and dog
Oil on board, signed, 1999
43,2 x 34cm
R3 500 – R5 500
- 71 -
P125
Tucker, Arthur (British, 1864-1929)
Yewdale Farm Corniston
Watercolour, signed
29,5 x 46,8cm
R1 200 – R1 800
P126
Roux, Francois
(Jacobus)
(Zimbabwe/South
Africa 1927 - ),
Seascape
Oil on board, signed,
25 x 37,5cm
R2 500 – R3 500
P127
Miro, Joan (Spanish, 1893-1983)
Abstract composition
Lithograph, circa 1970s unsigned
48,5 x 35cm
R1 500 – R2 500
- 72 -
P128
After Battiss,
Walter Whall
(SA 1906 - 1982)
Fook stamps
Photolithograph,
42 x 54cm
R2 500 – R3 500
P129
Coignard, James
(French 1925 - 2008)
Man and blue circle
Coloured etching, signed, edition E.A.
38 x 49cm
R1 500 – R2 500
P130
Tretchikoff, Vladimir Griegorovich
(SA 1913 - 2006)
Ndebele lady
Print, signed
50,5 x 61cm
R800 – R1 200
- 73 -
P131
Vasarely, Victor (French/Hungarian, 1906-1997)
Vega Fel – rouge/vert
Silkscreen, signed, edition 66/267
58 x 58cm
R6 000 – R9 000
P132
Hinwood, Lionel (South African, 1936-2012)
Abstract flowers
Acrylic on paper, signed
49 x 49cm
R600 – R900
- 74 -
P133
Mene, Pierre Jules (French, 1810-1879)
The hunt
Bronze, signed
24cm height
R25 000 – R35 000
- 75 -
P134
Joseph, Helen (South African)
Sill life with chairs
Charcoal on buff paper, signed
101 x 49cm
R6 000 – R9 000
Helen Joseph had her first solo exhibition in 1999 at the Art Space gallery in Johannesburg. Trained
by South African artist, Bill Ainslie, in the 1980’s, she has produced a plethora of studies of the nude
female figure calling up and drawing upon the traditions of the genre. Her study of the body is not purely
academic, however: Joseph’s works tend to project a different kind of looking at these bodies in a way
that challenges the dominion of the male gaze, which has dominated the practice of fine art over the
last four centuries or so. In Still Life with Chairs, the main subject is a large armchair upon which a twolegged carved African stool is perched. In the background is an image within an image; it seems like a
figure study by Joseph hangs on the wall behind the chairs. The scratchy texture of the charcoal gives
the image a large amount of energy and verve despite the stillness of the scene. In one sense there is
a clear feminist reading of this image – the African stool is visceral in the way it is presented: two legs
beneath a pelvis. Chairs also reference a kind of construction of the feminine – as passive domestic
objects.
S V*
- 76 -
P135
Cohen, Steven (SA 1956 - )
Alice in Pretoria
Handcoloured silkscreen on fabric
116 x 102cm
R12 000 – R18 000
This large silkscreen by performance artist, Steven Cohen, is an early work probably originating from
his first solo exhibition Alice in Pretoria, which showed at the Market Gallery in Johannesburg in 1988.
The assortment of silkscreens made by a young Cohen, who dropped out of the army to attend the Ruth
Prowse School of Art in Woodstock, draw on Lewis Carroll’s celebrated story “Alice in Wonderland”
(1866). Rather than a magical utopia, however, Alice’s environment is filled with cockroaches, army
tanks, hand grenades and the iconic faces of political figures. Indeed Alice’s face becomes the face of
apartheid leader Paul Kruger. In the centre of the silkscreen, four images of the Cheshire cat’s floating
head are mirrored by the floating head of what may be Steve Biko, layered with an assortment of strange
headgear – perhaps even imagined as a kind of mad-hatter. The format used here reads like a textile
design, for the ways in which it uses repetition, layering and pattern, resulting in a comical satire of the
apartheid government that is as layered and complex in meaning and reference, as it is in composition.
S V*
References: 1. SASSEN, R. 2008.“Under Covers: South Africa’s Apartheid Army – an Incubator for Artists’ Books”. The Blue Note Book: Journal for
Artists’ Books 3(1): 1715-1712. 2. DE WAAL, S & SASSEN, R. 2003. Surgery without anaesthetic: The art of Steven Cohen. Steven Cohen Taxi-008.
Johannesburg: David Krut Publishing.
- 77 -
P136
Catlin, Gail Deborah (SA, 1948)
Figure study
Oil and mixed media on perspex, signed, 1992, provenance Everard Reed gallery Cape Town sticker
on reverse, 161 x 126cm
R25 000 – R35 000
- 78 -
P137
Battiss,
Walter Whall
(SA 1906 - 1982)
A rare plant
Silkscreen, signed, AP
45 x 64cm
R10 000 – R15 000
P138
Battiss,
Walter Whall
(SA 1906 - 1982)
Goddess
Silkscreen, signed,
AP 3/5
45 x 64cm
R10 000 – R15 000
- 79 -
P139
Battiss,
Walter Whall
(SA 1906 - 1982)
Flying figures
Silkscreen, signed,
AP 4/5
45 x 64cm
R10 000 – R15 000
P140
Battiss,
Walter Whall
(SA 1906 - 1982)
Untitled
Silkscreen, signed,
AP 1/1
45 x 64cm
R10 000 – R15 000
- 80 -
P141
Catherine, Norman Clive (South African 1949 - )
Luminous Zyptezook
Airbrush on paper, signed, 1986
33 x 45cm
R10 000 – R15 000
- 81 -
P142
Catherine, Norman Clive (South African 1949 - )
Deep Sea Fookery Fish During Mating Season
Airbrush on paper, signed, 1986
40 x 45cm
R8 000 – R12 000
- 82 -
P143
Catherine, Norman Clive (South African 1949 - )
Rare Gaboob
Lithograph, signed, AP 4
70 x 48,5cm
R3 000 – R5 000
P144
Catherine, Norman Clive
(South African 1949 - )
Luminous Fook Mook
Lithograph, signed, AP 4
70 x 48,5cm
R3 000 – R5 000
P145
Catherine, Norman Clive
(South African 1949 - )
Twittering Twook
Lithograph, signed, AP 4
48,5 x 70cm
R3 000 – R5 000
- 83 -
P146
Coignard,
James (French
1925 - 2008)
Untitled - with
newspaper
Etching, signed,
edition XIII/XV
56 x 76cm
R3 000 – R5 000
P147
Coleman, Trevor (1936 - )
Abstract composition
Oil on canvas, signed
51 x 89cm
R8 000 – R12 000
- 84 -
P148
Bailey, Beezy
(SA 1962 - )
Easter dance
Coloured etching,
signed, edition AP
134 x 106cm
R8 000 – R10 000
P149
Battiss,
Walter Whall
(SA 1906 - 1982)
Nude studies
Pen and ink on paper,
signed, 1974
27 x 38cm
R8 000 – R12 000
- 85 -
P150
Dali, Salvador (Spanish 1904 - 1989)
Untitled - nude
Coloured etching with glitter, signed, edition E.A.
50 x 34,5cm
R4 000 – R6 000
P151
Dali, Salvador (Spanish 1904 - 1989)
Untitled - faces and figure on horse
Coloured etching with glitter, signed, edition E.A.
XCV/C, 50 x 34,5cm
R4 000 – R6 000
- 86 -
P152
Kentridge, William Joseph
(SA 1955 - )
Preparing the flute Goodman gallery 2005,
poster
Signed, edition 55/200
79,5 x 67cm
R2 500 – R3 500
P153
Kentridge, William Joseph (SA 1955 - )
9 Films, drawings for projection
March 2004, poster
Signed, edition 123/125
84 x 59cm
R2 500 – R3 500
- 87 -
P154
Kentridge,
William Joseph
(SA 1955 - )
Goodman gallery
1999, poster
Signed, Edition 91/220
67 x 95,5cm
R2 500 – R3 500
P155
Kentridge, William Joseph (SA 1955 - )
Annandale galleries 2004, poster
Signed, edition 123/125
56 x 90cm
R2 500 – R3 500
- 88 -
P156
Pierneef, Jacob Hendrik (South African 1886 - 1957)
Cape farmhouse with trees
Oil on card, signed
21 x 25cm
R90 000 – R110 000
- 89 -
P157
Macdonald, Longford
(British) (SA 1905 - 1957)
The income tax form
Oil on board, signed and titled
on reverse
40 x 50cm
R2 000 – R3 000
P158
Nel, Mathijs Isak (Thijs) (SA 1943 - )
Abstract composition
Pastel on paper, signed
54 x 41,5cm
R1 000 – R1 500
P159
P160
Pasmore, Victor (British, 1908-1998)
Pasmore, Victor (British, 1908-1998)
When the lute is broken melodies are
remembered not
Untitled
Etching, signed, 1974, 70 x 60cm
R3 000 – R5 000
Etching, signed, 1974, edition 41/60
69 x 61,5 cm
R3 000 – R5 000
- 90 -
P161
Tobiasse, Theo (French/
Israeli, 1927)
Festival dinner
Lithograph, signed, edition 18/150
54 x 75cm
R4 000 – R6 000
P162
Macdonald, Longford (British)
(South African 1905 - 1957)
The Wheelwright
Oil on board, signed, 1943, signed and titled
on reverse
46 x 40cm
R2 000 – R3 000
P163
Amshewitz, John Henry (South African 1882 - 1942)
The mourner
Etching, signed
23,7 x 19,8cm
R1 000 – R1 500
P164
Lossgott, Kurt (South African 1941 )
Song of strength
Steel
59cm height
R1 200 – R1 800
- 91 -
Notes
- 92 -
Notes
- 93 -
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.
P46 Freida Lock, Bo-Kaap in the forties
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