BUSINESS ART SOUTH AFRICA

BUSINESS ART AUGUST 2010 | E-mail: subs@arttimes.co.za | Member of the Global Art Information Group

Great find: Stephan Welz and Vanessa Phillips from Strauss & Co (Fine Art Auctioneers and Consultants) chat about the untitled painting depicting the Union Buildings by Pieter Wenning (about 19141915). The painting belongs to a private collector and was valued at between R1million and R1.3million. In the background is Terry Flynn from the Ann Bryant Art Gallery.

Picture: Alan Eason

Rare art find in East London maybe worth more than 1m

By Michelle Solomon from The Daily Herald

Dylan Lewis expands his work to the human form in his latest work, on show at the ‘Untamed’ exhibition at Kirstenbosch.

Read a rare exclusive interview with the reclusive Dylan Lewis by Steve Kretzmann on page 2 Photo: Steve Kretzmann

Art auctioneer Stephan Welz made a stunning announcement at the Ann Bryant Art Gallery when he valued a painting brought in by a private collector at R1.3million. “He (Welz) was joking with me, and asked me how much it was worth,” Terry Flynn, of the East London gallery, said.

“Off the top of my head I said it was worth R70000.”

Welz then revealed the value of the piece, surprising the socks off Flynn. Even more astounding, according to Welz, was that he found another rare painting by the same artist in Grahamstown on Wednesday which he valued conservatively at R600 000. “(These works) are very, very rare,” Welz said. “It is highly unusual to find more than one or two in a year.” Flynn spoke to the Dispatch on behalf of the owner of the East London artwork, who asked to remain anonymous. “The collector is quite knowledgeable about artwork,” he explained, “but the painting is worth at least three times more than she thought she would get for it.” The artist, Pieter Willem Frederick Wenning, died in 1921 and is considered a South African master. The untitled painting depicts the Pretoria landscape, including a representation of the iconic Union Buildings in the distant background. The painting is thought to have been completed in 1915, as it is not dated. It was appraised at the Ann Bryant gallery

by Welz, a renowned art critic of Strauss and Company fine art auctioneers. Welz and his colleague Vanessa Phillips have been travelling across the province in order to appraise private collectors’ art, as well as take in entries for the Strauss and Co auction in Johannesburg later this year. Welz said this year’s trip had been particularly successful due to the discovery of the two Wennings.

Wenning’s work is a foremost example of Cape impressionist paintings, characterised by a “preoccupation with denoting the landscape rather than light on the landscape”, Flynn explained.

Additionally, the use of broad, bold brushstrokes representing tonal changes in colour, rather than fine detail, also indicate the work of a Cape impressionist. The painting will be auctioned by Strauss and Co in Johannesburg on November 1. “Maybe it will sell for more than R1 million,” Welz speculated.

DONALD GREIG BRONZE FOUNDRY & GALLERY

O������ 25 th A����� 2010 Tel: + 27 21 418 4515 email: greig@intekom.co.za Website: www.donaldgreig.com West Quay Rd, V & A Waterfront

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PAGE 02

ARTIST’S PROFILE

BUSINESSART | AUGUST 2010

Dylan Lewis who is one of the most successful SA contemporary sculptors, chats to Steve Kretzmann in Kalk Bay

Dylan Lewis: “success is a double edge sword” and complemented the way he seems to sometimes defy the laws of physics to freeze the kinetic energy contained in the movement of his beasts.

Though he is among the most sought-after sculptors in South Africa and abroad, he is rather modest about it. “I’ve been fortunate to have ‘some’ success,” he says. “I had no idea the Christies auction would be so successful.” And while the fortune and attendant fame is not rejected, he’s ambivalent about it.

Dylan Lewis appears to have the uncanny ability to freeze motion and energy in bronze. Work at Kirstenbosch Gardens Photo: Steve Kretzmann

By Steve Kretzmann If there was any doubt that contemporary South African sculpture could hold its own in the international art market, it was blown out of the water by the spectacular prices Dylan Lewis’s works fetched at Christies three years ago.

A 2007 auction of 75 bronze sculptures of wild cats and animals by the Stellenbosch-based artist sold out, fetching an astonishing R28 million in 90 minutes, an achievement that made the art world sit up and take new notice of a sculptor who might have been derided by critics as little more than a wildlife artist with an interesting technique.

But whatever purists might have had to say, the public pockets applauded the way his rough, masculine, raw application of clay translated in bronze

“It (commercial success) is a double edge sword. It gives me the resources to pursue dreams and ideas that I might otherwise not be able to.

But the shadow side of that success is that what makes you successful becomes difficult to break away from, it becomes difficult to pursue ideas which might not be so successful or well received.”

But he appears to have dealt with that shadow. His latest, and growing, body of work, as seen in his latest exhibiton Untamted at Kirstenbosch is a departure from the animal form that has dominated his output, toward representing the human figure.

This “probably had something to do with wanting to express things at a deeper level which couldn’t be expressed through the animal form alone”.

It is not a hasty move. Just because he made millions and commands high prices does not mean Lewis is going to indulge in misguided flights of fancy. But neither is he sticking to the tried and tested, and attempting to milk the market for all it’s worth.

In fact everything about Lewis, excepting the wildness contained in his sculptures, suggests a thoughtful person. His commercial success, and how art and the business of art interact, is certainly something he’s pondered. Art as a good investment is something he feels the recent and ongoing economic crisis has highlighted.

“Investors are not so sure about investments that once seemed very secure, and art, in comparison, seems a more secure thing than it might have once appeared.”

He believes that although art was not insulated from the economic crisis, it is surviving with a better track record than many traditional investments.

“High quality, flagship work”, particularly, has held its value, he believes, and there are still buyers who are willing to pay for it, although less of them perhaps than previously.

And sculpture has also benefited from an increase in popularity – although the reason for its popularity he cannot account for – that “certainly has lifted the prices it fetches, not by 100 percent, but by about 30 percent or so”.

He has also thought on the philosophy of what is popularly viewed to be art’s nemesis: the commercial realm. On the one hand, he says, there’s the “fairytale ideal” that art is an expression of true freedom, and that business is it’s polar opposite. But the reality is that life consists of “push and pull” factors and one has to continually balance opposing forces.

Finding the balance between the need to sell in order to survive, and not let that need affect your creativity, is not the sole province of art either, he says, it exists in many fields of endeavour to a greater or lesser degree.

And the commercial imperative is important, “it imparts its own energy and offers a reward, it makes things possible”.

“The art world would like to see commercialisation as a pariah, full stop.

But I think some of the greatest art work occupies the middle space between the commercial imperative and artistic expression… even Michelangelo, he had his arse kicked because the client (the church) had a deadline.”

An example of how expression can lie idle if there is no deadline or rumbling stomach demanding to be filled, is the changing attitude to state support for artists in the Netherlands.

He said his interest was piqued by an article he read while in Holland “about four years ago”, which stated the government were thinking of scrapping the grants and social support provided to artists to relieve them of commercial pressures in the belief they’d create better art. Instead, they weren’t producing much art at all.

“The commercial imperative is necessary but too much of it also takes away the integrity and passion of the artist, but alternatively, without it, the artist lacks the resources to work. You’ve got to walk that line.”

BUSINESSART | AUGUST 2010

ART LEADER PROFILE

Page 03

Art Leader:

Charles Shields and David Tripp Cape Town’s Everard Read Gallery

Hazel Friedman If sport is the opiate of the masses then culture is their social currency.

And if there are any lessons to be learnt from football, it is that the team which cannot adapt, falls; and that one must always keep an eye on the ball. So what does this Fifa-esque homily have to do with the successful operation of an art gallery? On a prima facie basis, not much, apart from the fact that at the Everard Read Gallery in Cape Town the polite tones so typical of the sanctified art spaces are being violated by the collective trumpet of the vuvuzela brigade outside.

These unexpected punctuation marks in the otherwise staid syntax of the art gallery provide the Cape Town ER with a refreshingly serendipitous identity. And in the fifteen years that the Cape Town gallery has been open for business, the art of dribbling and handling curved balls are skills Charles Shields and David Tripp have obviously acquired.

Launched in September 1996, the gallery was established as a satellite version of its Johannesburg counterpart — occupying a small shop window at the V&A Waterfront.

“We were little more than a cave,” recalls Shields. “We had no pristine white cube in which to work, no mailing list. And, quite frankly, our competitors were cynical about our chances of success.”

Adds Tripp: “The art world in Cape Town was much more parochial and conservative than it is now. But despite the odds, by 1999, when we moved to our current premises, we had evolved from shop window mode into a dynamic art destination with a separate identity and life of its own.”

Bordering the V&A Waterfront, in Portswood Road, the gallery still maintains a synergy with the Johannesburg ER, while embracing the motley constituencies of tourists thronging the area and a client-base that includes blue chip collectors.

“We provide a niche service to a buying public who enjoy coming here and like what we do. These collectors sustain the gallery. We also try to demystify the aloof, sometimes alienating environment of the art gallery by making it accessible to everyone and encouraging visitors to feel comfortable in the space.”

“Make no mistake,” cautions Tripp, “art buyers are generally sophisticated creatures with their own opinions, who choose to be guided by our authority. We adopt a temperate, measured approach, providing a gauge of what the market will pay. “ While the Cape Town ER’s principal mandate of showcasing figurative contemporary art hasn’t shifted, Tripp and Shields don’t suffer from risk aversion when it comes to artists they believe in. Although they “inherited” a substantial stable of established and emerging contemporary artists, they are always seeking new talent.

“We look at images all day” says Tripp. “We hate to discourage any artist who crosses our threshold, even those whose work we cannot exhibit. “ Adds Shields: “Both of us have an emotional response to the art. We want to be moved by great work and move others in turn. And we will go out on a limb for artists in whom we believe, even if they are commercially risky.”

Included on their belt of recent risky ventures are curated shows like the quirkily titled ‘Sex, Power, Money’ — a satirical riposte against the excessive consumption that precipitated the global economic recession.

The exhibition’s press release reads: If ‘Sex, Drugs & Rock ‘n Roll’ typified the 60s and 70s, then it is fair to say that more recent decades will be remembered as the time of ‘Sex, Power & Money’.”

Despite a bearish economy Sex, Power and Money enjoyed a bullish response.

“The show reinforced the fact that in a recession we have to survive on the success of local sales”, says Tripp, “and that our sustainability depends on our ability to adapt to the times.”

And nowhere is the symbiosis between art and economy more delicately negotiated than through the complex relationship between art-makers — the artists — clients and the intermediaries who close the deals.

“We stock a wide repertoire of artists and works because our clients’ tastes change,” explains Shields, “and as dealers we have to be more fluid than traditional gallerists. We don’t simply market exhibiting artists

David Tripp and Charles Shields at their Cape Town Everard Read Gallery but constantly seek out and showcase individual works by both new and established names - even those who do not exhibit regularly.”

He adds: “The relationship between the artist and dealer is tantamount to a marriage and it is predicated on compromise and sometimes serendipity.” The marriage metaphor is apt because, while they might not exactly complete each other’s sentences, the synergy between Tripp and Shields is unmistakable. Theirs is clearly a partnership spawned in gallerists’ heaven. They jokingly refer to themselves as Laurel and Hardy and share an office, probably spending more time together than with their respective spouses.

Tripp is the gregarious, jocular corporate lawyer-turned-dealer,

Photo: Jenny Altschuler

while Shields earned his art stripes by literally licking stamps for exhibition invitations at the Joburg Everard Read, and trawling the townships in search of undiscovered talent. Tripp provides business acumen; Shields an impressive understanding of art history.

“We’ve had occasional disagreements but generally we’re pretty much in sync in our choices and vision for the gallery, Tripp insists. “This is a noego zone and neither of our names will ever be exclusively on the door.”

Adds Shields: “ There is no single model for success. But doing it right entails attaining a balance between diplomacy and guidance, mollycoddling and maintaining a firm grip on artistic reins.”

Not to mention juggling, dribbling and catching curved balls.

Join Joshua Miles for a refreshing Woodblock Printmaking Class, Prince Albert Join Joshua Miles for a two day colour reduction block woodcut workshop from Sat 07 to Sunday 08 August at the famous 7 Arches Gallery in Prince Albert.

Contact Brent Phillips-White 0827492128, karoogallery@intekom.co.za or The Prince Albert tourist office at 023 5411 366 for more information on prices and what to bring, as well as the many beautiful places you can stay in this exquisite part of the Klein Karoo.

PAGE 04

FREE STATE, GAUTENG AND MPUMALANGA GALLERY LISTINGS FOR AUGUST 2010

Free State Bloemfontein Oliewenhuis Art Museum 10 June-08 August, Group exhibition by Dystopia.

5 and 6 August, Professional Practice Seminar presented by Les Cohn, Taryn Cohn and Teresa Lizamore 17 - 31 August, Nellie Bristley Art School Exhibition in the Reservoir. Nellie Bristley Art School Exhibition in the Reservoir The Annual Sophia Grey Lecture and Exhibition: The architect selected by the staff of the Department of Architecture at the University of the Free State for the 2010 annual lecture and exhibition is Jaco Wasserfall from Wasserfall Munting Architects in Namibia.

16 Harry Smith Street, Bloemfontein T.051 447 9609

Clarens Johan Smith Art Gallery From 25 September, Johan Smith presents his 16th Annual Exhibition.

Windmill Centre Main Street Clarens T. 058 256 1620 www.johansmith.co.za Blou Donki Art Gallery 07-31 August, Art Extravaganza featuring Free State Artists: Wim Rautenbach, Thelmi Bekker, Annette Dannhauser, Sonja Mitton-Barnard and Free State Photographers: Ian van Straaten, Danie van Niekerk, Mark van der Wal and Ruan Smit.

Guest Speaker: Laurika Rauch Windmill Centre Main Street Clarens T. 058 256 1757 www.bloudonki.co.za

Gauteng Johannesburg Artist Proof Studio 17 July-21 August, Works by Dumisani Mabaso.

28 August-09 October, Works by Bronwen Findlay.

The Bus Factory, 3 President Street, West Entrance, Newtown Cultural Precinct, Newtown.

T. 011 492 1278 artistp@mweb.co.za www.artistproofstudio.org.za Artspace –Jhb 17 July-07 August, “Dreamsweepers” by Nomusa Makhubu, the first solo exhibition by a past mentee from the 2007 Mentorship Programme.

10-17 August, a solo exhibition and intervention by Murray Turpin.

1 Chester Court, 142 Jan Smuts Ave., Parkwood, Johannesburg T. 011 880 8802 artspace@wol.co.za www.artspace-jhb.co.za Artspace Warehouse 01-28 August, “Fine Line” a solo exhibition by Estie Serfontein.

1 August @4:30pm, Opening speaker Prof Elfriede Dreyer 3 Hetty Ave, Fairlands, Jhb. T. 011 880 8802 artspace@wol.co.za www.artspace-jhb.co.za The Bag Factory 22 July-22 August, “May Contain Nuts” a group exhibition featuring Lester Adams, Reshma Chhiba, Nadine Hutton, Diana Hyslop, David Koloane, Kagiso Pat Matloa, Sam Nglengethwa, Thenjiwe Nkosi, Richard Penn, Lerato Shadi, Myer Taub, Mary Wafer 10 Mahlatini Street, Fordburg, JHB. T. 011 834 9181 info@bagfactoryart.org.za www.bagfactoryart.org.za Brodie/Stevenson 05 August-18 September, “Furies” Solo exhibition of new paintings and a video installation by Penny Siopis.

05 August-18 September, “Project 008” by Lunga Kama.

373 Jan Smuts Ave., Johannesburg T. 011 326 0034 www.brodiestevenson.com CIRCA on Jellicoe 15 July - 2 August, Bera Award winners Carmen Sober and Gabrielle Goliath. Mixed media, photography, installation, performance.

9 September - 3 October, Mixed media by Gavin Younge.

7 - 31 October, Mixed Media with wood by Enric Pladevall.

4 November - 16 Dec, Mixed media, bronze sculpture by Deborah Bell. 2 Jellicoe Ave. T. 011 788 4805 gallery@circaonjellicoe.co.za CO-OP Until 04 September, “Greener on the Other Side” by Kudzanai Chiurai. Kudzanai Chuirai’s third poster series in collaboration with Dokter and Misses. The show explores the franchise of democracy.

68 Juta Street, Braamfontein T. 011 023 0336 info@co-opjoburg.com www.co-opjoburg.com

David Krut Projects During August, works by Stephen Hobbs.

140 Jan Smuts Ave., Parkwood, Johannesburg T. 011 447 0627 www.davidkrutpublishing.com Everard Read Gallery Jhb 05-20 August, “A World Without Collisions” oil painting by Nicola Taylor.

19 August-05 September, Works by Haneke Benade.

20 July - 5 August Curiosities 9 September - 3 October, Pastel on paper by Haneke Benade, oil paintings by Rina Strutzer.

07 - 31 October, mixed Media on paper often earth or pastel by Thea Soggot. Leon Vermeulen.

04 - 25 November, Oil on canvas by Paul Augustinus.

6 Jellicoe Ave., Rosebank, Johannesburg T. 011 788 4805 www.everard-read.co.za Gallery 2 11 September-02 October, “Position in Space” by Karin Daymond.

140 Jan Smuts Ave, Parkwood.

T. 011 447 0155/98 gots@mweb.co.za www.gallery2.co.za Gallery AOP 12 August-04 September, “Dislocated Landscapes” by Kim Berman 44 Stanley Ave., Braamfontein Werf (Milpark) T. 011 726 2234 www.artonpaper.co.za Gallery MOMO 15 July-07 August, “New African Photography” featuring Siemon Allen, Sammy Baloji, Patricia Driscoll, Ayana Vellissia Jackson, George Mahashe and Andrew Tshabangu.

12 August-06 September, “The Young Ones”

by Theresa-Anne Mackintosh.

30 September-25 October, “Urban Africa” by David Adjaye 52 7th Avenue, Parktown North T. 011 327 3247 www.gallerymomo.com Gertrude Posel Gallery This gallery has a permanent exhibition of traditional Southern, Central and West African art.

Address: University of the Witwatersrand, Senate House, Jorissen Street, Braamfontein T: 011 717 1365 julia.charlton@wits.ac.za Goethe on Main 25 June-04 August, “LooObyHy no 50” by Pascale Marthine Tayo.

245 Main Street, Johannesburg.

Goodman Gallery 15 July-21 August, “In Other Words” Group exhibition.

24 July-28 August, The Gugulective / Ityala aliboli / Debt don’t rot’ Opening Saturday 24 July @ 12am.

163 Jan Smuts Ave., Parkwood, Johannesburg T. 011 788 1113 www.goodman-gallery.com Henry Taylor Gallery The Henry Taylor Gallery specializes in South African Investment art; hence, it is not uncommon to find Old Master paintings by Errol Boyley and J.H. Pienreff, hanging alongside up and coming artists such as Claire Denaire or Gian. P. Garizio.

Shop No G 7.2 Cnr. Cedar Rd. and Witkoppen Rd. Fourways T. 011 70-53194 www.henrytaylor gallery.co.za Johannesburg Art Gallery Until 01 August, “I am not me, the horse is not mine” by William Kentridge.

09 August-December, “Transformations: woman’s art from the late 19th century to 2010” artists taken from JAG’s Collection.

22 June-26 September, “Borders” an exhibition from the 8th Bamako Encounters, The African Photographic Biennale.Until 29 August, “Without Masks” 06 June-04 September, “Deep Play” by Harun Farocki King George Str., Joubert Park, Johannesburg T. 011 725 3130 www.joburg.org.za Jozi Art Lab Until 29 August, “Remotewords” by Achim Monhé and Uta Kopp.

Arts On Main, corner of Main and Berea Streets, Doornfontein, Johannesburg. T. 076 501 4291 www.jozi-artlab.co.za Main Street life Until 15 August, “Maboneng-Place of Light” German artists Detlef Hartung and Georg Trenz will be presenting a light installation dealing with the Maboneng precinct, which translated means the place of light.

Main Street Life Entrance Gallery (one block from Arts on Main) T. 011 3345023 Project in cooperation with the Seippel Gallery Johannesburg: www.seippel.eu/johannesburg/index.php mainstreetlife@gmail.com www.mainstreetlife.co.za Manor Gallery 01 August- 05 September, “The 7th annual Black Like US exhibition” Guest Artists Sam Maduna, Makiwa and Daniel Novela exhibiting together with other Black Like Us artists including Abe Mathabe, Chenjerai Kadzinga, Edward Selematsela, Mind Shana, Fungai and Stanley Mawelela. Exhibition opening Sunday 1st August @ 11am.

Norscot Manor Centre, Penguin Drive. T. 011 465 7934 gallery@wssa.org.za www.wssa.org.za

BUSINESSART | AUGUST 2010

Museum Africa Until 31 August, “Insurrections – sense of invisible footprints in moments of complexity” by Pitika Ntuli.

Until 24 Dec 2010, “l’Afrique: A Tribute to Maria Stein-Lessing and Leopold Spiegel” co-curated by Nessa Leibhammer and Natalie Knight.

121 Bree Str., Newtown, Johannesburg T. 011 833 5624 www.knightgalleries.net Nirox Sculpture Park Until 15 August: South African Sculpture of the last two decades.

Rabbi Cyril Harris Community Centre (RCHCC) 25 July-15 August, “Textured Moments”, paintings and sculpture by Alida Taylor.

Cnr Glenhove Rd & 4th Street Houghton.

Hazel or René (011 728 8088/8378) After Hours (011 728 8378) hazelc@greatpark.co.za renes@greatpark.co.za Resolution Gallery 03 August-23 October 2010, “Public Perception” a poster show

by Andy Robertson.

142 Jan Smuts Ave., Parkwood, Johannesburg T. 011 880 4054 www.resolutiongallery.com Seippel Gallery 16 May-08 August, “A gentle invasion” by Auke de Vries.

14 August-09 October, Recent Works by Mbongeni Buthelezi.

Auke de Vries.

From 10 October, Water paintings by Jill Trappler.

Arts on Main, Cnr of Fox and Berea, Johannesburg T. 011 401 1421 www.seippel-gallery.com Spaza Art Gallery Until 31 August, “Football Mania” an exhibition of sculpture, mosaic, drawings and paintings.

19 Wilhelmina Street, Troyville. T. 011 614 9354 C. 082 494 3275 Standard Bank Gallery 03 August-18 September, “A Vigil of Departure”

by Louis Maqubela.

Cnr of Simmonds & Frederick Str.’s, Johannesburg T. 011 631 1889 www.standardbankgallery.co.za Stephan Welz & Company 17 & 18 August 2010: Art Auction 13 Biermann Avenue Rosebank, Jhb T: 011 880-3125 www.swelco.co.za Thompson Gallery 18 July-18 August, “Interpret” by Elaine Hirschowitz.

Elaine Hirschowitz completed a Diploma in Occupational Therapy, Masters in Clinical Psychology and an Advanced Diploma in Fine Arts at Wits University. Her dedication to a psychoanalytic model of psychotherapy and a lifetime commitment to both her patients and making art, informs her work.

78, 3rd Avenue Melville, Johannesburg T. 011 482 2039 or 011 482 9719 info@thompsongallery.co.za www.thompsongallery.co.za Unity Gallery During August, a variety of new work, including paintings

by Nkosinathi Thomas Ngulube, monoprints by Sam Macholo, prints by Senzo Shabangu, craft by Patrick Mabena, drawings by Ramarutha Makoba and more 3 President Street, Newtown, Jhb. T. 072 119 5004 www.unitydesign.co.za University of Johannesburg Art Gallery 31 July-28 August, “Rooftop II” a Group exhibition.

Auckland Park Kingsway, Campus Cnr. Kingsway and Universiteids Rd., Auckland. T. 011 559 2099/2556 www.uj.ac.za/artsacademy Zietsies 13 August-03 September, “Roadtrip” by Alex Hamilton an exhibition about memory, adventure, landscape and the car that always broke down on the side of the road.

No 1. Beverley Road, Aucklandpark.

T. 021 447 2396 www.alexhamilton.co.za

Pretoria Alette Wessels Kunskamer Exhibition of Old Masters and selected leading contemporary artists.

Maroelana Centre, Maroelana.

GPS : S25º 46.748 EO28º 15.615 T. 012 346 0728 C. 084 589 0711 alette@artwessels.co.za www.artwessels.co.za Alliance Française of Pretoria During August, “Fleshy wasteland” by Retha Ferguson 99 Rivier Street, Sunnyside, Pretoria.

T. 0 12 343 6563 / 0263 pretoria@alliance.org.za www.alliance.org.za

BUSINESSART | AUGUST 2010

FREE STATE, GAUTENG AND MPUMALANGA GALLERY LISTINGS FOR AUGUST 2010

Page 05

Association of Arts Pretoria 16 July-04 August, Stillife Objects by Elna Venter.

01-17 August, ‘ES(CAPE)” Featuring work by Hanneke Benade, Lien Botha, Franci Cronje, Chris Diedericks, Nicola Grobler, Lenie Harley, Anton Karstel, Marlise Keith, Kai Lossgott, MJ Lourens, Nomphunzi Mashalaba, Henk Serfontein, Lionel Smith, Barbara Wildenboer, Carine Zaayman and Elsabe Milandri.

Opening Sunday 01 August 5:30pm for 6pm.

173 Mackie Street, Nieuw Muckleneuk, Pretoria. T. 012 346-3100 artspta@mweb.co.za www.artsassociationpta.co.za Brooklyn Theatre in association with Trent Gallery Until 22 August, “Battiss 5”, a Battiss family art exhibition.

T. 012 460 6033 Fried Contemporary 22 July-22 August, “Cities in transition” by Titus Matiyane.

430 Charles St, Brooklyn, Pretoria. T. 012 346 0158 art@friedcontemporary.com www.friedcontemporary.com Gallery Michael Heyns 27 July-21 August, A collection of Heyns’s work on canvas, board and paper.

31 August-18 September, “Clay” a long-awaited exhibition of new plates, tiles and sculptures by the versatile Michael Heyns.

Opening 29 August @ 11am.

New works from the studio of Michael Heyns can now be viewed by appointment in Johannesburg at 16 Halifax Street, Bryanston.

Dana MacFarlane 082 784 6695 dana@michaelheyns.co.za 351 Lynnwood Road Menlo Park Pretoria T.012 460 3698, Cell.082 451 5584 www.michaelheyns.co.za

Penny Siopis: Spirit, 2009, Ink and glue on canvas. Siopis’s show entitled: Furies runs from 5 August - 18 September 2010 at The Brodie- Stevenson Gallery Jhb, comprises new paintings and a video installation. See more at www.brodiestevenson.com

Pretoria Art Museum Until December, A selection of ceramics, representing the development of studio ceramics and the work of traditional rural potters of South Africa over the past thirty years, is on display.

A selection of artworks from the permanent collection of the Museum tells a brief story of South African art from the time of the first San artists.

North Gallery and Preiss Hall, T.012 344 1807/8 art.museum@tshwane.gov.za www.pretoriaartmuseum.co.za St Lorient Fashion and Art Gallery 31 July-18 September, “Celebrating Pretoria” a group mixed media exhibition featuring mostly paintings.stlorient@iafrica.com 17 The Ring 02-09 August, “On the Table” by Marina Louw.

17 Ring Rd, Lynwood 082 414 3638

Phillemon Hlungwani. Xilo xi n wana ni n wana xi ni nkoka eka nw winyi wa xona. 2010. Linocut. Part of the 9 Linocuts show at Gallery AOP

The Tina Skukan Gallery 01-26 August, Mixed Media exhibition by Wanda Haarhoff, Nola Straus and Braam van Wyk. Opening 01 August at 11:30am by Prof. Marinus Wiechers (artist and former rector Unisa) 6 Koedoeberg Rd, Faerie Glen, Pretoria.

T. 012 991 1733 www.tinaskukangallery.co.za Trent Gallery 17 July-05 August, Group exhibition featuring Lien Botha, Rossouw van der Walt and Berco Wilsenach. Opening 17 July between 9:00 and 12:30. Curated by Basie Botha.

198 Long Street, Waterkloof, Pretoria.

T. 012 460 5497. Trent.art@gmail.com www.trent-art.co.za

Work to be seen on the New African Photography Gallery Momo until 7 August 2010 Colbert Mashile. Mma waka Montedi. 2010. Linocut Part of the 9 Linocuts show at Gallery AOP

Mpumalanga White River The Loop Art Foundry & Sculpture Gallery Casterbridge Complex Corner R40 and Numbi Roads White River T. 013 751 2435 www.tlafoundry.co.za White River Gallery 17 July-04 August, “Eyrie” a solo exhibition of drawings and paintings by Cecilia Ferreira. The exhibition is based on an intensive collaboration with Dutch poet Joop Bersee and consists of a body of visual projections of Bersee’s book of poetry Eyrie (2009) which was dedicated to Francis Bacon.

Online catalogue www.eyriecollab.blogspot.com Casterbridge centre, R40 cnr Numbi gate rd and R 40 to Hazyveiw.

White River , Mpumalanga Gavin Smitsdorp - Cell: 082 55 38 919 gsdorp@gmail.com www. whiterivergallery.co.za

Send your gallery listings and events to show@arttimes.co.za Deadline: 15 of each month prior to publication Listings in this publication are free

Sculpture at the Nirox Sculpture Park, Part of Twenty: South African Sculpture of the last two decades show see: www.niroxarts.com for more details

PAGE 06

EASTERN AND WESTERN CAPE GALLERY LISTINGS FOR AUGUST 2010

Eastern Cape East London Ann Bryant Gallery The Main Gallery 21 July-03 August, “Santam Child Art exhibition.” This annual competition is open to all schools, with a calendar produced at the end of the competition featuring the winning entries and a travelling exhibition.

05 August-12 September, “Diesel & Dust” selected works by Obie Oberholzer. Opening Thursday 05 August @ 6:30pm. Invitation includes a cocktail evening, a walkabout by Obie himself plus a raffle of one of his books and a book signing on Thursday the 05 August. At R50 a ticket. Tickets available at the door.

The Coach House 19 August-05 September, “The Peep Show” An exhibition of works in miniature. Opening Thursday 19 August @ 6:30 p.m.

For this exhibition artists are invited to submit artworks that must measure not more than A5 format (148mm x 210mm) or preferably smaller Closing date for entries is Tuesday 17 August 2010.

All works must be properly framed with eye screws attached ready to be hung. A maximum of ten entries are allowed per artist. Entry forms can be collected from the gallery at a cost of R10.00 per painting for a non-member and R5.00 per entry for a member and double the fee for works that are Not for Sale.

9 St. Marks Rd, Southernwood, East London. T. 043 722 4044 annbryan@intekom.co.za www.annbryant.co.za

Port Elizabeth Epsac Gallery 16 – 27 August – “Down Memory Lane in Port Elizabeth” a solo Exhibition by Villia Offerman. (Lower Gallery) 23 August – 17 September, “Love This Place – Buy it Take it” a mixed medium group exhibition. (Upper Gallery) 30 August – 15 September, “EPSAC Annual – Group Exhibition” Mixed Medium (Lower Gallery) 36 Bird Street, P.E. T. 041 585 3641 Montage Gallery 10-24 August, Works by Nonnie Roodt.

59 Main Road, Walmer, Port Elizabeth. T. 041-5812893 montage1@iafrica.com www.montagegallery.co.za Nelson Mandela Metropolitan Art Museum Permanent exhibition, “Art in Mind” Until 10 October, “Ubuhle bentsimbi: The beauty of beads” Until 09 August, “Gateway to Africa” An exhibition of contemporary African art.

1 Park Drive, Port Elizabeth. T. 041 506 2000 www.artmuseum.co.za Ron Belling Art Gallery 03-29 August, “Eastern Cape Vignettes” a photographic exhibition by John Riordan.

30 Park drive, Port Elizabeth. T. 041-586 3973 ronbelling@mweb.co.za www.ronbelling.co.za

Western Cape Cape Town Alliance Française of Cape Town 10-29 August, “Echoes” by Maurice Hermes Mbikayi.

155 Loop Street, Cape Town /A Word Of Art Currently running until 14 August, During the world cup A Word of Art and Adidas hosted “Three Stories” and in the Woodstock industrial centre Every week we introduced a new exhibition to the art space.

The T- shirt show-14 designers created limited edition T shirts One night only-Unlikely collaboration canvas artworks The letter a in the color blue -Graffiti art exhibition Papergirl-SA-In the style of American paper boys this concept is about gifting art to the public. see http://www.papergirl-sa.com/ Chapter two:”friends”: 5 paintings and a video installation exhibited at focus off as part of Art Basel now returned to a word of art art space The Bin R250 ShowOver 400 artworks for sale at the affordable price of R250 The “Three Stories” exhibition is now open Thursday to Saturday 10:30am to 4:30pm 66 Albert rd, Woodstock Industrial Centre. T. 021 448 7889 rickylee@writeonafrica.com www.a-word-of-art.co.za Ashbey’s Galleries 12 August: Art Auction @10am 43-51 Church Street, Cape Town T. 021 423 8060 info@ashbeys.co.za www.ashbeysgalleries.co.za

The Arts Association of Bellville 14 July-04 August, “Voyages of Discovery Fibre Works IV” Featuring Joy Savage and Ingrid de Haast.

25 August - 15 September, The Vuleka 2010 Competion.

29 September- 21 October, a solo exhibition by Johan Coetzee, and a Jewellery exhibition by Marlize Meyer, Jolene Kritzinger, Isabel Pfaff, Liz Dunstan- Deacon, Nadja Bossmann and Diana Ferreira.

The Arts Association of Bellville, The Library centre, Carel van Aswegan Street, Bellville. T. 021 918 2301 info@artb.co.za www.artb.co.za/gallery.htm Atlantic Art Gallery A permanent display showcasing leading contemporary South African artists.

25 Wale Street, Cape Town. T. 021 423 5775 AVA 26 July-20 August, works by Erika Elk, Nike Romano and David Rossouw.

23 August-17 September: MINI ME, AVA’s ArtReach Fundraiser.

Opening @ 6pm on Monday 23 August, Closes Friday 17 September @9pm.

Association for Visual Arts, 35 Church Street, Cape Town.

T.021 424 7436 art@ava.co.za www.ava.co.za Barnard Gallery 26 July- 15 September, “Beyond Boundaries” by Rachelle Bomberg.

55 Main Street, Newlands. Fiona@luxurybrands.co.za

BUSINESSART | AUGUST 2010 Manfred Zylla. Opening Wednesday 11 August at 6pm.

63 Shortmarket Str., Cape Town T. 021 422 2762 galleryinfo@mweb.co.za www.erdmanncontemporary.co.za Everard Read Gallery Until 31 Jan 2011, “Untamed”, an installation by Dylan Lewis at Kirstenbosch Gardens.

02-17 September, “Sight”, an exhibition by Arabella Caccia & Deborah da Silva. “Sight” is the product of a collaboration between Arabella Caccia (a painter and a sculptor) and Deborah da Silva (a photographer).

3 Portswood Road, Victoria and Alfred Waterfront, Cape Town.

T. 021 418 4527 ctgallery@everard.co.za www.everard-read-capetown.co.za 34 Fine Art 26 May-17 August, Gallery Closed.

All Works available online at www.vgallery.co.za / www.34fineart.com C. 082 354 1500 Focus Contemporary During August, Special winter menu of fine African art including works by Karin Miller, Christian Diedericks and Simon Annand.

11 September-15 October, “The Feather Room”

by Christiaan Diedericks.

16 October-12 November, “Spot” by Helen Sear.

67 Long Street, Cape Town. T. 021 419 8888 info@focuscontemporary.co.za www.focuscontemporary.co.za

Blank Projects 29 July-01 September, “High Violet” by Mary Wafer & “Nomadic Structures Digest” by Kerim Seiler.

113-115 Sir Lowry Rd, Woodstock, Cape Town. T.072 1989 221 info@blankprojects.com www.blankprojects.com

The Framery Art Gallery 05-28 August, Line work by Miche and photographic work

by Amin. Opening 05 August at 7pm.

02-30 September, Patrick Makuane exhibiting with Timothy Zantsi.

67g Regent Road, Sea Point. T. 021 4345022

Cape Gallery 22 August-02 October, “Borders” a Wildlife Exhibition.

60 Church Street, Cape Town. T. 021 423 5309. web@capegallery.co.za www.capegallery.co.za

Galleria Gibello Cape Quarter Until end of August, “Heaven and Earth” by Caroline Gibello Shop 31, Cape Quarter Square, 27 Somerset Road, Green Point.

T. 021 425 0439

Carmel Art Dealers in Fine art, exclusive distributers of Pieter van der Westhuizen etchings.

Constantia Village Shopping Centre, Main Rd., Constantia T. 021 794 6262 Cape Quarter Square, 27 Somerset Road Green Point T. 021 4213333 carmel@global.co.za www.carmelart.co.za

Gallery F Contemporary and archival South African Art. 221 Long Str., Cape Town T. 021 422 5246 info@galleryf.co.za www.galleryf.co.za

Casa Labia 14 August-30 September, “White Painting” new works by Hermann Niebuhr. Opening 14 August @ 2:30pm.

192 Main Rd, Muizenberg. T. 021 788 6067 info@casalabia.co.za www.casalabia.co.za Cedar Tree Gallery Until 11 August, “World Cup Fever” one, which has work that will remind our visitors of the beautiful game and of our beautiful country.

17 August-30 September, “The Palette and the Palate” A winecentric exhibition, with works of vineyards, events inspired by wine, perhaps works while under the influence of wine and works using wine as a medium.

Rodwell House, Rodwell Road, St James, Cape Town.

T. 021 787 9880 cedartreegallery@gmail.com www.cedartreegallery.co.za David Porter Antiques Buyers and sellers of South African art.

T. 021 6830580/083 452 5862 david@davidporterantiques.com David Krut Art DKA opens their outlet at Shop 116, Clock Tower Shopping Centre, V&A Waterfront, Cape Town on 3 June.

David Krut Publishing and Bookstore - proud to be the official distributor in South Africa of the FIFA 2010 Official Art Posters Edition series in association with the European publisher of the posters – will be running a store at the V & A Waterfront for a six week period, from 3 June to 15 July 2010, to make these special posters accessible to locals and visitors alike.

The Donald Greig Bronze Foundry and Gallery Opens on 25th August 2010 at West Quay Road, V & A Waterfront, Cape Town. Donald Greig is a specialized wildlife sculptor and his sculptures ranging in size from life-size to paperweights will be on display at the gallery. The foundry will do a bronze pour on most days and the entire ‘Lost Wax Casting Process’ can be viewed by the public through special glass windows.

The Nautilus Building, No.14 West Quay Road, V&A Waterfront, Cape Town T. 021 418 4515 greig@intekom.co.za www.donaldgreig.com Erdmann Contemporary /Photographers Gallery 31 July-07 August, “Conceptual Matter.” Opening Wednesday 4 August @ 6pm.

11-28 August, a solo exhibition of new paintings and drawings by

Goodman Gallery, Cape Until 03 August, The Gallery will be closed.

07-28 August, “Winter Show” 3rd Floor, Fairweather House, 176 Sir Lowry Rd., Woodstock, Cape Town T. 021 462 7573/4, www.goodmangallerycape.com iArt Gallery 11June-16 July, “The Mechanics and Mysteries of Perception”, a group exhibition.

71 Loop Street, Cape Town. T. 021 424 5150 www.iart.co.za iArt Gallery Wembley 04-28 August, “Sondeval” by Sandra Hanekom 01-25 September, “Blight” by Marlise Keith.

Wembley Square, Gardens, Cape Town T. 021 424 5150 www.iart.co.za Infin Art Gallery A gallery of work by local artists.

Wolfe Street Chelsea Wynberg T. 021 761 2816 and Buitengracht Str. Cape Town T. 021 423 2090 www.infinart.co.za Irma Stern Gallery 03-24 August, “Portraits” Works by Daniel Popper and Janet (Meintjes) Jankes.

Cecil Rd, Rosebank, Cape Town. T. 021 685 5686 www.irmastern.co.za Iziko SA National Gallery Until 03 October, “1910-2010: From Pierneef to Gugulective” a re-hang of the entire gallery is being curated to showcase the very best of South African art.

30 May-15 August, “Umtshotsho” by Nicholas Hlobo.

25 Queen Victoria Street, Cape Town 021 481 3934 Iziko SA National Gallery-Old Town House 10 June-12 July, “The lie of the land: Representations of the South African landscape” 25 Queen Victoria street, Cape Town 021 481 3934 gwilson@iziko.org.za Joao Ferreira Gallery 02 August-04 September, “Works on Paper” by Beezy Bailey 70 Loop Street, Cape Town. T. 021 4235403 info@joaoferreiragallery.com www.joaoferreiragallery.com Kalk Bay Modern 04-22 August, Celebrating Ceramics, Christo Giles, Katherine Glenday, Clemintina van der Walt, John Newdigate, Christina Bryer, Lisa Firer, John Bauer and Ardmore.

1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571 kbmodern@iafrica.com www.kalkbaymodern.com

BUSINESSART | AUGUST 2010

EASTERN AND WESTERN CAPE GALLERY LISTINGS FOR AUGUST 2010

Lindy van Niekerk Art Gallery During August, A solo exhibition by Zerk de Villiers.

31 Kommandeur Road, Welgemoed, Bellville. T. 021 913 7204/5 www.artpro.co.za Martin Osner Fine Art Photography A new Gallery Opens.

Currently on show, Panoramic Landscapes by Koos van der Lende, Photomontage by Sandy Mclea, Fine Art Collection by Kim Le Roux, Clazaro/Space by Jan Thomas Gibson, Lens-Light-Landscape

by Eugene van der Merwe also an extensive display of Martin Osners personal imagery.

1 Harbour Road, HoutBay. T. 021 7906494 info@martinosner.com www.martinosner.com/ Michael Stevenson Contemporary 29 July-04 September, “Permanent Error” photographs by Pieter Hugo; “The Eclipse Will Not Be Visible to the Naked Eye” video, installation and prints by Dineo Seshee Bopape; “Noreturn” a film

by Dominique Gonzalez-Foerster as part of the Forex Series.

Opening Thursday 29 July, 6-8pm Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Cape Town.

T. 021 462 1500 info@michaelstevenson.com www.michaelstevenson.com Michaelis Art Gallery 27 July-03 September, “reGeneration 2” Tomorrow’s Photographers Today University of Cape Town, 31-35 Orange Street, Gardens.

Cell: 083 367 7168 www.michaelis.uct.ac.za

Rust-en-Vrede Gallery 13 July-05 August, Works by Koos de Wet, Sam Brown, Glen Tong, Mariette Brown and Anastasia of “Open Art Studios” 10 August - 02 September, Works by Heidi Ansley of Piet-my-Vrou Mosaic studio, Elizabeth Miller-Vermeulen presents a series of works in oil. In THE CUBE in the Clay Museum well-known potters from the Eastern Cape exhibit “Wildly Colours” 07-30 September, Cristiaan Diedericks, Judy Woodborne and Corlie de Kock, in 3 solo exhibitions, exhibit works in mixed media.

10 Wellington Rd, Durbanville.T.021 976 4692 www.rust-en-vrede.com Salon 91 During August, “Winter Salon” a selection of the gallery’s artists.

91 Kloof Street, Gardens, Cape Town. T 021 424 6930. info@salon91art.co.za www.salon91.co.za South African Museum Until end July, “Subtle Thresholds, the representational taxonomies of disease”, a mixed media show curated by Fritha Langerman.

25 Queen Victoria Str., Cape Town T. 021 481 3800 www.iziko.org.za/sam/index.html South Gallery Showcasing creativity from KwaZulu-Natal including Ardmore Ceramic Art. Ground Floor, Fairweather House, 176 Sir Lowry Rd, Woodstock T. 021 465 4672 info@southgallery.co.za

T

Waterkant Gallery 04 June- 04 August, “Dreams & Goals, Twenty years of global football photography” by Alastair Berg.

29 July-08 September, “Bollywood!” Bollywood! captures the truly unique spirit of Bollywood past through its iconic and instantly recognisable poster art. Bollywood! revisits the true film greats from the 50s to the 70s through a series of original, vintage posters.

123 Waterkant Street, Cape Town. T. 021 421 1505 info@waterkantgallery.com www.waterkantgallery.com

Sasol Art Museum 07 June-31 August, “Johannes Meintjes: A Tribute 1923 – 1980” Ryneveldstraat 52 Ryneveld Street, Stellenbosch.

T. 021 808 3691/3/5

Wessel Snyman Creative 09-21 August, solo exhibition of drawings and paintings by Cecilia Ferreira. The exhibition is based on an intensive collaboration with Dutch poet Joop Bersee and consists of a body of visual projections of Bersee’s book of poetry Eyrie (2009) which was dedicated to Francis Bacon. Online catalogue www.eyriecollab.blogspot.com 17 Bree Street, Cape Town. T. 021 418 0980. wesselsnymancreative@gmail.com

Youngblackman Gallery 22 July-22 August, “Stealing the Words” by Belinda Blignaut.

69 Roeland Street, Cape Town. T. 083 383 0656 www.youngblackman69.com

SMAC Art Gallery 05 June-31 August, “Divisions” Aspects of Southern African Art 1945-2010.

De Wet centre, Church Street, Stellenbosch.

T. 021 887 3607 www.smacgallery.com Tokara 05 June-25 August, “Hats off! 25 Year of Linocuts from The Caversham Press.”

Crest of Helshoogte pass on the R310 between Stellenbosch and Franschoek. T. 021 808 5900 www.tokara.com

Oudtshoorn Artkaroo Gallery From 05 August, “Woman” by artists from the Klein Karoo region, such as Janet Dixon, Hannelie Taute, Ramona Van Stavel, Ina Marx, Mariette De Villiers, supported by a collection of Francois Tiran’s female nudes. Exhibition opens on Thursday 5 August @7pm.

26 September-03 October, “Maak Jouself Tuis” an expression of the artistic soul through the medium of the chair; functional & funky art

by Karoo artists. Also featuring fine Karoo art in landscapes, figurative and abstract. Exhibition opens 26 September @ 4 PM. This exhibition coincides with Klein Karoo Klassique Festival.

107 Baron van Reede, Oudtshoorn, T. 044 2791093 janet@artkaroo.co.za www.artkaroo.co.za

Franschhoek

Galerie L’ Art A permanent exhibition of old masters.

Shop no 3, The Ivy, Kruger Str., Franschhoek T. 021 876 2497 www.galart.co.za The Gallery at Grande Provence 01-26 August, “Where” contemporary Landscapes. The second of a trilogy of exhibitions entitled “Who?”, “Where?” + “andWhatnow?”

Until 26 August, “Baiting Tree” a photographic installation by Lise Hanssen.

Main Road, Franschoek. T. 021 876 8600. gallery@grandeprovence.co.za www.grandeprovence.co.za

Gavin Calf: Redhead, to be seen with many leading Cape Artists at The Hout Street Gallery’s “The Winter Gala” 29 July - 30 September

Hermanus Abalone Gallery 03 July-21 August, El Loko (Togo) In Search of Traces-Woodcuts and sculptures.

2 Harbour Rd, The Courtyard, Hermanus. T.028 313 2935 info@abalonegallery.co.za www.abalonegallery.co.za

Stellenbosch

South African Print Gallery 26 June-31 July, “Reflections” new work by Sharon Sampson.

107 Sir Lowry Rd, Woodstock, Cape Town. T. 021 462 6851 info@printgallery.co.za www.printgallery.co.za

Sandra McGregor – ‘Onse artist’ in District Six Dolores Fleischer

Glen Carlou Estate On exhibition is The Hess Art Collection, including works by Deryck Healey, Ouattara Watts and Andy Goldsworthy.

Simondium Rd, Klapmuts T. 021 875 5314 www.glencarlou.co.za

Worldart Gallery 26 August-12 September, “The lion’s Den” by Michael Taylor.

18 October–08 November, “Un-mute my tongue” A solo exhibition of new paintings by Ayanda Mabulu 54 Church Street, Cape Town. T. 021 423 3075 charl@worldart.co.za www.worldart.co.za

Rose Korber Art During August, “Abstraction and Meaning” by J P Meyer.

48 Sedgemoor Rd, Camps Bay, Cape Town T. 021 438 9152 roskorb@icon.co.za www.rosekorberart.com

NEW from print matters…

These Four Walls Fine Art 05-14 August, “We/edition” a group exhibition of student work.

169 Lower Main Road, Observatory T. 021 447 7393 Cell. 079 302 8073 janet@thesefourwalls.co.za www.thesefourwalls.co.za

What if the World…

07 July-22 August, Works by Dan Halter.

First floor, 208 Albert Rd, Woodstock, T.021448 1438 www.whatiftheworld.com

Raw Vision Gallery 11 Feb-14 Sep 2010, “African Odyssey” 20 Internationally acclaimed photographers exhibiting.

89 Sir Lowry Rd, Woodstock, info@rawvisiongallery.com www.rawvisiongallery.com

Page 07

Art on 5 Permanent exhibition of paintings and ceramics by Maryna de Witt, Pera Schillings, and Karen Kieviet.

7b Andringa Str., Stellenbosch T. 021 887 7234

Paarl Hout Street Gallery 29 July-30 September, “The Winter Gala” 270 Main Street, Paarl. T. 021 872 5030 zetler@icon.co.za www.houtstreetgallery.co.za

Piketberg AntheA Delmotte Gallery Until end June, “Historical buildings of Piketberg” a group show.

Feathers Inn, 1 Church Str, Piketberg 073 281 7273, anthea@lantic.net

Sandra Mc Gregor ‘O N S E

A R T I S T’

I N

D I S T R I C T

S I X

he destruction of District Six was a tragedy, but here it is recorded in remarkable and individual form. The individual spirit and its artistic expression can never be destroyed. Principally a portrait painter, Sandra found a small studio in Kloof Street and began to paint the people and places in District Six. For a young unaccompanied yet headstrong white woman, this was considered a highly dangerous if not foolhardy pastime, but the community – skollies included – welcomed and protected her, calling her ‘onse artist’.

Three Editions: Collectors, Subscribers and Standard soft cover ISBN: 978 0 981 4417 2 6 • Size: 300 x 230 224 pages • 120 full colour & halftone images

RELEASE AUGUST 2010 available from all good bookstores and direct from

www.printmatters.co.za

Print Matters publishes South African art and craft books focusing on those artists and craftspeople who have been overlooked by the artocracy, yet have inspiring stories to tell and vision to share.

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Publishing Print Matters (Pty) Ltd., P O Box 640, Noordhoek 7979 0(27) 21 789 0155 • 083 280 0237 info@printmatters.co.za

D O L O R E S

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print matters

Sandra Hanekom’s most recent works contain images of a disjointed human existence, like modern-day Bruegels – “filled to the brim with symbols, questions, mysteries, life and sometimes death.” Her show entitled: “Sondeval” runs from 04-28 August, see more at www.iart.co.za

PAGE 08

ART NEWS FROM THE EASTERN CAPE

BUSINESSART | AUGUST 2010

Head of a Young Boy, Frans Oerder, Signed, oil on canvas, 39cm R200 000 – R300 000

Stephan Welz honoured for giving gallery new life A special ceremony was held on 22 July 2010 at East London’s Ann Bryant Art Gallery to honour Stephan Welz, Managing Director of Strauss & Co. In achieving a top price for one masterpiece, Welz, South Africa’s leading fine art auctioneer, ensured the survival of many others in the gallery’s prestigious collection. The gallery, which needed urgent renovations to stop leaks and damp damaging its prized collection of art that is estimated at R40-million, lacked the funds to pay for repairs until assistant curator Terry Flynn had a brainwave.

Flynn, who is also the chairman of the East London Fine Arts Society, decided the society would sacrifice a painting entitled Portrait of a Boy by Dutch-born, South African artist Frans Oerder in order to pay contractors’ bills.

“The renovations were necessary because this beautiful Edwardian building is a national monument, yet the beautiful woodwork on the balconies was rotting, the roof was leaking and there was so much damp in two rooms that we could not display art in them,” said Flynn.

He explained that although Buffalo City Municipality had patched up the odd bit of damage, a more comprehensive repair job had become increasingly necessary.

“It was all meetings (with the municipality) and no action, so when auctioneer Stephan Welz was at the gallery last year and expressed interest in auctioning the Frans Oerder piece for us, we decided to go for it,” said Flynn.

Welz achieved R320 000 for the Oerder painting at a Strauss & Co auction held in Cape Town in October 2009. According to Flynn, “the piece sold above its estimated value, plus Stephan Welz did not charge us commission for selling it, so it was very exciting”.

Flynn said it was vital to preserve the Ann Bryant Gallery and its valuable contents because the gallery was one of “the top five” galleries in South Africa.

The gracious double-storey building, which was built in 1905 and which was bequeathed to the City of East London by art lover Ann Bryant in 1946, has had its rusty roof repaired and gutters fixed, exterior woodwork restored and a new coat of paint applied throughout.

The proceeds of Portrait of a Boy have also been used to add a stair lift so that disabled visitors can access art on the top floor.

And, now that precious works by artists like George Pemba, Irma Stern, Pieter Hugo Naudé and J H Pierneef are safe from water damage, pride of place has been given to a copy of Oerder’s work that saved them and their stately home.

Article based on a report by Barbara Holland in the Weekend Post.

Pharoah Gallery in Wilderness was destroyed in a raging fire Tuesday 22 June. (Photo: Sollie van Wyk) (Top) The Gallery’s kitchen, (Below left) Terence Pharoah at one of the rondawels that was razed to the ground (Below right) The raging fire that burnt the gallery complex and contents to the ground.

Landmark Pharoah Gallery in Wilderness destroyed by fire Published in the George News, June

By Pauline Lourens A blazing fire ravaged the Pharoah Gallery last night. It completely destroyed, the old thatched building which housed the priceless art collection of well-loved artist, Peter Pharoah.

Arriving shortly after being informed of the fire, at 20:30, Peter and his wife Tracy, his father Hugh Pharoah and mother Anne watched in anguish, as his paintings, done over the past decade go up in smoke. The George Fire Brigade arrived soon and shortly afterward villagers who could see the towering flames reach up into the skies came to offer help and watch helplessly.

The family is devastated, as the gallery was in effect their inheritance of pioneer pilot Victor Smith (Peter’s grandfather).

Fortunately none of the photos of Smith, used in the book “Flying in an open cockpit over Africa”, were kept there.

Anne Pharoah said the family was particularly distressed by the incident as the building was not insured against fire. “Being retired we could not afford to insure both our own home and that of my father.”

One of the first things that Peter tried to do was to save the computer. “Our computer had very important data on it, a record of all my paintings.” It was also used by his wife Tracy Pharoah who works from the gallery as a website designer. “Saving anything at all was an impossible mission because when he got there the fire was totally out of control.”

Surveying the damage the following morning, the twisted metal,

roof rafts burnt to a cinder, piles of thatch still smouldering away, Peter said: “Its the end of an era.” He was referring both to his grandfather’s old home and his painting style. He had decided to move in a different direction from his current painting style and was working towards a new one, but needed the paintings as a record of his artistic evolvement. “One of the policemen said I should just repaint them, but that is not possible. One often works on an inspiration, a theme and with a particular energy at the time of creating a painting. I had stocked the gallery well in anticipation of the Soccer 2010 World Cup with the aim of catching some passing trade. It was probably the most stock I have ever carried at the gallery.” Peter said his “Purple Lady” painting which had been sent to Cape Town where it was being reproduced into prints, was the only painting saved. The George Herald featured the works of Peter in an article last year, and published a photo of a soccer playing township boy. It aptly illustrated the far reaching joy of being the South African hosts of the World Cup. Peter entered a painting for a World Cup exhibition.

Historic rondawels Anne Pharoah said the house was built in 1962 by her father, Victor Smith, but the core of the three cottages date back to the early beginnings of the Wilderness probably to as far back as 1911, when the rondawels served as staff quarters for the Wilderness Hotel. It was his clever design engineering that enabled him to retire whilst in his 50’s.

A quote on Peter’s website reads: “A painting is like a good piece of music, it must be something special, something memorable and unique…” - Peter Pharoah, fine artist. It sums up how sentimental Peter felt about his paintings.

Winter Warmer Subscription Special : R260

Beat the cold and mould this winter and subscribe to our colourful, thrilling and leading SA monthly art publication Subscribe to The SA Art Times and get SA Business Art and Art Life publications for free.

R 260 for an annual subscription. Just click onto “Subscription” at www.arttimes.co.za and go from there. Special ends end August 2010

BUSINESSART | AUGUST 2010

ABSA 2010 AWARD WINNERS

Page 09

Absa 2010 overall winner - Ilka Van Schalkwyk

Winner of The Gerard Sekoto award - Bongumenzi Ngobese

2010 Absa L’Atelier Art Award Winners South Africa’s young artists have once again proved their mettle in a sterling display of homegrown creativity in the prestigious Absa L’Atelier Art Awards competition, which this year celebrates its historic 25th year anniversary as the longest-running competition of its kind on the continent.

Unlike the previous years, this year’s pool of submissions was undoubtedly about identity and how they experience the country we are living in.

Much of the selected work seems to have subversive strategies, not in loud and shocking ways, but rather in strangely guarded tones.

Ilka van Schalkwyk and Bongumenzi Ngobese have been named the respective first and second place winners out of more than 100 finalists, which were chosen by a national selection panel led by Gwen Miller. Merit Awards were awarded to Abri de Swardt, Philiswa Lila, Collen Maswanganyi and Hanje Whitehead.

Winner of The Gerard Sekoto award - Bongumenzi Ngobese

Merit winners - (Top) Philiswa Lila, Collen Maswanganyi, (Below) Abri de Swardt (Below right) Hanje Whitehead

Pretoria-based Van Schalkwyk scooped the coveted top prize for her new media installation, Reading colour. The judges described the piece as “a cerebral affair reflecting intellectual games of texts that in themselves rebel against prescriptive institutions. Like the referenced songs and literary texts that were defiant in their strategies, this visual text becomes subversive of the social body. The work is a marvellous example of an open text with multi-layered meaning.”

Durbanite Ngobese was awarded the Gerard Sekoto Award for the most promising artist with an income of less than R60 000 per annum, for his mixed media piece Kwa-Mamkhize. The panel said Ngobese’s hidden parcels under the table signified secrecy, a lifestyle of makeshift storage systems of a society in flux. “This is a social order of migrants, who have to take up their belongings and make them fit into any vehicle or, metaphorically, any culture, to be able to move on. The work holds so many possibilities of engagement in relation to our current society,” the panel said.

As part of her prize, Van Schalkwyk wins R110 000 in cash and a six-month sabbatical at the Cité Internationale des Arts in Paris, courtesy of Absa. Ngobese wins a three-month sabbatical at the Cité, French language classes and nationwide touring exhibitions sponsored by the French Embassy, French Institute and the Alliance Française. Both prizes include airfare and free access to galleries and museums in Paris.

All four merit award winners receive R25 000 and each of the top ten finalists, including Van Schalkwyk, Ngobese, the four runner-ups as well as Vincent Bezuidenhout, Sibusiso Duma, Maja Marx and Lyle van Schalkwyk, receive a R2 000 bonus prize.

The Absa L’Atelier Art Awards is Africa’s pre-eminent annual art competition. It has earned itself the reputation for being the most influential art competition on the continent, not only because of the incredible opportunities afforded by the main prizes, but also because of the unrivalled exposure the artists receive.

“This really is a special year in the history of the Absa L’Atelier Art Awards. We’ve celebrated our 25th anniversary with the most amazing creative expression from South Africa’s most talented young artists. The standard of work is excellent; this year’s pool of submissions was undoubtedly about identity and how they experience the country we are living in. I want to pay tribute to them as they change our ordinary world into a creative one,” said Cecile Loedolff The competition is open to young artists between the ages of 21 and 35, and attracts entries from across the country, which are open to public viewing during the regional judging rounds

PAGE 10

KZ- NATAL GALLERY LISTINGS, CALL FOR PROPOSALS

BUSINESSART | AUGUST 2010

Britz sale: Battiss the redeeming feature of long-delayed Britz auction results

What’s on in KwaZulu - Natal

Durban

Pietermaritzburg

The African Art Centre Durban 09-23 August, Women’s Month Art Exhibition featuring works by four artists. 94 Florida, Durban. T. 31 312 3804/5 africanartcentre@afri-art.co.za www.afriart.org.za

The Blue Caterpillar Art Gallery 01 – 15 August, oil paintings of South Africa’s beautiful landscapes by Jocelyn Boyley.

01 – 30 September, oil paintings and lithographs by international Spanish artist- Didier Lorenco.

01 -30 October, oil paintings of Midlands farms and rural settings by Charmaine Eastment.

The Blue Caterpillar art gallery at Butterflies for Africa 37 Willowton Road, Pietermaritzburg. T. 033 387 1356 art@butterflies.co.za www.artsales.co.za

ArtSPACE Durban 02-21 August, Young Artists Unite, a group show.

3 Millar Road, Stamford Hill, Durban. T.031 312 0793 info@artspace-durban.com www.artspace-durban.com

Durban Art Gallery Until 01 August, “The Interactive Street Child Experience” 01 June -01 August, “Art of the Ball” Until 01 August, “Conflicting Interests” This exhibition, curated

by Vaughn Sadie, explores the conflicts inherent within the collection of the Durban Art Gallery.

2nd Floor City Hall, Anton Lembede St (former Smith St) Durban T. 031 311 2264 strettonj@durban.gov.za

Elizabeth Gordon Gallery A variety of new South African artworks, including paintings by Hugh Mbayiwa, Nora Newton, Wheildon and Hussein Salim.

120 Florida Rd., Durban. T. 031 303 8133 eqqart@iafrica.com www.elizabethgordon.co.za

Tatham Art Gallery 08 June-26 September, “Jabulisa 2010 The art and craft of Kwazulu-Natal.”

Until 26 September, First floor Exhibition Rooms: The Whitwell Collection 1923-1926.

Until 26 September, Perimeter Gallery: Gallery Permanent Collection 1903-1974-works that are part of the Storm in the Wheatfield-an anthology of the Gallery history.

Cnr of Chief Albert Luthuli (Commercial) Rd. and Church Str. (Opposite City Hall) Pietermaritzburg T. 033 342 1804 www.tatham.org.za

KZNSA Gallery 27 July-15 August, “Lingua Franca” by Richard Hart.( Main Gallery) “Masuga” a photographic exhibition by Caroline Birch, Deborah van Niekerk and Rogan Ward.( Mezzanine Gallery) “Urban – Vermin” oil, collage and found objects on board by Michele Silk. (Park Gallery) 14 September-09 October, all galleries: MTN new contemporaries award nominated artists are Donna Kukama, Kemang Wa Luhelere, Stuart Bird and Mohau Modisakeng with appointed curator Nontobeko Ntombela.

12- 31 October, Works by Conrad Botes (Main, mezzanine, and park galleries) 166 Bulwer Rd., Glenwood. T. 031 2023686 www.kznsagallery.co.za

Margate

Margate Art Museum Museums art collection on display.

T.039 312 8392 C.072 316 8094 huey@hcm.gov.za

Henning’s piece was remarkable. While I rather like sound pieces on the whole (although I don’t know if I’d ever buy one as a non-investor), I often find that they feel more like clever little interventions rather than proper works, relying on charm and a broad smile. The vuvuzela piece felt like a substantial work of art in the classical fine art sense. It occupied my body not just with its soundwaves but with its beauty which was conceptual, experiential and – yes – visual.

‘Visual’ might seem like a bit of a stretch, but the way in which the artist reconstructed and reinterpreted an actual reality – fictitious or not – and moved it to another location, my body felt like it was seeing something. The piece contained so much that if I start to deconstruct it, it feels like it contained the world itself, and not just the world during soccer madness. As I write this, in a room in a house on the end of Durban’s ridge at dusk, I am surrounded by the sound of the azaan coming from three different mosques. It is deeply beautiful and nearly always moves me a little, despite my

Gossip in the trade was that sales were so poor that the house was trying to boost the total by moving unsold lots by private treaty.

While a couple of reported prices are suspiciously round numbers (buyer’s premium and other add-ons to the hammer price usually preclude this), if this was indeed the ploy it had little success.

Overall, only 132 of the 281 lots, or 47%, were sold, for a gross (including buyer’s premium at al) of R11.95m, just 34.7% of the low estimate of R34.47m. Not only were sales slow, the low gross indicates that estimates had been pitched too high. Indeed, average price of the lots sold was R90 500, against the low estimate of R123 000. If there was a positive feature, it was the confirmation of the surge of interest in works by the iconic Walter Battiss.

Items passed included the session’s top estimate, Tretchikoff’s Birds (est R350 000-R400 000), and two other R60 000-R80 000 estimates: another Boyley and Adriaan Boshoff ’s Waves.

Jane Oliver : Sweet Dreams from her show entitled Under the surface at the KZNSA Gallery, Durban until 25 July

The Life and Times in Durban Art Scene

I’m in the Durban Art Gallery. The vuvuzelas are a three dimensional audio recording, courtesy of sound artist and musician Dean Henning. The pitch is Gallery 3, which has been marked in white vinyl with the layout of a soccer pitch, and the goals posts are pretty much goal posts, although, there is no net. The sea of faces have emerged from the DAG’s remarkably diverse permanent collection, and the occasion is an intersection of the launch of the multimedia exhibition Time_Frame – of which Henning’s piece forms a part – and Art of the Ball, the exhibition which is currently occupying the room was such vigour. The animals are stuffed, and the wildebeest is not nervous.

Just what credibility auction results can have that take almost two months to publish is moot. And while we were told that one reason for the delay in releasing Graham Britz’s May 18 sale results was that they were being audited, no audit details have, in the event, been provided.

The tone was set in the first SA art session (actually the second session of four), of minor work, where 72 of 127 lots (56.7%) were sold, realising just R1m, 34.5% of the low estimate of R2.9m. Average realisation was R13 980, against the low estimate of R22 970. The only prices above R50 000 were R108 000 for Pieter van der Westhuizen’s Group of Women (estimate R80 000R120 000) and R51 000 for an Errol Boyley landscape (est R60 000-R80 000).

Peter Machen I am standing, swaying, listening to the rhythmic, haunting sound of a vast army of vuvuzelas having the time of their lives. In the distance is a goalpost, and all around a sea of bodies and faces are looking towards the pitch. Well, most of them are – some are distracted by other things. And at once end of the pitch, a wildebeest appears to be grazing in the presence of two lions.

By Michael Coulson

lack of faith. Hennig’s piece felt more real and more moving than my actual world.

Synesthesia and hyperbole aside, I have written before about the general openmindedness of the Durban Art Gallery as an institution. Although I don’t mind a bit of high-brow formality every now and then (although I usually damage the atmosphere by tripping or spilling my drink), I love the way that the DAG, located in a building that is so palatial, baroque and deeply colonial, opens itself to the streets and interfaces with Durban’s reality to such an extent.

Of course, not all galleries are stuffy white cubes in which behaviour of a non-archival kind is permitted. The KZNSA didn’t seem to mind when Steven Cohen shat a painted enema all over their beautifully screeded floor (the stain stated for months, an artwork of residuality) or when master choreographer Jay Pather filled half the gallery with red sand for a performance from Siwela Sonke.

But the Durban Art Gallery is a municipal building (that is also a national monument) which very often features work that challenges local and national policy. I imagine that much of the gallery’s openminded doubt stems from a reaction to the constraints of the apartheid administration within the double confines of the last outpost of colonial Natal. And I probably also think much of this because of the presence of the hugely successful Red Eye event which has impacted not just on people’s relationship to the gallery, but to the city itself.

Jenny Stretton, who curated the very wonderful Art of the Ball, has been acting director at the DAG for the last three and a half years (in addition to her job as curator of collections), since former director Carol Brown, who was similarly inclusive, moved on to a more freelance existence. She is stepping down from the post for the moment, while council goes about the task of filling the permanent position. I hope Stretton applies. And I hope she gets the job. I love the way that the gallery continues to opens itself up to the city under her direction and functions as a truly inclusive social space. I’d hate for any of that to change.

The next session contained the most important works, and was also the most disappointing. While 24 of the 69 lots (34.8%) sold, a gross of R5.18m was only 26.1% of the low estimate of R19.7m.

Top price was a below-estimate R1.71m for Irma Stern’s Flight (est R1.8m-R2.8m); a Pierneef landscape, at R978 000 (est R900 000-R1.m) almost broke the R1m barrier.

A Ruth Everard-Haden still life fetched R455 000 (est R400 000R600 000) and another Pierneef landscape R409 000 (est R400 000-R650 000), but casualties included yet more Pierneefs (est R650 000-R850 000 and R800 000-R1.2m), a Stern genre scene (at R2.5m-R3.5m, the highest estimate of the sale), two Maggie Laubser landscapes (est R650 000-R950 000 and R600 000- R800 000), a Maud Sumner religious scene (est R700 000-R900 000) and an Adolf Jentsch landscape (est R500 000-R800 000). The session’s average sale price of R216 000 compared with a low estimate of R286 000.

The final session, which could be described as comprising major minor work, saw 36 of 85 lots (42.4%) sold for R4.77m, 40.7% of the low estimate of R11.73m. The average R132 600 realised was the closest of any session to the low estimate of R138 000.

Highlight of this session was R921 000 for Tretchikoff’s Balinese Girl (est R900 000-R1.3m), followed by an excellent R432 000 for Battiss’s Reflections (est R120 000-R160 000), R409 000 for both another Battiss (est R400 000-R600 000) and Lucas Sithole’s sculpture Mother & Child (est R400 000-R600 000) and R398 000 for yet another Battiss (Camilla with Giraffe, est R400 000-R600 000).

However, the top estimate Battiss (African Traders, est R600 000R900 000) was passed, as were an Edoardo Villa bronze (est R500 000-R700 000), and two Alexis Prellers (Ritual Bull, est R1mR1.5m) and Constellation, est R500 000-R700 000).

SA ART TIMES CATCH OUR DAILY SA ART NEWS ON WWW.ARTTIMES.CO.ZA BECAUSE AMAZING ART AND ART NEWS HAPPENS ALL DAY AND EVERY DAY

A Vigil of Departure –

LOUIS KHEHLA MAQHUBELA a retrospective 1960 - 2010

Standard Bank Gallery 4 August to 18 September 2010 Monday to Friday: 8am – 4.30pm Saturday: 9am –1pm Tel: 011 631 1889 www.standardbankarts.co.za

Louis Maqhubela, Composition, 1972, Oil on paper, 51,7cm x 58,7cm. Collection: Johannesburg Art Gallery SBSA 49201

PAGE 12

ART INVESTMENT NEWS

BUSINESSART | AUGUST 2010

Clare McAndrew speaks about current international art-investment The art-investment expert runs the Dublin-based research and consulting firm Arts Economics. She has done studies of the art market for the European Fine Art Fair (TEFAF) and in 2007 published “The Art Economy: An Investor’s Guide to the Art Market” (Liffey Press). Sarah Douglas spoke with McAndrew about why drops in art sales aren’t the end of the world. to figure out people’s motivations and what their view is of working with dealers versus auction houses.

Published in The Art Newspaper. By Sarah Douglas In the report you did in 2008 for the European Fine Art Fair (TEFAF), you discussed the Internet database Artprice’s finding that China had become the world’s third-largest art market, in terms of sales at auction, surpassing France. Your most recent report, released in March, states that China has continued to grow while other areas have slowed. Why does China interest you so much?

Has the type of art that people are buying changed?

There are many trends at work that are moving people to older things. People are looking at history a bit more. Dealers are finding younger people buying antique furniture, whereas before they’d never seen people under 60 coming in. That’s the wonderful thing about the art market. You can sit there plugging in numbers, planning the economic forecast, but it is also very fashion- and trend-driven.

China slapped France in the face when it moved into third place worldwide. The government is really behind the art trade. It’s going to be a very important industry for them. But it’s driven by a tiny portion of the population; only a handful of wealthy Chinese are buying art.

What have you learned from talking with dealers?

Many of them are leaving shop fronts and working privately. And they are realizing that if they are going to compete with the marketing power of the auction houses, they are going to need to work together more, instead of being fragmented.

In 2009, according to your study, auction houses were more affected by the recession than dealers. Why? People didn’t want to be seen spending a lot of money or selling off their stuff. That’s a basic explanation, but I think it’s one of the factors that worked in favor of dealers. The serious collectors are still there, waiting for the best pieces to become available. The speculators have been shaken out.

What does the future hold?

I’m very interested in looking at the modern and contemporary sector to see how it survived the storm. And [I’m] looking at resale rights in Europe. There are real worries in Europe. New markets like China emerging is very good for the market overall but difficult for countries, like the U.K. and France, that have been hampered by regulations and taxes. They have to compete not only against the U.S., which has fewer regulations, but also against countries, like China, that don’t have resale royalties.

Was the contraction in the art market more dramatic than you expected?

Overall there was a 35 percent drop in aggregate sales, but some markets had 60 percent drops. Although huge, those are statistical drops. It’s only because the market went so high in 2007 and 2008. If you go back to the 1990s, we are still at a very high point historically. That’s what people miss. Because when you see big numbers being thrown out, like a 60 percent drop, you think, “My God, the whole thing’s being wiped out.” A slump in the market is about fewer good works coming onto the market or fewer buyers.

It’s not about the prices of good things falling.

Why would people turn to art during this recession in particular?

People are afraid of the banks, and it’s been a recession with low interest rates. In previous recessions, all the ultrawealthy left their money sitting in the banks because there were high interest rates.

In this recession, they’ve realized they have to get investments that

What have been the lessons of this recession?

Photo by Kip Carroll hold value and work for them. Art is a long-term, slightly safehaven investment.

You are looking more at collectors now.

The buy side of the market is very interesting. I’m doing a more formal survey of collectors, in both the U.S. and Europe. You have

I firmly believe that art is a long-term investment. That’s why some of the art funds have gone under. The liquidity is too low to run a fund with a huge cost base. The most serious collectors, those who don’t worry so much about returns, are continuing to do well.

We’ve left behind a kind of bubbly behavior where people buy something just because they can sell it at a higher price. What everyone wants now is slow, steady upward progress. The boom years turned off long-term collectors, who don’t buy in that kind of market. They sat and waited for things to calm down a bit. I think it’s returning to a better place

BUSINESSART | AUGUST 2010

SWELCO NEXT SALE AUGUST 2010, JOHANNESBURG

Page 13

Lot 314, François Krige. Peach blossoms in vineyard, signed, oil on canvas, 61 by 75cm. R 350 000 - 450 000

Preview of Stephan Welz & Co’s 17 & 18 August Johannesburg Sale line up

Lot 296, Gregoire Johannes Boonzaier. Still life with apples, signed and dated 1929, oil on board, 29 by 34cm. R 60 000 - 90 000

Stephan Welz and Company will be holding their Johannesburg winter auction at their Rosebank salesroom on 17th and 18th August. With recent successes in the art market from our Cape Town office’s June auction, accomplishing both South African and World Records, we anticipate the two day, four session sale, will follow suit.

At 14h00 on Tuesday 17 August, the first session of the sale commences with Books, Maps, Africana Pictures, Prints and Memorabilia and then moves onto the Painting section of approximately 110 lots. The session begins with a selection of international pieces featuring artists such as Frank Brangwyn, Henry Moore and John Piper, to name a few. In the South African section a wide selection of artists are represented, including Erich Mayer, Dorothy Kay, Maggie Laubser, W H Coetzer, May Hillhouse, Anthony Strickland, Ted Hoefsloot, Walter Battiss, Herman van Nazareth and Mike Parsons. Two works of particular interest in this session are a hand-coloured etching by W H Coetzer, ‘Collecting fire wood’, at an estimate of R 4 000 – 6 000 and Mike Parsons ‘At the water’s edge’, with an estimate of R 6 000 – 9 000. The session ends with a selection of good quality works by African artists: Durant Sihlali, Louis Maqhubela and John Muafangejo, to name but a few.

The evening session of approximately 150 pieces, commencing at 18h30, is a full-bodied selection of quality pieces by the likes of Frederick I’Ons, Cathcart Methven, Frans Oerder, Erich Mayer, Pranas Domsaitis, Maud Sumner, Irma Stern, J H Pierneef, Freida Lock, John Koenakeefe-Mohl, Gregoire Boonzaier, Alexis Preller, Walter Battiss, Francois Krige, Bettie Cilliers-Barnard, Sidney Goldblatt, Christo Coetzee, Dino Paravano, Pieter van der Westhuizen, Conrad Theys, Hennie Niemann (Snr & Jnr), Cecil Skotnes and George Pemba.

Lot 275, Jacob Hendrik Pierneef . Landscape with river, signed and dated 45, oil on canvas laid down on board, 44,5 by 59cm. R 1 200 000 - 1 600 000 Lot 300, Walter Whall Battiss.

Umpundulu birds (Detail) tapestry, 195 by 242cm executed by Marguerite Stephens.

R 200 000 - 300 000

A prime example of an I’Ons oil work is lot 255, ‘Cattle and herders on a river bank’ (R 50 000 – 80 000); his work is hard to come by and not often seen at auction. Frans Oerder is represented by two stunning still life’s, Lot 264, ‘Waterlilies in a jar’ (R 200 000 – 300 000) and Lot 265, ‘Still - life of chrysanthemums and a konfoor’ (R 300 000 – 500 000). Two somewhat later works by Maggie Laubser can be seen in Lot 269, ‘Landscape with harvester’ and Lot 270, ‘Figures and houses in a landscape’ (also known as ‘Duck pond’), both with an estimate of R 400 000 – 600 000. A work full of tranquillity is the secluded landscape by J H Pierneef, Lot 275, ‘Landscape with river’(R 1 200 000 – 1 600 000). Two top quality Francois Krige oils in this section deserves mention, Lot 313, ‘A view of the city bowl’ (R 200 000 – 250 000) and Lot 314, ‘Peach blossoms in vinyard’ (R 350 000 – 450 000), the latter possibly a view from the artist’s studio.

The cover lot, Lot 296, is a vibrant work from Gregoire Boonzaier’s younger days, ‘Still -life with apples’ (R 60 000 – 90 000) followed by a work by Alexis Preller, Lot 299, ‘Study of a shell’

(R 100 000 – 150 000). An item that might draw a lot of attention, is Lot 300, an interesting Walter Battiss tapestry, titled ‘Umpundulu birds’ (R 200 000 – 300 000). Another remarkable work is the diptych carved and incised wood panels by Cecil Skotnes -these two freestanding panels can be seen in Lot 367, ‘Abstract composition’ (R 300 000 – 500 000) followed by another bold carved and incised wood panel in Lot 368, ‘Icon XII’ (R 180 000 – 240 000). Two works of equal vibrancy and colour are Lot 375, ‘Unemployed’ (R 180 000 – 240 000) and Lot 376, ‘Get out!!! ‘ (R 150 000 – 200 000), both by George Pemba.

The evening session comes to an end with works by contemporary artists like Fred Page, Marlene Dumas, William Kentridge and Kim Berman. Included in this section is a work donated by William Kentridge - Lot 399, ‘Dancing nose’ (R 30 000 – 50 000)- to The South African Ballet Theatre. All proceeds received from the sale of this lot will help ensure the continuation of the SABT. Exhibition: Friday 13 August 10h00 – 17h00 Saturday 14 August 10h00 – 14h00 Sunday 15 August 10h00 – 17h00 (Jewellery, Watches & Silver viewing will close half hour prior) Auction: Tuesday 17 August 2010 Session 1 | 14h00 | Lots 1 – 250 | Books & Maps | Paintings Session 2 | 18h30 | Lots 251 – 500 | Paintings & Sculptures Wednesday 18 August 2010 Session 3 | 10h00 | Lots 501 – 790 | A Piano | Furniture | Clocks | Carpets & Rugs | Ceramics | Silver Session 4 | 14h00 | Lots 791 – 933 | Watches | Jewellery All auction sessions and pre-auction viewings will take place at:Stephan Welz & Company 13 Biermann Avenue (cnr Oxford Road) Rosebank, Johannesburg For enquiries: 011 880 3125 jhb@swelco.co.za For further information, online catalogue and absentee bid forms, please visit www.swelco.co.za

PAGE 14

INTERNATIONAL ART NEWS

BUSINESSART | AUGUST 2010

In an era of austerity, reasons to fund the arts Culture is a social language that we would be dumb without There is no doubt that the arts have economic effects. Cultural investment is an important driver of urban regeneration. Glasgow’s year as European capital of culture in 1990, and Liverpool’s in 2008, are headline examples. But the Treasury doesn’t buy it.

They can see through the “multiplier” calculations of the cultural boosters. They understand the meaning of “opportunity cost”. The money spent on artistic steel and glass could have been spent on an arms factory—and created more employment.

It was to compensate for the increasingly threadbare nature of the economic argument that in the 1990s a second line of advocacy was developed. It too is essentially instrumental, except that this time the benefits of arts funding are social. The New Labour government liked this argument, and directed that the arts council should use the arts “to combat social exclusion and support community developments”. The ACE found itself having to meet targets for health, education, employment and the reduction of crime—not truth, beauty or a sense of the sublime.

John Maynard Keynes: The cultured economist, and his wife, the ballerina Lydia Lopokova Published in The Art Newspaper. By Robert Hewison It is 70 years since a British government last had to take the arts seriously. In December 1939, in a world darkened by war, winter and blackout, a small group of civil servants and educators met to discuss the crisis in the arts. Great museums and galleries were empty, their contents packed off to safety from bombing. The theatres were shut, orchestras about to disband. The committee agreed that it was essential “to show publicly and unmistakably that the Government cares about the cultural life of the country.

This country is supposed to be fighting for civilisation.”

In 1940, with an initial budget of £50,000 (about £2 million in today’s values) the Council for the Encouragement of Music and the Arts, mother to today’s Arts Council, was born. The Daily Express thundered: “What madness is this? There is no such thing as culture in wartime.”

No one pretends we are back in 1940. Our museums are jammed with visitors from all over the world. The West End has had its best year ever. London has too many orchestras. In 1940 there were civic museums and concert halls outside London, but now Britain enjoys a cultural infrastructure second to none, thanks to a National Lottery whose receipts have risen since the recession.

Yet the arts feel under siege. The Department for Culture, Media and Sport (DCMS) has to cut £88 million from this year’s spending. Deeper cuts are expected after the comprehensive spending review in the autumn. No wonder the Arts Council England (ACE) is desperate for help in making its case. After decades of public and private initiatives, reports, conference and consultations, we are still looking for a “rational” argument for funding the arts.

Perfect storm One rational reason for not decimating cultural funding is that we are heading into a perfect storm. The strength of the British cultural economy is its well-balanced mix of private and public money. In 2008/09 the average earnings profile of an organisation regularly funded by the ACE was 47% box office, 31% from the arts council, 12% from local authority sources and other public funding, and 9% from trusts, foundations, donors and business sponsorship. National museums and galleries on average manage on one-third government money, one-third earned income and one-third fundraising and sponsorship.

efficiency gain.

It seems particularly ironic, then, that the creator and first chairman of the post-war Arts Council was the economist John Maynard Keynes. He believed that in a recession, governments should stimulate the economy. He also understood the use value of the arts. The decision taken in 1940 that led to long-term funding of the arts was not taken on economic grounds, or for reasons of health, social inclusion or the prevention of crime. But it was a rational decision, based on a rational argument: that we are supposed to be fighting for civilisation.

The writer is professor of cultural policy and leadership studies at City University London

No one would deny that arts participation brings benefits. But they are even harder to prove to the number crunchers at the Treasury. It is difficult to demonstrate a value-chain between art and social enhancement, and difficult to measure the social enhancement itself. Ministers for culture became embarrassed by this, and in 2008 commissioned Brian McMaster’s report, Supporting Excellence in the Arts: From Measurement to Judgement, which was intended to signal a move away from targets. Unfortunately “excellence” is a concept without content. It may be judged in relative terms, but it does not lend itself to the Treasury’s idea of measurement.

To convince the public, and not just the government, an argument has to be made that shows that the arts are worth funding, in and for themselves. That calls for a more sophisticated form of cultural economics than is currently recognised at the Treasury. There is a market for culture, but culture does not depend on the market for its existence. The experiences the arts offer—pleasure, terror, insight, knowledge, release—are individual and hard to quantify, and these intrinsic aspects come before any attempt to translate them into economic terms.

To use the language of the 18th-century economist Adam Smith, the value of the arts “in use” precedes their value “in exchange”.

Once something is deemed desirable, the market can indeed establish its commercial price. But although the market can trade in the products of culture, it cannot express the value of culture as a process, or what it does.

A cultural economics that captures the value of the arts has to understand value in use, and that involves broader ways of understanding ourselves and our world, for instance, anthropology and environmentalism. The value in use of the arts is that they help a society make sense of itself. They generate the symbols and rituals that create a common identity—that is why art and religion are so closely linked. Like religion, the arts give access to the spiritual.

Art is a link to previous generations, and anchors us to history.

Culture is a social language that we would be dumb without.

These anthropological arguments show why the government, as guarantor of the public realm, should take responsibility for ensuring that everyone has access to this language, and that it is both preserved and developed. For, as the environmentalists argue, it is necessary to intervene when a resource is at risk. The precautionary principle tells us we have a duty to future generations to ensure that our cultural assets are passed on to them. We also have a selfish interest in sustaining the richness and diversity of those assets. Creativity occurs through the interaction of different forms—life forms, or art forms.

When the market fails

This balanced economy gives organisations security to plan, but they have to be responsive to their public. And now things are beginning to wobble. Recession reduces disposable incomes, the assets of trusts and foundations shrink, business sponsorship dwindles, local authorities have to cut back, and the Treasury demands savings from the DCMS. Rationally, the resource with the longest purse—the government—should not withdraw support when others begin to fail.

Culture creates social capital, expressed as trust generated by a shared understanding of the symbols that the arts generate, and a commitment to the values they represent. It sustains the legitimacy of social institutions by ensuring that they are accepted, not imposed. Societies with an equitable distribution of cultural assets will be more cohesive, and more creative. Wellbeing, which is the true end of economic activity, depends on the quality of life that culture sustains. The word “culture”, after all, means “growth”.

But this is a short-term argument. There needs to be a case that stands up in good times or bad. Since the 1980s we have become used to hearing about the economic importance of the arts: they create employment, stimulate expenditure, attract tourists. Consultants have become adept at showing that a cultural facility has a “multiplier effect”: the money spent on it spreads its sweetness and light far out into the local economy. In the 1990s the “creative industries” were invented, a benign penumbra of business activities such as advertising that use cultural means to achieve commercial ends. The DCMS claims that the field of its responsibilities (including sport) accounts for 10% of gross domestic product.

Social capital—like economic capital—requires both regulation and investment. That the educated and well-off have greater access to the arts is not an argument for abandoning intervention to secure a more equitable distribution of cultural experience. Rationally, the government should be putting more funding into the arts because of the social capital they generate. There is a sound economic argument that when the market fails to provide certain kinds of goods thought useful, then it is necessary to intervene— health and education are the usual examples. The economics of the arts are particularly prone to market failure, for it is not easy to make the advances in productivity that technology facilitates in manufacturing. A symphony played on a synthesiser is not an

Vatican prepares to open room devoted to Matisse Museum to show large-scale drawings for works in the Chapel of the Rosary in Vence, on public display for the first time Published in The Art Newspaper

By Francesca Romana Morelli and Gareth Harris Rome. The Vatican Museums in Rome are set to open a room devoted to the works of Matisse later this year. The move is designed to further boost the profile of its modern and contemporary religious art department. Large-scale preparatory sketches by the French artist, relating to items adorning the Chapel of the Rosary in Vence on the Cote d’Azur, will go on public display for the first time. The works were donated to the Vatican by the artist’s son Pierre in 1980.

From 1948 to 1951, Matisse created Stations of the Cross, wall decorations, furniture, stained-glass windows, even the vestments and altarcloths, for the Dominican chapel in Vence. Three largescale drawings, all more than five metres high and drawn to scale, form the basis for the Tree of Life stained glass behind the altar and the Virgin and Child depiction created on ceramic panels in the chapel’s presbytery. The works are currently in conservation, as glue used to attach backing panels pre-1980 has seeped through to the surface of the drawings.

Five silk chasubles (the outer vestments worn by clergy during Mass) in a variety of colours, and a belltower bronze cross, all made by Matisse, will also go on view at the Vatican in a display costing E350,000. A stone Madonna sculpture by Lucio Fontana (1956), which is too heavy to move, will remain in the same room.

Micol Forti, director of the Vatican Museums’ modern and contemporary art department, says that lighting the Matisse objects has been an issue: “The 16th-century room where the sketches will be on show has no windows. This could not be more different from the Chapel of the Rosary, which is flooded with dazzling sunlight. I eventually opted for lighting that will combine with the style and colour of the works to evoke a solar explosion.”

Forti also revealed the challenges behind showing modern and contemporary art at the Vatican: “I’m trying to show the new ‘face’ of the department that was launched in 1973. The collection has since been enriched with other gifts and acquisitions that make it strong in works of the 1960s. Chagall, Gauguin, Leger, Ernst, Nolde and Bacon are among the artists represented. Unfortunately, we are not always able to acquire art so I decided to make the conservation and development of our artistic heritage a priority.”

She hopes to establish a new research centre that will strengthen the “relationship with contemporary art”. The Vatican is also building an archive of works donated by artists of the 19th and 20th centuries, made up of pieces by Cesare Fracassini and the Futurist artist Bruno Corra.

The Vatican plans to launch a pavilion at the Venice Biennale in 2011, while its first contemporary art commission under Pope Benedict XVI was awarded to Claudio Parmiggiani in 2007.

BUSINESSART | AUGUST 2010

INTERNATIONAL ART NEWS

Page 15

Caravaggio: how he influenced my art From Martin Scorsese to Peter Doig, film-makers, photographers and artists explain how Caravaggio’s prophetically cinematic paintings inspired them

By Imogen Carter

Peter Doig – Painter

Published in The Observer

It’s always a challenge for a contemporary artist to be of their time but when you look at Caravaggio’s paintings you can really imagine the context, because he used ordinary people and everyday clothes. The paintings feel very real. Edward Hopper, for instance, did the same. He was very aware of what people looked like in his time, what people were wearing. Equally Caravaggio’s paintings were obviously very brave when they were made and they continue to be viewed with that spirit, and that’s what’s so exciting.

The paintings are quite sinister – they have an air of menace, and they’re obviously very sexual.

David LaChapelle – Photographer and film director Caravaggio is often called the most modern of the old masters – there’s a newness, a contemporary feel to his work that painting prior to him just didn’t have. It’s like when [fashion designer Alexander] McQueen came on the scene, everything else [in the fashion world] suddenly looked old. Caravaggio used light like a photographer and his pictures are cropped like photographs. One that sticks in my mind is Boy Bitten By a Lizard. That’s a beautiful example of the one-source light that we identify Caravaggio with, that he pioneered, but it’s also a wonderful captured moment, this boy’s sort of feminine reaction to the lizard’s bite. It’s a photograph before photography.

The flower in the boy’s hair and the blouse coming off his shoulders I think signify that the boy is a male prostitute. But in no sense does Caravaggio judge the boy. He didn’t strive to paint the court and the aristocracy – he was painting the courtesans and the street people, the hookers and the hustlers. That’s who he felt comfortable with, empathised with. Back then that was considered blasphemous but actually that’s where Jesus pulled his disciples from – the street people and the marginalised. That’s why in [my photography series] Jesus Is My Homeboy I had people from the street dressed in modern clothing, in modern settings, with Christ, because that’s who Jesus would be with if there was a second coming.

It’s through one of my contemporary art heroes, Derek Jarman, that I got really turned on to the artist. I’m really good friends with John Maybury whose mentor was Jarman and when Jarman’s film Caravaggio came out in the 80s I was living in London. It had a really big impact on me, I wanted to learn more about Caravaggio, I just loved his aesthetic. While Michelangelo was aspirational, using bodies at the height of perfection, Caravaggio was much more of a realist. The kind of beauty he depicts isn’t in any sense what we see traditionally in painting of that time. He always found beauty in the unexpected, the ordinary – in the street urchin’s face, the broken nose, and the heavy brow. That’s why Caravaggio is a very sympathetic figure to me. I too try to find the beauty in everyone that I photograph, whether it’s the kids in South Central LA who invented the new dance form I documented in Rize, or the transsexual Amanda Lepore who I’ve photographed a lot. People think she is freakish but I don’t – I love her.

Taken from Caravaggio: A Life Sacred and Profane by Andrew Graham-Dixon (Allen Lane). Read our review of this book

Isaac Julien – Artist and film-maker When I first saw Caravaggio’s paintings in Rome I remember having what people call an art sickness. I was so in awe of the work, its aura and mastery – it was like a rapture. Bacon’s works have this same kind of aura but it seems to be something that’s missing a bit from contemporary art, which has other aims, other questions to pose.

Sometimes the paintings actually don’t seem quite right. I’m not talking about the straight portraits, but works like The Seven Acts of Mercy, where it looks as though he’s looked at seven different incidents and then pieced together a picture out of these incidents.

So there’s no kind of logic to it in a realist way – it’s not pretending to be a scene that you would actually see. In it two grown-up cherubs seem to be flying sideways. Initially you wonder what they’re doing there because they seem very awkward. But when you twist your head you see they’re obviously having sex. It’s quite an extraordinary piece of painting in its own right within the full painting. I was quite excited and very surprised when I first saw that. It seemed very radical. I remember thinking that he must’ve enjoyed himself when he was making his work.

I’ve always been interested in the use of lighting in Caravaggio’s work. In the 80s I assistant-directed a film called Dreaming Rivers which we lit entirely by candlelight, a specific reference to Caravaggio’s lighting. I even went with the cinematographer to look at some Caravaggios. I’m struck by the way his paintings use the architecture of light, its plasticity, how it forms the body, and I’ve borrowed that in several of my works. These things have been so astutely articulated in Caravaggio’s works that they’re almost, in a prophetic sense, cinematic. Making my documentary about Derek Jarman with Tilda Swinton I also saw this deliberate relationship [to Caravaggio’s work] being made in Jarman’s films, where basically there’s an abandoning of sets as such. Instead he works with light and dark.

One work I find striking is The Denial of St Peter. It’s a very troubling scene with such accusatory positioning. It’s really about how things are communicated through the intensity of the gazes.

But it’s also the portions, the framing, the lighting, the colour, all of those aspects of communicating this particular moment. It’s so cinematic.

Tom Hunter – Photographer and artist For me, Caravaggio set the stage for what every contemporary artist seems to be striving for – to live an authentic life and then to talk about, to depict, that experience. Take Tracey Emin, sewing the names of everyone she slept with in a tent, or photographers like Nan Goldin and Sally Mann – their work is all about their own lives. You initially think all of Caravaggio’s paintings are about God and religion but they’re not, they’re actually about his life and the times around him. They are living histories – that’s why his work is so powerful for me.

There’s a Caravaggio painting at the National Gallery called The Beheading of St John the Baptist, which I’ve returned to again and again. In it John the Baptist is on the floor; he has just been killed and Caravaggio gets the atmosphere totally right. Caravaggio was involved in a sword fight, and he actually killed someone: that’s what seems to be recreated here, and that’s why the morbid gravitas of that situation really comes out of the painting.

Martin Scorsese – Film-maker

So then he was there. He sort of pervaded the entirety of the bar sequences in Mean Streets. He was there in the way I wanted the camera movement, the choice of how to stage a scene. It’s basically people sitting in bars, people at tables, people getting up. The Calling of St Matthew, but in New York! Making films with street people was what it was really about, like he made paintings with them. Then that extended into a much later film, The Last Temptation of Christ. The idea was to do Jesus like Caravaggio.

Polly Morgan’s latest show, Psychopomps, is at Haunch of Venison, London W1, until 25 September.

I first saw his work at the Royal Academy’s Painting in Naples exhibition in the early 80s. I was in my early 20s then and I’d been aware of his work before but I’d not really paid it much attention.

I found them immediately accessible, and quite different from other Renaissance paintings.

Today, if you took a photograph with the type of bodies Michelangelo used it would look like a [Calvin Klein] Obsession advert, whereas Caravaggio depicted the elderly, the imperfect, even death. You never turn your head away from a Caravaggio piece no matter how brutal it is because there’s such a balance of horror, of unsightly bodies and violent scenes, with such great beauty.

I was instantly taken by the power of [Caravaggio’s] pictures.

Initially I related to them because of the moment that he chose to illuminate in the story. The Conversion of St Paul, Judith Beheading Holofernes: he was choosing a moment that was not the absolute moment of the beginning of the action. You come upon the scene midway and you’re immersed in it. It was different from the composition of the paintings that preceded it. It was like modern staging in film: it was so powerful and direct. He would have been a great film-maker, there’s no doubt about it. I thought, I can use this too...

makes him unique for his time. He succeeds in bringing beauty to subjects that are commonly dismissed. This is something I’ve attempted in works where I’ve taken creatures that are typically considered vermin and shaped them in appealing ways. To have your take on beauty challenged is reinvigorating.

Detail from Boy Bitten by a Lizard, c.1592-3 by Caravaggio.

Photograph: Longhi Collection, Florence, Italy/The Bridgeman Art Library

Polly Morgan – Taxidermist and artist What I can see in a Caravaggio painting is as important as what is hidden. I might painstakingly spend months making something, only to light it in such a way that large parts of it are in shadow.

Shadows need light to exist and what I love about Caravaggio’s paintings are that the less he reveals, the more tactile and sculptural his figures become. I could compare it to pornography; show everything and it doesn’t work, allude to something and it’s compelling.

In Sleeping Cupid, there is a weight to Cupid’s body that is absent in most depictions of him mid-flight. Here he looks spent. When I made my work To Every Seed his own Body, a blue tit collapsed on a miniature prayer book, I wanted to convey a sense of heaviness and fatigue through it’s posture.

Caravaggio’s elevation of the mundane and degenerate is what

Caravaggio is like the opposite of the rich and famous fashion photographer of today, who would only be photographing Kate Moss. He was one of the first people to look at the ordinary people and tell their stories and that was really inspiring for me. In my series Living in Hell and Other Stories [shown at the National Gallery, 2005-2006] I wanted to talk about the everyday life around Hackney. I found a headline in the local paper about a woman being attacked in front of her children outside her council flat, which I depicted in Halloween Horror, a translation of Caravaggio’s The Beheading of St John the Baptist. I wanted to record that horrific scene so it wasn’t just a disposable headline, so that people would look at it and think, “My god, this isn’t ordinary – a woman being mugged on her doorstep, in one of the richest cities in the world, in this day and age.”

Of course the way he used light has also been an influence on me.

The whole thing about photography is the painting of light – when I was taught photography I was told, “You shouldn’t leave that bit too black because there’s no detail there, you shouldn’t have that bit too bright...”, that sort of thing. But in Caravaggio’s work there are amazing light contrasts and your imagination is left to explore the dark areas. His lighting has clearly been used in film too. Take Blade Runner, with its amazingly lit scenes, dark areas and beams of light through long corridors – that all seems to come from Caravaggio.

Irma Stern, Gladioli, Signed and dated 1939, Oil on canvas, 99 by 92,5cm, R5 000 000 – R7 000 000

Irma Stern Still Life poised to break auction records Following Strauss and Co’s extraordinary success in selling Irma Stern’s Still Life with Gladioli and Fruit for R7 575 200, another still life with Gladioli by Stern has come to the market. Painted in 1939, five years after Stern produced the painting that excited so much heated bidding at the Johannesburg auction on 24 May earlier this year, this painting with estimates of R5 000 000 to R7 000 000 is sure to rouse wide interest at Strauss &Co’s 11 October sale at the Vineyard Hotel in Newlands.

By 1939 Irma Stern had garnered international recognition and local notoriety for her remarkable paintings. She had enjoyed the success of several solo shows and exhibited with a number of Europe’s leading Modernist artists, won the prestigious Prix d’Honneur at the Bordeaux International Exhibition (1927) and travelled widely on the African continent to places such as Dakar and Zanzibar.

This painting exemplifies the work of Irma Stern at the height of her powers. All the elements are rendered with sure draughtsmanship and confident paint application. Still life painting was one of the artist’s favourite genres, not least because it offered her the opportunity to experiment with the medium of paint without being tied down to mimesis as in a genre like portraiture.

Here the flowers appear to burst beyond the confines of the canvas. The pliable leaves and the large soft petals painted with thick, impasto textures that catch and reflect the light, contrast with hard ceramic surfaces. The orange Hubbard squash,

the bunch of grapes and the pomegranate spread across the red table, add richness and depth of colour and become pivotal points in the balanced composition. Softer colours seduce the eye while unexpected colour groupings create visual excitement in a symphony of subtle and complementary colour combinations. Interestingly, the Gladiolus genus was indigenous to the Cape and not found in Europe before 1700.

As a result of growing interest in Cape bulbs during the late eighteenth century, foreign travellers took examples of the delicate Cape Gladioli back to Europe and bred them into the large hybridised blooms that became very fashionable and are now seeing a return in popularity.

The vase may well have been a locally made pot but the bowl laden with fruit is quite possibly one of the celadon dishes which Stern is thought to have acquired in Zanzibar. The oriental stoneware would probably have come to Turkey overland via the Silk Road or by sea via the Spice Route and then been traded down the east coast of Africa. Made in China around the early fifteenth century, this bowl is typical of the Sung Dynasty monochrome wares, when form was favoured in contrast to the highly decorated Ming Dynasty porcelain. Its generous shape and luscious grey-green glaze are the perfect complement for the warm tones of the fruit.

Stern’s love of flowers is given free rein in this unusually large canvas. The result is a celebration of so much that she loved – fresh flowers, ripe fruits and vegetables and favourite ceramics, brought together under her astute but loving gaze.

See: www.straussart.co.za for more details

STRAUSS & CO NEXT SALE, CAPE TOWN