Aspire X PLP African Photography Auction e-Catalogue by Aspire Art

African Photography Auction

Aspire X PLP – African Photography Auction Evening Sale | Johannesburg 5 November 2020 Public auction hosted by Aspire Art Auctions

V IE WING AND A UC TI ON LO C AT I ON

Illovo Edge – Building 3 | Ground Floor | 5 Harries Road | Illovo AU CT IO N

Thursday 5 November 2020 | 7 pm V IE WING BY AP P OI NT M E NT

Lots will be on view at our Johannesburg gallery 31 October to 5 November 2020 | 10 am – 4 pm OP E NING EV E NT

Saturday 31 October | 11 am – 1 pm (RSVP required) AU CT IO NE E R

Ruarc Peffers AU CT IO N CO DE AND NU MB ER

When sending telephone or absentee bids, this sale is referred to as: AAA X PLP 20 C ONDIT I ONS O F S AL E

The auction is subject to: Rules of Auction, Important Notices, Conditions of Business and Reserves AU CT IO N RE S ULT S

+27 11 243 5243 View them on our website www.aspireart.net AB S ENT E E AND T E LE P HONE BI DS

bids@aspireart.net | +27 71 675 2991 S ALE C ONTAC TS

GLOS SARY O F CATAL OG UING T ER M S AND P R ACT I CE Terms used in this catalogue have the following meanings and conventions ascribed to them. Condition reports are available on all lots by request, and bidders are advised to inspect all lots themselves.

AR T I ST D E TA I L S If a work is by a deceased artist, the artist’s name is followed by their country of origin and birth–death dates. If an artist is still living, the artist’s name is followed by their birth date and country of origin. Attributed to … in our opinion, most likely a work by the artist in whole or in part. Studio of … / Workshop of … in our opinion, a work likely to have come from the studio of the artist or produced under their supervision. Circle of … in our opinion, a contemporaneous work by an unidentified artist working in that artist’s style. Follower of … in our opinion, a work by an unidentified artist working in the artist’s style, contemporary or near contemporary, but not necessarily by a student of the artist. School of … in our opinion, a work executed at the time and in the style associated with the artist. South African School, 18th century … in our opinion, a work executed at the time and in the style associated with that region. Manner of … in our opinion, a work by an unidentified artist working in the artist’s style but at a later date, although not of recent execution. Style of … in our opinion, a work by an unidentified artist working in the artist’s style and of recent execution.

C O NV E NT I ON S I N T I TL ES For works where the title is known (i.e. given by the artist, listed in a catalogue or referenced in a book); where it is acknowledged as the official title of the work, these titles are in title case and italics – unless specifically stated by the artist as sentence case, lower case, upper case or any variation thereof. Where the title of an artwork is unknown, a descriptive title is given. This title is in sentence case and is not italicised.

PR OVE N A N CE The history of ownership of a particular lot.

S I GN AT U RE, DAT E AN D I NS C R IP TI ON C ON V EN TI ON S The term signed … /dated…and /or inscribed … means that the signature and/ or date and/or inscription is by the artist, in our opinion. The term bears a … signature/date/ inscription indicates our opinion that the artist’s name/date/inscription has been added by another hand (this is also applicable where the term ‘in another hand’ is used). Where a semi-colon is used, everything thereafter is on the reverse of the artwork.

ES TI MATE The price range (included in the catalogue or any sale room notice) within which we believe a lot may sell. Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two figures.

D I ME NS IO N CO N VE N TI O N S Measurements are given in centimetres (height before width) and are rounded up to the nearest half centimetre. In the case of prints and multiples, measurements are specific to one decimal place, and the dimensions will be listed as sheet size, plate size or print size. Sheet size: describes the size of the entire sheet of paper on which a print is made. This may also be referred to as ‘physical size’. Plate size: describes the size of the metal sheet on which an etching has been engraved and excludes all margins. Print size: describes the size of the full printed area for all other printmaking methods and excludes all margins.

FR A MI N G All works are framed, unless otherwise stated in the catalogue, or if they are listed as a portfolio, artist’s book, tapestry or carpet.

EX HI BI TE D The history of exhibitions in which a particular lot has been included.

LI T ER AT UR E The history of publications in which a particular lot has been included.

LO T Is an item to be offered at auction (or two or more items to be offered at auction as a group).

RE SE RVE A confidential amount, below which we are not permitted to sell a lot.

SA LE ROO M N OT I CE A written notice regarding a specific lot(s), posted near the lot(s) in the saleroom, published on www.aspireart.net, and announced by the auctioneer prior to selling the lot(s).

CO N DIT IO N RE POR T A report on the condition of the lot as noted when catalogued. [We are not qualified restorers or conservators. These reports are our assessment of the general condition of the artwork. Prospective buyers are advised to satisfy themselves as to the condition of any lot(s) sold.]

After … in our opinion, a copy by an unidentified artist of a work by the artist, of any date.

vii

CON TEN TS

Auction Information iii Glossary of Cataloguing Terms and Practice v Staff ix Introduction from Aspire x Cultivating Solidarity by Mandla Langa xiv Radiance by Professor Hlonipha Mokoena xvi Convergent Creativity by Paul Weinberg and Nonhlanhla Kumalo xvi-xvii Buyers Guide xix Online Bidding Guide xxi Evening Sale Lots 1 to 126

1-187

Terms and Conditions of Business 188 Details used in prelim pages from:

Artist Index 192

COVER

Lot 15 Nipah Dennis Winneba Beach, Ghana, 2019

Commission/Telephone Bidding Form 194

PAGE IV

Lot 92 Alf Kumalo © BAHA Mankunku Ngozi, 1968 PAGE VI

Lot 48 Ernest Cole Earnest boy squats on haunches to follow (from House of Bondage) PAGE VIII

Lot 3 Emmanuelle Andrianjafy Untitled (2015) PAGE X

Lot 1 Ala Kheir Me and my Oud PAGE XIII

Lot 81 Lindeka Qampi Portrait of a traditional healer, Khayelitsha, Cape Town PAGE XV

Lot 13 Syowia Kyambi Rose’s Relocation PAGE XX

Lot 76 Mandisa Buthelezi Izithunzi Zami 17 PAGE XXII

Lot 103 Bob Gosani © BAHA Mandela Boxing, 1957 PAGE XXIV

Lot 47 Alf Kumalo Hugh Masekela, 1956

ASPI RE JO H A NN E SB UR G

C AP E T OW N

Ruarc Peffers Senior Specialist | Managing Director ruarc@aspireart.net +27 84 444 8004

Emma Bedford Senior Specialist | Director emma@aspireart.net +27 83 391 7235

Jacqui Carney Senior Specialist jacqui@aspireart.net +27 71 675 2991

Marelize van Zyl Senior Specialist marelize@aspireart.net +27 83 283 7427

Tlotlo Lobelo Cataloguer & Logistics tlotlo@aspireart.net +27 11 243 5243

Joshua Stanley Junior Specialist joshua@aspireart.net +27 76 647 8560

Themba Ndzipho Store Keeper enquiries@aspireart.net +27 11 243 5243

Lisa Truter Junior Specialist lisa@aspireart.net +27 82 568 6685

A CC O U NT S Michelle Noble Financial Officer Johannesburg accounts@aspireart.net +27 83 273 8034

Marc Smith Junior Specialist marc@aspireart.net +27 72 841 3198

P L P CO NTA CT Paul Weinberg Cape Town https://www.plparchive.com/ info@plparchive.com +27 82 771 1656 Nonhlanhla Kumalo Johannesburg https://www.plparchive.com/ info@plparchive.com +27 82 296 2074

INT ROD U CTION

When The Photography Legacy Project (PLP) first contacted us about the prospect of a first-of-its-kind auction in South Africa – supported by local and pan-African photographers to produce the first ever African photography auction on the continent – we were understandably excited. Having accomplished numerous collaborative projects to raise awareness and funds, little did we expect that the team at the PLP would assemble a collection of pan-African photography on such a scale and of such quality and diversity; historical, yet infinitely timely and contemporary; so inclusive and representative of the continent we call home. Aspire’s abiding commitment to research and education resonates in all respects with PLP’s primary objectives of creating an easily accessible and reliable archive for these very purposes. Since inception, it has been our goal to raise the profiles and associated values of artists from this continent on a global platform, and PLP’s aim to raise the profile of African photography globally is one that we endorse wholeheartedly. The global under-representation of African artists and photographers has contributed to a conspicuous representation gap of black artists within collections globally. To date, African artists represent less than 1% of the overall market. Through the efforts of organisations such as the PLP, our aim is to grow the value of artists from Africa to a level more in-line with their American and European counterparts. We are proud to be part of this seminal initiative and look forward to contributing to the legacy of African photography in the making. Ruarc Peffers Managing Director, Aspire Art Auctions

xii

xiii

CU LTIVATING SOL IDARI T Y Toni Morrison, the late Literature Nobel Laureate, wrote something memorable about how ‘nothing, neither social nor personal devastation, stops the march and production of powerful and beautiful artworks.’ She goes on to cite historical luminaries like Chaucer, who wrote in the middle of the plague or even the French writers who excelled in and defined an age of writing under Nazi occupation. Closer to home, immortal works of creativity came out under apartheid, bequeathing our country with countless classics in literature, art, music, photography, the whole gamut of creative experience. This achievement was not due to distress but in spite of it. The initiative by the Photography Legacy Project (PLP) to raise funds through auctioning African photography is at once commendable and inspirational in a country where the public reels under the onslaught of a pandemic, rising unemployment and unremitting anxiety from financial stress. An uncharitable view would be that, save for the pandemic, all manifestation of anomie visited on the public could have been mitigated with the stewardship of people with vision. It is a laudable project for another reason: the flattening of colonial borders in ensuring a pan-African enterprise that also celebrates – and enlists – the participation of photographers based in Ghana, Sudan, Senegal, Angola, Namibia and Kenya. The psychological importance of this collaboration cannot be over-emphasised, especially in the current climate where our policymakers are competing with one another in enacting xenophobic prohibitions in the name of protectionism. It is the artist, in our circumstance, the photographer, who has used his or her craft to capture the essence of the journey society takes towards its development. In our country, where wilful amnesia abounds, it is the artist who has ensured that society is provided with a truthful account of where it has been. And, as has been eloquently voiced by black American novelist James Baldwin, the artist helps us with these truths because the past has always been in the service of a lie. Insofar as the lives and times of South Africans, the existence of black people, their lives and loves and triumphs and tears, it took photography to document what was going on. Photography, in the hands of Ernest Cole, also celebrated them, throwing a dispassionate gaze into their ruined dwellings. As a counterpoint to this life, photographers like the late David Goldblatt – who could be said to be the moving spirit behind this project – also crossed boundaries to give us a glimpse into the lives of white people, managing, in the process to illuminate the emptiness and state-sponsored ignorance that made the white community the most lied-to section of our society. The PLP, in its quest to cross boundaries, has ensured that the contributors to the photographic effort are not limited to well-known names only, but have ensured that the auction is seen as a ‘vehicle to recover, celebrate, and present hidden and buried work of photographers who have stepped up to share iconic as well as new images.’ If you don’t know my name, someone once said, then you certainly don’t know your own. This auction, curated with care and professionalism, goes a long way in helping us re-remember who we are and where we come from. It helps remind the powers that be of the importance of heritage and memory. The bewildered fighters manning the barricades, tearing down the images that were once the basis of their pride, do so because there has been no sustainable effort to preserve all that which is sacred and dear. A people without memory cannot find value in themselves. This collection from so many contributors, brings us back to the source. Mandla Langa Award-winning writer and cultural activist

xiv

RA DIA NCE

The African is looking at themselves. Not just glaring or glancing, but really looking — intense, focused, inquisitive. What reason, in this time of tumult and fury, do we have for looking at ourselves? Could it not be that we are suffering from a counterintuitive narcissism — fiddling while Rome burns? How could we at this important juncture in history be luxuriating at the sheer exquisite complexity of ‘the African’? Despite the many successful, ground-breaking and avantgarde exhibitions of ‘African Photography’, these questions still seem to linger. There seems to be no appropriate time for the African to look at themselves. There is always an urgency that propels us to forget about the image and focus on reality, or at least, only focus on the images that are both art and reality. Interrogating the image seems too decadent, too costly and too out of joint. Yet, here we are. We are looking at ourselves, again. Photography here doesn’t just function as an aesthetic force or as an instrument in the politics of recognition. Photography here functions as barometer of accelerating and unimpeded time; photography is the yardstick by which we measure our expansion, our ascent and our hard-earned learning. Photography is the vocabulary through which we point to the milestones we have passed and the journey that is rising before us. Photography is the pulse by which we confirm our indefatigable heartbeat. We are here; we are alive, and we are exultant. The photographs included in the auction and this catalogue are a confirmation of our commitment to look at ourselves. They confirm that we haven’t yet exhausted the colour palette of our experience. They speak to the muted and vocalised conversations about what it means to be African in the twenty-first century. Will we again live through a century that was, as predicted by W.E.B Du Bois, about the “problem of the colour line”? Or, will we as Africans, finally recover what the Senegalese scholar Cheikh Anta Diop called our “Promethean consciousness”? This catalogue is a journey through our pan-African search for this consciousness — an invigorated and jolting revivification of our psyche and imagination. The diversity of subject matter attests to our ability to hold loss, grief, anger and exoneration in one breath. The decades have ticked by and yet each photograph, whether several decades old or recently printed, affirms our continuous and unending quest to reignite our purpose and point us to new mirrors in which to cast our images. There is no reason to force a narrative onto these images. Each represents a genre, an era and a career. Whereas David Goldblatt’s images could be said to be about the longstanding themes of art versus politics or, narrative versus realism, younger photographers are challenging such dichotomies by presenting photography that flirts with reportage while deftly concealing within itself the politics of the visual. Unassuming in their postures and techniques, photographers such as Sabelo Mlangeni and William Matlala create images in the tones and moods of their generation. Undoubtedly rooted in the now, these images however transform and quickly shift to the register of the permanent and enduring themes that have shaped South Africa’s artistic production. Class, race, apartheid, protest and spirituality are the themes we have become accustomed to associating with South African photography. Yet, as the decades pass, it has become harder to box the country’s photography into

xvi

these slots. Thus, while Mlangeni’s rose bush may look like a homage to innocence, the hovering skyscrapers in the background hint at the urbane and cosmopolitan landscape from which this innocence is prised. The sociality and conviviality in Matlala’s photograph of two women sharing a joke in the middle of the street could also be said to be a homage to the urbane sensibilities of townships residents; a sensibility which was often negated by the architects who designed the townships. Elsewhere on the continent, the ‘African City’ (as it has been recently popularised), announces itself in similarly unassuming gestures. In Emmanuelle Andrianjafy’s photograph, minarets compete majestically with the carpenter’s upholstered sofas to remind us that somewhere there is an anxious customer who wants to invite guests over but can’t because they are waiting on the carpenter to finish their work. The lofty elevation of the minarets does not dwarf the mundane urgencies of daily domestic arrangements. Ala Kheir’s man crossing the street has the same unhurried cadence of the everyday while the city in the backdrop tells a different temporal story. Memory is a traitor, and this is vividly captured in Jill Edelstein’s photographs that were shot during the years of the Truth and Reconciliation Commission. What to the uninitiated observer may look like Archbishop Desmond Tutu taking a nap, is actually a man grieving for his country. The pathos of the images of victims and perpetrators who wanted to be heard and for their story to be recorded is still palpable. That reckoning with history and its injuries re-appears in the images selected from the cover of Drum magazine and from the photographs of Bob Gosani — one minute you are marvelling at the glamour girls, gangsters and beauty queens and then the next you are in the courtyard of the Johannesburg Central Jail, where a guard examines the prisoners’ orifices as they dance the ‘Tauza’. Although this history can be turned into a catalogue of woe, the photographs in fact tell a different story about what it means to be an African. Ernest Cole’s sweating, cramped schoolboy — who is clutching his ruler and his slate with such force that you can hear them crackling in complaint — expresses the earnestness and zeal of our own primary school days. The sweat trickling down his head and face is the only reminder of the sacrifice he was making just to be present in the classroom. TJ Lemon’s “Oswenka” photographs remind us that even in the darkest moments, there is always reason to dress to the nines and show up; a man in a dark jacket with a leaf motif lapel pin stares into the camera to express his defiant stance against bad dress sense. Who are we then to deny these Africans their moment? And, in case you are in doubt that the African has cause to be radiant and ebullient, you only need look at Dale Yudelman’s photograph where ‘the African’ is barely legible behind the pasted posters advertising the services of ‘Prophet Mzumba from Binga.’ We are looking at ourselves, now. Professor Hlonipha Mokoena WiSER (Wits Institute for Social & Economic Research)

xvii

CO NVE RGE NT CREATI VI TY

Often histories converge, intertwine, diverge, and move in different directions…. contemporary African art—and photography and video specifically, has similarly moved in a non-chronological, nonlinear fashion. As with any field of study, new ideas emerge and new research illuminates gaps in our information, and provoke new readings, considerations, and revisions. Okwui Enwezor (interview with Artur Walther in C& and Aperture Magazine)1 When the Photography Legacy Project (PLP) reached out to photographers on the continent to participate in this auction, we were immediately struck by how fluid the concept of ‘African photography’ is, as alluded to by the celebrated curator, Okwui Enwezor. The diverse imagery that was submitted included recovered archives, troubled histories and defiant, celebratory images that projected subjective identities and new ways of understanding the Continent. With hindsight, any contemplation of African photography has to engage with the paradox of ‘afropessimism’ and ‘afroromanticism’. These two concepts are intrinsically related and speak to the constructed imagery of the colonial eye and the outsider. In this way, ‘Africa’ has been subject to one and a half centuries of (mis)representation that problematically stressed either the exotique or a region in a state of perennial disaster following post-colonial independence, unable to survive without aid or hand-outs from the resourced world or its previous colonisers. Ghanaian photographer Nipah Dennis’ image of young men at play on the beach transcends in multiple ways the burden of this kind of representation. In an instant the same coastline where his photograph was taken, once the epicentre of slavery from which ships sailed to the new world, is transformed. An incredible, energetic leap over the head of another is spell-binding and magical. Dennis is of a generation of young photographers whose work is represented in the auction and who are determined to see their world differently. As he describes his work in Oath magazine, “[I am] pulled by an innate desire to share stories of young people in relatively undocumented places.” Also featured in the auction is Sudanese photographer, Ala Kheir. His portraits leave us asking questions of life beyond the headlines of recent Sudanese events, and a hunger to know more about his work, his world and a society in flux. The PLP auction straddles the terrain between historical and contemporary photography and all that lies between. An important contribution to the auction is a portfolio of 12 images drawn from Ernest Cole’s archive, long thought to be lost, presented by the Ernest Cole Family. Ernest Cole documented black life under apartheid in the early 1960s. When he left the country, he published a seminal book entitled A House of Bondage in 1967, for which he paid a personal price. The book was immediately banned and Cole languished in exile for over three decades, and died in New York, a week after the release of Nelson Mandela in 1990. It was thought that his negatives and extraordinary legacy had been destroyed but in 2017, Leslie Matlaisane, a relative and chairperson of the Ernest Cole Family Trust, retrieved two suitcases from the Hasselblad Foundation that had been kept in a vault in Sweden. The portfolio on sale in the auction is part of Cole’s recovered legacy. In the long term his ‘unseen work’ on South Africa, the US South and urban life in Harlem will be digitised by the PLP in collaboration with the Cole Family, Wits University Historical Papers and Magnum photographic agency. Linking Cole to the contemporary, the work of the five winners of the Ernest Cole Award established in his honour, are also part of the auction. These are Masixole Feni, Daylin Paul, Ilan Godfrey, Dale Yudelman and Graeme Williams.

xviii

Other photographers represented are luminaries like David Goldblatt, Alf Kumalo, and some of the Drum photographers including Bob Gosani, G.R. Naidoo, Ranjith Kally and Ian Berry. In the mix are more contemporary internationally acclaimed photographers like Guy Tillim, Jo Ractliffe, Emmanuelle Andrianjafy, Syowia Kyambi, Kiluanji Kia Henda, Jabulani Dhlamini and Mikhael Subotzky, who share their work with a diverse platform of creative talent. There is an important contribution of vernacular studio and street photography from the project, The Other Camera. Increasingly this genre of vernacular photography, encapsulated by the iconic images of Seydou Keïta and Malick Sidibé, is becoming rare and collectable. The once ever-present studio or street photography so prevalent throughout the continent is a diminishing practice. The studio portrait that has been an ongoing part of Africa’s photographic history, is being superseded by the quick fix cell phone picture or selfie. The auction showcases some of these rare collections and photographers like Ronald Ngilima, William Matlala and Lindeka Qampi. In amongst the well-known and the emerging are photographers who have been plying their trade for decades. These include award-winning photographers and established names, bringing to the fore some bodies of work that have had little gallery attention. The auction can also, much like the PLP’s broader vision, be seen as a vehicle to recover, celebrate, and present hidden and buried work of photographers. There is an intriguing tapestry of both iconic and new work. The auction also encompasses a number of aesthetic forms and approaches from traditional to modern. The writer Chinua Achebe when once asked about the notion of an African identity, replied there wasn’t one – it was in the making. This auction is about African photography in the making. It provokes, as Enwezor has suggested, new readings and discoveries, somewhere between the past and present, as it embraces the future. What struck us deeply in this process has been the sense of community spirit in which photographers have responded to our call. For many contributors, their participation is a much-needed injection of income that has been devastated by the Coronavirus pandemic. For others it is a gesture to be part of a broader community of photography and a platform that recognises their work. Importantly, we observed that many of the photographers involved in the auction are also working with colleagues in their own countries to raise their profiles and their collective image-making through local exhibition spaces (physical and digital). In the spirit of community and allied to the isiXhosa expression, Isandla sihlamba esinye (one hand washes the other), we are reaching out to potential collectors to join this community and support the creative endeavour of individual photographers, their attendant galleries and simultaneously to share in the PLP’s vision to make African photography accessible for education and scholarship. We invite you to be part of history with us, in this first African photographic auction to be held on the continent. Paul Weinberg and Nonhlanhla Kumalo Photography Legacy Project 1

https://www.contemporaryand.com/magazines/okwui-enwezor-and-artur-walther-on-the-recent-histories-of-african-photography/

xix

BUYERS GUIDE The following information is designed to

reserve price will not exceed the low estimate

See page xiii for a guide to online bidding

4. Specialist assistance

New bidders to Aspire will need to supply

The estimates included in this catalogue are expressed in South African Rands, the conversion into foreign currency being made, for information only, on the basis of the rate of change in force on October 20, 2020. These conversions are for information only, and bidders are invited, if they wish, to check the rate of exchange in effect on the day of the sale. All invoices that will be issued after the sale, will only be expressed in South African Rands. All payments relating to the sale must

us with their ID/Driver’s license and proof of

be made in South African Rands.

guide prospective bidders through the auction process and explains how to bid at an auction by Aspire. Our staff are happy to assist with any queries.

Our specialists are available to discuss any lot in further detail if you require additional information. Please do not hesitate to contact

1. Identify your potential acquisition

us.

Aspire holds four live auctions per annum. You can subscribe to our printed catalogues to view all works coming up in an auction or alternatively, our e-catalogues are posted online approximately a month prior to each sale; these are free downloads and give a full overview of each auction. Keep an eye on our website and social media platforms where we will provide regular updates regarding sale information and when catalogues are available to view online. The auction preview is open to the public. 2. The catalogue The catalogue includes all information regarding the lot(s) being offered in an auction

5. Bidding with Aspire Bidding may be done in four ways, depending on your preference and availability during the live auction.

address. 6. Payments, collection and storage 5.1. Live bidding in the saleroom You can physically bid during a live auction by registering and bidding in the saleroom. You

Payment must be made immediately after completion of the auction, as stated in our Terms and Conditions of Business, unless

may register to bid prior to the auction (during

otherwise agreed with Aspire beforehand.

the preview), or you can register on the day of

Once payment for the purchased lot is made

the auction.

and cleared, you may take the lot or arrange for collection. An Aspire representative will

(including artwork details, date, medium,

The auction is open to the public. If you cannot

contact you the day after the auction to assist

dimensions, quantity of items in the lot, and so

attend the auction, there are two absentee

with logistics. If you are unable to collect the

forth). Condition reports are not included in the

bidding methods available to you.

artwork within the allocated time – Aspire will

catalogue, but may be requested by emailing conditionreports@aspireart.net. However, as we are not qualified conservators, we advise that you view the lot in person to satisfy yourself as to the condition of a prospective purchase. Condition reports are not necessarily compiled by professional conservators unless otherwise stated. 3. Estimates Aspire assigns a low and high estimate to every lot. These estimates give our opinion of value, bearing the following factors in mind: the sales precedent of each artist, the subject matter, the importance of the work within the artist’s oeuvre, the condition of the work and assimilates the accumulative totality of all of these factors. Each lot has a confidential reserve price agreed between Aspire and the

5.2. Telephone bid An Aspire representative will phone you during the live auction: a trained staff member will walk you through the auction as it happens and you may instruct the representative to bid on a lot on your behalf. Don’t forget to send through your telephone bids at least 24 hours before the commencement of the auction to ensure sufficient time for processing. 5.3. Written bid (Absentee bid/Book bid/ Commission bid) Recorded bids entered into the auctioneer’s catalogue. The auctioneer will, in your absence, bid on your behalf, up to the maximum amount

arrange storage or delivery of the lot, which will be for your account. Aspire will store artworks purchased at the auction under Aspire’s insurance for a limited time only (see our Terms and Conditions of Business). Storage and handling costs will be charged if the property is not collected within this time. 7. Commissions and fees payable Buyers premium Buyers will be liable for payment of the purchase price. The purchase price is the hammer price, the Buyer’s premium and VAT charged on the premium.

given by you. Should the bidding not reach

Commission charged on any lot selling up

your maximum bid, you will acquire the lot for

to and including R20 000 is 15% (plus VAT).

one increment above the previous bid.

Commission charged on any lot selling in excess of R20 000 is 12% (plus VAT).

seller of the lot. The reserve is the minimum price that will be accepted for a lot, any

5.4. Online via www.auctions.aspireart.net or

Commission for all online bidding is 15%

amount below which a lot will not be sold. The

through the Aspire Art Auctions app

(plus VAT). xxi

xxii

ON LI NE BID DIN G G UIDE HOW TO REGISTER ONLINE: Visit the Aspire bidding platform at www.auctions.aspireart.net or simply register via the app which is available as a free download through The App Store and Google Play. To register as a first time user: Enter the required personal details (name, email address, mobile number, physical address and password). Click REGISTER. For returning users: Enter your email address and password and select LOGIN. When you are ready to place a bid click on REGISTER TO BID and complete the required fields. You will immediately receive an email alerting you of your status as a bidder in the auction.

FUNCTIONS You can add items to your WATCHED LOTS by clicking the star icon or FAVOURITE ARTISTS by clicking FOLLOW.

PLACING YOUR BID 1. PRIOR TO THE LIVE AUCTION You can manually place bids through our website or via our app, or you can enter a commission bid and the system will automatically bid on your behalf up to your maximum amount, but only if someone bids against you. If you are outbid instantly this implies there is a higher maximum bid from another bidder, in this case there will not be an email or push notification. You will only be notified via email or push notification when your maximum bid has been surpassed by another bidder, we advise that you monitor your maximum bids to view the CURRENT BID price. When you are logged in, if you are the highest bidder on a lot, you will see WINNING below that lot, along with the current price. If you have been outbid, you will see OUTBID, along with the current price. If you are outbid you will receive an email or push notification letting you know that you have been outbid and inviting you to bid again. If two bidders leave the same maximum bid and that increment wins the lot, the bidder who placed their bid first will win the lot. 2. ONCE THE LIVE AUCTION HAS BEGUN You can continue to bid via our website or app in the same manner as the above. All online bids will be translated and transferred into the Live auction environment as each successive lot is opened by the Auctioneer. The Auctioneer will open bidding on the lot at the highest CURRENT BID online. You can continue to bid online, and increase your maximum bid as the Live auction is conducted, both on the current lot, as well as on later lots in the auction. Once the Live sale has begun you will no longer receive push notifications or email alerts notifying you that you have been outbid. We invite you to actively follow and bid along online as the Live sale is conducted. As the lots are sold, the platform will reflect WON, along with the PURCHASED FOR price if you were the highest bidder and successful buyer. The platform will reflect LOST, along with the SOLD FOR price if you were ultimately outbid.

COMMISSION Buyers commission when bidding online at www.auctions.aspireart.net or bidding through the Aspire Art Auctions App is 15% (plus VAT on the commission only). Due to the technological nature of any online bidding environment, such an environment might be subject to related latencies or errors with regards to any form of data transfer. Accordingly, Aspire is hereby exempt from any liabilities resulting from such latencies or errors.

xxiii

Aspire X PLP African Photography Auction

Thursday 5 November | 7 pm

1 Ala Kheir b.1985 Sudan

Me and my Oud 2016 archival ink print on Hahnemühle Photo Rag image size: 45 x 60 cm, sheet size: 55 x 70 cm, unframed number 5, from an edition of 10

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Ala Kheir’s work, visit: http://alakheir.com/ http://www.mantlethought.org/arts-andculture/invisible-borders-interview-ala-kheir http://old.triennale.org/it/mostre/ passate/3860-africa-big-change-big-chance#. WLOp6X-2BPY http://invisible-borders.com/artist_portfolio/ ala-kheir/ http://lemagazine.jeudepaume.org/blogs/ shelleyrice/2012/04/18/invisible-borderstrans-african-photography-project/

Ala Kheir was born in Nyala (Darfur, Sudan) and currently lives and works in Khartoum, Sudan. He has been deeply interested in photography since secondary school, but started studying the medium in-depth in 2005 when he purchased his first SLR. "I try to use photography with the aim of self-reflection, while enjoying the process and the difficulty to make a simple photograph that delivers a message," Kheir writes. He works across a diverse range of styles, and does not limit himself to a specific subject, instead photographing that which critically satisfies his vision of photography. His work has been exhibited internationally, including Green April at the Kigali Photo Fest (2019); The Periphery at the Lagos Photo Festival (2018); Collectivism, with Invisible Borders, FOAM, Amsterdam (2017); solo exhibitions of Revisiting Khartoum at African Capitals, Paris (2017) and Dak’Art Contemporary African Art Biennale, Dakar (2016); From Khartoum to Addis, Venice Biennale, Venice (2015); Africa Big Change Big Chance, Milan (2014); Invisible Borders and a solo exhibition of Khartoum, Addis Foto Fest, Addis Ababa (2012); and The Un-governables, New York (2012). Kheir is the founder of the Sudanese Photographers Group, and active in photography education and development in Africa. He is also a member of Centres of Learning Photography in Africa. "Me and my Oud was taken in Elsagana Club, a space where most musicians in Khartoum began their journeys. The centre is still active but not as vibrant as before. Growing up in Khartoum, 'things are not as good as before' is becoming a theme, and I can notice it in most things around me. The man on this photo, Mahmoud, started coming to this centre in 2005 and learned to play oud here. He has been a regular for almost 10 years; as he doesn’t own an oud, this is where he can own one for an hour or two."

2 Ala Kheir b.1985 Sudan

Untitled 1 (from the Revisiting Khartoum series) 2015 archival ink print on Hahnemühle Photo Rag image size: 60 x 60 cm, sheet size: 70 x 70 cm, unframed number 3, from an edition of 10

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

Accompanied by a certificate of authenticity signed by the artist.

"The 1960s–80s was a booming period in Khartoum in terms of development, business and infrastructure. In the 1990s, traces of this era were clear and downtownKhartoum was still an active business district; this was when I started going there with my father whose office was in downtown-Khartoum. It was always fascinating and enjoyable, and it was my dream to grow up and work there. 20 years later, I started photographing those spaces. The past two decades were harsh in Khartoum, and there was lots of change. Old Khartoum is no longer like before: it is not abandoned, but almost feels like it. I photographed these spaces linking what I see to how I felt visiting when I was young - the mixed emotions between then and now. This photograph is of one of the main business districts in the area; it is almost like a ghost town, especially after office hours." Kheir had solo exhibitions of Revisiting Khartoum at African Capitals, Paris (2017) and Dak’Art Contemporary Art Biennale, Dakar (2016).

3 Emmanuelle Andrianjafy b.1983 Madagascar

Untitled (2015) (from the Nothing’s in Vain series) 2015 archival ink print on Hahnemühle Photo Rag image size: 61 x 41 cm, sheet size: 71 x 51 cm, unframed number 1, from an edition of 8 + 2AP

ZAR 22 000 – 26 000 USD 1 342 – 1 586 GBP 1 034 – 1 222 EURO 1 222 – 1 326

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Emmanuelle Andrianjafy’s work, see: https://mackbooks.co.uk/products/nothingsin-vain-br-emmanuelle-andrianjafy

Born in Madagascar, Emmanuelle Andrianjafy lives and works in Dakar, Senegal. She graduated and worked as an electrical engineer in France before deciding to pursue photography in 2013. Between 2015 and 2017, she attended the celebrated international photography workshop, Atelier Smedsby. The two images on auction, the current lot and lot 17 are from Andrianjafy’s first main body of work, Nothing’s in Vain. In 2011, Malagasy photographer Emmanuelle Andrianjafy arrived in the port city of Dakar, situated on the westernmost African coast, overlooking the Atlantic Ocean. Nothing’s in Vain is her response to the experience of uprooting to the Senegalese capital. Struggling to settle in, she picked up a camera for the first time. Her joint explorations of urban territory and emotional states of mind are intuitive, immersive and introspective. Nothing’s in Vain explores the dialogue between the specific urban context and her own internal search for belonging and connection. The project was awarded the MACK First Book Award (2017) and published as a monograph; it was also awarded the Contemporary African Photography Prize and was a finalist in the Aperture Portfolio Prize in the same year. Nothing’s in Vain will be shown at PHOTO 2021, Melbourne in 2021 and was previously exhibited at the Museum of the African Diaspora, San Francisco (2019); Bamako Encounters Photography Biennale, Bamako (2019); New Art Exchange, Nottingham (2018); and Photo London, London (2017). Nothing’s in Vain has been featured, among others, by the British Journal of Photography, Radio France Internationale, CNN, American Suburb X, Contemporary And (C&), and Zum magazine. Andrianjafy has taken part in the events programmes of the Valongo Festival in Brazil in 2018, Unseen Amsterdam and Paris Photo in 2017. She is currently working on a new body of work in which she returns to her native Madagascar.

https://www.rfi.fr/fr/emission/20191219photographe-emmanuelle-andrianjafy https://americansuburbx.com/2017/08/ emmanuelle-andrianjafy-nothings-in-vain.html https://www.bjp-online.com/2017/11/londonphoto-week-emmanuelle-andrianjafy-winsmack-first-book-award/

WATCH

https://edition.cnn.com/videos/ world/2018/08/13/african-voicesdakar-emmanuelle-andrinjafyphotographer-senegal-vision-b.cnn

https://vimeo.com/242569890

4 Guy Tillim b.1962 South Africa

Dar es Salaam, 2017 (from Dar es Salaam and Abidjan) 2017 hand printed silver gelatin print signed on the reverse image size: 15 x 20 cm framed size: 28 x 33 x 4 cm number 1, from an edition of 5 + 1AP

ZAR 60 000 – 90 000 USD 3 660 – 5 490 GBP 2 820 – 4 230 EURO 3 060 – 4 590

NOTES

For additional information on the Hotel Universo exhibition, see: https://stevenson-viewingroom.exhibit-e.art/ viewing-room/guy-tillim#tab:slideshow;tab1:thumbnails For select texts and reviews on Guy Tillim’s work, see: https://www.stevenson.info/artist/guy-tillim/ texts For select publications and monographs, see: https://www.stevenson.info/artist/guy-tillim/ publications

Guy Tillim was born in Johannesburg and lives in Vermaaklikheid, South Africa. He started photographing professionally in 1986, working with the Afrapix collective until 1990. His work as a freelance photographer in South Africa for the local and foreign media included positions with Reuters between 1986 and 1988, and Agence France Presse in 1993 and 1994. Tillim has received many awards for his work, including the Prix Societe Civile des Auteurs Multimedia (SCAM) Roger Pic (2002); the Higas-hikawa Overseas Photographer Award (2003); the Daimler-Chrysler Award for South African photography (2004); the Leica Oskar Barnack Award (2005); the first Robert Gardner Fellowship in Photography from the Peabody Museum at Harvard University (2006); the Quai Branly Photography Residencies (2015); and the HCB Award (2017). He has had solo exhibitions at, among others, the Centre Photographique d’Île-deFrance, Paris; Huis Marseille Museum of Photography, Amsterdam; Fondation Henri Cartier-Bresson, Paris; Museu Serralves, Porto; the Peabody Museum at Harvard University, Cambridge; FOAM Fotografiemuseum, Amsterdam; and the Museum of Contemporary Photography, Chicago. His work was included in Documenta 12 (2007), the São Paulo Biennial in (2006), and the touring exhibition Africa Remix (2004–7), presented at the Centre Pompidou in 2004. This work forms part of Guy Tillim’s solo exhibition Hotel Universo, shown for the first time in 2020 at Stevenson Cape Town. Moving away from the colour photography that has characterised his recent projects, Tillim returns to his archive and his darkroom to produce new black and white images for three bodies of work, each presented as a unique photobook. The book Dar es Salaam and Abidjan takes its cue from street photography and places emphasis on individuals. The pictured crowds engage in commerce, travel and other acts towards the fulfilment of needs, Tillim combines elements from different frames to create new scenes of urban life. "[…] I indulged a fantasy that, if you’ve ever been a photographer, I’m sure has crossed your mind: and that is to combine elements from different frames into one picture. I’ve spent years on street corners, and walking streets trying to convey just ordinary scenes, little daily events that happened by the billion. And yet, a part of me wanted to capture something out of the ordinary, or rather something so particularly ordinary that it had effortless grace and an effortless path to oblivion. Which was always so extremely difficult and sometimes tortuous. You’d spend hours and days, and then hate yourself because you just couldn't do it, and photographers you admired were seemingly doing it all the time. So I constructed the images. Because I can. Because I wanted to see what they looked like. You note a little defensiveness in my tone there? My former profession of photojournalism disapproved of this kind of construction, saw it as disingenuous: a single moment should be able to be plucked out from its journey to oblivion and be consecrated as ‘something that happened’. I suppose I’m playing with time really. The scenes all happened, not in that sequence maybe, but with another throw of the dice, who knows? It’s a playful way of approaching something; I’m not saying I’ll do this all the time, or every time."

5 Madoda Mkhobeni b.1978 South Africa

Happenstance (from the Johannesburg Trolley Pullers series) 2019 archival ink print on Hahnemühle Photo Rag signed image size: 23.5 x 36 cm, sheet size: 29.5 x 42 cm, unframed number 1, from an edition of 10

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

NOTES

For additional information on Madoda Mkhobeni’s work, see: https://www.thedailyvox.co.za/photo-essayessence-joburg-photographers-lens/ https://streetphotographymagazine.com/ article/walking-the-city-of-johannesburg/ https://mg.co.za/article/2019-05-03-00-theportfolio-madoda-mkhobeni/ https://www.mahpsa.org/lawrence-madodo/

Madoda Mkhobeni was born and raised in Klipspruit, Soweto, and completed the Foundation Course and the Photojournalism and Documentary Photography Programme at the Market Photo Workshop. He aided in the establishment of Soweto Photo Album Collective, and his work has been published in various news and photography publications, including Camera Austria, Homeless Talk, The Star, Le Monde, Intimate Lens, Photographic Tales and various South African newspapers. Mkhobeni is a fellow at the Migration and Health Project Southern Africa. As a documentary photographer working in Johannesburg, he has been working on a long-term project, Johannesburg Trolley Pullers, focusing on challenges faced by migrant recyclable material collectors as the spaces they work and live in are subject to urban development. Mkhobeni’s practice also includes street photography, through which he documents urban street life – people, transport, and structures – and portraiture photography. "When I leave home catching the taxi to Johannesburg, I don't have a plan what am I going to photograph in town, where am I going to drop off. The decision to take photographs will come when I am standing at the corner or walking the city without having an idea where am I going. […] What I have noticed when walking the city of Johannesburg, is that on the street life is like watching a slide show, a lot is happening. But my eye is forced to capture what I find interesting, to frame as I walk on the street," he writes. Both works on auction are from Madoda Mkhobeni’s Johannesburg Trolley Pullers series. Transporting recyclable materials and other valuable goods, the mobility of the trolley in the city does not abide by traffic laws, with trolley pullers often squeezing themselves through the traffic to continue with their journey. Johannesburg Trolley Pullers examines the precarious ways in which many people make a living from collecting recyclable materials and through informal street trading on city pavements – many of them women.

6 Madoda Mkhobeni b.1978 South Africa

Daily Struggle (from the Johannesburg Trolley Pullers series) 2019 archival ink print on Hahnemühle Photo Rag signed image size: 23.5 x 36 cm, sheet size: 29.5 x 42 cm, unframed number 1, from an edition of 10

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

WATCH

https://www.youtube.com/ watch?v=qTbyq48-UEY

7 Ashley Walters b.1983 South Africa

Railway Street 2019 archival pigment ink on cotton paper image size: 39 x 59 cm framed size: 58.5 x 85 cm number 1, from an edition of 5 + 2AP

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

Accompanied by a certificate of authenticity signed by the artist. Reviews and texts: Limits and Reveals: Ashley Walters’ ‘White City’, a review by Keely Shinners (2019) https://artthrob.co.za/2019/06/06/limits-andreveals-ashley-walters-white-city/ Between Image and Life: Ashley Walters’ ‘Parallel’, a review by Elizabeth Gunter (2019) https://artthrob.co.za/2019/08/27/betweenimage-and-life-ashley-walters-parallel/ One and Four Beds: Tshabangu, Walters, Gqunta, Katz, and Mellish, a feature by Ashraf Jamal (2020) https://artthrob.co.za/2020/05/05/one-andfour-beds-tshabangu-walters-gqunta-katzand-mellish/

Ashley Walters’ works protagonise a subjective and critical approach to the behaviours and processes of urban life in the city and its periphery. His work tells of an interest in the everyday and public space in its least predictable dimension. Wavering between absolute complicity with his subjects and distant observation, his body of work emphasises a non-spectacular representation of reality. Whereas some images provide tableaus of intimate, inhabited spaces, others render nonterritories that bespeak of up-rootedness, scarring, anxiety and liminality. Walters completed his Master’s degree in Fine Art (2013) at the Michaelis School of Fine Art, University of Cape Town, where he was the recipient of a number of prestigious awards and scholarships, including the Michealis Prize (2011) and Tierney Fellowship Award (2013). Subsequent to this, he completed an exchange at Hochschule für Bildende Künste in Braunschweig (2013). He was awarded an Apexart Fellowship in New York (2015) and an artist residency in Amersfoort, Netherlands (2017/18). Commissioned by the Magnum Foundation, his work has been featured widely in publications such as Laying Foundations for Change (2014), Rogue Urbanism: Emergent African Cities (2013), and Aperture Magazine: Platform Africa (2017). Walters has taken part in numerous international exhibitions in Bamako, London, Germany, New York, Beijing, the Netherlands, and South Korea, and exhibited his works widely within South Africa. Railway Street was shown as part of Walters’ solo exhibition White City at GUS, Stellenbosch (2019). The exhibition takes a departure from his interest in domesticity to explore notions of inherent violence through experimenting with form and colour. White City is the name given by the community in south side Elsies River, Cape Town. In this exhibition, White City refers to both a physical space and a historical landscape. This work was also shown at Latitudes Art Fair, Nelson Mandela Square, Johannesburg (2019).

8 Ashley Walters b.1983 South Africa

Greatmore 2019 archival pigment ink on cotton paper image size: 55 x 82 cm framed size: 58.5 x 85 cm number 1, from an edition of 5 + 2AP

ZAR 18 000 – 24 000 USD 1 098 – 1 464 GBP 846 – 1 128 EURO 918 – 1 224

Greatmore was shown as part of Ashley Walters’ solo exhibition Parallel, SMAC Gallery, Stellenbosch (2019). In the exhibition, he reflects on the complexities of ocularcentrism, artificiality and belonging. In performing photography and deploying optical illusions, Walters explores the effects of doubling, refraction, layering and distortion. These modalities encourage the viewer to look past the image, past the reflection in order to engage with the now.

9 Moss Morwahla Moeng b.1994 South Africa

In the Absence of Form (from the Ghost Town series) 2017 archival pigment print on Tecco Premium Cotton Rag image size: 80 x 111.5 cm, sheet size: 80.5 x 112.5 cm, unframed number 1, from an edition of 10 + 2AP

ZAR 12 000 – 16 000 USD 732 – 976 GBP 564 – 752 EURO 612 – 816

NOTES

Accompanied by a certificate of authenticity signed by the artist.

10 Moss Morwahla Moeng b.1994 South Africa

Deconstructed Reality (from the Ghost Town series) 2017

Moss Morwahla Moeng was born in Diepkloof, Soweto. Moeng started his journey at the Market Photo Workshop in 2014, where he completed the Foundation, Intermediate, and Advanced courses in photography. After graduating from Market Photo Workshop, he joined LightFarm Reproduction Studio where he currently works as a professional photographic retoucher and fine art printer. In 2015, Moeng co-founded a photographic collective, BLD, that focuses on collaborative efforts and the sharing of photographic knowledge with communities. He has developed a number of photo-essays that have been exhibited at Kalashnikovv Gallery, Lizamore & Associates, Agog Gallery, and the Turbine Art Fair in Johannesburg, as well as the Brandts Museum of Photographic Arts in Odense, Denmark. Moeng has participated in mentorship programmes, where he was mentored by John Fleetwood and Jodi Bieber. His work was recently published in Simon Njami’s The Journey: New Positions in African Photography (Kerber Verlag, 2020), a book on the work of alumni from the Goethe-Institut photography masterclasses. In the Absence of Form and Deconstructed Reality are part of Moeng’s series Ghost Town. Ghost Town is situated between the outskirts of Zone 3 (Diepkloof, Soweto) and a mine dump. The work considers the complex tensions and resultant isolation within a community. Ghost Town remains an unknown space for many people around Diepkloof. Retracing human trials in these often-unseen, changing landscapes, Moeng investigates relationships with the spaces people inhabit.

archival pigment print on Tecco Premium Cotton Rag image size: 80 x 101.5 cm, sheet size: 80.5 x 102 cm, unframed number 1, from an edition of 10 + 2AP

ZAR 12 000 – 16 000 USD 732 – 976 GBP 564 – 752 EURO 612 – 816 WATCH NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Moss Moeng’s work, see: http://www.brainstormmag.co.za/ brainstormcalendar_2017/index. php?view=featured-artist&name=Morwahla+ Mampholo+Moeng https://itch.co.za/archive/issue-20/item/1687another-view https://iono.fm/e/612632

https://www.youtube.com/ watch?v=Emh_f-2CvVM

Kiluanji Kia Henda is an autodidact for whom a profound springboard into this was growing up in a household of photography enthusiasts. His conceptual edge was sharpened by immersing himself into music, avant-garde theater and collaborating with a collective of emerging artists in Luanda’s art scene. In his practice, he explores photography, video, performance, installation and object-sculpture to materialise fictitious narratives, dislocating the facts to different temporalities and contexts.

11 Kiluanji Kia Henda

Select solo exhibitions include Something Happened on the Way to Heaven, Museo di Arte di Nuoro, Nuoro (2020); The Isle of Venus at Museum of Leuven, Leuven (2020); A City Called Mirage at the International Studio and Curatorial Program in New York (2017); In the Days of a Dark Safari at Galeria Filomena Soares, Lisbon, and Goodman Gallery, Cape Town (2017); and Self-Portrait As A White Man at Galleria Fonti, Naples (2010).

archival ink print on cotton paper image size: 60 x 90 cm, framed size: 73 x 103 x 4 cm number 4, from an edition of 5

Kia Henda has participated in numerous international group exhibitions, including exhibitions at the Barbican Art Center, London (2020); Migros Museum, Zurich (2020); Zeitz MOCAA, Cape Town (2019); Tate Modern, London (2019); MAAT, Lisbon (2018); Centre Georges Pompidou, Paris (2016); the National Museum of African Art - Smithsonian Institution, Washington (2015); and the Guggenheim Museum, Bilbao (2015). His work was shown at the Gwangju Biennale, Gwangju (2018); Bergen Assembly, Bergen (2013); São Paulo Biennale, São Paulo (2010); Venice Biennale, Venice (2007); and the Luanda Triennale, Luanda (2007).

ZAR 70 000 – 90 000 USD 4 270 – 5 490 GBP 3 290 – 4 230 EURO 3 570 – 4 590

In 2017, he received the Frieze Artist Award. He was awarded Angola’s National Culture and Arts Award in 2012. His work is held in private and institutional collections, including Tate Modern, London; the Museum of Modern Art, Warsaw; Centre Pompidou, Paris; FRAC Grand Large – Hauts-de-France, Dunkerque; and Pérez Art Museum, Miami.

b.1979 Angola

Objet Trouvé #1 2016

NOTES

Accompanied by a certificate of authenticity. For additional information on Kiluanji Kia Henda’s work, see: https://www.tate.org.uk/art/artists/kiluanjikia-henda-23100/introducing-kiluanji-kiahenda https://nataal.com/kiluanji-kia-henda https://www.mleuven.be/en/kiahenda

"Objet Trouvé is a series of six portraits taken in the derelict area behind the Hotel Globo in central Luanda. They bring into the foreground found objects that conceal and divert attention away from the man behind them. However, the found object not only obstructs the gaze, of both the portrayed and the observer, but also reveals an extremely violent process – the thingification of the black man, who is repeatedly made an object: the object of his own work (as labour disconnected from that which he produces), the object of colonialism (which treats him as merchandise), the object of the object (as a being made a subject by the found object) and finally the object of the photograph (which turns him into the object consumed by the gaze). More than mere masks which cover and reveal possible identities, the found objects become replacements for missing heads. There is a series of myths in which a divine being, such as Ganesh in Indian culture and Oxaguian in the Yoruba culture, is born without a head or loses it and then makes use of a fantastical replacement. […] Here the found object re-emerges as a humiliation and hindrance through which the black man returns the gaze of those who observe him. However, in Objet Trouvé, the object protects the man portrayed from the observer’s gaze and presents the observer with a strangeness that induces a certain unease. Identity-erasing masks, replaced heads, torture devices, there is always a body/object which is first dreamed about – the synthesis of fears and desires – before being turned into reality, and a provocation. […] Finally, they are simple objects found in the street. Trivial objects which, through their dislocation in time and space in line with an entire mise en scène, are given new charm when subverted from their original functions." – Lucas Parente

12 Sabelo Mlangeni b.1980 South Africa

Amablomu, Joubert Park (from the Big City series) 2011 hand printed silver gelatin signed on the reverse image size: 27.5 x 28.5 cm, sheet size: 30 x 40 cm, unframed number 2, from an edition of 9 + 2AP

ZAR 25 000 – 35 000 USD 1 525 – 2 135 GBP 1 175 – 1 645 EURO 1 275 – 1 785

NOTES

Accompanied by a certificate of authenticity. For additional information on Sabelo Mlangeni’s work and selected reviews and essays, see: https://blankprojects.com/Sabelo-Mlangeni-1 https://blankprojects.com/Press-News-10

Working largely in black and white format, Sabelo Mlangeni has built his practice around intimate photographs that draw out the inherent beauty in the ordinary. Mlangeni is driven by his interest in the notions of community and communing where a central part of his process requires him to spend significant time – weeks, months, sometimes years – with those he chooses to photograph, sharing intimately in their thoughts, feelings, stories and everyday lives. His practice is a continuous survey of the most challenging, beautiful and confounding aspects of the human experience. "I have been moving around Johannesburg and its closest suburbs as someone interested in storytelling about everyday life. In my early walks, I found myself in many spaces where the situation and the living conditions were impossible to look at and to photograph. Then I started wondering, what to frame? Soon another side of the hardships emerged, and I attempted to capture that hidden beauty, that ordinary peace." A graduate of the Market Photo Workshop, his work has been widely exhibited locally and internationally, including at the Lagos Biennale, Lagos (2019); Museum of Contemporary Art Detroit, Detroit (2019); Huis Marseille Museum of Photography, Amsterdam (2019); Wits Art Museum, Johannesburg (2018); SAVVY Contemporary, Berlin (2018); Kunsthal KAdE, Amersfoort (2018); Walther Collection (2017), Museum Africa, Johannesburg (2015); Haus der Kunst, Munich (2013); Liverpool Biennale, Liverpool (2013); Lubumbashi Biennale, Lubumbashi (2012); Lagos Photo Festival, Lagos (2011); Victoria and Albert Museum (2011); Rautenstrauch-Joest-Museum, Cologne (2010); and Johannesburg Art Gallery, Johannesburg (2010). Mlangeni was awarded the Africa MediaWorks Photography Prize (2018); the Prize for Contemporary African Photography (2016); and the Tollman Award for Visual Arts (2009). His work is represented in several institutional collections, including Tate Modern, London; San Francisco Museum of Modern Art, San Francisco; Johannesburg Art Gallery, Johannesburg; Art Institute of Chicago, Chicago; the Walther Collection; KADIST; and the Sasol Art Collection. "In South Africa, like in other developing countries around the world, most people move to big towns and big cities for better opportunities. This ongoing body of work explores Johannesburg as a major economic hub where the street is an essential component of small businesses. This series is a direct contrast to my recent body of work, Ghost Town, where I explore the death of the small town brought upon by urban migration. Big City is a survey of the CBD as a site for opportunity, especially in relation to women who travel far and wide in search of economic independence."

13 Syowia Kyambi b.1979 Kenya

Rose's Relocation (series of five) 2015 archival ink print on Hahnemühle Baryta image size: 28 x 38 cm each, sheet size: 34 x 44 cm each, unframed number 2, from an edition of 5

ZAR 50 000 – 80 000 USD 3 050 – 4 880 GBP 2 350 – 3 760 EURO 2 550 – 4 080

NOTES

Accompanied by a certificate of authenticity signed by the artist. For more information on Syowia Kyambi’s work, see: https://syowiakyambi.com/ Her work is featured in the following books and exhibition catalogues: C. Liebelt, S. Böllinger and Ulf Vierke, Beauty and the Norm: Debating Standardization in Bodily Appearance, Palgrave Macmillan, 2018. National Gallery Zimbabwe in Harare, Makerere Art Gallery Kampala & Stätische Galerie Bremen, Kaboo ka Muwala [The Girls Basket] Migration and Mobility in Contemporary Art in Southern and Eastern Africa, Revolver Publishing, 2016. Texts by Hugh Murray, Woodrow Kernohan and Koyo Kouoh, Catalogue, Still (the) Barbarians, EVA INTERNATIONAL – Ireland’s Biennial, 2016. Raw Material Company, Body Talk: Feminism, Sexuality and the Body in the Work of Six African Women Artists, WIELS, Konsthalle Lund, FRAC Lorraine 49 North 6 East, 2015.

Syowia Kyambi is based in Nairobi and of Kenyan-German origin. Incorporating photography, video, drawing, sound, sculpture and performance installation, Kyambi’s approach takes aim at the politics of the time as well as its legacy today. What is remembered, what is archived, and how we see the world anew. The work is messy, complex and uneasy and asks the viewer to bear witness to the hidden histories embodied in her work. The embodiment of collective experiences, and constant search for links between the now and the morphed now. Her process eloquently blends apparently disparate ingredients together. Without interfering or directing the viewer too much, she allows us to watch these different ingredients react in front of our eyes. History collapses into the contemporary through mythical characters who simultaneously embody mischief, disruption and hurt. She opens her gullet like a pelican and tries to digest the intangible. Rooted in her practice is a deep connection to land, earth and home. Kyambi is an alumnus of the School of the Art Institute of Chicago and the recipient of the Centre for Art Design & Social Research Fellowship (2018–2020), the UniArts Helsinki Fellowship (2018), and the Smithsonian Artist Research Fellowship (2017). Her work has been exhibited in museums and galleries in Senegal, Belgium, Finland, Kenya, Mali, Sweden, Germany, Zimbabwe, France, Norway, UK, Mexico, South Africa, North America and Ireland, and includes a permanent commission, Infinity: Flashes of the Past, for the Nairobi National Museum in Kenya (2007). "Rose is a character I created for a previous performance installation, Fracture (i). In Rose’s Relocation, Rose struggles with coping in her current environment, Metz, a small town in France. The digital collages portray her in this town with superimposed images of her memories of her mother’s home. As much as living overseas often is seen as a great accomplishment, it also often presents a great burden, and can provoke feelings of isolation and loss for many. In Kenya and specifically in the capital city, Nairobi, there is a narrow viewpoint on what it is to be successful. Generally, success is measured with materialism that stems from capitalistic ideals. This current construction includes a value system based on a communal identity, the result of which often creates violent and vulnerable circumstances." This work has previously been exhibited at Future Africa Visions in Time, Iwalewahaus, Bayreuth Academy for Advanced African Studies, Bayreuth (2015); Kabbo Ka Muwala – The Girl’s Basket. Migration and Mobility in Contemporary Art in Southern and Eastern Africa, Makerere Art Gallery, Kampala (2016); and Future Africa Visions in Time, Goethe Cultural Institute, Kigali (2018). Edition 1/5 was purchased in 2016 and is part of the collection of the Sindika Dokolo Foundation.

Coombes, Hughes & Munene. Managing Heritage, Making Peace: History, Identity and Memory in Contemporary Kenya. I.B. Tauris, 2013. Muriuki & Kyambi. Layers. Nairobi: Artist Book, 2012.

Villa Empain, Heaven and Hell. From Magic Carpets to Drones, Boghossian Foundation 2015.

Contact Zones NRB Vol: 05 Mwangalio Tofauti – Nine Photographers from Kenya, Nairobi: Native Intelligence, 2012.

Edited by Koyo Kouoh, with texts by Sarah Adams, Eva Barois De Caevel, Ken Bugul, Frieda Ekotto, D.E.Fault, Koyo Kouoh, Alya Sebti, Body Talk, 2015.

Goniwe & Mboweni. SPace: Currencies in Contemporary African Art. Johannesburg: Africa World Press & Unisa Press, 2012.

Contact Zones NRB Vol: 13. Miriam Syowia Kyambi. Nairobi: Native Intelligence, 2014.

Dr. Kivubiro Tabawebbula. Utopia, Seven Artists Seek a Place in the Kenyan Art Scene. Nairobi: Kyambi/Kivubiro, 2004.

Eric Miller is a widely experienced documentary photographer who has worked extensively in South Africa, throughout Africa and further afield. He started as a photojournalist during the struggle against apartheid in the 1980s, working during that period for the progressive photographers’ collective Afrapix, as well as the Reuters and Associated Press news agencies.

14 Eric Miller b.1955 South Africa

Clifton Beach, c.2004 c.2004 archival ink print on Hahnemühle Photo Rag signed image size: 23.5 x 36 cm, sheet size: 29.5 x 42 cm, unframed number 1, from an edition of 10

ZAR 12 000 – 16 000 USD 732 – 976 GBP 564 – 752 EURO 612 – 816

In the post-apartheid period, Miller worked across Africa on assignment for many publications in North America and Europe, and was extensively published in publications ranging from Time and Newsweek to newspapers such as The New York Times, USA Today, Washington Post, Christian Science Monitor and others. Currently, his main work focus is on social and human rights issues, working with organisations across a spectrum of issues from HIV/AIDS and TB to general health, working and living conditions on farms, labour, migrant and gender issues. Miller’s clients now include a range of South African and international NGOs. He teaches and mentors young photographers, and also works on self-generated documentary projects in stills and video. Miller’s work has been published in several books and, together with his wife Laurine Platzky, he completed his first documentary film, the award-winning Hutchinson: SHUNTED. "I was working on a ‘Cape Town’ book. The intention was to produce a book about the people of Cape Town, not the usual sterile coffee table book of scenic wine farms, wonderful mountains and beach scenes that took scant interest in the people and communities of the city. There were many of those books on bookstore shelves, and at the time, none that focused on the 'who, where and what’ of the people of the city, and their lived realities." With text by Gillian Warren Brown and Yazeed Fakier, Cape Town Uncovered: A People’s City (Double Storey Books, 2005) describes a world class city – vibrant, industrious and entertaining. But it also shows the face of a city riddled with contradictions and inequities, scarred by a racist past and present, resulting in a fragmented society which has alienated many of its residents. This photograph was also published in Then & Now: Eight South African Photographers (Highveld, 2007). As part of the Then and Now exhibition, it has been shown in Cape Town, Durban, Johannesburg, Melbourne and Brisbane.

15 Nipah Dennis b.1994 Ghana

Winneba Beach, Ghana, 2019 2019 Giclée print on Hahnemühle image size: 50 x 50 cm, sheet size: 50.5 x 50.5 cm, unframed number 1, from an edition of 8 + 2AP

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

Nipah Dennis is a Ghanaian portrait and documentary photographer, based in Accra. He is a member of the prestigious Agence France Presse and works as a journalist. Dennis won the 2019 Wiki Loves Africa photo contest and was shortlisted for the 2017 Portraits Ghana Photography Prize. His work has been published in OFF TO Magazine, Oath and African Lens. In 2020, Dennis was selected to participate in the Canon Student Development Programme at the Visa Pour L’image International Festival of Photojournalism. He volunteers at Lensational, an NGO that trains the next generation of female storytellers, and has taught photography workshops with Project Ten, an NGO for sustainable community development in Ghana. The question of identity is at the heart of Nipah Dennis’ practice. His images are composed with simplicity, strategically removing subjects from busy street scenes to create a focal point far from the maddening crowd. Deeply committed to the history and representation of his community, his work captures and shares stories of youth culture in Ghana, powerful images of everyday environments.

NOTES

Adopting a humanistic approach to photography, his goal is to impart connection and understanding: "I seek to create works that do not only bring understanding to myself, but also to young people to give them an understanding of each other," Dennis writes. For him, photography is a vital act – his way to process the world and offer new perspectives.

Accompanied by a certificate of authenticity signed by the artist.

The images on auction were published in 2019 in the first volume of Oath, a publication dedicated to contemporary African photography.

16 Nipah Dennis b.1994 Ghana

Michael, Cape Coast, Ghana, 2019 2019 Giclée print on Hahnemühle image size: 50 x 50 cm, sheet size: 50.5 x 50.5 cm, unframed number 1, from an edition of 8 + 2AP

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

NOTES

Accompanied by a certificate of authenticity signed by the artist.

17 Emmanuelle Andrianjafy b.1983 Madagascar

Untitled (2015) (from the Nothing’s in Vain series) 2015 archival ink print on Hahnemühle Photo Rag image size: 50.5 x 76 cm, sheet size: 60.5 x 86 cm, unframed number 2, from an edition of 8 + 2AP

ZAR 25 000 – 35 000 USD 1 525 – 2 135 GBP 1 175 – 1 645 EURO 1 275 – 1 785

NOTES

Accompanied by a certificate of authenticity signed by the artist.

18 Alan van Gysen b.1982 South Africa

Sharing a wave with local fishing boats. Ghana, 2018 2018 archival ink print on Hahnemühle Photo Rag signed image size: 23.5 x 36 cm, sheet size: 29.5 x 42 cm, unframed number 1, from an edition of 10

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

19 Alan van Gysen b.1982 South Africa

Young surfer on Tarkwa Island awaits the high tide. Lagos, Nigeria, 2017 2017 archival ink print on Hahnemühle Photo Rag signed image size: 32 x 49.5 cm, sheet size: 42 x 59.5 cm, unframed number 1, from an edition of 10

ZAR 12 000 – 16 000 USD 732 – 976 GBP 564 – 752 EURO 612 – 816

"Alan van Gysen is one of the world’s most respected surf photographers. With an inextinguishable drive and natural flair, he has spent the past twenty years carving his mark into the international scene. His dedication to his craft has captured the artistry of South Africa’s and the world’s top surfers." – Brendon Bosworth As a surf photojournalist, he has travelled the planet to cover stories for major surfing magazines. His lens has also reached beyond the commercial and the wellknown surfing personalities and predictable narratives, to tell the story of lesserknown African surf culture. Van Gysen’s work offers surfers from the continent a voice and place in a highly commercialised industry, presenting a counter-vision to how surfing is generally projected. He is also involved in projects like The 9 Miles Project and Waves for Change that have been crucial in supporting at-risk youth to be part of a sport that is often considered exclusionary and elitist. At present he is working with the team from Mami Wata on AfroSurf – the first book of its kind to document African surf culture - a project which has already received international backing and interest. "South African professional surfer Michael February was elevated to hero status in 2017/18 when he qualified for the World Surf League (WSL), becoming what many still regard as the first black African surfer to qualify for the championship surfing tour. After choosing the number 54 as his world tour jersey number – representative of Africa as a whole, and because of his graceful style, he quickly garnered a cult following within African surf culture and the global surf community. Pictured here during the making of his seminal surf and music film Nu Rythmo, M-Feb, as he is affectionately known, surfs past local fishermen refuelling their vessel for the day ahead on a quiet stretch of coast in Ghana". "Shortly after surfing was introduced to the community on Tarkwa Island, Lagos, by Nigerian-born John Micheletti, a strong, unique surf culture emerged across Africa's largest city. Within the protected confines of the manmade piers and break walls of the major shipping lane in Lagos, a wave unlike any other in Africa was born by the fortunate ‘accident’ of angle, length and direction of concrete facing into the powerful Atlantic. One of Tarkwa's upcoming talents waits for the incoming tide, while in the background the most ambitious project in Africa, Atlantic City, becomes a reality".

Stephen Inggs was born in Cape Town and grew up in Johannesburg, London and Umbogintwini on the south coast of KwaZulu-Natal. He studied Fine Art in Durban at Technikon Natal, Brighton Polytechnic and the University of Natal in Pietermaritzburg where he completed a MA(FA) degree.

20 Stephen Inggs b.1955 South Africa

Swell 2018 cyanotype on Arches Platine Cotton Rag signed image size: 54 x 74 cm, sheet size: 56 x 76 cm, unframed number 3, from an edition of 5

ZAR 10 000 – 15 000 USD 610 – 915 GBP 470 – 705 EURO 510 – 765

NOTES

The monograph, 665 Making Prints with Light, published in 2011 by the Michaelis School of Fine Art, University of Cape Town, can be accessed here: https://issuu.com/andrevw13/docs/665_ making_prints_with_light_2

Inggs teaches at the Michaelis School of Fine Art, University of Cape Town, where he is a professor. He has held regular solo exhibitions of his creative work in London, Cape Town and Johannesburg. His work has been included in numerous international group exhibitions and he was a prize-winner at the International Print Triennial in Krakow, Poland. Inggs has also curated numerous print portfolios, produced and published an artist's book on the art and technique of lithography, and a monograph of his work titled 665 Making Prints with Light. His projects have been largely located in lithography, photography and printmaking, each of which has a complex history and relationship to issues of identity and the politics of knowledge. The influence of technology on aesthetic criteria in printmaking and photography is an ongoing concern that has informed his creative production. His work is held in public and private collections locally and abroad, including the Iziko South African National Gallery, Cape Town; Durban Art Gallery, Durban; University of Cape Town, Cape Town; Northwestern University, Evanston; Rand Merchant Bank; MTN; Sanlam; Liberty Life; Standard Bank; Library of Congress, Washington; Smithsonian National Museum of African Art, Washington; Ralph Lauren; and Takashimaya. "In one sense, I situate my work as a confluence, where my love of the sea and consciousness of environmental issues intersect. In trying to make sense of these paradoxical concerns, I am interested in 'both the beautiful and the repulsive, the desirable and the repellent' (Susik, 2012) qualities of the ocean. At the fringe of land where the shore and the sea meet, the shoreline is not only a threshold to the ocean, but also a liminal place where one can contemplate the beauty, vastness and power of the sea, as a place of both pleasure and dismay. As philosopher Edmund Burke articulated, the qualities and causes of the sublime – expressed as the untamed power of the natural world – move us more profoundly than the beautiful." "As a visual practitioner as well as a surfer who has been catching waves for more than half a century, this wild omnipotence is something observed as much as experienced. I love the qualities of atmosphere and its constituent elements of light, air and water that I use in my work as an artist and photographer. But it is the act of crossing the shoreline from land to sea where one is literally immersed in the sublime connecting a temporal perspective with a contemplative dimension. Reflecting as much on beauty and freedom as what we have done and continue to do to our environment in ruining the majesty of the ocean." This work was exhibited as part of Shoreline, curated by Alastair Whitton, Barnard Gallery, Cape Town (2018).

21 Bongeka Ngcobo b.1993 South Africa

Pass Me Over 2019 archival ink print on cotton rag image size: 27 x 40.5 cm, sheet size: 27.5 x 41 cm, unframed number 1, from an edition of 10 + 2AP

She was nominated as an emerging creative by the South African Design Indaba in 2019, and was awarded a scholarship from Orms Cape Town School of Photography (CTSP). Ngcobo holds a Diploma in Journalism and a BTech in Photography, specialising in portraiture and documentary photography. Her photography has been published in Norwegian Magazine and Oath, and exhibited as part of the Point Blank: Photography and Activism women's show at PH Center, Cape Town (2019) and at CTSP, Cape Town.

ZAR 5 000 – 8 000 USD 305 – 488 GBP 235 – 376 EURO 255 – 408

Photography is Ngcobo’s selected tool to tell narrative-based stories. Her work focuses on internal dialogues about identity, through both self-portraits and explorations of her environment.

NOTES

"Find a Way is about light and hope. I often go through dark emotions, not understanding the meaning of it all and the feeling of giving up. But I am always reminded that I was brought to this world for a special purpose."

Accompanied by a certificate of authenticity signed by the artist.

Born in Durban, South African photographer Bongeka Ngcobo lives and works in Cape Town.

"Pass Me Over speaks of loneliness and isolation, loss and longing, who I am, who I was and who I am becoming. This body of work is a reminder of the past, the feelings and memories."

22 Bongeka Ngcobo b.1993 South Africa

Find a Way 2019 archival ink print on cotton rag image size: 40.5 x 27 cm, sheet size: 41 x 27.5 cm, unframed number 1, from an edition of 10 + 2AP

ZAR 5 000 – 8 000 USD 305 – 488 GBP 235 – 376 EURO 255 – 408

NOTES

Accompanied by a certificate of authenticity signed by the artist.

23 Syowia Kyambi b.1979 Kenya

Kaspale's Archive Intrusion/The Vortex III 2019 archival ink print on Hahnemühle Baryta image size: 78 x 122 cm, sheet size: 88 x 132 cm, unframed number 1, from an edition of 3

ZAR 60 000 – 90 000 USD 3 660 – 5 490 GBP 2 820 – 4 230 EURO 3 060 – 4 590

NOTES

Accompanied by a certificate of authenticity signed by the artist.

Kaspale is a character devised to intervene in spaces charged with colonial activities. As a playful trickster who engages in social critique and satire, Kaspale calls out authority when needed and speaks up when others can’t. Kaspale wears a Kaunda suit, a symbol of prestige and political resistance during the postindependence era, bearing also connotations of servitude in our contemporary times. Made from mosquito netting, which is both protective and permeable, the suit’s materiality evokes the ineffectual prevention of the colonisers’ penetration across the African continent. The character’s red finger paint, referencing ochre, generates the energy of power, traditionally used as UV and insect replant. The highlighted golden fingers, toes and mouth symbolize the speaker; holding the space for truth-telling. The mask Kaspale wears references a historic Makonde mask in the MARKK Museum collection, which was created by an artist in colonial Tanzania to embody mindimu, the ancestors. It is usually worn during a dance that accompanies the reintegration of initiates into society after transformative seclusion. Designed to build character and to raise awareness of the individual’s position in the community, the initiation also serves for instruction in questions of a good sense of community and intensive commitment within the social organisation. The mask’s appearance marks the end of the journey of refinement and perfecting, of creating a mature, socially fully integrated person. The vortex series connects to a deeper realm of the archive. No longer able to see the zoologists’ photographs, Kaspale’s intervention has led to a space of timelessness. Travelled through the archive and into the vortex, Kaspale exists in a realm not bound by time or space; it’s neither here nor there, neither present nor past. The work was scheduled to be exhibited at the Dakar Art Biennale 2020, which is currently postponed due to the COVID-19 pandemic.

WATCH

https://www.youtube.com/ watch?v=kvVdMky4Nlc

24 Calvin Dondo b.1963 Zimbabwe

Mrs Ples Calling 2016 archival ink print on Tecco Cotton Rag image size: 54.5 x 82 cm, sheet size: 60.5 x 88 cm, unframed number 1, from an edition of 10

ZAR 250 000 – 280 000 USD 15 250 – 17 080 GBP 11 750 – 13 160 EURO 12 750 – 14 280

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Calvin Dondo’s work, visit: https://www.stichtingkunstboek.com/ en/book/detail/613/calvin-dondo-hodhiizimbabwe https://www.africanindy.com/culture/ documenting-people-displaced-by-adam-1629763

Calvin Dondo is an established artist and curator. He studied photography at Harare Polytechnic from 1985 – 1988, and his work as a freelance photographer has been published in various local and international publications. His first monograph, Hodhii Zimbabwe, was published in 2014. Dondo represented Zimbabwe at the 54th Venice Biennale and has exhibited at the Havana Biennale, Havana; Paris Photo, Paris; and multiple times at Bamako Encounters – African Biennale of Photography. He has also exhibited work at the Museum of Contemporary Art, Detroit; Yokohama Museum of Modern Art, Yokohama; Manchester City Art Gallery, Manchester; Salzburg Modern Art Museum, Salzburg; and the Centre for Contemporary Art, Barcelona. He has won a number of awards, including the Grand Prize at Bamako Encounters (2007) and the Konrad Adenauer Special Press Prize. His passion for storytelling through images earned Dondo wide international acclaim. He is the founder and curator of GWANZA, an artists’ collective which organises the annual Month of Photography exhibition in Zimbabwe. This photograph is part of a project to document the Cradle of Humankind in South Africa. It stems from an interest in the history of humankind and the origins in Africa. ‘Mrs Ples’, as the remains are famously called, is the first full skeleton that has been found of human ancestry. The title refers to a ‘calling’, to invoke an ancestral connection. The work has never been exhibited.

WATCH

https://www.youtube.com/ watch?v=SCncOPsZhnE

25 Dahlia Maubane b.1988 South Africa

Untitled (from the Woza Sisi, Mahikeng series) 2017 archival ink print on Tecco Matt signed image size: 56 x 84 cm, sheet size: 66 x 94 cm, unframed number 1, from an edition of 5 + 1AP

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

26 Dahlia Maubane b.1988 South Africa

Untitled (from the Woza Sisi, Johannesburg series) 2020 archival ink print on Tecco Matt image size: 56 x 84 cm, sheet size: 66 x 94 cm, unframed number 1, from an edition of 5 + 1AP

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

Dahlia Maubane is a photographer and multimedia designer. She completed a Bachelor of Technology in Multimedia at the University of Johannesburg in 2009 and went on to study at the Market Photo Workshop. In 2014, her on-going body of work, Woza Sisi, was one of the 10 open call projects during the Joburg Photo Umbrella. She subsequently exhibited the third culmination of Woza Sisi at her hometown, with the support of the National Arts Council in 2017. Maubane is the recipient of the inaugural Market Photo Workshop Alumnus Award and has participated in numerous Market Photo projects and exhibitions. She expanded on Woza Sisi with a new chapter of photographs which were showcased at The Photo Workshop Gallery in 2018. In 2019, Maubane’s first international solo exhibition was part of the inaugural Dialogue Vintage Photography Festival in Amsterdam. She has been awarded the 2019/2020 Ampersand Foundation Fellowship and Residency where she was based in New York for six weeks. Maubane is currently pursuing her master’s degree in Visual Arts. Woza Sisi is a project that explores how hairstylists working in the Johannesburg CBD, Mahikeng and in Maputo negotiate, navigate and shape complex demarcated trading zones. It looks at the ways in which women position themselves, how they use and negotiate urban spaces. Visibility is important for hairstylists working informally; they have to call potential clients in a persuasive way – "Woza Sisi!, Woza zobona!, Woza Nice!". The hairstylists in these images invest in creating an unforgettable experience – to keep loyal customers returning and possibly bring in new customers through word-of-mouth. The first chapter of Woza Sisi was developed in 2012 and the project has expanded with a new chapter of photographs produced with the support of the Market Photo Workshop Alumnus Award. This new chapter of the Woza Sisi project shifts the focus to the physical urban spaces in which the hairdressers live and work. Juxtaposing photographs of multiple viewpoints of Johannesburg and Maputo with tight interior views, this iteration negotiates the paradoxical multiplicity and singularity of hairdressing within these urban zones.

NOTES

For additional information on Dahlia Maubane’s work, visit: https://turbineartfair.co.za/artists/dahliamaubane https://mg.co.za/article/2018-11-23-00-wozasisi-tracks-the-ways-of-street-hairstylists/ https://www.sabcnews.com/sabcnews/wozasisi-exhibition-showcases-women-hairstylists/ https://marketphotoworkshop. co.za/2018/08/17/woza-sisi-an-exhibition-byalumnus-award-recipient-dahlia-maubane/ https://10and5.com/2015/03/04/wozasisi-photos-of-street-hairstylists-by-dahliamaubane/ https://medium.com/dave-mann/profilecreativity-at-work-photographer-dahliamaubane-8d4610eb6058

WATCH

https://www.youtube.com/ watch?v=Umsh4IAPBlU

https://www.youtube.com/ watch?v=X-dzqdQxVmE

https://www.youtube.com/ watch?v=k8t_JZ9dQwM

27 Musa N. Nxumalo b.1986 South Africa

Fight! Fight! Fight! (from the The Anthology of Youth series) 2017 Giclée print on Hahnemühle Photo Rag image size: 56 x 84 cm framed size: 61 x 90 cm number 1, from an edition of 6 + 2AP

ZAR 25 000 – 35 000 USD 1 525 – 2 135 GBP 1 175 – 1 645 EURO 1 275 – 1 785

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Musa N. Nxumalo’s work, visit: https://smacgallery.com/artist/musa-nnxumalo/#1549894115642-4d777ca0-0a5a

Musa N. Nxumalo lives and works in Soweto, South Africa. He received his introduction to photography at the Market Photo Workshop, where he completed the Foundation and Intermediate Courses between 2006 and 2008. In 2015, he was nominated for the prestigious First Book Award, as well as the first prize in Visual Art for the Impact Awards in 2010. Solo exhibitions include: We Are Running Out Of Hashtags!, SMAC Gallery, Cape Town (2020); 16 Shots, SMAC Gallery, Johannesburg (2017); The Anthology of Youth at SMAC Gallery’s presentation at the FNB Joburg Art Fair (2016); and In Search Of …, SMAC Gallery, Stellenbosch (2015), and the Goethe-Institut, Johannesburg (2015). In 2020, Nxumalo was selected to participate in NIRIN, the 22nd Sydney Biennale curated by Brook Andrews. During 2019, Nxumalo’s work was included in SMAC Gallery’s presentation at 1-54 Contemporary African Art Fair at Somerset House, London, as well as the group exhibition Crossing Night: Regional Identities x Global Context at the Museum of Contemporary Art Detroit, Detroit. Further notable group exhibitions include: Africa State of Mind at Impressions Gallery in Bradford, the Museum of African Diaspora in San Francisco, and the Royal West England Academy in Bristol (2019); and Night Fever: Designing Club Culture 1960 – Today at ADAM - Brussels Design Museum (2019). Nxumalo was selected to take part in the 11th edition of the Bamako Encounters Photography Biennial as part of Afrotopia, curated by Marie-Ann Yemsi (2018); Art/Afrique, le nouvel atelier at the Louis Vuitton Foundation, Paris (2017); Peregrinate, shown in Lagos, Abidjan, Bamako and Nairobi (2015–2016); and Next Generation at the Godwin-Ternbach Museum of Queens College, New York (2015). Works by Nxumalo are in the collections of the Iziko South African National Gallery, Cape Town; the Pigozzi Collection, Geneva; and the Royal Portfolio Collection, South Africa. "This focus is marked by a convergence of twin concerns that Nxumalo has been exploring over the recent years – revolving around the idea of the photographer and his medium as both author and witness. Nxumalo has been steadily developing a unique visual vocabulary that delicately balances his interest in social documentary and fine art photography. To this end, he manages to employ an astute use of the black and white ‘film’ construct in images that courageously consider and capture the appearances and experiences of contemporary black South African youth. This results in a photographic oeuvre that oscillates between great empathetic intimacy and journalistic distance with unmissable humanity. Nxumalo’s series, The Anthology of Youth, is more than just a collection of impressions and appearances. They are a call to the viewer to look for messages, clues or opportunities that enable them to see something beyond their first assumption. These are photographs that bear witness to the mighty impulses that enabled Nxumalo to give us a closer view of life’s vital forces." - Extract from 16 Shots, solo exhibition in Johannesburg (2017), text written by Percy Mabandu.

WATCH

https://www.youtube.com/watch?v=5Lna_ gAiD8Y

28 Nobukho Nqaba b.1992 South Africa

Undibizela kuwe II (from the Ndiyayekelela series) 2016 Giclée print on Hahnemühle Museum Etching paper mounted on metal embossed with the artist's signature image size: 59.5 x 41.5 cm sheet size: 64 x 45 cm number 4, from an edition of 8

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

Accompanied by a certificate of authenticity signed by the artist.

29 Nobukho Nqaba b.1992 South Africa

Undibizela kuwe III (from the Ndiyayekelela series) 2016 Giclée print on Hahnemühle Museum Etching paper mounted on metal embossed with the artist's signature image size: 59.5 x 41.5 cm sheet size: 64 x 45 cm number 2, from an edition of 8

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

Nobukho Nqaba was born in Butterworth in the Eastern Cape, South Africa. She is a graduate of the Michaelis School of Fine Art, University of Cape Town, where she majored in photography (2012). In 2012, she was awarded the Tierney Fellowship and was the recipient of reGeneration3, a photography focused initiative by the Musée de l’Elysee, Lausanne. Nqaba holds a Postgraduate Certificate in Education in Visual Art and Theory (2013) from the University of Cape Town, as well as a Postgraduate Diploma in Library & Information Studies (2019). She has embarked on several teaching endeavours through her role as Visual Art and Digital Photography Educator at the Peter Clarke Art Centre, and is currently a Lecturer of Photography at the Red & Yellow Creative School of Business in Cape Town. Nqaba’s work explores the precariousness of home and opportunity. Using checkered plastic bags commonly known as ‘China bags’, plain grey blankets, and worn overalls, she points to the fragility and impermanence of home. Her work reflects on personal memories of growing up in an informal settlement in Grabouw, a town located in the Western Cape province of South Africa, and the complexities of migration and labour. Ndiyayekelela (Letting go) embodies the artist’s struggle to come to terms with the loss of her father – a migrant worker in the rural Eastern Cape, where Nqaba was raised. Using symbolic materials that recall her past, Nqaba battles with feelings of guilt, fondness and confusion – reinforcing her physical presence. The artist’s movements, together with the carefully selected materials, conjure up old memories, bringing them to life through photography. The workers' overalls and blankets tell the story of many South Africans, defined by their role in the working class. Much like the bags in Umaskhenkethe Likhaya Lam, the overalls and blankets represent the impermanence of a homespace, and the search to find comfort in the familiar: to carry a part 'home' with you, and to come to grips with the burden of its weight. Continuing the conversation on migrancy, Nqaba physically confronts and challenges (the value of) the materials, which in turn take on their own agency. This work was previously exhibited at the Also Known As Africa (AKAA) art and design fair in Paris (2016); Displacement, 99 Loop Gallery, Cape Town (2017); New African Photography II, Red Hook Labs, New York (2017); and Connections, Greatmore Studios, Cape Town (2019). For additional literature on Nobukho Nqaba’s work, see: https://nataal.com/nobukho-nqaba/ https://zeitzmocaa.museum/artists/nobukho-nqaba/ https://visi.co.za/ndiyayekelela-by-nobukho-nqaba-at-akaa-art-fair/ https://blaque.co.za/migrant-identity/ https://journals.sagepub.com/doi/abs/10.1177/1367877919831015

NOTES

Accompanied by a certificate of authenticity signed by the artist.

30 Obakeng Molepe b.1994 South Africa

2nd Self (from the Ferry series) 2019 Giclée print on Hahnemühle image size: 84 x 59.5 cm, sheet size: 84.5 x 60 cm, unframed number 1, from an edition of 5 + 1AP

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

Accompanied by a certificate of authenticity signed by the artist.

31 Obakeng Molepe b.1994 South Africa

7th Self (from the Ferry series) 2019 Giclée print on Hahnemühle image size: 84 x 59.5 cm, sheet size: 84.5 x 60 cm, unframed number 1, from an edition of 5 + 1AP

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Obakeng Molepe’s work, see: http://www.702.co.za/podcasts/270/ beautiful-news/203602/beautiful-newswinner

Obakeng Molepe is a visual artist based in Johannesburg, South Africa. He studied at Vega School, where his practice was enhanced by both a theoretical and technical approach to the medium of photography. Technology has been a key influence on his practice, and his precise craftsmanship and personal connection to his subjects result in a powerful body of work on contemporary post-apartheid South Africa. Molepe’s work has been featured in Desundo, The British Journal of Photography, Vogue, and Oath – a publication dedicated to contemporary African photography. In 2017, he was selected for the Sasol New Signatures Art Competition at the Pretoria Art Museum. Commercially, he works with international and national clients like Adidas, Levi's, Visi, Superbalist and Daily Maverick. Molepe was commissioned by Marvel to work on a Black Panther project in collaboration with Trevor Stuurman, which was exhibited in Maboneng, Johannesburg. He was also commissioned to work on the SAB’s #NoExcuse campaign to protest gender-based violence. Common themes in Molepe’s work are dialogues around identity, mental health, and masculinity. The townships in Johannesburg are an important part of his practice – not only as a place of inspiration and creation for his photographic work, but also a space of offering to give back to his community. He spearheads an initiative, Ntwana Kasi, a creative platform for youth. Both works on auction are from Molepe’s series Ferry, a visual journey representing mental health – alluding to being in-between thoughts, a mind that is never on land, always between two worlds. Where yes and no are the same answers; where everything makes sense, but nothing makes sense. "Ferry speaks to the romanticism of mental health in our generation. There’s so much happening, and I believe we are failing to keep up with time and innovation. The motion-blur approach suggests my generation’s indecisiveness, how a generation can have everything yet still have a rising suicide rate." "I used 3D lenticular printing for a textured oil painting finish, to bring the images to life and convey the hyper-reality of being 'stuck in your own head'. The viewer may experience my offered perspective of a distorted reality - a type of mental state that is both singular and comfortingly universal."

32 Stefanie Langenhoven b.1980 South Africa

Daniele & Aneke (from the Siamese Soul series) 2018 chromogenic print (C-type) image size: 40 x 60 cm sheet size: 40.5 x 60.5 cm number 1, from an edition of 8 + 1AP

ZAR 12 000 – 16 000 USD 732 – 976 GBP 564 – 752 EURO 612 – 816

NOTES

Accompanied by a certificate of authenticity signed by the artist.

33 Stefanie Langenhoven b.1980 South Africa

Abigail & Mia (from the Siamese Soul series) 2019 chromogenic print (C-type) image size: 40 x 60 cm sheet size: 40.5 x 60.5 cm number 1, from an edition of 8 + 1AP

ZAR 12 000 – 16 000 USD 732 – 976 GBP 564 – 752 EURO 612 – 816

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Stefanie Langenhoven’s work, please see: https://10and5.com/2016/09/21/stefanielangenhoven-is-reframing-femininity/ https://phmuseum.com/slangenhoven https://www.transvaluepainintolove.com/

Stefanie Langenhoven studied communication design, fine art, and photography at The Open Window School of Visual Communication, Pretoria (1999–2001). With a special interest in photography, she furthered her studies at the National College of Photography in Pretoria, where she graduated in 2004 with a joint best portfolio award. After her studies, she opened a commercial photography studio and was represented by Shine Photographers Johannesburg (2005–2007). In 2008, Langenhoven moved to the UK where she studied for a diploma in Transpersonal Integrative Psychotherapy at the Centre for Counseling and Psychotherapy Education in London (2009–2013). This experience of an in-depth inquiry into the human psyche informs her work as a fine art photographer. Since her return to South Africa in 2015, she has participated in several group exhibitions. Langenhoven’s work has been published in international photographic journals, online galleries, and print publications. She is an associated artist with the Dead Bunny Society, South Africa. "In this series, I explore aloneness, loneliness, togetherness, and connection. My inspiration for the series came from losing my brother in a car accident. It woke me up to the incredible unpredictability of life. I was drawn to working with twins or sisters that are no more than a year apart. But most importantly, in their relationship they are so close to each other that they are almost inseparable. I wonder whether we can still have this connection with those who are no longer with us, or even if this connection becomes stronger as we learn to live with their physical absence. But I also reflect on how lonely we can feel being with others when we feel unable to connect with them, especially in a world where we have become so disconnected and distracted in each other’s presence."

34 Anke Loots b.1991 South Africa

Laundry, Malawi, 2016 2016 archival pigment print on semi-gloss paper image size: 26.5 x 40 cm, sheet size: 27.5 x 40.5 cm, unframed number 3, from an edition of 5 + 1AP

ZAR 7 000 – 10 000 USD 427 – 610 GBP 329 – 470 EURO 357 – 510

NOTES

Accompanied by a certificate of authenticity signed by the artist.

35 Anke Loots b.1991 South Africa

Dust, Malawi, 2016 2016 archival pigment print on semi-gloss paper image size: 26.5 x 40 cm, sheet size: 27.5 x 40.5 cm, unframed number 3, from an edition of 5 + 1AP

ZAR 7 000 – 10 000 USD 427 – 610 GBP 329 – 470 EURO 357 – 510

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Anke Loots’ work, visit: https://nataal.com/anke-loots https://www.atelierbesuche.com/ankeloots/?lang=en https://issuu.com/arttimes/docs/art_times_ march_2019

Anke Loots is a South African photographer based in Cape Town. After completing a degree in art direction, Loots applied her knowledge to photography, moving into a 5-year apprenticeship with internationally acclaimed photographer Pieter Hugo. The years she spent exploring the photographic medium led to the development of a distinct style. Fundamental to her work is the deep sense of discipline revealed through a slow and methodical examination of her subject, which ranges from intimate portrait to insentient object. Her work is a personal reflection of her inquiry into the practices of meditation and art – a subject captured with focused, isolated simplicity. Loots’ inaugural solo show, Everything in its Right Place, shown at THK Gallery, Cape Town (2019) marked the starting point of her career as an artist. Loots shoots only in available light to highlight the concept of seeing things as they really are, and places comparatively significant emphasis on her curatorial process: "The pairing of images is an important part of my process as it helps me clarify an ideology more clearly. Each image is carefully selected to lead the viewer into a visual narrative, and to build a world of freedom and contentment." A mixture of ethereal beauty with a subtle dramatic ambience, her work coincides in meticulous and minimalistic imagery – exploring subtle details she encounters, aiming to capture moments of equanimity. This work was shown as part of Loots’ solo exhibition, Everything in its Right Place, at THK Gallery, Cape Town (2019).

36 Thabiso Sekgala South African 1981–2014

Jane Nkuna, Loding, former KwaNdebele (from the Homeland series) 2009 archival ink print on fibre paper (Ilford Fibre Silk) image size: 59.5 x 59.5 cm, framed size: 77 x 77 x 3.5 cm number 2, from an edition of 10

ZAR 25 000 – 35 000 USD 1 525 – 2 135 GBP 1 175 – 1 645 EURO 1 275 – 1 785

NOTES

Accompanied by certificate of authenticity signed by Goodman Gallery registrar, with Estate embossing.

Thabiso Sekgala’s work explored themes of abandonment, memory, spatial politics and concept of home. "In photography I am inspired by looking at human experience whether lived or imagined," Sekgala once expressed. "Images capture our history and who we are, our presence and absence. Growing up in both rural and urban South Africa influences my work. The dualities of both these both environments inform the stories I am telling through my photographs, by engaging issues around land, peoples’ movement, identity and the notion of home." Sekgala studied at Johannesburg’s Market Photo Workshop from 2007 to 2008, and was awarded the Tierney Fellowship in 2010. Solo exhibitions include Running, Goodman Gallery, Cape Town (2014); No place like this, Epicentro, Berlin (2013); Paradise, Kunslerhaus, Berlin (2013); Homeland, Market Photo Workshop, Johannesburg (2011); and Homeland, Recyclart & The viewer, Brussels (2011). His work has been featured in numerous group exhibitions, including Les Rencontres D’Arles, LagosPhoto Festival and the Bamako Biennale. Homeland is the culmination of an exploration of memory, place and interrelated self-imaging. It is based on the former homelands; areas defined by the apartheid government in South Africa for the purposes of confining, defining and disempowering people. Sekgala was interested in the intricate residues of belonging and the nostalgia that people developed for this fraught system, and at the same time their understanding beyond it. Homelands were 'independent areas' that the apartheid government developed to assign and restrict black South Africans to ethno-linguistic areas as part of the ideology of separate development. It limited black South Africans' access to land and resources and controlled their access and rights to urban spaces. Sekgala trailed the peripheral communities, especially youth, in the former KwaNdebele and Bophuthatswana to photograph themes of faded and abandoned commerce, bureaucracy and the connections that people still hold to this. The work speaks of a marginal integration into a larger culture and economy; the legacy of an artificial isolation. As part of a post-apartheid photography generation, Sekgala was interested in making connections to his own past, memory and questions of belonging. He photographed on film; a process that slows time down, a yearning for materiality and tools, a set-up of intimate relationships.

37 Margaret Courtney-Clarke b.1949 Namibia

Eveline Inuas lives alone near the isolated settlement of Sesfontein, Kunene Region, 27 October 2017 (from the Cry Sadness into the Coming Rain series) 2017 Giclée print on Hahnemühle Photo Rag image size: 55.5 x 84 cm, framed size: 80 x 109 cm number 1, from an edition of 6 + 2AP

ZAR 40 000 – 50 000 USD 2 440 – 3 050 GBP 1 880 – 2 350 EURO 2 040 – 2 550

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Margaret Courtney-Clarke’s work, visit: https://smacgallery.com/artist/margaretcourtney-clarke/#1549894115642-4d777ca00a5a

Margaret Courtney-Clarke lives and works in Swakopmund, Namibia. Following a degree at the University of KwaZulu-Natal in Durban, South Africa in 1971, she enrolled at Scuola Libera di Roma in Rome, Italy in 1974 and completed her studies at the New York University, USA with a Bachelor of Arts in Photojournalism in 1978. In 2019, Courtney-Clarke was shortlisted for the Contemporary African Photography Prize, as well as the prestigious Prix Pictet global award in photography and sustainability. Further nominations and awards for her photographic publications include the 2018 Kraszna-Krausz Book Award (longlisted) for Cry Sadness into the Coming Rain; the 2018 Photo District News Award for A Lifelong Obsession with Finding Shelter; and the 2015 Henri Cartier-Bresson Award for her series On Borrowed Time. Recent exhibitions include Hope, as part of the Prix Pictet photography award shortlist – in 2019 the exhibition travelled from the Victoria and Albert Museum’s Porter Gallery, London to the Hillside Forum, Tokyo; in 2020 it was on view at the Luma Westbau, Zurich before traveling to the Mouravieff-Apostol House & Museum, Moscow. In 2019, her work was included in Crossing Night: Regional Identities x Global Context, at the Museum of Contemporary Art Detroit, Detroit. CourtneyClarke’s retrospective Cry Sadness into the Coming Rain was presented at SMAC Gallery, Stellenbosch, in 2018. Notable collections featuring work by Courtney-Clarke include: WÜRTH Collection, Munich; National Geographic Collection, Washington; Norval Foundation, Cape Town; the Holbar Collection, Lichtenstein; the Robert Devereux Collection, The African Arts Trust, London; the Hermés Collection, Paris; and the BHP Billiton Collection, Melbourne. This work is from the series Cry Sadness into the Coming Rain. "Margaret returned to Namibia, the country of her birth and upbringing, in 2008 to live in Swakopmund on the edge of the Namib desert. The photographs she produced are about existence. They come from an awareness of the fragility of her own existence and from a symbiotic grasp of the ancient rhythms of the desert and the coast, the ways of life of its people, the traces of their passing and the seemingly inexorable advance of corporate and mining development. The photographs are bare of nostalgia, fat or facile certainties. They are eloquent of raw existence and offer faint glimmers of hope, of life scratched from an appallingly inhospitable terrain in the face of overwhelming societal transition. Yet these photographs attain a searing grace which is in no sense false to the reality but is, on the contrary, a rare synthesis of what is there with an intensely heightened and uncompromisingly honest vision. Margaret’s relationship with the people she has photographed in this work is practical and intimate, never patronising, almost that of family rather than of compassionate observer. It is of a piece with the wholeness of her embrace." – David Goldblatt, May 2016. Extract from Cry Sadness into the Coming Rain (Steidl, 2017)

38 Lindokuhle Sobekwa b.1995 South Africa

Kids playing with plastic pipes (from the Place of Peace series) 2014 archival ink print on Baryta image size: 40 x 60 cm, sheet size: 41 x 61 cm, unframed number 3, from an edition of 7

ZAR 25 000 – 35 000 USD 1 525 – 2 135 GBP 1 175 – 1 645 EURO 1 275 – 1 785

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Lindokuhle Sobekwa’s work, see: https://www.magnumphotos.com/ photographer/lindokuhle-sobekwa/ https://aperture.org/editorial/introducinglindokuhle-sobekwa/ https://www.theguardian.com/cities/2019/ oct/25/forgotten-south-africa-dalesiderevisited-lindokuhle-sobekwa-photo-essay

Lindokuhle Sobekwa is a South African photographer born in Katlehong, Johannesburg. He was introduced to photography in 2012 through his participation in the Of Soul and Joy Project – a photography project in Thokoza, a township in the southeast of Johannesburg. During this time, he studied with photographers Bieke Depoorter, Cyprien Clément-Delmas, Thabiso Sekgala, Tjorven Bruyneel and Kutlwano Moagi. Sobekwa began exhibiting his work in 2013 as part of a group show in Thokoza, organised by the Rubis Mécénat foundation. His photo essay, Nyaope, was published in the Mail & Guardian in 2014. Nyaope was also published in Vice magazine’s annual Photo Issue and Belgium’s De Standaard in the same year and exhibited at the Turbine Art Fair, Johannesburg as part of their new artist feature exhibition. In 2015, Sobekwa was awarded a scholarship to study at the Market Photo Workshop where he completed his Foundation Course. Nyaope was exhibited in the ensuing group show, Free From My Happiness, organised by Rubis Mécénat for the International Photo Festival of Ghent. The exhibition toured to additional sites in Belgium and South Africa. A publication, edited by Tjorven Bruyneel, included a selection of the works. In 2017, Sobekwa was selected by the Magnum Foundation for Photography and Social Justice, New York, to develop the project I carry Her photo with Me. He received the Magnum Foundation Fund to continue with his long-term project, Nyaope, in 2018. Sobekwa’s work has been exhibited in South Africa, Iran, Norway and the USA, and was presented by several galleries at the 2019 edition of Paris Photo, Paris. His hand made photobook, I carry Her photo with Me, was included in African Cosmologies at the FotoFest Biennial, Houston, curated by Mark Sealy. He joined Magnum Photos in 2018 and became an associate member in 2020. This work is from the series Place of Peace, developed while Sobekwa was a student at the Of Soul and Joy Project and formed part of the exhibition In Thokoza: Place of Peace. The exhibition presented a selection of narratives developed by young photographers from Thokoza who participated in the Of Soul and Joy Project since its inception in 2012. The stories developed by these students were diverse in scope, spanning the personal, familial and political. In addition, they illustrate the complex intersection between education, culture, and identity, culminating in a wide range of captivating work. This work has also been exhibited at Paris Photo, Paris (2019).

39 Lindokuhle Sobekwa b.1995 South Africa

Amabele we ntombi 2020 archival ink print on Baryta image size: 40 x 60 cm, sheet size: 41 x 61 cm, unframed number 1, from an edition of 7

ZAR 25 000 – 35 000 USD 1 525 – 2 135 GBP 1 175 – 1 645 EURO 1 275 – 1 785

NOTES

Accompanied by a certificate of authenticity signed by the artist.

This project is a follow-up to I carry Her photo with Me, and explores the area around Tsomo, a community in the Eastern Cape. Tsomo is the place where Sobekwa’s sister grew up and a place he says he did not know very well. It is also a place that is very important to his family: "It is also a place my family calls home. As I worked on the series about my sister’s disappearance, I found myself going to the Eastern Cape to explore more of my sister’s early life as I looked for answers. What I found there was a sense of reconnection to culture, identity, and family." The need to make a living in urban centres has created deep fragmentation in families and communities. This divide between rural and urban is linked to apartheid spatial planning laws and the resultant severe economic inequality now, but it has also caused a fragmentation of identity. Many people living in cities do not consider them ‘home’. Johannesburg, for example, is seen as a place of opportunity, a place where you can get a job or make your dreams come true. ‘Home’ refers to the countryside. It is a place where your elders live; a spiritual place where you can always connect with your ancestors. It’s a holy land to some, a place where you can rejuvenate and restart. This work has never been exhibited.

40 Paul Weinberg b.1956 South Africa

Young boy playing a homemade guitar, N||haru‡|’an, Nyae Nyae, Namibia, 1987 (from Traces and Tracks) 1987 archival ink print on Hahnemühle Photo Rag signed image size: 32 x 47.5 cm, sheet size: 42 x 59.5 cm, unframed number 6, from an edition of 15

ZAR 18 000 – 24 000 USD 1 098 – 1 464 GBP 846 – 1 128 EURO 918 – 1 124

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Paul Weinberg’s work, see: http://paulweinberg.co.za/

In his career he has produced 18 books as a photographer and author and has been published in many other anthologies and group projects. He taught photography at the Centre of Documentary Studies at Duke University in the United States and holds a master’s degree from the same university. Weinberg lectured in Documentary Arts and Visual Anthropology at the University of Cape Town and is currently a research associate at the Centre for South African Art and Visual Culture, University of Johannesburg.

http://paulweinberg.co.za/exhibitions/

Together with David Goldblatt, he founded the Ernest Cole Award for creative photography in southern Africa. He currently works as a curator, archivist and photographer.

https://www.tandfonline.com/doi/abs/10.108 0/23323256.2017.1375381

Weinberg documented the changing lives of the San of southern Africa, Africa’s first people, over a 30-year period which resulted in four books and a number of local and international exhibitions.

https://www.peabody.harvard.edu/tracesand-tracks https://archives.lib.duke.edu/catalog/ weinbergpaul http://www.kalkbaymodern.co.za/paulweinberg

WATCH

photographyanddemocracy. com/?portfolio=paul-weinberg

Paul Weinberg is a photographer, curator, filmmaker, writer, educationist and archivist. He began his career in the early 1980s by working for South African NGOs, and photographing current events for news agencies and foreign newspapers. He was a founder member of Afrapix and South, the collective photo agencies that gained local and international recognition for their uncompromising role in documenting apartheid, and popular resistance to it. From 1990 onwards he increasingly concentrated on feature and in-depth projects. He has been published and exhibited widely over a period of 40 years.

Traces and Tracks was shown at the Wits Origins Centre, Johannesburg (2017), and published as a monograph by Jacana in the same year. This body of work is held in collections at the World Museum, Rotterdam; Duke University, Durham; !Khwa ttu Education Centre for the San, Cape Town; and Brenthurst Library, Johannesburg. His work on the San has been exhibited at the Market Photo Gallery, Johannesburg (1995); Iziko South African National Gallery, Cape Town (1996); World Museum, Rotterdam (1997); NSA Gallery, Durban (1997); and was included in the fringe Perth Arts Festival (2002), and the Apartheid and After group exhibition, Huis Marseille, Amsterdam (2015).

41 Jodi Bieber b.1966 South Africa

Sunday School, Nababeep, Northern Cape, 1999 1999 archival fibre-based pigment print signed image size: 33.5 x 50 cm, sheet size: 38.5 x 55 cm, unframed number 4, from an edition of 12

ZAR 40 000 – 60 000 USD 2 440 – 3 660 GBP 1 880 – 2 820 EURO 2 040 – 3 060

NOTES

For additional information on Jodi Bieber’s work, visit: https://www.jodibieber.com/ https://robynsassenmyview.com/2018/11/05/ bieber-and-the-power-to-not-judge/ https://www.bjp-online.com/2020/04/ evidence-of-work-jodi-bieber-lockdownportraits/ https://robynsassenmyview.com/2014/04/05/ jodi-bieber-takes-on-the-behemoth-ofmaleness/ http://uccspresents.org/content/ events/1-2019-20/20191003-visitingartists-and-critics-series-jodibieber/ fractured-compounds-photographing-postapartheid-compounds-and-hostels.pdf http://alternation.ukzn.ac.za/Files/ docs/20.1/03%20Jon.pdf https://www.frieze.com/article/africanphotography-encounters

Jodi Bieber’s professional career began covering the 1994 democratic elections in South Africa after attending three short courses at the Market Photo Workshop in Johannesburg. A turning point was her selection to participate in the World Press Masterclass held in the Netherlands in 1996. This opened the door to travel the world on assignment for international magazines and NGOs. Bieber has won numerous international awards, including the Premier Award at World Press Photo in 2010 for her photograph of Bibi Aisha on the cover of Time Magazine. She continued during this time to pursue her own projects and presently spends most of her time working this way. Works from her four monographs, Between Dogs and Wolves – Growing up with South Africa (2006), Soweto (2010), Real Beauty (2014) and Between Darkness and Light, Selected Works: South Africa 1994–2010 (2017), are exhibited in solo and group exhibitions nationally and abroad. Exhibition highlights include Rencontres de Bamako, Bamako; Victoria and Albert Museum, London; Fondazione Carispezia, Italy; Oulu Museum of Art, Oulu; Stadthaus Ulm, Ulm; Thessaloniki Biennale of Contemporary Art, Thessaloniki; International Center of Photography (ICP), New York; Iziko South African National Gallery, Cape Town; Wits Art Museum, Johannesburg; Oliewenhuis Art Museum, Bloemfontein; and Constitution Hill, Johannesburg. Her photographs are represented in significant collections such as the Walther Collection; Pinault Collection; Oppenheimer Collection; Johannesburg Art Gallery; Iziko Museums of South Africa; and the Jean Paul Blachère Foundation. In 2018, to mark the centenary anniversary of women's suffrage in the UK, the Royal Photographic Society named Bieber as one of the Hundred Heroines. In 2019, her photograph of Bibi Aisha was included in The New York Times and CNN top 100 photographs that influenced the previous decade. Sunday School, Nababeep, Northern Cape, 1999 forms part of a larger and significant body of work by Jodi Bieber. Over a ten-year period, she explored the lives of young people living on the fringe of South Africa in the context of her upbringing. Travelling for three months photographing in small isolated communities in the Northern Cape, the photograph was taken in Nababeep – a once prosperous coal mining town where the depletion of copper forced people from the area to migrate to other places to find employment. The photograph paints a universal humanity with a tinge of melancholy of a province that, through Bieber’s eyes, had been left behind. The photograph’s first publication was in Bieber’s monograph, Between Dogs and Wolves – Growing up with South Africa (Mets and Schilt, Dewi Lewis, Double Storey, Contrasto, and Editions de l’Oeiel, 2006); it was also featured in her monograph Between Darkness and Light, Selected Works: South Africa 1994–2010 (Skira, 2017). This image has been included in exhibitions at Fondazione Carispezia , Italy (2017); Fotografia Europea XII, Italy (2017); LSE Atrium Gallery, London (2016); Iziko South African National Gallery, Cape Town (2015); Antalya Photo Festival, Antalya (2015); Australian Centre for Photography, Sydney (2014); Wits Art Museum, Johannesburg (2014); Museum Goch, Goch (2013); Stadthaus Ulm, Ulm (2012); The Hereford Photographic Festival, Hereford (2008); Visa Pour L’Image, Perpignan (2002).

42 Xoliswa Ngwenya b.1990 South Africa

Sesh (from the In My Solitude series) 2015 archival ink print on Hahnemühle Photo Rag signed image size: 23.5 x 36 cm, sheet size: 29.5 x 42 cm, unframed number 1, from an edition of 10

ZAR 7 000 – 10 000 USD 427 – 610 GBP 329 – 470 EURO 357 – 510

NOTES

For additional information on Xoliswa Ngwenya’s work, see: https://www.capprize.com/ landing/2019/5/15/cap-prize-2019-winnersannouncement http://www.osf.org.za/wp-content/ uploads/2018/03/OSF-Annual-Report-24AUGREV.pdf

43 Xoliswa Ngwenya b.1990 South Africa

Sbongile (from the In My Solitude series) 2018 archival ink print on Hahnemühle Photo Rag signed image size: 23.5 x 36 cm, sheet size: 29.5 x 42 cm, unframed number 1, from an edition of 10

ZAR 7 000 – 10 000 USD 427 – 610 GBP 329 – 470 EURO 357 – 510

Xoliswa Ngwenya is a visual artist, photographer and archivist from Johannesburg, South Africa. He is a Market Photo Workshop alumnus, and was a runner up for the Tierney Fellowship in 2015. Ngwenya was awarded 1st prize in the Social Justice Photography Competition through the Open Society Foundation in 2016. He was also the main exhibitor at Through the Lens in Cape Town in the same year. In 2018, he was shortlisted for DemocraSEE 3 photography award, was part of the RMB Talent Unlocked artist career development programme, and exhibited at the Turbine Art Fair, Johannesburg. He was also nominated for the MAST Foundation for Photography grant in the same year. In 2019, Ngwenya was shortlisted for a Magnum Foundation Fellowship and for the Contemporary African Photography Prize. His work has been featured in various publications in South Africa. The passing of Ngwenya’s mother when he was nine years old strongly influences his work as he explores themes of absence, abandonment, belonging, nostalgia, home, and identity. Both works offered on auction are from the series, In My Solitude, a project which documents the coal yards in Zola 2, Soweto. Coal yards are one of the historic places in the township, and were built by the apartheid government between 1956–1963 after the forceful removals of black South Africans who lived in places such as Brickfields (now known as Newtown), Sophiatown, and Alexandra. In the early days of Soweto, electricity was not available, so coal was essential for domestic and commercial use. The government of that time saw a great opportunity to make profit from this need by building the yard to store coal and also employ the members of the community; later, the community members gained the right to sell and distribute coal within and around Soweto. "The people living in the coal yards are often vilified by surrounding communities; I see this body of work as an opportunity to stop this stereotyping. My project has a strong dimension of social awareness, and comments on the social and political realities which these people face." Work from In My Solitude was exhibited as part of Through the Lens, Cape Town (2016); the Turbine Art Fair, Johannesburg (2018); and RMB Talent Unlocked.

44 Eric Miller b.1955 South Africa

The Champions versus The Giants. Aberdeen, Sierra Leone, May 2002. 2002 archival ink print on Hahnemühle Photo Rag signed image size: 23.5 x 36 cm, sheet size: 29.5 x 42 cm, unframed number 1, from an edition of 10

ZAR 12 000 – 16 000 USD 732 – 976 GBP 564 – 752 EURO 612 – 816

From 1991, when the civil war in Sierra Leone first broke out, until January 2002, when peace was officially declared, torture, rape, death and displacement scarred the country and its people. Thousands of civilians were left maimed, but many of them refused to give in, or be broken. In the resilience of human nature, and defying self-pity or dependence, these men chose the football pitch to reclaim their lives and dignity. Player Maxwell Folah commented, "Football is fun. It makes us more independent. Before, we used to just sit around and think about bad things." This photograph was published in Reality Bites: An African Decade by Eric Miller, Görrel Espelund and Jesper Strudsholm (Double Storey Books, 2003) and Then & Now: Eight South African Photographers (Highveld, 2007). As part of the Then and Now exhibition, it has been shown in Cape Town, Durban, Johannesburg, Melbourne and Brisbane.

45 Marc Shoul b.1975 South Africa

Brenda, The Mexican Sports Bar, Hillbrow, 2006 (from the Flatlands series) 2006 selenium toned, fibre-based hand print signed on the reverse image size: 36.5 x 36.5 cm, sheet size: 51 x 40.5 cm, unframed number 4, from an edition of 10

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

For additional information on March Shoul’s work, visit: http://blog.leica-camera.com/photographers/ interviews/marc-shoul-looking-for-compleximages-that-transport/ http://mg.co.za/multimedia/2013-04-16brakpan-frozen-in-time http://mg.co.za/multimedia/2011-11-21-sameold-town http://www.burnmagazine.org/ essays/2012/03/marc-shoul-brakpan/ http://www.mahala.co.za/art/brakpan/ http://jozirediscovered.wordpress. com/2013/06/25/marc-shoul-the-light-in-theunfamiliar-dark/ http://france-southafrica.com/programmation/ exposition-marc-shoul-brakpan/ www.fstopmagazine.com/blog/2013/09/marcshoul-atelier-de-visu/ http://www.photodigest.be/archives/ marc-shoul-a-towns-story-marseille/#. Us1fn41hMnU http://blogs.rue89.nouvelobs.com/ oelpv/2013/10/04/latelier-de-marseilleferme-le-sud-africain-marc-shoul-racontebrakpan-231268 http://jennytang.tumblr.com/ post/13763824201/on-marc-shoulsphotographs-in-brakpan-gauteng http://www.artapartofculture.net/2013/04/06/ marc-shoul-da-extraspazio-alla-sua-interaricerca-lintervista/

Born in Port Elizabeth, South Africa, Marc Shoul now lives and works in Johannesburg. He works largely in portraiture and documentary photography that observes the complex social issues in his country. Shoul graduated from the Nelson Mandela Metropolitan University with a BTech in Photography in 1999. He has had solo exhibitions at: the South African Jewish Museum, Cape Town (2018); Musée Pierre-Noël, Saint-Dié-des-Vosges (2017); Blue Sky Gallery, Portland (2015); Extraspaszio Gallery, Rome (2013); Pretoria Art Museum, Pretoria (2012); Quai No.1, Vevey (2010); and Atelier de Visu, Marseille (2013), where he also completed an artists’ residency. Shoul’s work has been featured at the screenings of Visa Pour L’Image, Perpignan, France and Ankor Photographic Festival, Siem Reap, in Cambodia. His series, Landsman was featured at Addis Foto Fest, Addis Ababa in 2018. Shoul won WinePhoto photographic competition with Brakpan and received an honourable mention for Flatlands in 2011. His work can be found in the collections of the Iziko South African National Gallery, Cape Town; Nelson Mandela Metropolitan Art Museum, Port Elizabeth; as well as the Memmo Foundation, Rome. He is represented by Panos Pictures in London, UK. Flatlands focuses on Johannesburg’s inner city. The work documents people who have moved into this high-rise urban environment; many of them refugees, all of them searching for ‘gold’ in one form or another. And so it has always been. For over a century now, Johannesburg has been a beacon for people from all over the world, offering the promise of a better life. Today, the inner city comprises a densely populated landscape, filled with highrise office buildings and apartments. Accommodation is cheap, catering for the waves of immigrants who move through these flatlands. Life in many parts of the Flatlands is difficult. But Johannesburg has an infectious momentum and relentless energy and drive. It’s the excitement that overpowers the fear. Everyone is watching their back but going forward. "I wanted to document this new era of the Flatlands in post-apartheid times; this huge mix of people and culture squeezed so tightly together in a space barely able contain it all. This is an area that was once compared to the great modern cities of the first world. Now it has taken on a significantly different character. It is a space of transience, a place on the way to something better, be it in South Africa or back at home. I wanted to see how people are making their own way through this amazing matrix of crumbling buildings, while still holding onto the promise of a better future that Johannesburg offers." Flatlands has been exhibited at Musée Pierre-Noël, Saint Dié des Vosges (2017); PhotoFreo, Perth (2012); CIRCA, Johannesburg (2012); Pretoria Art Museum, Pretoria (2012); Ron Belling Gallery, Port Elizabeth (2012); Quai No.1, Vevey (2010); KZNSA Gallery, Durban (2010); and the AVA, Cape Town (2009).

http://www.lifeforcemagazine.com/apr2013/index_15.htm http://blogs.rue89.nouvelobs.com/oelpv/2013/10/04/ latelier-de-marseille-ferme-le-sud-africain-marc-shoulraconte-brakpan-231268 http://camera-austria.at/zeitschrift/125-2014/?lang=en http://urbanites.rts.ch/blog/flatlands/ http://www.ojodepez.org/v2/cgi/php/index. http://vervephoto.wordpress.com/2012/06/21/marc-shoul/ http://www.topphotographyfilms.com/ professionalphotojournalists/marc-shoul/ http://mg.co.za/multimedia/2010-07-22-flatlands-anexhibition-by-marc-shoul WATCH

http://www.clickblog.it/post/8725/la-johannesburg-dimarc-shoul-in-flatlands

https://www.youtube.com/ watch?v=9VhHMqe5860

46 Marc Shoul b.1975 South Africa

Juniour Brakpan Water Polo Team, Public Swimming Pool, Bedford Street, Brakpan, South Africa, 2011 (from the Brakpan series) 2011 selenium toned, fibre-based hand print signed on the reverse image size: 36 x 36 cm, sheet size: 46.5 x 40.5 cm, unframed number 4, from an edition of 10

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

Brakpan is a gold and uranium mining town with a population of 340 000 inhabitants. It is located in the Gauteng province of South Africa, about 40 km east of Johannesburg. The town was founded in the late 1800s following the discovery of coal and was named after the brackish waters of a small pan on a nearby farm. By the time of the South Africa War (1899–1902), Brakpan was home to South Africa’s premier coal-producing pit, with its power station supplying power to the archipelago of industrial towns founded in the wake of the 1886 Witwatersrand Gold Rush. Brakpan has been marked by key political events. The town’s gold mine was violently occupied by white strikers during the 1922 Rand Rebellion. And, from the 1930s, city officials began pioneering race-based segregationist policies that were later employed on a national scale during the apartheid era. While these policies have since been overtaken by the post-apartheid ethos of the 'Rainbow Nation', some elements of division still remain. Despite being known as a gold, platinum and uranium producer, Brakpan is now a settlement of diminishing fortunes – showing little evidence of its mining ‘glory days’, which spanned from 1911 until the mid-1950s. Recent economic developments have centred on the construction of the Carnival City Mall and Casino; a world away from the central business district, which has been left, untouched, undeveloped and economically stunted. And so, while the nearby metropolis of Johannesburg grows and changes, Brakpan still lies comfortably in its vessel of formaldehyde. Brakpan has been exhibited at Musée Pierre-Noël, Saint Dié des Vosges (2017); Blue Sky Gallery, Portland (2015); Extraspazio Gallery, Rome (2013); Barnard Gallery, Cape Town (2013); and was screened at Visa Pour L’Image, Perpignan (2013).

47 Alf Kumalo South African 1930–2012

Hugh Masekela, 1956 1956 archival ink print on Hahnemühle Photo Rag image size: 45 x 35 cm, sheet size: 59.5 x 42 cm, unframed number 1, from an edition of 10

ZAR 30 000 – 50 000 USD 1 830 – 3 050 GBP 1 410 – 2 350 EURO 1 530 – 2 550

NOTES

Courtesy of the Alf Kumalo Family Trust. Accompanied by a certificate of authenticity signed by the artist's estate.

"Alf Kumalo, an internationally recognised photographer, was on the spot to capture many key dramatic moments in South Africa’s liberation history, both tragic and joyous. In this collection Kumalo demonstrates his unique access to diverse iconic figures, not only in the South African struggle, but also in the global spotlight." – From Through My Lens: A Photographic Memoir. Born in Utrecht, KwaZulu-Natal, Alf Kumalo came to Johannesburg as a young boy. A largely self-taught photographer, he worked at Bantu World and Golden City Post in the 1950s, freelanced for Drum magazine in the 1960s and Sunday Times in the 1970s. In the 1980s he joined The Star in Johannesburg. His work has been published in leading international newspapers such as The Observer, New York Times, New York Post and The Sunday Independent, and exhibited at the United Nations General Assembly, New York City. Kumalo’s books include Mandela: Echoes of an Era; Alf Kumalo: South African Photographer; Through My Lens: A Photographic Memoir; and 8115: A Prisoner's Home. Kumalo was awarded the Presidential Order of Ikhamanga in Silver in 2004 and the Nat Nakasa Award for Media Integrity in 2005. This photograph was taken after Hugh Masekela received a trumpet from American jazz legend, Louis Armstrong, through anti-apartheid activist Father Trevor Huddleston. Kumalo wanted to capture the significant, newsworthy moment and asked the then-teenage Masekela to pose for what would later become a book and album cover. At the time, Masekela was mortified at how the photo made him look, but Kumalo assured him that the picture would "outlive his girlfriend". Masekela grew to love the image and how it "captured his spirit perfectly", so much so that it was chosen for the book cover of his autobiography, Still Grazing: The Musical Journey of Hugh Masekela. The photograph was featured in Alf Kumalo’s book Through My Lens: A Photographic Memoir (2009).

48 Ernest Cole South African 1940–1990

Twelve works from The House of Bondage c.1965, Estate Edition printed 2020 hand printed silver gelatin prints on Ilford fibre-based paper each inscribed with the title and numbered; signed in pencil by Dennis da Silva and Leslie Matlaisane on the reverse; embossed with the Estate stamp most image sizes: 36.5 x 55.5 cm each (one is 37 x 46 cm), sheet size: 50.5 x 61 cm each, unframednumber 3, from an edition of 10 + 2AP

ZAR 350 000 – 500 000 USD 21 350 – 30 500 GBP 16 450 – 23 500 EURO 17 850 – 25 500

NOTES

For additional information in Ernest Cole’s work, see: https://www.theguardian.com/world/2010/ nov/25/ernest-cole-david-goldblatt-apartheidphotography https://www.wnyc.org/story/apartheidthrough-eyes-one-south-africas-first-blackphotojournalists/ https://www.dailymaverick.co.za/ article/2017-11-30-photographer-ernest-coleof-bondage-and-freedom-discovery-of-troveof-negatives-a-game-changer/ https://www.sahistory.org.za/people/ernestcole https://www.lensculture.com/ernest-cole

Ernest Cole was born in Eersterust, near Pretoria (Tshwane), in 1940 and died in New York in 1990. Cole worked for Drum magazine, Bantu World and Sunday Times. On his own initiative, he undertook a comprehensive photographic essay in which he chronicled the horrors of apartheid. Out of this emerged the seminal book, The House of Bondage, which was published in New York in 1967. As Cole wrote in the book, "Three-hundred years of white supremacy in South Africa has placed us in bondage, stripped us of our dignity, robbed us of our selfesteem and surrounded us with hate." He paid a price for his commitment and documentation – the book was immediately banned and so was he. Cole lived in exile until his death in New York in 1990, a week after Nelson Mandela and others were released from prison. There has been much speculation about what happened to his negatives and prints. Until relatively recently, it was thought all his negatives and many prints were lost. However, in 2017, 60 000 negatives which had been rediscovered in Stockholm, were handed to the Ernest Cole Family Trust by the Hasselblad Foundation. These include never-before-seen South African work, as well as his documentation on the American South and black life in the USA. The portfolio offered by the Ernest Cole Family is a part of this ‘lost’ archive and legacy. The PLP is working with the Ernest Cole Family Trust, Magnum Photos and Historical Papers, Wits University, to digitise and make this work accessible for educational and research purposes. This Estate Edition of silver gelatin prints, feature twelve of the most iconic images from House of Bondage. They have been printed from the lost negatives of Ernest Cole by Dennis da Silva, South Africa’s premier black and white photography printer, and produced through the Ernest Cole Family Trust in South Africa.

Handcuffed blacks were arrested for being in white area illegally, Gauteng [Transvaal], South Africa, c.1965

These boys were caught trespassing in a white area, Gauteng [Transvaal], South Africa, c.1965

Pass raid outside Johannesburg station. Every African must show his pass before being allowed to go about his business. Sometimes the check broadens into search of a man's person and belongings, Gauteng [Transvaal], South Africa, c.1965 (from House of Bondage)

During group medical examination, the nude men are herded through a string of doctors' offices, Gauteng [Transvaal], South Africa, c.1965

Miners idle on a Sunday. Some, like this man with a penny whistle, pass time with musical instruments, Gauteng [Transvaal], South Africa, c.1965 86

He is allowed to go his way â&#x20AC;&#x201C; till next time, Gauteng [Transvaal], South Africa, c.1965

Typical location has acres of identical four-room houses on nameless streets, many are hours by train from city jobs, Gauteng [Transvaal], South Africa, c.1965

Train accelerates with its load of clinging passengers. They ride like this through rain and cold, some for the entire journey, Gauteng [Transvaal], South Africa, c.1965

Earnest boy squats on haunches to follow lesson in heat of packed classroom, Gauteng [Transvaal], South Africa, c.1965

Students kneel on floor to write. Government is casual about furnishing schools for blacks, Gauteng [Transvaal], South Africa, c.1965

Tough talk and marijuana. These are tsotsis, youths who have turned to crime rather than work as white men's garden-boys or messengers â&#x20AC;&#x201C; the usual jobs available to young blacks, Gauteng [Transvaal], South Africa, c.1965

Piet [Mokoena] falls asleep with Bible on his face. Africans say: "When Europeans came, they had the Bible and we had the land. Now we have the Bible, and they have our land", Frenchdale, Mafikeng, North West Province, South Africa, c.1965

49 Chris Ledochowski b.1956 South Africa

Nelson Mandela delivers his first public speech in 27 years, on the day of his release. City Hall, Grand parade, Cape Town, 11 February 1990. Photograph: 11 February 1990, printed 2010 colour lithograph of hand coloured photograph on BFK Rives cotton mould-made paper signed and embossed with the artist's and the Michaelis School of Fine Art chop marks bottom left image size: 37.5 x 55.5 cm, sheet size: 49.5 x 64 cm, unframed number 168, from an edition of 180

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

NOTES

Accompanied by a certificate of authenticity. For additional information on Chris Ledochowski’s work, visit: https://www.usnews.com/news/world/ articles/2015/02/10/south-africanphotographer-recalls-joy-of-mandelasrelease?page=2 https://www.foxnews.com/world/southafrican-photographer-recalls-joy-of-nelsonmandelas-release-from-prison-25-years-ago https://www.sahistory.org.za/people/chrisledochowski

Chris Ledochowski was born in Pretoria and he attended Waterford Kamhlaba School in Swaziland, whereafter he completed his studies in 1980 at the Michaelis School of Fine Art, University of Cape Town. In the early 1980s, he joined the photographers’ collective Afrapix. Ledochowski’s work focused on the struggles and strife in the township communities on the Cape Flats, as well as the formation of the Congress of South African Trade Unions (COSATU), related labour unions, and community NGOs within the Western Cape. From the late 1980s, he began documenting the rich creative and cultural expressions in the townships in colour – this work was published in the monograph Cape Flats Details (2003), and exhibited at the 50th Venice Biennale (2003); Stevenson, Cape Town; the Polish Institute, Paris; Visiting Gallery, Warsaw; and Kijk Galerie, Paris. Ledochowski has contributed to numerous group exhibitions and book publications since the 1980s. He has held a number of solo exhibitions locally and abroad. From 1982 to 2019, Ledochowski has worked on the long-term project, Return to Nthabalala, in Venda, Limpopo, soon to be published. A silver print from the original black and white negative was hand coloured by the artist and reproduced in four colours. This colour lithograph edition of 180 was produced by the artist in 2010 to commemorate the 20th anniversary of Nelson Mandela's release. Apart from depicting Nelson Mandela delivering his first public speech on his release, this iconic photograph represents a historic moment that marked a crucial turning point in the destiny of South Africa. The image has been reproduced in numerous book publications and is included in several museum exhibitions celebrating the life of Nelson Mandela and the struggle against apartheid. It has been acquired by a number of permanent collections, and used as a permanent wall installation by institutions and organisations. There have been many distinguished recipients of the lithograph, including presidents Nelson Mandela and Barack Obama.

50 Chris Ledochowski b.1956 South Africa

Voters' Choice, Mitchells Plain, 1994. In the buildup to South Africa’s first democratic election, activist artists in the Nationalist Party dominated constituency of Mitchells Plain make their choice clear. 1994 Giclée print on Hahnemühle rag paper signed image size: 34 x 51 cm, sheet size: 42 x 59.5 cm, unframed number 7, from an edition of 12

ZAR 7 000 – 10 000 USD 427 – 610 GBP 329 – 470 EURO 357 – 510

"Art in the townships and informal settlements has been largely of a temporary nature – reflecting the lack of permanence of structures and homes. My use of the term ‘details’ stands in contrast to the general appearance of the townships as a bleak and colourless environment – an environment which over time challenges one to seek and unveil hidden layers. It is in these details that I found individual and collective expressions of creativity and resilience that give positive meaning and definition to people’s lives. They present public and private images of hope that bring together and convey tradition and modernity, stability and change, faith and despair. Against the rigid domination by apartheid, so physically represented in the construction of township living spaces, people created and nurtured a culture that was under their control." The Cape Flats Details project spanned over a decade of documentation, culminating in the co-publication of the book by UNISA Press and SAHO in 2003. Cape Flats Details was exhibited at the 50th Venice Biennale (2003); Stevenson, Cape Town (2003); the Polish Institute, Paris (2005); Visiting Gallery, Warsaw (2006); and Kijk Galerie, Paris (2013).

51 Dale Yudelman b.1958 South Africa

Wedding, Arderne Gardens, Claremont, Cape Town (from the Life Under Democracy series) 2011 chromogenic (C-type) print on Fuji Chrystal Archive Matt signed and numbered on the reverse image size: 36 x 36 cm, sheet size: 42 x 42 cm, unframed number 2, from an edition of 9

ZAR 10 000 – 15 000 USD 610 – 915 GBP 470 – 705 EURO 510 – 765

NOTES

For additional information, see: https://www.bjp-online.com/2014/05/capetown-life-under-democracy/

Dale Yudelman’s career in photography has led him through two eras of South African history and across several continents. He started working as a staff photographer for The Star newspaper in 1979 and moved to London in 1986, and later Los Angeles, working as a freelance photographer for various newspapers and magazines. Returning to a newly democratic South Africa in 1996, Yudelman began collaborating with artist Arlene Amaler-Raviv on major exhibitions and a number of commissions – their most recent project, Livestock, was exhibited at the 8th Havana Biennale (2003) in Havana, Cuba. Drawing on his background in photojournalism and a growing interest in digital technology, the works in his series Reality Bytes reclaim and freeze the emotional content of daily experience. A number of projects followed, including i am…, a portrayal of the ongoing plight of refugees in South Africa. He was the inaugural recipient of the prestigious Ernest Cole Award for his 2012 series Life under Democracy, and has been awarded numerous other accolades including the World Press, Sony Profoto, Fuji Film Professional Photographers, and Commonwealth Photographic awards. Yudelman’s work is a consequence of a studied eye, brokered over thirty years of constant image making. Enthralled with the many-layered dimensions of reality, his anthology of images is a manifestation of how modern photography is able to escape the bounds of the ‘record’, creating an authentic and evocative account of recent times. His work has been exhibited extensively in South Africa and abroad – including Singapore, the USA, Belgium, Netherlands, France, Germany, Norway, and Cuba.

52 Dale Yudelman b.1958 South Africa

Flyers, Hillbrow, Johannesburg (from the Life Under Democracy series) 2011 chromogenic (C-type) print on Fuji Chrystal Archive Matt signed and numbered on the reverse image size: 36 x 36 cm, sheet size: 42 x 42 cm, unframed number 2, from an edition of 9

ZAR 10 000 – 15 000 USD 610 – 915 GBP 470 – 705 EURO 510 – 765

Lots 51 and 52 form part of Yudelman’s series Life Under Democracy. Inspired by Ernest Cole’s work from the 1960s documenting life under apartheid, this series looks at life ‘under democracy’ and consists of vibrant daily reflections, shot in passing, with the simple motivation of noticing what is. In the course of bearing testament to the lives of fellow South Africans, people, events and objects became contemplative essays – manifestations of how the issues making front-page news permeate and become reality. The intention with this series was not to be compulsively thematic, or to make overly dramatic social statements. The aim is to deliver an account that is accurate and vivid as any documentary anthology of contemporary life and the way in which ordinary citizens experience their current social and political circumstances. The process for capturing these images was integral to maintaining an intrinsic honesty within each frame; instead of using bulky cameras and prying long lenses, a technically undemanding cell phone camera was used. The resulting interaction between the subject and photographer is informal and unobtrusive. Ironically, though produced relying on the latest technology, the requirement for these works go back to the fundamental principle of traditional photography – that of composition and engagement. The intermingling of contemporary practice and traditional precepts within this method of image making echo a similar theme of the works, which alludes to the fact that as much as things change, they also remain the same. Yudelman was awarded the inaugural Ernest Cole Award for Life Under Democracy. The series was published as monographs and shown widely, including solo exhibitions at the Wits Art Museum, Johannesburg; KZNSA Gallery, Durban; AVA Gallery, Cape Town; Singapore International Photography Festival, Singapore; and Waterloo Arts, Cleveland.

53 Graeme Williams b.1961 South Africa

Springfontein, 2006 (from the series The Edge of Town) 2006 archival ink print on Photo Rag signed and numbered image size: 66 x 91 cm, frame size: 85 x 110 cm number 2, from an edition of 5

ZAR 18 000 – 24 000 USD 1 098 – 1 464 GBP 846 – 1 128 EURO 918 – 1 224

For thirty years Graeme Williams has worked on highly personal photographic essays. Photographic assignments have taken him to fifty countries and his photographs have been published in major publications, including National Geographic magazine, Time, Newsweek, and The New York Times Magazine. His work is housed in the permanent collections of the Smithsonian Institute, Washington; Duke University, Durham; North Carolina Museum of Art, Raleigh; St. Petersburg Museum of Fine Arts, Florida; and the University of South Africa, Pretoria. Williams’ work has been shown in solo exhibitions in New York, Paris, London, Cape Town and Johannesburg, and he has participated in many international group exhibitions, including the 2011 Figures and Fictions exhibition at the Victoria and Albert Museum, London. He was awarded the Contemporary African Photography (CAP) Prize as well as the Ernest Cole Award for the series, A City Refracted, in 2013. In 2014, his work was included in a major exhibition showcasing South African photography at Huis Marseille Museum for Photography in Amsterdam, and in the Aperture Summer Open exhibition in New York. Images from his series, As the Grass Grows, were included in the Louis Vuitton Foundation’s Being There exhibition in 2017. Lot 53 is from the series The Edge of Town. "My initial motivation for the project was to capture a segment of South African life as the country’s struggled to find a new post-apartheid identity. My own reactions to the changes happening around me were mixed and often jarring.

NOTES

Instead of trying to construct a narrative about life in the country as a whole, I concentrated on fragments of life at the literal and figurative edges of town. It is a stream of consciousness that attempts to draw in the elements of both change and lack of change within this paradoxical country.

For additional information on Graeme Williams’ work, see: https://www.all-about-photo.com/photoarticles/photo-article/547/interview-withgraeme-williams

This essay, like a mosaic, is made up of fragments that I have collected as I moved within the spaces occupied by South Africa’s marginalised communities. These fragments build a picture of the challenges, changes, frustrations and joys experienced by people who are attempting to move from the shadows into the centre stage of South African life."

https://unyarn.com/2012/03/27/graemewilliams-shooting-apartheid-part-1/

The Edge of Town was published by Once-Off Publications (2007).

https://www.rfi.fr/en/africa/20191112Graeme-Williams-photographing-apartheidfine-art-projects https://www.all-about-photo.com/ photographers/photographer/840/graemewilliams http://photographyanddemocracy. com/?portfolio=graeme-williams

100

WATCH

https://www.youtube.com/ watch?v=IujzTRx_x6E

http://www.youtube.com/watch?v=IlfQPrMQWw

101

54 Graeme Williams b.1961 South Africa

From the series A City Refracted 2013 archival ink print on Hahnemühle Photo Rag signed and numbered image size: 60 x 42 cm, framed size: 70 x 50 cm number 3, from an edition of 7

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

102

Lot 54 is from the series A City Refracted. "The photographs making up this project were taken between 2012 and 2015, after my entry won the third Ernest Cole Award. I chose to return my focus to central Johannesburg, fifteen years after the publication of my first monograph, The Inner City (2000). Much had changed since this project was undertaken — the apartheid-zoned, whites-only area had transformed into a vibrant mixed-race precinct." A City Refracted portrays life in the city as harsh, but does so in a lyrical manner. The images are filled with movement, abstract shapes and layers of colour. They form a poetic montage that evades a formal narrative, but communicates the feelings associated with life within this crowded landscape. In a visual journey symbolically reflecting the shifting typographies of the inner city of Johannesburg, Williams' work suggests waves of movement and migration, of promise and intrusion, inextricably tied to the city’s spatial and social order. A City Refracted was published in 2015, and subsequently exhibited in Cape Town, Durban and Johannesburg.

103

55 Ilan Godfrey b.1962 South Africa

Disused entrance, Marikana, Rustenburg, North West, 2012 (from the Legacy of the Mine series) 2012 chromogenic print (C-type) on Fuji Chrystal Archive Matte signed on the reverse and embossed with a Certificate of Authenticity stamp image size: 66.5 x 84 cm, framed size: 70.5 x 88 cm AP, from an edition of 10 + 2AP

ZAR 12 000 – 16 000 USD 732 – 976 GBP 564 – 752 EURO 612 – 816

NOTES

For additional information on Ilan Godfrey’s work, see: https://www.voelklinger-huette-afrika.org/ en-gb/god https://www.leica-camera.blog/2015/03/09/ ilan-godfrey-legacy-of-the-mine/ https://www.vogue.it/en/photography/ emerging-photographers/2014/09/04/ilangodfrey/?refresh_ce https://www.anotherafrica.net/interviews/ the-cost-of-metal https://platinumbelt.osf.org.za/ http://lenscratch.com/2018/07/south-africaweek-ilan-godfrey/ https://www.tandfonline.com/doi/abs/10.108 0/17514517.2019.1628554 https://www.worldphoto.org/blogs/20-10-16/ legacy-mine-ilan-godfrey https://theculturetrip.com/africa/south-africa/ articles/photographing-the-depths-of-southafrica-ilan-godfrey-s-legacy-of-the-mine/ https://loeildelaphotographie.com/en/ilangodfrey-legacy-of-the-mine-south-africa/

104

Ilan Godfrey's work explores the diverse social, political, economic and environmental currents that shape contemporary South Africa – giving viewers a broader, and at the same time more deeply personal, understanding of the country they live in. His photographic practice includes extensive research. Through a process of investigative narration and long-term, multi-layered projects, Godfrey focuses on the constantly shifting landscape and reveals varied aspects of societal change across the country, documenting the country with an in-depth and intimate conscience. His work has been recognised by various international photography awards and grants, and exhibited in prestigious galleries and museums worldwide, including the National Portrait Gallery, London; Iziko South African National Gallery, Cape Town; Wits Art Museum, Johannesburg; Musée du quai Branly, Paris; and most recently at Everard Read Gallery, Johannesburg. Godfrey's work is regularly published in a broad range of leading international publications, including The New Yorker, Le Monde Magazine, ZEIT Magazine, The Sunday Times Magazine, Guardian Weekend Magazine and the Financial Times Magazine. Aside from his editorial work, he collaborates with institutions and organisations worldwide, regularly working on commissions for global brands – including the Open Society Foundation, the Bill and Melinda Gates Foundation, the Mastercard Foundation, Barclays Bank, VISA Card, the Toyota Mobility Foundation and GlaxoSmithKline. He holds a BA (Hons) degree in Photography from the University of Westminster, London, and was awarded the David Faddy Scholarship to continue his studies, receiving an MA degree in Photojournalism from the same institution. This work is part of a larger project and book which evolved over two and a half years into the Legacy of the Mine – an unflinching series that set out to expose the unwanted and perhaps under-explored legacy confronting South Africa’s land and people by giving agency to those whose lives and livelihoods have been destroyed by mining processes and the long-term environmental ramifications. Godfrey received the prestigious Ernest Cole Award in 2012 to complete this project. Legacy of the Mine (Jacana, 2013) was published as his first monograph and was launched in conjunction with solo exhibitions across South Africa, including the Irma Stern Museum, Cape Town; KZNSA Gallery, Durban; and the Wits Art Museum, Johannesburg. Since then, the project has received multiple international awards and accolades, including the Contemporary African Photography (CAP) Prize, Leica Oskar Barnack Award, and the OPENPhoto Award. Various works from the project have been exhibited at leading photography festivals from Basel, Switzerland to Lagos, Nigeria. Currently, a large selection of the work is being exhibited at the Völklinger Hütte World Heritage Site, Völklingen, Germany for the Africa – In the view of the Photographers exhibition. Several of the works are held in private and public collections globally.

105

56 Masixole Feni b.1987 South Africa

Siqalo informal settlement near Mitchells Plain (from the Drain on our Dignity series) c.2017 archival ink print on Hahnemühle Photo Rag signed image size: 32 x 49.5 cm, sheet size: 42 x 59.5 cm, unframed number 2, from an edition of 10

ZAR 12 000 – 16 000 USD 732 – 976 GBP 564 – 752 EURO 612 – 816

57 Masixole Feni b.1987 South Africa

Most people use their commute to rest; a woman travelling on a bus, Mfuleni (from the Drain on our Dignity series) c.2017 archival ink print on Hahnemühle Photo Rag signed image size: 23.5 x 36 cm, sheet size: 29.5 x 42 cm, unframed number 2, from an edition of 10

ZAR 10 000 – 15 000 USD 610 – 915 GBP 470 – 705 EURO 510 – 765

Masixole Feni was born in Cape Town and grew up in Sakhumzi orphanage down the road from where he currently lives in Mfuleni, near Khayelitsha. Feni was introduced to photography at a young age by the late Garth Stead and the Icon Photography Group, and through Jenny Altschuler’s 1999 Drumming Photography workshops at the Iziko South African Museum. While still in high school, he started freelancing for local news outlets, including The Cape Times, The Argus and GroundUp. In 2010, Feni became a full-time trainee at the SA Centre for Photography on Altschuler’s informal photography programme. He also worked with the photo collective Iliso Labantu. Troubled by the sensational reporting around service delivery protests in townships, he was inspired to challenge the linear view that the media take in their coverage. For several years, Feni has been documenting the water and sanitation conditions around him. As a ‘backyard dweller’ himself, he brings a new sensitivity to issues around service delivery. Feni was the winner of the prestigious Ernest Cole Award in 2015 for his project, Drain on our Dignity, which was published by Jacana in 2018 and exhibited at the Centre for African Studies Gallery, University of Cape Town; KZNSA Gallery, Durban; and Wits Arts Museum, Johannesburg. Both works offered on auction are part of Drain on our Dignity. Of Feni’s inside eye on the life in the informal settlements of the Cape Flats, spatial researcher and architect, Ilze Wolff, notes, "His visualisation of inequality, structural violence and his own imaginative response through photography is in itself a reflection on human creativity despite the limits put forward by power." Feni’s work transcends the mere record of this life to show the resilience of people who make a dignified life under difficult and unjust conditions. His images bring a humanity, a voice and face to the statistics of marginalised communities. As observed by Axolile Notawala of the Social Justice Coalition, "Drain on our Dignity must be viewed not just as a photo project. It must be a constant reminder that the dignity of the poor and working-class communities that are subjected to these conditions is trampled on every single day while we watch." Drain on our Dignity was published by Jacana in 2018 and exhibited at the Centre for African Studies Gallery, University of Cape Town; KZNSA Gallery, Durban; and Wits Arts Museum, Johannesburg.

WATCH

https://www.youtube.com/watch?v=iv9Tm08muhI

106

107

58 Daylin Paul b.1985 South Africa

Child playing with ball near veld fire, Phola, Mpumalanga (from the Broken Land series) 2018 archival ink print on Hahnemühle Baryta image size: 59.5 x 84 cm, framed size: 98.5 x 70 x 4 cm number 2, from an edition of 10

ZAR 12 000 – 16 000 USD 732 – 976 GBP 564 – 752 EURO 612 – 816

NOTES

After five years in Asia, Paul returned to South Africa and worked for various leading news organisations, both local and international. His work during the FeesMustFall protests in 2015 and 2016 drew critical acclaim and global recognition, and was published in The New York Times, The Guardian, and Foreign Policy. Subsequently, he was a regional finalist in the Vodacom Journalist of the Year awards (2017). It was during this time that he began moving away from photojournalism and into documentary photography. Paul was awarded the prestigious Ernest Cole Award in 2017 for his work on coal mining and burning in the Mpumalanga Highveld. This project was published as his debut monograph, Broken Land, and exhibited widely.

Accompanied by a certificate of authenticity signed by the artist.

He teaches in the Photojournalism and Documentary Photography program at the Market Photo Workshop, and is a writer and contributor to a number of local and international NGOs and development agencies.

Lots 58 and 59 are from Daylin Paul’s series, Broken Land. The series examines the coal-fuelled climate change and human rights crisis in the province of Mpumalanga, South Africa.

Daylin Paul b.1985 South Africa

Kusile Power Station, Delmas, Mpumalanga (from the Broken Land series) 2018 archival ink print on Hahnemühle Baryta image size: 42 x 59.5 cm, framed size: 73.5 x 53.5 x 4 cm number 1, from an edition of 10

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

NOTES

Accompanied by a certificate of authenticity signed by the artist.

108

Daylin Paul is an independent photographer, writer and educator based in Johannesburg and Nelson Mandela Bay, South Africa. He is a graduate from Rhodes University, School of Journalism. After starting his career as a press photographer in Cape Town, he decided to work as an independent photographer and travelled to East Asia where he was a stringer for Penta Press photo agency in Seoul, South Korea, and a gallery assistant at Documentary Arts Asia in Chiang Mai, Thailand.

As Paul comments, "These power stations, while providing electricity for an energy desperate South Africa, also have a devastating and lasting impact on the environment and the health of local people. […] Vast tracts of fertile, arable land are being ripped up, the landscape scarred with the black pits of coal mines while coalburning power stations, are one of the biggest greenhouse gas emitters in the world." Paul looks at both the micro and macro issues of coal with a documentarian’s eye: recording evidence and conducting interviews as a journalist would, but also interpreting landscapes and scenes as an artist. The photographs in this series look for traces of the subtle, paradoxical tragedy that haunts both the land and the people of Mpumalanga – blessed with unfathomable mineral wealth, but cursed by the industries that extract and burn it. This work was published in the monograph, Broken Land, and shown as part of solo exhibitions at KZNSA Gallery, Durban; Wits Art Museum, Johannesburg; and FORMS Gallery, Cape Town.

109

60 Gideon Mendel b.1959 South Africa

Funeral for four young activists killed by the police. KwaThema, South Africa, July 1985 (from the Damage series) 2016 chromogenic print (C-type) from water- and mould-damaged negative on Kodak Endura mounted on dibond signed on a label on the reverse image size: 100 x 92 cm number 1, from an edition of 3 + 2AP

ZAR 70 000 – 90 000 USD 4 270 – 5 490 GBP 3 290 – 4 230 EURO 3 570 – 4 590

NOTES

Accompanied by a certificate of authenticity. For additional information on Gideon Mendel's work, see: http://gideonmendel.com/ For select articles on Mendel’s recent exhibition, Freedom or Death, see: https://collectordaily.com/gideon-mendelfreedom-or-death/ https://www.dailymaverick.co.za/ article/2020-03-03-gideon-mendels-freedomor-death-images-that-take-us-into-the-torrentof-chance-and-imagination/ https://museemagazine.com/ culture/2020/3/5/book-review-freedom-ordeath https://www.theguardian.com/ theobserver/2019/dec/01/the-big-picturegideon-mendel-south-africa https://www.bjp-online.com/2020/01/gideonmendel-freedom-or-death/ https://www.huckmag.com/playlist-archive/ gideon-mendel-apartheid-south-africa/ https://elephant.art/this-damagedphotograph-demonstrates-how-much-ourimage-based-world-has-changed-05082020/ https://gostbooks.com/product/freedom-ordeath/

110

Gideon Mendel's intimate style of image-making and long-term commitment to socially engaged projects has earned international acclaim. Born in Johannesburg, Mendel established his career with his searing photographs of the final years of apartheid. It was his work as a "struggle photographer" during this period that first brought his work to global attention. In the early 1990s he moved to London, continuing to respond to global social issues, with a major focus on HIV/AIDS. His first book, A Broken Landscape: HIV & AIDS in Africa, was published in 2001. Since then, he has produced several photographic advocacy projects, working with prominent NGOs. Mendel’s early work was highlighted in the international touring exhibition, Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life, curated by Okwui Enwezor. His recent project, titled Dzhangal, an ‘anti-photographic’ response to the global refugee crisis was shown at Autograph, London (2016) and the book published by GOST Books (2017). Since 2007, he has been working on Drowning World, an art and advocacy project about flooding, his personal response to our climate crisis. Drowning World has been exhibited at many galleries, museums, and photo festivals, including Les Recontres de la Photographie in Arles, and used in climate activism in collaboration with Greenpeace and Extinction Rebellion. His work has been widely published in prominent publications such as National Geographic, Geo, Guardian Weekend Magazine, and Aperture. Amongst many accolades, Mendel has won the Eugene Smith Award for Humanistic Photography, six World Press Photo Awards, the Amnesty International Media Award, the Greenpeace Photo Award, and was shortlisted for the Prix Pictet in 2015 (Disorder) and 2019 (Hope). In 2016, he was the first recipient of the PollockKrasner Foundation’s Pollock Prize for Creativity. "In 1990 I left a box of negatives and transparencies in storage in Johannesburg, and subsequently forgot about them. Most of them were rejects, outside of my edits, that I then did not consider important. A few years ago they were returned to me and I discovered that at some point in their many years of neglect, the box had been rained on, and top layers had been affected by both moisture and mould. The images still carry the power of those scenes I documented all those years ago, yet their corruption and damage seem to magnify that energy." This photograph was taken during a mass political funeral for youths slain in the so-called 'grenade incident' which took place in Duduza township. Eight activists were killed when an undercover agent gave them booby-trapped grenades. East Rand, Gauteng, July 1985. The work offered on auction was shown as part of the solo exhibition, Damage, at the Apartheid Museum, Johannesburg (2019); in the Prix Pictet (Hope) exhibition at the Victoria and Albert Museum, London (2019); and thereafter toured internationally. It was also published in the monograph Freedom or Death (GOST Books, 2019) and shown as part of the solo exhibition by the same title at ARTCO Gallery, Cape Town (2020).

Â© Gideon Mendel courtesy of ARTCO Gallery

111

61 Gideon Mendel b.1959 South Africa

Mandela revisits Robben Island in 1995 (from the Merged series) 2019 archival pigment print on Baryta signed on the reverse image size: 35 x 44.5 cm, framed size: 48.5 x 63 x 3cm number 2, from an edition of 5 + 2AP

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

112

"These images are all derived from press prints made during my time as a news and documentary photographer in South Africa in the 1980s and 1990s. I have precisely digitally merged the front and reverse of these to create a superimposed combination of image, word, and markings. Many of these photographs were published in newspapers, the original prints showing a variety of crop marks on their reverse sides, and were made in the predigital era when contextual information was on the back of the prints. Some have my handwritten captions. Others have agency copyright labels along with detailed information about the photographs from my time with the AFP, Magnum Photos and Network agencies. All this information, normally hidden on the back, is now in full view." This image was published in the monograph Freedom or Death (GOST Books, 2019) and shown as part of the solo exhibition by the same title at ARTCO Gallery, Cape Town (2020).

Â© Gideon Mendel courtesy of ARTCO Gallery

113

62 Jabulani Dhlamini b.1983 South Africa

Ayini, Rooistena, Sharpeville, diptych (from the Recaptured series) 2015 archival pigment inks on fibre paper (Innova Fiba Matt) image size: 29.5 x 29.5 cm each framed size: 36.2 x 36.5 x 3.5 cm each number 1, from an edition of 7

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

Accompanied by a certificate of authenticity signed by the artist.

114

Jabulani Dhlamini lives and works in Johannesburg. Dhlamini majored in documentary photography at the Vaal University of Technology, graduating in 2010. From 2011–2012, Dhlamini was a fellow of the Edward Ruiz Mentorship and completed a year-long residency at the Market Photo Workshop in Johannesburg. Dhlamini’s work focuses on his upbringing, as well as the way he views contemporary South Africa. Dhlamini’s Umama series was exhibited as part of his Edward Ruiz award at the Market Photo Workshop in 2012, and at Goodman Gallery, Cape Town in 2013. In Umama, Dhlamini pays homage to single mothers and explores the challenges faced by women raising children on their own in South African townships. For his Recaptured series, which was exhibited at Goodman Gallery in 2016, Dhlamini turned to the community of Sharpeville, asking people to bring objects that reminded them of the 1960 massacre. Over the course of several years Dhlamini interviewed and photographed a number of individuals who traced their movements and emotions on the day of the Sharpeville Massacre, relocating themselves within the collective memory. In 2018 Dhlamini’s work was featured on the Five Photographers, A Tribute to David Goldblatt group exhibition at the Gerard Sekoto Gallery at the French Institute. In his most recent exhibition at Goodman Gallery, iXesha!, Dhlamini explored how memory is created and archived within a community where the memory has been localised. This exhibition included images from Dhlamini’s recent series, iQhawekazi, documenting the events around Winnie Madikizela-Mandela’s funeral.

115

63 Jabulani Dhlamini b.1983 South Africa

Sharpeville Maleho, Putswastena, diptych (from the Recaptured series) 2015 archival pigment inks on fibre paper (Innova Fiba Matt) image size: 29.5 x 29.5 cm each framed size: 36.2 x 36.5 x 3.5 cm each number 1, from an edition of 7

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

Accompanied by a certificate of authenticity signed by the artist.

116

In Recaptured, Jabulani Dhlamini explores the results of his engagement, since 2008, with the residents of Sharpeville, reflecting on the massacre that took place there on 21 March 1960 as a turning point in South African history. On that day, without warning, South African police shot into a crowd of about 5000 unarmed anti-pass protesters at Sharpeville, an African township of Vereeniging, south of Johannesburg. The massacre took the lives of at least 69 people – many of them shot in the back – and wounding more than 200 people. Dhlamini’s Recaptured series is created with an aim to reflect the individuality of eyewitnesses, and the survivors of the Sharpeville massacre, as they engage with the memories evoked by space and objects. It also affords them an opportunity to narrate their own story and experience. The series recaptures this dark day in a way that to date has been somewhat overlooked – through the intimacy of personal encounter and the objects that are emblematic of this. Although there is a memorial site, there is yet to be a museum dedicated to the memory of those who were shot dead, or survived, traumatised by the experience of being violently attacked for demanding basic human rights. The documentaries that have focused on the subject often side-line personal engagement in favour of cold historical record. In an attempt to process the massacre for himself, Dhlamini has not only photographed places and objects of trauma – for example the back of the shop where people hid during the attacks or a pillow case concealing incriminating documents that formed part of the struggle against the apartheid state – but he also set up a makeshift studio in Sharpeville where he invited people to bring objects they associate with the day of the massacre.

117

64 Jillian Edelstein b.1958 South Africa

Fikile Mlotshwa, comforter, Johannesburg, 1997 (from Truth and Lies: Stories of the Truth and Reconciliation Commission in South Africa) 1997 archival ink print on Hahnemühle Photo Rag image size: 40.5 x 30.5 cm, sheet size: 50.5 x 40.5 cm, unframed number 2, from an edition of 25

ZAR 18 000 – 24 000 USD 1 098 – 1 464 GBP 846 – 1 128 EURO 918 – 1 124

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Jillian Edelstein’s work, see:

London-based photographer Jillian Edelstein began her career working as a press photographer in Johannesburg, South Africa. Edelstein’s award-winning portrait and documentary work has appeared in international publications such as The New York Times Magazine, The Sunday Times Magazine, Time Magazine, The New Yorker, and Vanity Fair. She has exhibited internationally at venues including the National Portrait Gallery, The Photographers' Gallery, The Royal Academy, and OXO Gallery in London; Les Rencontres Internationales de la Photographie, Arles; Espace Muraille, Geneva; Sotheby's Galerie Charpentier, Paris; Dali International Photography Festival, Dali; Bensusan Museum of Photography, Johannesburg; and the Robben Island Museum, Cape Town. Between 1996 and 2002, Edelstein returned to South Africa frequently to document the work of the Truth and Reconciliation Commission (TRC). Her book, Truth and Lies: Stories of the Truth and Reconciliation Commission in South Africa, won several awards including the Visa d’Or at the International Festival of Photojournalism Perpignan in 1997, and the John Kobal Book Award, 2002. In 2002, Edelstein was awarded a Royal Photographic Society Honorary Fellowship (HonFRPS), and in 2018 she was voted on the Hundred Heroines list – an international campaign led by the Royal Photographic Society. In the run up to the 2012 Olympics she was commissioned by the National Portrait Gallery to produce a series of portraits of those working to make the Olympic and the Paralympic Games happen. The Road to 2012: Aiming High was opened by the Duchess of Cambridge. She is currently working on her first feature documentary about the Academy Award nominated screenwriter, Norman Wexler.

https://www.jillianedelstein.co.uk/ https://photovoice.org/ten-questions-withjillian-edelstein/ https://www.jstor.org/stable/10.2979/ transition.107.79?seq=1 https://counterpointsarts.org.uk/life-seekersby-jillian-edelstein/ https://www.npg.org.uk/collections/search/ person/mp08147/jillian-edelstein https://www.vam.ac.uk/event/pX1YWzXw/ counterpoints-arts-portraits-june-2019 https://photographyandresistance.wordpress. com/2019/01/23/jillian-edelstein-makingmemory-seeing-history/

118

WATCH

https://www.youtube.com/ watch?v=B4sxdecTUOA

119

65 Jillian Edelstein b.1958 South Africa

Desmond Tutu, chairman of the TRC, Cape Town, 2000 (from Truth and Lies: Stories of the Truth and Reconciliation Commission in South Africa) 2000 archival ink print on Hahnemühle Photo Rag image size: 30.5 x 40.5 cm, sheet size: 40.5 x 50.5 cm, unframed number 2, from an edition of 25

ZAR 18 000 – 24 000 USD 1 098 – 1 464 GBP 846 – 1 128 EURO 918 – 1 124

NOTES

Accompanied by a certificate of authenticity signed by the artist.

120

Lots 64 and 65 are part of Jillian Edelstein’s, Truth and Lies: Stories of the Truth and Reconciliation Commission in South Africa, an exhibition (1996–2001) and monograph published in 2002 by Granta (UK), the Mail & Guardian (South Africa), and the New Press (USA). Truth and Lies won several awards including the Visa d’Or at the International Festival of Photojournalism Perpignan (1997), and the John Kobal Book Award (2002). Selections from the work have been collected by the Incite Project, the Arpad Busson Foundation, and the National Portrait Gallery, London. The work has been exhibited by the Association of Photographers Gallery, London; Dali International Photography Festival, Dali; Bensusan Museum of Photography, Johannesburg; and the Robben Island Museum, Cape Town.

121

66 David Goldblatt South African 1930–2018

The Vaal River, near Standerton. 2 May 2002 (4_8595) (from the Intersections series) 2002 digital print in pigment inks on Cotton Rag image size: 84 x 119 cm number 3, from an edition of 6

ZAR 300 000 – 500 000 USD 18 300 – 30 500 GBP 14 100 – 23 500 EURO 15 300 – 25 500

NOTES

Courtesy of the David Goldblatt Legacy Trust. Accompanied by a certificate of authenticity signed by the artist. For additional information about David Goldblatt’s work, see: https://www.goodman-gallery.com/artists/ david-goldblatt#exhibition https://www.plparchive.com/david-goldblattmain/exhibitions/ https://bampfa.org/program/david-goldblattintersections https://www.sahistory.org.za/archive/davidgoldblatt-intersections-matt-damsker https://camera-austria.at/en/ausstellungen/ david-goldblatt-intersections-2/

122

David Goldblatt was born in Randfontein, a small mining town outside Johannesburg. He began exploring the medium of photography after matriculating in 1948 but only formally made photography his profession after his father died in 1962 and the family business, a mining concession store, was sold. In the years that followed, while Goldblatt supported his family through photography commissions and magazine work, he produced more than ten major photographic series documenting the people, landscapes and structures of South Africa. Goldblatt founded the Market Photo Workshop, a training institution in Johannesburg for aspiring photographers, in 1989. In 1998, he was the first South African to have a solo exhibition at the Museum of Modern Art in New York. A retrospective of his work, David Goldblatt Fifty-One Years, began an international tour of galleries and museums in 2001. Goldblatt was one of the few South African artists to exhibit at Documenta 11 (2002) and Documenta 12 (2007) in Kassel, Germany. He has held solo exhibitions at the Jewish Museum and the New Museum, both in New York. His work was included in the exhibition ILLUMInations at the 54th Venice Biennale in 2011, and has featured on shows at the San Francisco Museum of Modern Art and Barbican Centre in London. In 2017, Goldblatt installed a series of portraits from his photographic essay, Ex-Offenders, in former prisons in Birmingham and Manchester. The portraits depict men and women, from South Africa and the UK, at the scene of their crimes, with accompanying texts that relate the subjects’ stories in their words. In the last year of his life, two major retrospectives were opened at Centre Pompidou in Paris, and the Museum of Contemporary Art in Sydney. The Goldblatt Archive is held by Yale University in New Haven, Connecticut. Goldblatt is the recipient of the 2006 Hasselblad award, the 2009 Henri Cartier-Bresson Award, the 2013 ICP Infinity Award, and was awarded the Commandeur des Arts et des Lettres by the Ministry of Culture of France in 2016. "In the 1990s my anger dissipated. Apartheid was no more. There were things to probe and criticise, but the emphasis was different. Lyricism seemed not only permissible but possible. In the late ‘90s I became aware of colour as a particular quality of this place and its light that I wanted to explore. It seemed 'thin', yet intense. To achieve prints that would hold these qualities I would need to print in colour in a way that was similar to that which I had developed for my black and white work. I wanted high contrast, thin colour and yet nuanced gradation and colour. With the help of new colour emulsions that have remarkable latitude and a neutral palette, digital scanning and printing, rag papers and pigment inks and the technical virtuosity and willingness to venture of Tony Meintjies, who does it for me, I am approaching prints that come close to my sense of colour, place and light in South Africa. Over the generations the land has shaped us – I say in the broadest sense, us South Africans. And we have shaped the land. It is almost impossible now to find a pristine landscape. The grass has been grazed to the point of being threadbare, crops come and go, roads traverse, fences divide and mines penetrate and throw up the scabs of their detritus. These and our structures are the marks of our presence. I am drawn by the intimacies of our association with this land. [Much of the landscape] is deep, bland, vast and seemingly featureless. Yet precisely in these qualities is a presence that is difficult to hold or suggest in photographs. As soon as you try to bring what is before you into some sort or visual coherence, it eludes, it seems to move away. There seems no focal point, no way of coherently containing it. Often it is what I call a 'fuck all' landscape. Somehow one has to find ways of being true to what is there and yet bringing it fully to the page or print." From Intersections, David Goldblatt.

123

124

125

Jo Ractliffe was born in Cape Town, South Africa, and currently lives there. She has held fellowships at the Centre for Curating the Archive, University of Cape Town (2014); Wits Institute for Social and Economic Research, Johannesburg (2010); Ampersand Foundation, New York (2008); the Christian Merian Stiftung fellowship at iaab studios, Basel (2001); and the Ecole Cantonale d'Art du Vallais fellowship, Sierre (2001). Ractliffe was nominated for the Discovery Prize at the Rencontres d'Arles photography festival (2011).

67 Jo Ractliffe b.1961 South Africa

With David Goldblatt, Heuningvlei, Northern Cape, 2002 2002 silver gelatin print signed on the reverse image size: 20 x 48 cm, sheet size: 24 x 57 cm, unframed number 1, from an edition of 3 + 1AP

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

For select texts and reviews of Jo Ractliffe’s work, see: https://www.stevenson.info/artist/jo-ractliffe/ texts For select publications of Ractliffe’s work, see: https://www.stevenson.info/artist/jo-ractliffe/ publications

126

Her work has been exhibited and published widely, including major exhibitions in France, the Netherlands, Taiwan, UK, Austria, the USA, Germany, and Spain. Recent solo exhibitions include Signs of Life, Stevenson, Cape Town (2019); Hay Tiempo, No Hay Tiempo, Centro Fotográfico Álvarez Bravo, as part of Hacer Noche, Oaxaca (2018); Everything is Everything, Stevenson, Johannesburg (2017); After War, Fondation A Stichting, Brussels (2015); The Aftermath of Conflict: Jo Ractliffe's Photographs of Angola and South Africa, Metropolitan Museum of Art, New York (2015); Someone Else's Country, Peabody Essex Museum, Salem (2014); and The Borderlands, Stevenson, Cape Town (2013). Jo Ractliffe: Drives, the first US survey of the photographer’s work, opens at the Art Institute of Chicago in October 2020. Ractliffe’s photo-books include Everything is Everything (2017); The Borderlands (2015); As Terras do Fim do Mundo (2010) and Terreno Ocupado (2008). As Terras do Fim do Mundo was shortlisted in the category of Best Photobook of 2010 at the International Photobook Festival in Kassel (2011). "We went on this trip because David was on a mission to find Bute Asbestos Mine. From Kuruman we travelled north, passing through Heuningvlei – a dry ghost of a pan flanking an old mining village that had once boasted swimming pools, tennis courts and picnic areas, now all of it a desolation. We left the chalky dirt road and headed into the landscape. It was hot, still and quiet – each sharp clunk of a rock hitting the car’s undercarriage magnified in the silence. I had a worn-out copy of T. V. Bulpin’s Discovering Southern Africa with me, searching out bits of information – geological formations, early expeditions and mining explorations – as if these would activate something out there, deliver me from the sameness of it all. But when I looked through the window, it was just shiny brown rock, glinting with the blue of asbestos. In this landscape nothing offers itself up easily; you have to be patient - and attentive. Sometimes David would point to a mound of rocks, or a shallow pit in the ground; looking closer I would see the remains of an open cast mine or an adit. Then we would discover other things; an old enamel mug or tin bath, traces of past labour. And so we proceeded. Until suddenly, in the middle of a clearing we saw a well. We stopped, and it was as if someone released the ‘pause’ button and the world came back into motion. Two women sat under a tree doing their washing, blankets draped over the bushes nearby like little bright tents. At a distance, three men sat smoking, their dogs stretched out flat and limp in the heat. The air was dense with flickering white butterflies. A group of hobbled donkeys came hopping to the well to drink, later a white cow and her calf, then some goats. And into all this activity, through a cloud of dust, a horseman galloped up to the well. He was wearing huge teardrop sunglasses. Seeing me, he shouted ‘Hey sister!’, and with arms extended like an announcing angel, he slid off his horse and held the pose. I photographed David photographing him." – Driving with David, Jo Ractliffe (2002).

127

128

129

68 Mikhael Subotzky b.1981 South Africa

Toekomsrus (from the air) (from the Beaufort West series) 2006 LightJet C-print on Fuji Crystal Archive image size: 105.5 x 128.5 cm, framed size: 126 x 147.5 cm number 3, from an edition of 9

ZAR 100 000 – 150 000 USD 6 100 – 9 150 GBP 4 700 – 7 050 EURO 5 100 – 7 650

NOTES

Accompanied by a certificate of authenticity signed by the artist. For additional information on Mikhael Subotzky, visit: www.subotzkystudio.com http://www.subotzkystudio.com/beaufortwest-text/ https://www.magnumphotos.com/artsculture/mikhael-subotzky-beaufort-west/

130

Mikhael Subotzky is a Johannesburg-based artist whose works in multiple mediums (including film installation, video, photography, collage and painting) attempt to engage critically with the instability of images and the politics of representation. Subotzky has exhibited in a number of important international exhibitions including, most recently, Masculinities: Liberation through Photography at the Barbican in London (2020); Inheritance: Recent Video Art from Africa at the University of California’s Fowler Museum in Los Angeles (2019); and Ex Africa in various venues in Brazil (2017–18). His award-winning Ponte City project (co-authored with Patrick Waterhouse) was presented at Art Basel Unlimited in 2018. The full exhibition and archive of this project has since been acquired by the San Francisco Museum of Modern Art and will be the subject of a monographic exhibition there in the fall of 2020. Subotzky’s work is collected widely by international institutions, including the Museum of Modern Art, New York; the Solomon R Guggenheim Museum, New York; the National Gallery of Art, Washington; Tate, London; Centre Pompidou, Paris; and the Iziko South African National Gallery, Cape Town. His work was included in the Lubumbashi (2013) and Liverpool (2012) biennials. Pixel Interface, a multicomponent video installation, was included in All the World’s Futures, curated by Okwui Enwezor, at the 56th Venice Biennale (2015). This work is from Subotzky's series Beaufort West (2006–2008). Inspired by the tradition of photographic portraits of small towns in South Africa, and in particular by David Goldblatt’s In Boksburg series (1982), the artist decided to do a portrait of a small South African rural town, looking at the issues of incarceration and social marginalisation. Subotzky was interested in how it told a powerful social story by exploring one particular place largely ignored by the outside world. This is a view of what are called ‘RDP houses’ in South Africa, a reference to the Reconstruction and Development Programme intended to provide cheap homes and create jobs. The houses are known for being small and depressing, each just a concrete box with a tin roof. But bleak as they were, people would move in and within a couple of months make real homes of them – painting, erecting fences, planting gardens, and setting up spaza shops and shebeens and pool halls in corrugated iron lean-tos. This suburb of Beaufort West is called Toekomsrus, which is Afrikaans for ‘future rest’. When the artist went around with the police, they'd often end up there because it was where a lot of Beaufort West’s crime took place. This work was published in the monograph Beaufort West (Chris Boot, 2008). Other editions of this work have been exhibited at FOAM, Amsterdam (2007); Goodman Gallery, Cape Town (2007); the Moscow PhotoBiennale, Moscow (2012); and Parc de la Villette, Paris (2013).

131

132

133

69 Ruth Seopedi Motau b.1968 South Africa

Immersion baptism at Orlando, Soweto, of the Zionist Church from Meadowlands Zone 4, 1991 1991 archival ink print on Hahnemühle Photo Rag signed image size: 23.5 x 36 cm, sheet size: 29.5 x 42 cm, unframed number 1, from an edition of 10

ZAR 35 000 – 50 000 USD 2 135 – 3 050 GBP 1 645 – 2 350 EURO 1 785 – 2 550

70 Ruth Seopedi Motau b.1968 South Africa

Man search for meaning (PURPOSE) 4 2016 archival ink print on Ilford fine art textured silk paper signed image size: 40 x 60 cm, sheet size: 42 x 62 cm, unframed number 2, from an edition of 6

ZAR 50 000 – 70 000 USD 3 050 – 4 270 GBP 2 350 – 3 290 EURO 2 550 – 3 570

NOTES

For additional information on Ruth Motau’s work, see: https://www.artlink.co.za/news_article. htm?contentID=45624 https://www.artsy.net/artist/ruth-motau https://muse.jhu.edu/article/422447/pdf

134

Ruth Seopedi Motau was born in Meadowlands, Soweto. She is a South African social documentary photographer with over 34 years’ experience, and is best known for her portraits and insightful documentation of South African social and political life. Motau was the first black female photo editor in South Africa. Having graduated from the Market Photo Workshop, she worked as a photographer and a photo editor for the Mail & Guardian. During her tenure at the Mail & Guardian, she was also given the opportunity to work for three international newspaper publications on an exchange programme. Motau is also the former photo editor for The Sowetan and City Press. Presently, she is an independent photographic consultant, photographer, exhibitor, curator, photo editor, mentor and educator. She has won numerous accolades, including a Freedom Forum Fellowship from Rhodes University and the SABC award for women who made a difference in media. Her work has been featured in over 50 exhibitions in South Africa and abroad, including exhibitions in France, Brazil and China. Motau has a special interest in spirituality. The photographs offered on auction track this journey from her early work until the present.

135

71 Greg Marinovich b.1962 South Africa

Pilgrims on a Three-day Barefoot Journey to the Holy Mountain in KZN following the Route of the Founder Isaiah Shembe 1998 archival silver bromide print on fibre-based paper signed, dated Jan 1998 (negative) and Jan 2005 (print), numbered 1/25 and inscribed with the title in pencil on the reverse; inscribed with the artist's name, the title and 'print' on a label adhered to the reverse of the frame image size: 27.5 x 27.5 cm, framed size: 52 x 44.5 x 3cm number 1, from an edition of 25

ZAR 15 000 – 20 000 USD 915 – 1 220 GBP 705 – 940 EURO 765 – 1 020

136

Greg Marinovich is a highly regarded photojournalist, filmmaker and author who distinguished himself photographing the fatal conflicts that preceded the first democratic elections in South Africa in 1994. He was awarded the Pulitzer Prize for Spot News Photography in 1991 for a series of photographs of African National Congress supporters murdering a man they suspected of being an Inkatha Freedom Party spy. Marinovich co-authored a non-fiction book, The Bang-Bang Club (Basic Books, 2000), with João Silva that took readers beyond the photographs, giving context to that tumultuous time as well as many personal stories of those involved. He won the Sunday Times Alan Paton Award in 2017 for Murder at Small Koppie: The real story of the Marikana Massacre, an investigative account of the events leading up to the killing of 34 striking miners in South Africa on 16 August 2012. Isaiah Mloyiswa Mdliwamafa Shembe was born in the Drakensberg area of KwaZulu-Natal in 1865. Blending Zulu traditions and culture with elements of the Old and New Testaments, under his charismatic leadership the Nazareth Baptist Church, known more commonly as AmaNazaretha or simply Shembe, saw a rapid growth. By 1911, Shembe had established a sacred site at eKuphakameni (Place of Spiritual Upliftment) which has become the church headquarters. One of the ceremonies Shembe initiated was a three-day pilgrimage to the Holy Mountain, Nhlangakazi, in the KwaZulu-Natal hinterland. The barefoot walk is the highlight of the Nazaretha religious calendar.

137

72 Paul Weinberg b.1956 South Africa

At pray, Zion Church baptism, Inhaca Island, Mozambique, 1999 (from Moving Spirit) 1999 archival ink print on Hahnemühle Photo Rag signed image size: 32 x 48 cm, sheet size: 42 x 59.5 cm, unframed number 6, from an edition of 15

ZAR 18 000 – 24 000 USD 1 098 – 1 464 GBP 846 – 1 128 EURO 918 – 1 124

NOTES

Accompanied by a certificate of authenticity signed by the artist.

138

Moving Spirit is a long-term project Paul Weinberg embarked on after the 1994 moment of democracy and the Truth and Reconciliation Commission in South Africa. For 10 years he journeyed with communities, sharing and recording spiritual practices. This body of work was published under the same title in 2006 (Doubleday). As he writes in the introduction to the book, "I, too, with or without my camera, am part of a country trying to heal itself. In this journey I join millions of South Africans on a continuous pilgrimage beyond politics and platitudes … in search of the transcendent spirit." Solo exhibitions of Moving Spirit were shown at the Local History Museum, Durban (2000); Bensusan Museum of Photography, Johannesburg (2000); NSA Gallery, Durban (2006); David Krut Gallery, Johannesburg (2006); South African Jewish Museum, Cape Town (2007); and Noordelicht Photo Festival, Netherlands (2007).

139

73 Hasan & Husain Essop b.1985 South Africa

Three Imams, Dakar, Senegal (with figures) 2010 archival pigment inks on Cotton Rag image size: 67.5 x 102 cm, framed size: 80 x 114.5 x 3 cm number 2, from an edition of 5

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

Accompanied by a certificate of authenticity signed by the artists.

74 Hasan & Husain Essop b.1985 South Africa

La Mosqee 1892, Gorée Island, Senegal 2010 archival pigment inks on Cotton Rag image size: 61 x 91 cm, framed size: 73 x 103 x 4 cm number 4, from an edition of 5

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

Accompanied by a certificate of authenticity signed by the artists. For additional information on Hasan and Husain Essop’s work, see: Raél Jero Salley (2015): ‘Remembrance: the Essop brothers, formative realism and contemporary African photography’, Social Dynamics: A Journal of African Studies http://dx.doi.org/10.1080/02533952.2014.9 92255 https://www.goodman-gallery.com/ exhibitions/261

140

Hasan and Husain Essop are twin brothers based in Cape Town. They graduated from the Michaelis School of Fine Art, University of Cape Town, with a Bachelor of Arts Degree in Fine Art (2006), majoring in Printmaking and Photography respectively. They completed a Postgraduate Diploma in Art (2009) and a Postgraduate Certificate in Education (2012) from the same institution. Recipients of the prestigious 2014 Standard Bank Young Artist Award for Visual Art, their work has been showcased globally. Their practice includes photography, mixed media, live performance and video. Their performances have been featured in the Infecting the City public arts festival, Cape Town (2016); Live Art Festival, Cape Town (2017) and Spiel Art Festival, Munich (2017). Exhibitions include Refuge at Goodman Gallery, Johannesburg (2017); the Unrest Standard Bank Young Artist national tour, South Africa (2014–2015); Remembrance at Goodman Gallery, Cape Town (2012); Indelible Marks at Gallery Isabelle van den Eynde, Dubai (2011); Figures & Fictions: Contemporary South African Photography at the Victoria and Albert Museum, London (2011); and Peek-a-boo Current South Africa at Helsinki Art Museum (2011). Their works are held in several private and public collections such as the Deutsche Bank Collection, Spier Art Collection and Iziko South African National Gallery, among others. "Husain and I explored Gorée Island looking for locations to photograph. We chose these sites because of their historical significance and connection to Islam. The island is located just off the coast of Dakar and it is known for its role in the 15th to 19th century Atlantic slave trade. The mural represents three very important Imams who played an integral role in spreading Islam within Senegal, as the mosque would be a product of their influence. We included our bodies as we represent the modern influence or the reincarnation of a culture that started so many years ago. Mimicking their poses, we remember and pay tribute to these iconic figures that are unknown in the Western world but are role models within Islam."

141

75 Mandisa Buthelezi b.1991 South Africa

A Saturday morning eMahlabathini (from the Ekhaya series) 2014 archival pigment ink on Cotton Rag signed image size: 37 x 54 cm sheet size: 42 x 59 cm, unframed number 2, from an edition of 25

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

Born in Empangeni, South Africa, Mandisa Buthelezi is a photographer and filmmaker who was raised in the township of Umlazi in Durban. Drawn to the rural life of KwaZulu-Natal, she began her journey as a self-taught photographer documenting the social and cultural landscape that exists within the rural and periurban areas of the province. With a vast portfolio that communicates the rural voice and an appreciation and respect for the culture that has informed her perspective, Buthelezi provides photographic content that is country-life centred and explores the notions of culture, identity and spirituality. The importance of cataloguing and documenting African culture through visual art has become an important component of her work through work assignments. This has shaped her notion of sustaining the culture that surrounds her. Buthelezi presently lives and works between Johannesburg and Durban.

76 Mandisa Buthelezi b.1991 South Africa

Izithunzi Zami 17 2016 archival pigment ink on Cotton Rag signed image size: 37 x 54 cm sheet size: 42 x 59 cm, unframed number 1, from an edition of 25

ZAR 10 000 – 15 000 USD 610 – 915 GBP 470 – 705 EURO 510 – 765

NOTES

For additional information on Mandisa Buthelezi’s work, see: https://www.mandisabuthelezi.co.za/

142

A Saturday morning eMahlabathini was taken at 5am on a Saturday morning in Mahlabathini, in the rural outskirts of KwaZulu-Natal, South Africa. With buckets in hand and head, the girls collect water for their families. The image is part of an ongoing project titled Ekhaya, a body of work that explores the rural and periurban areas in the Eastern Cape and KwaZulu-Natal provinces. The project unpacks concepts of identity, social and cultural shifts that currently exist in modern-day South Africa and that take place when people navigate from one environment to another. A Saturday morning eMahlabathini (lot 75) was runner up in the Open Society Foundation’s Social Justice through The Lens Competition in June 2016. Izithunzi Zami (lot 76) is a visual diary of the spiritual identity of a young woman. Set in a foreign environment, it speaks of an unusual encounter the subject has with herself, often displaying gestures of discomfort and darkness. This forces her to face and challenge issues of identity, gender and spirituality. This internal conversation metaphorically sees the unfolding of dialogue through the frame and forms bold imagery that embraces the coexistence of shadow and light. Izithunzi Zami was exhibited as part of Anomalies, curated by Marianne Fourie, at Semaphore Gallery of African Contemporary Art, Neuchâtel (2017) and AMANDLA! South African Women’s Photographers, curated by Neo Ntsoma, at the Pingyao International Photography Festival, Confucius Temple, Pingyao (2016).

143

77 Ronald Ngilima South African 1914 –1960

Lovers, Wattville, Gauteng, c.1950s c.1950s archival ink print on Hahnemühle Photo Rag image size: 40 x 40 cm, sheet size: 50 x 50 cm, unframed number 1, from an edition of 10

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

Courtesy of the Ronald Ngilima Family. Accompanied by a certificate of authenticity signed by the artist's estate.

78 Ronald Ngilima South African 1914 –1960

Portrait, Wattville, Gauteng, c.1950s

Ronald Ngilima was born in 1914 in the Eastern Cape and moved to Gauteng in the early 1930s. Employed at Dinglers Tobacco Company, he dedicated his free hours to his trade as an ambulant photographer, cycling to various parts of Benoni. The present collection only starts in the 1950s, when he moved to a house in Wattville, big enough to set up his own photographic darkroom. After his sudden death in 1960, his eldest son Torrance took over the photography trade for another five years, before he committed himself to his political involvement with the ANC. In subsequent years, Ronald’s wife Sarah Ngilima carefully kept the 25 boxes of negatives locked up in a cupboard. They re-emerged some thirty years later, in 1999, when grandson Farrell Ngilima rediscovered them by chance. Realising the historical value of the collection, Farrell played a pivotal role in the establishment of the collection as a public archive. These works are from the photographic archive of Ronald Ngilima, dating from the late 1940s until his death in 1960. In 2008, Farrell Ngilima was joined by Sophie Feyder, a visual researcher and PhD student from the Leiden University in the Netherlands. The Ronald Ngilima collection – a vernacular photographic archive – became the subject of Feider’s PhD study and several published journal articles. The archive is housed at Historical Papers, Wits University, Johannesburg. Ngilima’s work has been featured in Rise and Fall of Apartheid: Just Ask!, by Akinbode Akinbiyi, Chris Dercon and Simon Njami; Commonplace, by Tamsyn Adams and Sophie Feyder; and African Photographic Archive: Research and Curatorial Strategies, edited by Christopher Morton and Darren Newbury. The works offered on auction were included in The Other Camera exhibition and book in 2014. The Other Camera was shown at the World Museum, Stockholm; Commune 1, Cape Town; Centre for African Studies Gallery, University of Cape Town; and the Wits Origins Centre, Johannesburg.

c.1950s archival ink print on Hahnemühle Photo Rag image size: 40 x 40 cm, sheet size: 50 x 50 cm, unframed number 1, from an edition of 10

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

For additional information on Ronald Ngilima’s work, see: http://historicalpapers-atom.wits.ac.za/ronald-ngilima-photographs https://www.zammagazine.com/chronicle/chronicle-36/600-ordinary-life-the-1950s-ngilima-photo collection https://artthrob.co.za/2015/09/18/how-do-we-look-vernacular-photography-in-the-art-space/ http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0259-01902012000100007 https://www.tandfonline.com/doi/abs/10.1080/02560046.2018.1457065

NOTES

Courtesy of the Ronald Ngilima Family. Accompanied by a certificate of authenticity signed by the artist's estate.

144

145

79 William Matlala b.1957 South Africa

Photo shoot, greater Johannesburg, Gauteng, c.1990 c.1990 archival ink print on Hahnemühle Photo Rag signed image size: 36 x 23.5 cm, sheet size: 42 x 29.5 cm, unframed number 1, from an edition of 10

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

80 William Matlala b.1957 South Africa

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

NOTES

For additional information on William Matlala’s work, see: https://www.tandfonline.com/doi/abs/10.108 0/02560046.2018.1431299 http://www.specialcollections.uct.ac.za/ news/other-camera-exhibition http://www.historicalpapers. wits.ac.za/?inventory/U/ collections&c=A3359/R/91151 http://www.theheritageportal.co.za/files/ complete-worker-invite-photographs-williammatlalapng https://www.dailymaverick.co.za/ article/2018-09-04-the-complete-worker-acycle-of-work-and-the-evolution-of-the-labourmovement/

146

William Matlala, a worker in the food industry and shop steward in the Food and Allied Workers Union (FAWU), started taking pictures for his union between 1980 and 1986. As the trade union movement became more actively embroiled in the political and economic front in South Africa, Matlala’s photography gravitated from portraiture to documentary, focusing on labour movement activities. His training included several workshops at Photo Teach, Market Photo Workshop, and with the Afrapix photographers’ collective. He also obtained a diploma in photography by correspondence. In 1989, he became a full-time photographer with the Congress of South African Trade Unions (COSATU), and later worked for the South African Labour Bulletin (1992–1993). Since then, he has worked as a freelance photographer. "My work has moved from labour issues to include broader concerns that reflect community projects and development issues. I work day and night as photographer to improve," says Matlala. He has a meticulously organised archive that has recorded not just seminal events of the last three decades, but also his early years as a street photographer. It is one of the rare, comprehensive vernacular photographic collections. In 2018 Matlala's solo exhibition The complete worker: everyday lives and struggles of black workers, 1983-2018, was shown at the Apartheid Museum, Johannesburg. The exhibition covered over three decades of labour history in South Africa and drew from 250 000 photographs of workers in factories and trade union activities. The two works offered on auction are part of William Matlala’s archive, a unique collection of vernacular photography. The images were featured in The Other Camera book and exhibition (2014) and exhibited at the Center for Humanities Gallery, University of Michigan; Wits Origins Centre, Johannesburg; and Commune 1, Cape Town.

147

81 Lindeka Qampi b.1969 South Africa

Portrait of a traditional healer, Khayelitsha, Cape Town (from the Ubizo series) c.2008–2013 archival ink print on Hahnemühle Photo Rag signed image size: 23.5 x 36 cm, sheet size: 29.5 x 42 cm, unframed number 1, from an edition of 10

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

82 Lindeka Qampi b.1969 South Africa

Traditional healers outside a house, Khayelitsha, Cape Town (from the Ubizo series) c.2008–2013 archival ink print on Hahnemühle Photo Rag signed image size: 23.5 x 36 cm, sheet size: 29.5 x 42 cm, unframed number 1, from an edition of 10

Lindeka Qampi is a self-taught South African artist and photographer. She began taking photographs in 2006, when she met members of Iliso Labantu (the eye of the people), a community-based photo collective. At the start she worked as a street photographer, photographing weddings, events, and portraits. Soon she moved on to exploring her community in different ways, documenting the lives of ordinary people. Her photographs express the poetry and politics of the ‘ordinary act’ and therein the potential of imagining new possibilities for the future. She has participated in several group exhibitions in South Africa and abroad. In 2011, Qampi developed a series of photographs for New York University master’s student, Shady Patterson's Clothing and Dress in South African Townships in the Post-Apartheid Era which set out to "explore and interrogate the sartorial landscape of impoverished communities to reveal traditional influences in economically oppressed and media saturated societies". Qampi went on to produce her own series of photographs, within the trajectory of ‘township fashion’ and ‘street culture’. In recent years she has collaborated with photographer, Zanele Muholi. One of their projects, Empathetic Eyes, led them to Benin where they presented photography workshops which focused on violence against woman. In 2015, they participated in a Visual Activism Cultural Exchange Project. Muholi and Qampi were acknowledged for their outreach work with a Brave Award in 2016. This work is from Lindeka Qampi’s series Ubizo (the calling). The portraits of traditional healers, photographed in Khayelitsha, Cape Town, where Qampi lives are part of a bigger project on street culture. The calling is associated with traditional healers who when are beckoned by the ancestors to enter their spiritual journey. For Qampi, photography is also a calling and not simply a career path or way to survive. The images were featured in The Other Camera exhibition and book in 2014. The Other Camera was shown at the World Museum, Stockholm; Commune 1, Cape Town; Centre for African Studies Gallery, University of Cape Town; and the Wits Origins Centre, Johannesburg.

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

NOTES

For additional information on Lindeka Qampi’s work, see: https://www.pafa.org/museum/exhibitions/ zanele-muholi-womens-mobile-museum https://www.artsy.net/show/jenkins-johnsongallery-pride-and-loss https://www.contemporaryand.com/fr/ exhibition/seeing-ourselves-themselvesnomusa-makhubu-lindeka-qampi/

148

WATCH

https://www.youtube.com/ watch?v=vx5anIuVVGw

149

83 Unknown Photographer, Marabastad Studio portrait, Marabastad, Gauteng c.1970 archival ink print on Hahnemühle Photo Rag image size: 36 x 23.5 cm, sheet size: 42 x 29.5 cm, unframed number 1, from an edition of 10

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

NOTES

Courtesy of the Angus Gibson Collection. Accompanied by a certificate of authenticity from the Angus Gibson Collection.

84 Unknown Photographer, Marabastad Studio portrait, Marabastad, Gauteng c.1970 archival ink print on Hahnemühle Photo Rag image size: 36 x 23.5 cm, sheet size: 42 x 29.5 cm, unframed number 1, from an edition of 10

ZAR 8 000 – 12 000 USD 488 – 732 GBP 376 – 564 EURO 408 – 612

NOTES

Courtesy of the Angus Gibson Collection. Accompanied by a certificate of authenticity from the Angus Gibson Collection.

150

This collection of photographs emanated from research for a television series on street photography by filmmaker, Angus Gibson. Gibson found a photographic studio in Marabastad, Pretoria, an early township in South Africa, and the connecting point between a railway, bus and taxi stations. Gibson made his selection from negatives given to him by the photographer and on his return established the photographer had passed away. The photographer's entire archive of negatives had been discarded by his family - all that remains of this once-popular studio are the images Gibson had printed. Studios close to the commuter movements in the cities were a common feature in South Africa for much of the 20th century. Today they are seldom to be found. These photographs are from a rare collection of an excellent studio photographer. The images were featured in The Other Camera book and exhibition (2014) and exhibited at the Center for Humanities Gallery, University of Michigan; Wits Origins Centre, Johannesburg; and Commune 1, Cape Town.

151

85 T. J. Lemon b.1959 South Africa

From the series Oswenka, the Jeppe hostel swankers [The Jeppe hostel swankers strike a pose before a show in the hostel basement] 2000 archival ink print on Ilford Gold Fibre Gloss cotton paper signed and inscribed with the title on the reverse image size: 21.5 x 31.5 cm, sheet size: 30 x 40 cm, unframed number 1, from an edition of 10

After the 1994 elections, he took a staffer position at Independent Newspapers and became chief photographer of The Sunday Independent. He pursued news and feature work as it was required, but enjoyed the versatility a weekly publication offered. He began writing for his picture features and went on to win a World Press Photo award (2001) for his photo-essay, Oswenka, the Jeppe hostel swankers.

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

In 2010, Lemon left Independent Newspapers to pursue freelance work and long-term photographic projects. He taught in the Journalism department at Wits University from 2013–2015. Lemon collaborated with Louise Meintjes, from Duke University, on the book, Dust of the Zulu (2017), and an exhibition in Durham (2018). His exhibition, Comrades, Warriors and Volkstaat Kommandos, was shown at the National Arts Festival in Makhanda (2019).

"I first met the swenka when photographing isicathamiya choirs in an empty building on Goud Street, Johannesburg, 1990. Louise Meintjes was recording audio of the choirs. We had heard about a ‘best dressed man competition’ and figured this group of performers were curtain raising for the choirs. As a staffer for the The Sunday Independent, I was always looking for lifestyle features and I returned to document the swenkas in 2000.

T. J. Lemon b.1959 South Africa

From the series Oswenka, the Jeppe hostel swankers [Strut] 2000 archival ink print on Ilford Gold Fibre Gloss cotton paper signed and inscribed with the title on the reverse image size: 21.5 x 31.5 cm, sheet size: 30 x 40 cm, unframed number 1, from an edition of 10

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

NOTES

For additional information on this series, see: https://www.joburgstyle.co.za/joburgthrough-a-lens-the-swankers/

152

T. J. Lemon began his career in photography in the 1980s as a student covering events at the small university town of Makhanda (then Grahamstown) in the Eastern Cape, South Africa. Lemon was a lecturer in Photojournalism at Rhodes University from 1988–1989. He had three exhibitions in Makhanda before moving to Johannesburg in 1990, where he was appointed as director and trainer at the newly formed Market Photo Workshop. Lemon was also a contributor to the photographers’ collective Afrapix.

I believe these competitions begun as entertainment in the hostels in the 1950s. Today’s swenkas stress that participating is also about keeping your dignity in the face of adversity. Generally, the swenka would arrive at 10pm, wearing white dust coats to protect their brand name suits. They also carried briefcases and wore the trademark Dobbs hats. In their briefcases they carried shiny shoes, broaches, rings and some have muti (traditional medicine). I shot the whole project on black and white film, mostly because of the low light. I also used a fixed lens and monopod." Oswenka, the Jeppe hostel swankers was published in The Sunday Independent (2000) and has won several international awards, including a World Press Photo award (2001) and the Mohamid Amin award (CNN Africa journalism awards, 2001). The series has been exhibited as part of the World Press Photo international travelling exhibition (2001); Afropolis, which travelled to Cairo, Lagos, Nairobi, Kinshasa, and Johannesburg (2007); the Photoquai Biennial, Paris (2007); Duke University, Durham (2004); and the Bensusan Museum of Photography, Johannesburg (2001). From left to right in the group photo (lot 85) Dingani Zulu, Mathews Mbatha, Alpheus Hlatshwayo, Adolphus Mbuyisa, Bhekizenzo Buthelezi, Piet Zulu, Sesulelo Ngubese.

153

87 T. J. Lemon

154

89 T. J. Lemon

b.1959 South Africa

T. J. Lemon

From the series Oswenka, the Jeppe hostel swankers [Swenka arrive in the basement with white dust coats and remove them to reveal brand name suits]

b.1959 South Africa

From the series Oswenka, the Jeppe hostel swankers [Popular performer Dingani Zulu waits for his number to be called]

From the series Oswenka, the Jeppe hostel swankers [Alpheus Hlatshwayo displays his matching apparel and ornate accessories to the judge]

2000

archival ink print on Ilford Gold Fibre Gloss cotton paper signed and inscribed with the title on the reverse image size: 21.5 x 31.5 cm, sheet size: 30 x 40 cm, unframed number 1, from an edition of 10

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

b.1959 South Africa

155

90 T. J. Lemon b.1959 South Africa

From the series Oswenka, the Jeppe hostel swankers [Piet Zulu is a security guard at the ERPM mine hostel] 2000 archival ink print on Ilford Gold Fibre Gloss cotton paper signed and inscribed with the title on the reverse image size: 21.5 x 31.5 cm, sheet size: 30 x 40 cm, unframed number 1, from an edition of 10

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

156

91 T. J. Lemon b.1959 South Africa

From the series Oswenka, the Jeppe hostel swankers [Siphamandla Sithole performs his smooth sweeping motions for the judge] 2000 archival ink print on Ilford Gold Fibre Gloss cotton paper signed and inscribed with the title on the reverse image size: 21.5 x 31.5 cm, sheet size: 30 x 40 cm, unframed number 1, from an edition of 10

ZAR 15 000 – 20 000 USD 915 – 1220 GBP 705 – 940 EURO 765 – 1020

157

D RU M MA GA ZINE

Drum magazine, founded by the son of financier Abe Bailey in 1951, modelled itself on the popular picture magazines so prevalent in that time, like Life and Picture Post. The magazine’s approach was based on the photo-essay, where photographs played a central role in the storytelling. Drum photographers and writers set a standard for picture magazines unparalleled in Africa. The magazine’s heyday was between the political bookends of the Defiance Campaign and the tragedy of the Sharpeville Massacre. Drum captured the spirit of the urbanisation of African people in South Africa and the continent. Political stories of the time, music and cover girls, all coalesced together in a fascinating melting pot from cover to cover. Caught up in a postwar moment, the magazine reflected the influence of cinema, icons, fashion, and the spirit of liberation from the colonial past and apartheid. The photographers associated with Drum’s success were Jürgen Schadeberg, Bob Gosani, Peter Magubane, Alf Kumalo along with a host of brilliant writers like Henry (‘Mr DRUM’) Nxumalo, Can Themba, Todd Matshikiza, and Nat Nakasa. Lewis Nkosi, one of Drum’s staffers, described his talented colleagues as, "the new African[s] cut adrift from the tribal reserve – urbanised, eager, fast-talking and brash." A number of Drum writers went on to make significant contributions to African literature. The heart of the magazine was coverage on crime, investigative reporting, sex (especially if across the ‘colour line’), and sport. This was complemented by imaginative and excellent photography. Peter Magubane described the atmosphere in the newsroom: "Drum was a different home; it did not have apartheid. There was no discrimination in the offices of Drum magazine. It was only when you left Drum and entered the world outside of the main door that you knew you were in apartheid land. But while you were inside Drum magazine, everyone there was a family." The spirit of Drum is symbolised by the mantra, "live fast, die young and have a good-looking corpse". The collection assembled here also encapsulates a spirit of an era in its iconic imagery and covers. The Drum archive will also be represented on the PLP online platform. For additional text on Drum magazine, see: https://web.archive.org/web/20070320062543/http://home.worldonline. co.za/~afribeat/archiveafrica.html

158

159

Mankunku Ngozi, 1968 1968 non-fugitive pigment print on archival fibrebased Baryta paper image size: 51 x 36 cm, sheet size: 56 x 46 cm, unframed number 1, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

160

NOTES

Accompanied by a certificate of authenticity from BAHA. Drum magazine, September 1968: "Mankunku has the John Coltrane touch. Mankunku Ngozi, the Cape Town sax player, in a pensive mood at Mofolo Hall where he was playing with Early Mabuza, Lionel Pillay and Agrippa Magwaza. Mankunku first hit the Reef when he performed with his combo at the Orlando Stadium 1963 Jazz Festival. He was then playing trumpet. The versatile 25-year-old Mankunku also played the piano before settling for the sax. With Mabuza, Pillay and Magwaza, Mankunku has cut a disc, Yakhal'nkomo."

Mkhumbane, 1960 1960 non-fugitive pigment print on archival fibrebased Baryta paper image size: 32.5 x 51 cm, sheet size: 46 x 56 cm, unframed number 11, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

Accompanied by a certificate of authenticity from BAHA. Drum magazine, May 1960: "It’s called Mkhumbane and it has just burst like thunder on Durban. It's a show with joy, with sadness, two hours of tuneful, deep-down pleasure. ‘See how dark it is, how quiet. Hardly anything is moving. Only some early person. Only some early buses in the street. Taking early persons to the town. From Mkhumbane.’ This is part of the haunting prologue to the Alan Paton, Todd Matshikiza musical, Mkhumbane / Cato Manor, which showed to full houses in Durban in the midst of the disturbances and the emergency."

G.R. Naidoo was drawn to journalism through photography. In 1954, he joined Drum magazine where he worked as a photojournalist. Fifteen years later, he became the first black editor-in-chief at Drum magazine. Through his reporting, he felt the frustration and anger of many people whose movements were restricted by the authorities. Naidoo’s work was collected by the Nelson Mandela Foundation for the exhibition GR Naidoo: A Generous Eye (2009), which celebrated the legacy of this highly respected journalist and activist.

161

Madame Costello’s Ball, 1959 1959 non-fugitive pigment print on archival fibrebased Baryta paper image size: 51 x 33 cm, sheet size: 56 x 46 cm, unframed number 5, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

Accompanied by a certificate of authenticity from BAHA. Drum magazine, January 1959: "Oh, so this is what they call a Cape Moffie Drag. Kay Kendall: By day he is a hairdresser. At night he sometimes gets dressed up like this, goes to parties. Take a quick glance into the dim, smoke-filled room, and it looks like just another party. Now look again. Hey that dame's got a beard stubble! Hey, all those dames are wearing wigs! Hey, they're just dolled-up men!"

162

Ian Berry moved to South Africa in 1952, where he worked for the Daily Mail and later Drum magazine. He was the only photographer to document the massacre at Sharpeville on 21 March 1960, and his photographs were used in the trial to prove the victims' innocence. Henri Cartier-Bresson invited Berry to join Magnum in 1962, when he was based in Paris. He moved to London in 1964 to become the first contract photographer for the Observer Magazine. Since then assignments have taken him around the world: he has documented Russia's invasion of Czechoslovakia; conflicts in Israel, Ireland, Vietnam and the Congo. The major body of work produced in South Africa is represented in two of his books: Black and Whites: L'Afrique du Sud and Living Apart. Important editorial assignments have included work for major publications including National Geographic, Fortune, Stern, Geo, and Life. Berry has also reported on the political and social transformations in China and the former USSR.

163

Madame Costello’s Ball, 1959 1959 non-fugitive pigment print on archival fibrebased Baryta paper image size: 33 x 51 cm, sheet size: 46 x 56 cm, unframed number 5, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

Accompanied by a certificate of authenticity from BAHA.

164

Spokes Mashiane: Pennywhistler, 1958 1958 non-fugitive pigment print on archival fibrebased Baryta paper image size: 33.5 x 51 cm, sheet size: 46 x 56 cm, unframed number 5, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

Accompanied by a certificate of authenticity from BAHA.

Drum magazine, December 1958: "Six Months ago, when we printed a picture of Spokes Mashiane, he was just one of the Reef's penny-whistlers, little known outside. Today, he's known in many lands, and his records are as likely to be sold out in London and New York as they are in any of the towns in of the Union. Spokes started by playing at the street corners. Cops used to say he was a public nuisance. But today he's a public figure."

165

Chief Albert Luthuli, 1964 1964 non-fugitive pigment print on archival fibrebased Baryta paper image size: 51 x 33 cm, sheet size: 56 x 46 cm, unframed number 8, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

Accompanied by a certificate of authenticity from BAHA. Drum magazine, April 1964: "Chief Albert Luthuli, former President General of the African National Congress, Rector of Glasgow University and 1960 Nobel Peace Prize winner. Gagged by the Government from having any of his words published in this country, confined to small area around his home near Stanger in Natal."

166

Photojournalist Ranjith Kally worked for Drum magazine from 1955–1985. Based in Durban, he documented the vestiges of the indentured labour system and the Indian community in KwaZulu-Natal. He captured not only notable scenes of political struggle, but also iconic jazz scenes of the 1950s. "When Miriam Makeba returned to Maseru, Lesotho, for a concert for black South Africans at the height of apartheid, Kally too ventured to Lesotho and returned home with a remarkable image of an exiled singer poised between joy and heartbreak. And in a series of unflinching portraits, he documented with probity the horror of the forced removals in Natal. In short, the wider appreciation of his contribution to our struggle for dignity needs to remembered and fully embraced for current South Africans intent on honouring their past" – from the book on Kally’s life’s work, Memory Against Forgetting (Quivertree, 2014).

167

Miriam Makeba, 1957 1957 non-fugitive pigment print on archival fibrebased Baryta paper image size: 51 x 51 cm, sheet size: 56 x 56 cm, unframed number 8, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

168

NOTES

Accompanied by a certificate of authenticity from BAHA.

Bantu Court, 1957 1957 non-fugitive pigment print on archival fibrebased Baryta paper image size: 48 x 51 cm, sheet size: 56 x 56 cm, unframed number 2, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

Accompanied by a certificate of authenticity from BAHA. Drum magazine, 1957: "A white magistrate holds court in the tiny town of Mtubatuba in Zululand, over a major dispute of several Zulu chiefs. Chief Mtshai accuses Chief Mtuba, Vusi and Mpondo of stealing his cattle."

169

Dolly Rathebe, 1955 1955 non-fugitive pigment print on archival fibrebased Baryta paper image size: 51 x 33 cm, sheet size: 56 x 46 cm, unframed number 5, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

Accompanied by a certificate of authenticity from BAHA. Drum magazine, July 1955: "When the Jazz Parade arrived in Durban, the artists all wanted to go to the beach. And they did too – after rehearsals! It was a singing and swimming afternoon, though it had its exciting moments for Dolly."

170

South African photographer Bob Gosani started at Drum magazine in 1952 as a messenger, but became one of the magazine’s most outstanding and prolific photographers – documenting the political struggle, human rights abuses, as well as urban lifestyle. His work is featured in Tauza – Bob Gosani’s People, edited by Mothobi Mutloatse and Jacqui Masiza (Struik, 2004), which pays tribute to Gosani’s legacy. “Everybody who mattered in and around Johannesburg in the 1950s seemed to know Drum magazine photographer, Robert “Bob” Gosani. At least it seemed that way. Bob was a man of few words, but his pictures told more about him and the era he recorded [...] He was like a veiled eye, unobtrusive, and did not get in the way of the curious spectator who to see just as much as the photographer or reporter [...] he had unbelievable split-second timing. For the 20 years that Bob worked actively for the media, his pictures documented social and economic aspects of our lives. And what shines through in his work is his love for people.” - Doc Bakitsha, Introduction, Tauza - Bob Gosani's People.

The Americans, 1954 1954

NOTES

non-fugitive pigment print on archival fibrebased Baryta paper image size: 50 x 51 cm, sheet size: 56 x 56 cm, unframed number 6, from an edition of 25

Accompanied by a certificate of authenticity from BAHA.

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

Drum magazine, September 1954: "Sophiatown – after World War II, a group of brothers, cousins and friends formed a clique of small-time lone wolf pickpockets and bag snatchers. They called themselves the ‘Americans’ and paraded through Sophiatown in the latest and loudest American fashions that made them the most sought-after escorts for the ‘nice-time’ girls."

171

Love Story, Sophiatown, 1954 1954 non-fugitive pigment print on archival fibrebased Baryta paper image size: 51 x 50.5 cm, sheet size: 56 x 56 cm, unframed number 5, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

172

NOTES

Accompanied by a certificate of authenticity from BAHA. Drum magazine, February 1954: "A loving couple stands before a ‘Native Bus Stop’ sign, contrasting with the harsh and degrading policy of petty apartheid."

Mandela Boxing, 1957 1957 non-fugitive pigment print on archival fibrebased Baryta paper image size: 50 x 51 cm, sheet size: 56 x 56 cm, unframed number 5, from an edition of 25

ZAR 35 000 – 50 000 USD 2 135 – 3 050 GBP 1 645 – 2 350 EURO 1 785 – 2 550

NOTES

Accompanied by a certificate of authenticity from BAHA. Drum magazine, August 1957: "Nelson Mandela was a keen and enthusiastic amateur boxer. In 1957, during treason trial he went to Jerry Moloi’s boxing gym every evening, often shadow-sparring with champion Moloi himself (right)."

173

Mr Drum Goes to Jail, 1954 1954 non-fugitive pigment print on archival fibrebased Baryta paper image size: 33 x 51 cm sheet size: 45.5 x 56 cm unframed number 6, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

174

NOTES

Accompanied by a certificate of authenticity from BAHA. Drum magazine, March 1954: "This picture shows the method of searching prisoners at Johannesburg Central Jail, and in other jails throughout the country. Prisoners are made to strip naked and then to jump up in the air clapping their hands, opening their mouths, and then turn round. This is known as 'Tauza' or as the 'Zulu Dance’."

The New Look and Old Look went Dancing, 1955 1955 non-fugitive pigment print on archival fibrebased Baryta paper image size: 51 x 50.5 cm, sheet size: 56 x 56 cm, unframed number 6, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

Accompanied by a certificate of authenticity from BAHA. Drum magazine, July 1955: "It was a chilly night warmed only by the dense crowd at the Mafri dance. Girls were modelling African and European dress. Violet Ramitloa modelled Pedi dress and Violet Letoaba, Shangaan dress."

The New Look and Old Look went Dancing, 1955 1955 non-fugitive pigment print on archival fibrebased Baryta paper image size: 49 x 51 cm, sheet size: 56 x 56 cm, unframed number 6, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

NOTES

Accompanied by a certificate of authenticity from BAHA.

175

107 Unknown Photographer © BAHA Felicia Abban, 1966 1966 non-fugitive pigment print on archival fibrebased Baryta paper image size: 51 x 41 cm, sheet size: 56 x 46 cm, unframed number 1, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

176

NOTES

Accompanied by a certificate of authenticity from BAHA.

NOTES

1956

Accompanied by a certificate of authenticity from BAHA.

non-fugitive pigment print on archival fibrebased Baryta paper image size: 34 x 51 cm, sheet size: 46 x 56 cm, unframed number 5, from an edition of 25

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

Drum magazine, January 1956: "Manhattan Brothers Mellow – (Left to right: Rufus Khoza, Ronnie Sehume, Joe Mogotsi, Nathan 'Dambuza' Mdledle with Miriam Makeba). For 21 years now they have been South Africa's Kings of Song. In November 1955, at the Bantu Men's Social Centre, Johannesburg the Manhattan Brothers celebrated 21 years in Show Business. In the gala opening of the anniversary celebrations the Brothers

crashed through a paper screen into their current hit-parade song...The ‘Urge'. In the words of the song, they told of their love and devotion to the stage. A year ago the Manhattan Brothers discovered a great voice in Miriam Makeba. She was just a small-town girl with a voice, which was about all she had. They saw possibilities in her and signed her for a year. The backing group was: Norman Martins (drums), Jacob 'Mzala' Lepere (bass), Fix Qinta (piano), Randolph Chose (trumpet), Kippie Moeketsi (clarinet), MacKay Davashe."

177

NOTES

non-fugitive pigment print on archival fibrebased Baryta paper image size: 47.5. x 51 cm, sheet size: 56 x 56 cm, unframed number 5, from an edition of 25

Accompanied by a certificate of authenticity from BAHA.

ZAR 20 000 – 30 000 USD 1 220 – 1 830 GBP 940 – 1 410 EURO 1 020 – 1 530

178

Drum magazine, January 1959: "Pennywhistler kid – he will play in London. This is 10-year-old Bunny Rachabane of Alexandra Township. Bunny hit the news recently when his group, ‘The Alexandra Junior All Stars’, was stranded in Cape Town after appearing in Lofty Adam's Africa Sings!. The Union of Southern African Artists came to the rescue and sent the boys money to come home to

the Rand. Immediately they were back they were plunged right into the 'Township Jazz.' One of the parts in Leon Gluckman's big musical production, King Kong will be played by tiny, 10-year-old Bunny Rachabane, penny-whistler from Alexandra. Now in rehearsal, Bunny Rachabane and his four partners the ‘Alexandra Bright Boys’ are sweating it out as hard as the big professionals. Bunny will be playing the part of a small time penny-whistler who has his own piped version of the theme song King Kong."

110 Drum Magazine, June 1951 1951 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 34, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

111 Drum Magazine, October 1951 1951 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 40, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

179

112 Drum Magazine, June 1957 1957 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 58, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

113 Drum Magazine, March 1956 1956 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 35, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

180

114 Drum Magazine, July 1956 1956 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 63, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

115 Drum Magazine, May 1956 1956 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 37, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

181

116 Drum Magazine, November 1977 1977 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 61, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

117 Drum Magazine, March 1951 1951 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 62, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

182

118 Drum Magazine, April 1956 1956 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 23, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

119 Drum Magazine, October 1965 1965 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 20, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

183

120 Drum Magazine, June 1961 1961 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 55, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

121 Drum Magazine, February 1957 1957 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 22, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

184

122 Drum Magazine, June 1960 1960 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed number 20, from an edition of 250

ZAR 2 000 – 3 000 USD 122 – 183 GBP 94 – 141 EURO 102 – 153

185

Drum Magazine, July 1955 1955 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed

ZAR 1 500 – 2 000 USD 92 – 122 GBP 71– 94 EURO 77 – 102

Drum Magazine, February 1954 1954 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed

ZAR 1 500 – 2 000 USD 92 – 122 GBP 71– 94 EURO 77 – 102

186

Drum Magazine, August 1957 1957 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed

ZAR 1 500 – 2 000 USD 92 – 122 GBP 71– 94 EURO 77 – 102

Drum Magazine, September 1954 1954 pigment print on acid-free photographic paper stamped with the BAHA stamp image size approx: 77 x 55.5 cm sheet size: 88 x 59.5 cm, unframed

ZAR 1 500 – 2 000 USD 92 – 122 GBP 71– 94 EURO 77 – 102

187

T ERMS AND CON DIT IO NS OF B USI NE S S AND R ULE S OF AU CT IO N THIS AGREEMENT COMPLIES WITH THE PROVISIONS OF SECTION 45 OF THE CONSUMER PROTECTION ACT 68 OF 2008 1. DEFINITIONS 1.1. The following terms shall have the meanings assigned to them hereunder and cognate expressions shall have corresponding meanings: 1.1.1. “Act” means the Consumer Protection Act No. 68 of 2008 (“CPA”) as read with the Regulations promulgated thereunder in the Government Gazette No. 34180 on 1 April 2011; 1.1.2. ‘Artistic work’ means: 1.1.2.1. any drawing, picture, painting, collage, sculpture, ceramic, print, engraving, lithograph, screen print, etching, monotype, photograph, digitally printed photograph, video, DVD, digital artwork, installation, artist’s book, tapestry, artist designed carpet, performative artwork and any medium recognised as such in the future; 1.1.2.2. any work of craftsmanship and/or artwork which does not fall under 1.1.2.1 as set out in the Copyright Act No. 78 of 1978. 1.1.3. “Aspire” means Aspire Art Auctions (Pty) Ltd (Registration No. 2016/074025/07) incorporated under the laws of South Africa with Principal place of business at: Illovo Edge, Building 3, Ground Floor, 5 Harries Road, Illovo, 2196 1.1.4. “Auction” means any sale whereby a Lot is put up for sale by public auction and auctioned off by Ruarc Peffers on behalf of Aspire or such other auctioneer employed by Aspire from time to time; 1.1.5. “Auctioneer” means Ruarc Peffers or such other representative of Aspire conducting the Auction who warrant these Rules of Auction comply with the Act; 1.1.6. “Bidder” means any person who makes an offer to buy a particular Lot and includes the Buyer of any such Lot. A bid shall be made by a person registered to bid and in possession of an Aspire issued and numbered bidders paddle raising that paddle or indicating a bid in any way meant to be understood that way by the Auctioneer; 1.1.7. “Buyer” means any Bidder who makes a bid or offer for a Lot which has been offered for sale (whether by Private Treaty, Auction or otherwise) and which bid or offer has, subject to a reserve price, been accepted by Aspire and/ or the Seller; 1.1.8. “Business day” means any day other than a Saturday, Sunday, or any other official public holiday in South Africa; 1.1.9. “Buyer’s premium” means the commission payable by the Buyer to Aspire on the sale of a Lot at a rate of: 1.1.9.1. 12% (twelve per cent) calculated on the full Hammer price for purchases above R20,000 (twenty thousand rand), plus VAT payable on that amount; 1.1.9.2. 15% (fifteen per cent) calculated on the full Hammer price for purchases below R20,000 (twenty thousand rand) plus VAT payable on that amount; 1.1.10. “Catalogue” means any brochure, price-list, condition report or any other publication (in whatever medium, including electronic), published by Aspire for the purpose of or in connection with any Auction; 1.1.11. “Forgery” means any imitation of any artistic work made with the intention of misrepresenting the authorship, origin, date, age, period, culture, and/or source of any Lot; 1.1.12. “Hammer price” means the bid or offer made by the Buyer for any Lot that is knocked down by the Auctioneer at a sale of that Lot; 1.1.13. “Lot” means any item or items to be offered for sale as a unit and identified as such by Aspire for sale by way of Auction or by Private Treaty. Each Lot is, unless indicated to the contrary, regarded to be the subject of a separate transaction; 1.1.14. “Parties” means the Bidder, the Buyer, the Seller and Aspire; 1.1.15. “Prime rate” means the publicly quoted base rate of interest (percent, per annum compounded monthly in arrear and calculated on a 365 (three hundred and sixty-five) day year, irrespective of whether or not the year is a leap year) from time to time published by Nedbank Limited, or its successor-in-title, as being its prime overdraft rate plus three comma five percent, as certified by any manager of such bank, whose appointment, authority and designation need not be proved; 1.1.16. “Privacy Policy” means the privacy policy of Aspire attached hereto marked Annexure A; 1.1.17. “Private Treaty” means the sale of any Lot at a previously agreed upon price between the Buyer and the Seller represented by Aspire (that is, not by way of Auction); 1.1.18. “Purchase price” means the Hammer price plus the Buyer’s premium. In case of any Lot being “daggered”, VAT shall be calculated on the sum of the full Hammer price plus the Buyer’s premium. Buyer’s risk in all respects shall apply from the knock down of the Auctioneer’s hammer (and acceptance of the bid [or

188

offer in the case of Private Treaty] if applicable). The Purchase price does not include any transport, or insurance that may be required by the Buyer; 1.1.19. “Recoverable expenses” includes all fees, taxes (including VAT) and any other costs or expenses incurred by Aspire for restoration, conservation, framing, glass replacement and transport of any Lot from a Seller’s premises to Aspire’s premises or for any other reason whatsoever, as agreed between Aspire and the Seller; 1.1.20. “Reserve” means the minimum Hammer price (if any) at which a Lot may be sold at an Auction as agreed (whether in writing or otherwise) and in confidence between the Seller of that Lot and Aspire. All lots are sold subject to a reserve price unless announced otherwise; 1.1.21. “Sale” means the sale of any Lot (whether by way of Auction, Private Treaty or otherwise) and ‘sell’ and ‘sold’ shall have a corresponding meaning; 1.1.22. “Sale proceeds” means the amount due and payable to the Seller for the sale of the relevant Lot, made up of the Hammer price less the applicable Seller’s commission and all Recoverable expenses; 1.1.23. “Seller” means the person named as the Seller of any Lot, being the person that offers the Lot for sale; 1.1.24. “Seller’s commission” means the commission payable by the Seller to Aspire on the sale of a Lot which is payable at a rate of: 1.1.24.1. 12% (twelve per cent) calculated on the full Hammer price for purchases above R20,000 (twenty thousand rand) plus VAT payable on that amount (if any); 1.1.24.2. 15% (fifteen per cent) calculated on the full hammer price for purchases below R20,000 (twenty thousand rand) plus VAT payable on that amount; 1.1.25. “South Africa” means the Republic of South Africa; 1.1.26. “Terms of Business” means the terms and conditions of business and the Rules of Auction as set out in this document; 1.1.27. “VAT” means value added tax levied in terms of the Value Added Tax Act, 1991 as amended from time to time and includes any similar tax which may be enforced in place of VAT from time to time. 2. INTRODUCTION 2.1. Aspire carries on the business of fine art Auctioneers and consultants on the Lots provided by the Sellers. As fine art Auctioneers, Aspire generally acts in the capacity of agent for the Seller. 2.2. Set out in this document are the terms and conditions governing the contractual relationship between Aspire and prospective Bidders, Buyers and Sellers. This document must be read together with: 2.2.1. sale room notices published by Aspire pertaining to the condition, description and/or authenticity of a Lot; and 2.2.2. any announcement made by Aspire and/or the Auctioneer prior to or on the proposed day of sale of any Lot, provided that no changes to the terms set out in a Property Receipt Form shall be made without the prior agreement of Aspire and the Seller. 3. LEGISLATIVE FRAMEWORK Every Auction is to be governed by section 45 of the CPA and the rules of Auction (the “Rules”) as promulgated by the Minister of Trade and Industry under the Regulations dated 23 April 2010 in Government Gazette No. 33818 on 1 April 2011 (“Regulations”) and any further amendments and/or variations to these Rules and Regulations. 4. GENERAL TERMS OF BUSINESS 4.1. Every bid made shall constitute an offer. Acceptance of the highest bid made, subject to confirmation by the Seller, shall be indicated by the knock down of the hammer or, in the case of sale by Private Treaty, the acceptance of the offer by Aspire or the Seller. In the event that the highest bid does not meet the reserve, it will remain open for acceptance by the Auctioneer or the Seller and for no less than 48 hours after the Auction was concluded. 4.2. In bidding for any Lots, all Bidders confirm that they have not been induced into making any bid or offer by any representative of the Seller and/or Aspire. 4.3. It is the sole responsibility of all prospective Buyers to inspect and satisfy themselves prior to the Auction or Private Treaty as to the condition of the Lot and satisfy themselves accordingly that the Lot matches any description given to them (whether in a Catalogue or otherwise). 4.4. All descriptions and/or illustrations set out in a Catalogue exist as guidance for the prospective Bidder and do not contain conclusive information as to the colour, pattern,

precise characteristics or the damage to a particular Lot to be sold by way of Auction or Private Treaty. 4.5. Neither Aspire nor any of its servants, employees, agents and/or the Auctioneer shall be liable, whether directly or indirectly, for any errors, omissions, incorrect and/or inadequate descriptions or defects or lack of authenticity or lack of ownership or genuineness in any goods Auctioned and sold which are not caused by the wilful or fraudulent conduct of any such person. 4.6. Aspire shall not be held responsible for any incorrect, inaccurate or defective description of the goods listed for sale in the Catalogue or in any condition report, publication, letter, or electronic transmission or to the attribution, origin, date, age, condition and description of the goods sold, and shall not be responsible for any loss, damage, consequential damages and/or patrimonial loss of any kind or nature whatsoever and howsoever arising. 4.7. No warranty, representation or promise on any aspect of any Lot (save for those expressly provided for by the Seller in terms of paragraph 16), whether express, implied or tacit is given by Aspire, its servants, its agents, or its employees, or the Auctioneer or the Seller and accordingly nothing shall be binding or legally enforceable in this regard. 4.8. Any Lot which proves to be a Forgery (which will only be the case if an expert appointed by Aspire for such purposes confirms this in writing) may be returned by the Buyer (as his sole remedy hereunder or at law) to Aspire within 7 (seven) days from the date of Auction or Private Treaty (as the case may be), in the same condition in which it was at the time of the Auction or accompanied by a statement of defects, the number of the Lot, and the date of the Auction or Private Treaty at which it was purchased. If Aspire is satisfied that the item is a Forgery and that the Buyer has and is able to transfer a good and marketable title to the Lot, free from any third-party claims, the sale will be set aside and any amount paid in respect of the Lot and still in the possession of Aspire will be refunded, subject to the express condition that the Buyer will have no rights or claims against Aspire (whether under these Terms of Business, at law or otherwise) if: 4.8.1. the description in the Catalogue at the date of the sale was in accordance with the then generally accepted opinion of scholars and experts or fairly indicated that there was conflict of such opinion; or 4.8.2. the only method of establishing at the date of publication of the Catalogue that the Lot was a Forgery was by means of a scientific process not generally accepted for use until after publication of the Catalogue, or by a process which was unreasonably expensive or impractical. 4.9. Buyer’s claiming (whether in contract, delict or otherwise) under paragraph 4.8 will be limited to the amount paid for a particular Lot and will not extend to any loss or damage of whatsoever nature suffered, or expense incurred by him/ her including but not limited to claims for damages, loss of profit, injury to reputation, mental anguish and suffering etc; 4.10. The benefit of paragraph 4.8 will not be assignable and will rest solely and exclusively with the Buyer who, for the purpose of this condition, will be the only person to whom the original invoice is made out by Aspire in respect of the Lot sold. 4.11. Aspire reserves its right, to refuse admission to any person to its premises or any other premises at which an Auction is to be conducted. Any defaulting bidder or buyer shall be refused access to any event or auction conducted by Aspire and shall remain barred until their default has been cured to the satisfaction of Aspire. 4.12. Any information pertaining to Bidders and Sellers which has been lawfully obtained for the purposes of the Auction and the implementation of any resultant sale shall be kept for purposes of client administration, marketing and as otherwise required by law. The Bidder and the Seller agree to the retention, processing of their personal information and the disclosure of such information to third parties (but only in connection with the sale of any works such as logistics and insurance) for the aforementioned purpose. The Seller’s identity will not be disclosed for purposes other than what is reasonably required for client administration or as required by law. Please see the Privacy Policy for more information on this. 4.13. Aspire has, during the course of any Auction, the sole and absolute discretion, without having to give any reasons therefore, to refuse any bid, withdraw or reoffer Lots for Auction (including after the knock down of the hammer), cancel any sale if the Auctioneer and/or Aspire believes that there may be an error or dispute of any nature whatsoever, and shall have the rights, as it deems fit, to divide any Lot, to combine any two or more Lots or to put up any Lot for Auction again. 4.14. For any notice required to be given in connection with these Terms of Business and Rules of Auction: 4.14.1. Aspire will first attempt to make contact by telephone, followed by email, should there be no response, then contact will be attempted by registered post. Any notice that effects the details of the sale of a Lot will

be agreed to between Aspire and the Seller prior to the sale of said Lot. If, for any reason whatsoever, Aspire is unable to make contact with a Seller, the relevant Lot will be withdrawn from the sale; 4.14.2. if given by Aspire, shall be delivered by hand, sent by registered post or by email to the address provided to Aspire by the relevant addressee as being the domicilium citandi et executandi of that addressee. Notice shall be deemed to have been received by the person who is required to receive such notice: 4.14.2.1. on the date of delivery, if delivered by hand or email; 4.14.2.2. on the fourth (4th) day from the date of posting, including the date of posting if posted by prepaid registered post from within South Africa, which postage shall be deemed to have been sent on receipt of the post office proof of posting. 4.14.3. if given to Aspire, such written notification must be given to Aspire at its email address as published by Aspire from time to time, whether on any brochure, catalogue or its website. 4.15. The Seller submits to the non-exclusive jurisdiction of the South African courts. Each Auction and Private Treaty shall be governed in accordance with the laws of South Africa. 4.16. In the event that any provision of these Terms of Business is found by a court of competent jurisdiction to be unenforceable and of no effect, the remaining provisions of these Terms and Conditions shall not be affected by that determination and shall remain binding and of full force and effect. 4.17. The Buyer and/or Seller, as the case may be, hereby pledge(s) the goods either sold and/or bought as security to Aspire for all amounts which are owing to Aspire. 4.18. Should any Party delay or not exercise their rights it shall not constitute a waiver of such rights or power. If a Party exercises their right or power, it shall not preclude such party from exercising any other right or power which they may have. 4.19. No variation, alteration, consensual termination, representation, condition, term or warranty, relaxation or waiver or release by Aspire, or estoppel against Aspire, or the suspension by Aspire, in respect of these Terms of Business, or any part thereof, shall be of any force or effect unless reduced to writing and signed by Aspire and the Buyer. 4.20. These Terms of Business and Rules of Auction constitute the entire agreement between the Parties. 4.21. The Buyer shall be responsible for the payment of the Seller’s and Aspire’s legal costs, calculated on the scale as between attorney and own client incurred by the Seller and Aspire in enforcing any of its rights or those of its principal whether such rights are exercised by way of legal proceedings or otherwise. 4.22. No Party shall be in breach of contract or liable for any loss of profit or special damages or damage suffered as a result of a force majeure or any other event which falls outside of the Parties’ reasonable control. Notice must be given to all Parties if such an event occurs in order to enable the defaulting Party to remedy their performance. The occurrence of the aforementioned events will not excuse a Party from paying any outstanding amounts owed to any of the other Parties. 5. TERMS RELATING TO THE BUYERS 5.1. Any Buyer and/or Bidders must register his/her identity with Aspire before the commencement of an Auction in accordance with Chapter 1 (one) of the regulations in terms of the Financial Intelligence Centre Act, 2011, which requires the establishment and verification of identity published in Notice No. R. 1595 in Gazette No. 24176 of 20 December 2002. The documents required will include Identity Document or Passport and Proof of Residence. 5.2. Upon registration by the Bidder, the Bidder must acknowledge that they are aware of and agree to be bound by these Terms of Business. All Bidders shall be personally liable for their bids and offers made during any Auction and shall be jointly and severally liable with their principals if acting as agent. 5.3. Any person acting on behalf of a Bidder or Buyer may be required to produce evidence of his/her authority to so act and in a manner that is satisfactory to Aspire in its discretion. 5.4 A Lot shall be sold to the highest bidder (regardless of the perceived or actual value of the Lot) but subject to the reserve or the consent of the Seller if the reserve has not been met. 5.5 No bid may be made for an amount which is lower than the fixed value set by the Auctioneer and any bid may be withdrawn prior to the hammer being struck down. It is the Auctioneer’s discretion to accept or reject a bid that is lower than the standardised incremental amount set by the Auctioneer. The Auctioneer may refuse any bid which does not exceed the previous bid by at least 5% (five per cent) or any such percentage which in the opinion of the Auctioneer is required. 5.6 Any dispute which should arise regarding the validity of the bid, the identity of the Bidder or between more than one

Bidder, shall be resolved at the sole discretion of the Auctioneer. 5.7 Each Bidder is deemed to be acting in their capacity as principal unless Aspire has acknowledged otherwise in writing prior to the commencement of the Auction and the Bidder bidding for another shall be required to produce a letter authorising the Bidder to represent him and the Identity Documents of both persons. 5.8. All Bidders are encouraged to attend any Auction where a Lot is to be sold by Auction. Aspire will endeavour to execute any absentee, written bids and/or telephone bids and online/app bids provided they are, in Aspire’s absolute discretion, received in sufficient time and in legible form as required under these Terms of Business. 5.9 Any bids placed by telephone before an Auction are accepted at the sender’s risk and must, if requested by Aspire, be confirmed in writing to Aspire before the commencement of the Auction. Any person who wishes to bid by telephone during the course of an Auction must make arrangements with Aspire at least 24 (twenty-four) hours before the commencement of the Auction. Aspire shall not be held liable for any communication breakdown or any losses arising thereof. The Buyer consents that any bidding may be recorded at the discretion of Aspire and consents to these Terms of Business. 5.10.The Buyer must make payment in full and collect the purchased Lot immediately after completion of the Auction and no later than 48 (forty-eight) hours after completion of the Auction. On hand over of the Lot to the Buyer (or his representative), the full risk and title (subject to payment in full having been made first) over that Lot shall pass to the Buyer, who shall henceforth be responsible for any loss of and/or damage to and/or decrease in value of any Lots purchased at the Auction or at a Private Treaty sale. Any Lot not collected immediately after the Auction will remain insured for 48 (forty-eight) hours after completion of the Auction. The Seller must be paid in full and the funds cleared before the Lot is handed over to the Buyer. 5.11. If the Buyer has not made payment within 1 (one) week of the Auction Aspire reserves the right to cancel the Sale and to claim damages from the Buyer including but not limited to the Buyers and Sellers premium, storage and insurance costs and the costs of conducting the auction which are estimated at one million rand per auction. 5.12. The collection of any Lot by a third party on behalf of a Buyer must be agreed with Aspire not later than the close of business on the day following the relevant Auction. 6. EXCLUSION OF LIABILITY TO BUYERS OR SELLERS 6.1. No Buyer or Seller shall be entitled to cede, delegate and/or assign all or any of their rights, obligations and/or interests to any third party without the prior written consent of Aspire in terms of these Terms of Business. 6.2. The Buyer accepts that neither Aspire nor the Seller: 6.2.1. shall be liable for any omissions, errors or misrepresentations in any information (whether written or otherwise and whether provided in a Catalogue or otherwise) provided to Bidders, or for any acts and/or omissions in connection with the conduct of any Auction or for any matter relating to the sale of any Lot, including when caused by the negligence of the Seller, Aspire, their respective employees and/ or agents; 6.2.2. gives any guarantee or warranty to Bidders other than those expressly set out in these Terms of Business and any implied conditions, guarantees and warranties are excluded; and 6.2.3. without prejudice to any other provision of these general Terms of Business, any claim against Aspire and/or the seller of a Lot by a Bidder shall be limited to the Hammer price of the relevant Lot. Neither Aspire nor the Seller shall be liable for any loss of profit, indirect or consequential losses. 6.3. A purchased Lot shall be at the Buyer’s risk in all respects from the knock down of the Auctioneer’s hammer (and acceptance of the bid if applicable), whether or not payment has been made, and neither Aspire nor the Seller shall thereafter be liable for, and the Buyer indemnifies Aspire against, any loss or damage of any kind, including as a result of the negligence of Aspire and/or its employees or agents. 6.4. All Buyers are advised to arrange for their own insurance cover for purchased Lots unless agreed otherwise in writing. 6.5. Aspire does not accept any responsibility for any Lots damaged by insect infestation, changes in atmospheric conditions or other conditions outside its control (including damage arising as a result of reasonable wear and tear). Aspire will be responsible for the replacement or repair costs for any frame and glass breakages resulting from the wilful or negligent conduct of any of Aspire’s servants and agents.

been made, and whether between two or more bidders or between the Auctioneer and any one or more bidders) or error of whatever nature, and may further take such other action as he/she deems necessary or appropriate. The Auctioneer shall commence and advance the bidding or offers for any Lot in such increments as he/she considers appropriate. 7.2. The Auction is to take place at the stipulated time and no delay shall be permitted to benefit a specific person who is not present but should be present at the Auction. 7.3. The Auctioneer shall be entitled to bid on behalf of the Seller of any lot, up to but not equal to or more than the Reserve, where applicable. 7.4. A contract shall be concluded between the Buyer and Seller once the Auctioneer knocks down the hammer and this shall be the Hammer price accepted by the Auctioneer (after the determination of any dispute that may exist and subject to the Seller’s consent if the reserve price was not achieved). The benefits flowing from this agreement constitute a stipulatio alteri for the benefit of Aspire, which benefits Aspire hereby accepts. Aspire shall not be liable for any breach of the agreement by either the Seller or the Buyer. 8. IMPORT, EXPORT, COPYRIGHT RESTRICTIONS, LICENSES AND QUALITY OF THE GOODS SOLD 8.1. Aspire and the Seller, save for those expressly set out in paragraph 16 of these Terms of Business, make no representation or warranties whether express, implied or tacit pertaining to the authenticity, quality, genuineness, condition, value, origin, ownership of any goods or whether express, implied or tacit as to whether any Lot is subject to import, export, copyright and licence restrictions. It is the sole responsibility of the Buyer to ensure that they acquire the relevant export, import licenses or copyright licenses prior to exporting or importing any Lots. 8.2. Aspire does not in any way undertake to ensure that the Buyer procures the necessary permits required under law, nor are they responsible for any costs incurred in obtaining a license (whether an application for such license was approved or not). 8.3. All Lots which incorporate any material originating from an endangered and/or protected species (including but not limited to ivory and bone) will be marked by a symbol in the description of the Lot in the Catalogue. Aspire does not accept responsibility for a failure to include these marks on the Lots. Any prospective Buyer is to ensure that they received the necessary permission from the relevant regulatory agents, specifically when importing and/or exporting the Lot. A Buyer will be required to acquire a permit from the Department of Nature Conservation prior to exporting the Lot as well as any other export license which may be required by law, including the licences required under the Convention of the International Trade in Endangered Species (“CITES”). Failure to obtain such permits shall not constitute a ground for the cancellation of the sale or the non-payment of any amounts due in terms hereof. 9. ABSENTEE BIDS 9.1. Absentee bids are a service provided by Aspire upon the request of the Buyers. Aspire shall in no way be liable for any errors or omissions in such bidding process. The Purchase price of the Lots will be processed in the same manner as it would be in other bids. 9.2. Where two or more Buyers provide identical bids, the earliest will take precedence. When absentee bids occur by telephone they are accepted at the Buyer’s risk and must be confirmed prior to the sale by letter or e-mail to Aspire. 9.3. All absentee bids shall be registered with Aspire in accordance with Aspire’s procedures and requirements not less than 24 (twenty-four) hours before the Auction and/or the Private Treaty sale. Aspire reserves its right to receive, accept and/or reject any absentee bids if the aforementioned time period has not been satisfied. 9.4. An absentee bidder must register his/her identity in the same way that any other would be required to under these Terms of Business. 10. RESCISSION OF SALE Notwithstanding the provisions above, if, within 7 (seven) days after the relevant Auction or Private Treaty sale, the Buyer makes a claim to rescind the sale due to Forgery and Aspire is satisfied that the claim is justified, Aspire reserves the right to rescind the sale and refund the Buyer any amounts paid to Aspire and still held by Aspire in respect of that sale and the Seller hereby specifically authorises Aspire to do so. 11. PAYMENT AND COLLECTION

7. GENERAL CONDUCT OF THE AUCTION 7.1. The Auctioneer remains in control of the Auction and has the absolute discretion to either withdraw or reoffer any Lots for sale, to accept and refuse bids and/or to reopen the bidding on any Lots should he/she believe there may be a dispute of whatever nature (including without limitation a dispute about the validity of any bid, or whether a bid has

11.1. The Buyer acknowledges that Aspire acting in its capacity as agent for the Seller of a particular Lot: 11.1.1. That a Buyer’s premium shall be payable to Aspire on the sale of each Lot; 11.1.2. VAT may be payable on the full Hammer price and the Buyer’s premium, if the Seller is a registered VAT vendor; 11.1.3. Aspire shall also be entitled to a Seller’s commission and/or any other agreed fees for that Lot.

189

11.2. Upon the knock down of the hammer and acceptance of the price by the Auctioneer (subject to any reserve), the Buyer shall, before delivery of the Lot, pay Aspire the Purchase price immediately after the Lot is sold and should Aspire require, the Buyer shall provide it with their necessary registration details, proof of identity and any further information which Aspire may require. 11.3. All foreign Buyers are required to make arrangement with their banks prior to the Auction date regarding Forex funds as Aspire will only accept payment in South African Rands. Any expenses incurred thereof shall be at the cost of the Buyer. 11.4. The Buyer shall make payment in full to Aspire for all amounts due and payable to Aspire (including the Purchase price of each Lot bought by that Buyer) on completion of the sale but within 48 hours of the date of sale (or on such other date as Aspire and the Buyer may agree upon in writing) in cash, electronic funds transfer (“EFT”), or such other payment method as Aspire may be willing to accept. Any cheque and/or credit card payments must be arranged with Aspire prior to commencement of the Auction. All card purchases are to be settled in full on the date of sale and shall be subject to an administrative merchant fee of 1.5% of the hammer price plus Buyers Premium plus any VAT on such amounts. 11.5. Ownership of a Lot shall not pass to the buyer thereof until Aspire has received settlement of the Purchase price of the respective Lot in full and the funds have cleared. Aspire shall not be obliged to release a Lot to the Buyer prior to receipt in full payment thereof. However, should Aspire agree to release a Lot to the Buyer prior to payment of the full Purchase price, ownership of such Lot shall not pass to the Buyer but shall remain strictly and unconditionally reserved for the Seller, nor shall the Buyer’s obligations to pay the Purchase price be impacted, until such receipt by Aspire of the full Purchase price in cleared funds. 11.6. The refusal of any approval, licence, consent, permit or clearance as required by law shall not affect the Buyer’s obligation to pay for the Lot and any Buyers Premium. 11.7. Any payments made by a Buyer to Aspire may be applied by Aspire towards any amounts owing by the Buyer to Aspire on any account whatsoever and without regard to any directions of the Buyer or his agent. The Buyer shall be and remain responsible for any removal, storage, or other charges for any Lot and must at his own expense ensure that the Lot purchased is immediately removed after the Auction but not until payment of the total amount due to Aspire. All risk of loss or damage to the purchased Lot shall be borne by the Buyer from the moment when the Lot is handed over to the Buyer. Neither Aspire nor its servants or agents shall accordingly be responsible for any loss or damage of any kind, whether caused by negligence or otherwise, from date of the sale of the Lot, whilst the Lot is in their possession or control. 11.8. All packaging and handling of Lots is at the Buyer’s risk and expense, will have to be attended to by the Buyer, and Aspire shall not be liable for any acts or omissions of any packers or shippers. 11.9. If the sale of any Lot is rescinded, set aside or cancelled by a lawful action of the Buyer, and Aspire has accounted to the Seller for the sale proceeds, the Seller shall immediately refund the full sale proceeds to Aspire, who will in turn refund the Purchase price to the Buyer. If there is no sale, there is no commission payable save and except if the sale is cancelled as a result of a breach of either Seller or Buyer. However, if there are Recoverable expenses which have been incurred by Aspire, then the Seller will remain liable to pay these expenses to Aspire. 11.10. Any Lot which has been paid for in full but remains uncollected after 30 (thirty) days of the Auction, following written notice to the Buyer, the Lot then becomes the property of Aspire. Aspire may then resell this property at the best price it can obtain from a willing and able Buyer. If Aspire resells this property it may deduct any expenses incurred in keeping this property from the proceeds of sale after having deducted its commission. Any shortfall arising from the resale shall be at the cost of the Buyer. 11.11. No credit shall be granted to the Buyer without prior written consent from Aspire. Ownership of the Lot shall not pass until such time as the full Purchase price is paid along with any VAT thereon and any other necessary amounts including but not limited to Buyers Premium. 12. OWNERSHIP 12.1. Until such time that the total Purchase price and any Buyers Premium plus VAT has been paid and hand over has taken place, ownership of the purchased goods shall vest with the Seller. 12.2. The collection of the goods/Lots shall be done by the Buyer at their own cost immediately after the Auction has taken place, unless otherwise agreed upon in writing between the Buyer and Aspire. The Buyer shall ensure that any third parties attending to collection for the Buyer have been properly authorised in writing to attend to such collections. 12.3. Aspire shall not provide any assistance of any nature whatsoever to the Buyer in removing the goods from the premises of Aspire upon the completion of the Auction. However, should Aspire choose to assist with the removal

190

then any Aspire employee or servant shall be deemed to be agents of the Buyer and Aspire shall not be liable for any damage incurred as a result of removing the goods from the premises. 13. BREACH BY THE BUYER 13.1. In the event that the Buyer breaches any provision of these Terms of Business, fails to make payment of the full Purchase price, Buyers Premium or fails to collect the goods bought as provided for in these Terms of Business, Aspire in exercising its discretion and as agent for the Seller will, without any prejudice to any other rights it may have in law, be entitled to exercise one or more of the following remedies set out below. Aspire may: 13.1.1. institute proceedings against the Buyer for any nonpayment and/or any damages incurred as a result of the breach of contract; 13.1.2. cancel the sale of that Lot or any other Lots sold to the defaulting Buyer at the same time or at any other Auction; 13.1.3. resell the Lot or do any such thing that would cause it to be resold by Auction or Private Treaty sale; 13.1.4. remove, store and insure the goods at the sole expense of the defaulting Buyer and if such goods are stored either at Aspire’s premises or any other place as Aspire may require such goods to be stored at, the Buyer shall be responsible for all charges associated therewith; 13.1.5. retain any Lot sold to the same Buyer at the same time, or at any other Auction and only allow the Buyer to take delivery of such goods after all amounts due, owing and payable have been paid by the Buyer to Aspire in terms of these Terms of Business, including interest, storage charges and any other charges; 13.1.6. reject any bid made by or on behalf of the defaulting Buyer at any future Auction; 13.1.7. exercise a right of retention over the goods sold and not to release such goods to the Buyer until such time as full payment has been made to Aspire in accordance with these Terms of Business. For such purpose and in so far as ownership of the Lots may have passed to Aspire, the Buyer hereby pledges such goods to Aspire as security for Aspire’s claim. 13.1.8. charge a reasonable rental fee for each day that the item is stored by Aspire from the date of Auction until the time of collection. 13.1.9. charge interest at a rate of the prime rate plus 3% (three per cent) per month on any outstanding amounts from the date of Auction. 13.1.10. charge the Buyer the full costs of conducting the auction which is estimated at one million rand with a breakdown available on request. 13.2. In the event that Aspire resells any Lot at a subsequent Auction as a result of Aspire exercising their remedy referred to in paragraph 13.1.3 above, the Buyer shall be liable for any loss (if any), should the Lot be resold at an amount lower than the amount for which the Buyer purchased it. The loss shall be calculated as the difference between the resale price and the original price. Aspire shall be entitled to earn commission on any subsequent sale of the same work irrespective of how many times it is sold by them. 14. TERMS RELATING TO THE SELLER 14.1. As per the Seller’s irrevocable instruction, Aspire is instructed to sell at an Auction all objects submitted for sale by the Seller and accepted by Aspire and to sell the same to the relevant Buyer of the Lot of which those objects form part, provided that the bid or offer accepted from that Buyer is equal to or higher than the Reserve (if any) on that Lot (subject always to paragraph 14.4), all on the basis set out in these Terms of Business. 14.2. The Seller also irrevocably consents to Aspire’s ability to bid for any Lot of which any of those objects form part as agent for one or more intending Buyers. 14.3. Aspire is authorised to retain any objects not sold on Auction for a period of 14 (fourteen) days after the Auction for the possible sale of such objects by Aspire by way of Private Treaty or otherwise pursuant to paragraph 14.4. 14.4. Aspire is authorised to offer for sale either by Private Treaty or otherwise, without further instruction or notification to the Seller, within 14 (fourteen) days after the Auction, all or any remaining objects submitted for sale by the Seller and received and accepted by Aspire in accordance with paragraph 14.1, which objects were not sold on Auction. The bid accepted on these items must not be less than the amount that the Seller would have received, had that Lot been sold on Auction at the Reserve (if any) on that Lot taking into account the deduction of the applicable Seller’s commission and Recoverable expenses for which the Seller is liable. 14.5. Both Aspire and the Auctioneer each have the right, to offer an object referred to above for sale under a Lot, to refuse any bid or offer, to divide any Lot, to combine two or more Lots with the prior approval of the relevant Seller(s), to withdraw any Lot from an Auction, to determine the description of Lots (whether in any Catalogue or otherwise), to store accepted objects at the Auction premises or any other location as he/ she may deem fit and whether or not to seek the opinion of

experts. 14.6. Aspire shall not be under any obligation to disclose the name of the Buyer to the Seller, save for the circumstances contemplated elsewhere in these Terms of Business or otherwise required by law. 15. ESTIMATION OF SELLING PRICE AND DESCRIPTION OF GOODS 15.1. Any estimation given by Aspire is an opinion and cannot be relied on as a true reflection of what the final Hammer price will be on the date of the sale and as such is never guaranteed. Aspire has the right to change any estimations at any point in time in agreement with the Seller recorded on the relevant Property Receipt Form. 15.2. The Seller hereby agrees that Aspire may fully rely on any description of the goods or Lots provided to them by the Seller or his agent. 15.3. Aspire shall not be held liable for any error, misstatement or omission in the description of the goods/Lots whether in the Catalogue or otherwise unless such error, misstatement, omission is a direct result of the intentional, misleading and deceptive conduct of Aspire’s employees and/or agents. 16. WARRANTIES AND INDEMNITIES PROVIDED FOR BY THE SELLER 16.1. The Seller hereby warrants to Aspire and the Buyer that: 16.1.1. he/she is the lawful owner of the objects put up for sale or Auction and is authorised to offer such objects up for sale at an Auction; 16.1.2. he/she is legally entitled to transfer title to all such objects and that they will be transferred free of any encumbrances of third-party claims; and 16.1.3. he/she has complied with all requirements necessary, legal or otherwise, for the import (if importing is applicable to the sale) and has notified Aspire in writing of any third parties who have failed to comply with the aforesaid requirements in the past; 16.1.4. the place of origin of the Lot is accurate. 16.1.5. the object forming part of the Lot is capable of being used for the purpose to which it was made and has no defects which are not apparent from any external inspections and that he/she is in possession of any valid approval, license, consent, permit or clearance required by law for the sale of any Lot. 16.2. The Seller hereby indemnifies and shall keep Aspire and the Buyer indemnified against any loss or damage suffered by either party as a result of any breach of any warranty in these Terms of Business. 16.3. The Seller hereby agrees that Aspire may decline to sell any object submitted for sale, irrespective of any previous acceptance by Aspire to sell it, for any reason deemed reasonable and appropriate in its discretion. 17. COMMISSION Subject to the Terms of Business set out in paragraph 17.3 17.1. Any applicable Seller’s commission in respect of each Lot (comprising one or more objects) shall be payable to Aspire by the Seller. 17.2. Any applicable Buyer’s premium in respect of each Lot (comprising one or more objects) shall be payable to Aspire by the Buyer; 17.3. Notwithstanding the authority provided for by the Seller to Aspire to deduct any of the Seller’s commission and any Recoverable expenses (as agreed to by the Seller) for which the Seller is liable from the Hammer price, the Seller shall still be liable for the payment of the Seller’s commission and any Recoverable expenses. 17.4. Notwithstanding the authority provided for by the Buyer to Aspire to deduct any of the Buyer’s premium and any Recoverable expenses (as agreed to by the Seller) for which the Buyer is liable from the Hammer price, the Buyer shall still be liable for the payment of the Buyer’s premium and any Recoverable expenses. 17.5. Aspire reserves the right to deduct and retain the Seller’s commission prior to the sale proceeds being handed over to the Seller, from the amount paid by the Buyer upon receipt of the full Purchase price, or any part thereof. 17.6. Aspire reserves the right to deduct and retain the Buyer’s premium prior to the Purchase price being handed over to the Seller from the Purchase price paid by the Buyer. 18. RESERVES 18.1. All Lots are to be sold with a Reserve, unless otherwise agreed upon between Aspire and Seller in writing prior to the date of Auction. Any changes to a Reserve will require the prior consent of Aspire and the Seller. The Seller acknowledges that unless a reserve is set, Aspire shall not be entitled to bid on behalf of the Seller to protect the integrity of the value of any work being auctioned. 18.2. Where the Auctioneer is of the opinion that the Seller or any person acting as agent of the Seller, has made a bid on the Lot and above a Reserve that existed on such Lot, they may knock down the Lot to the Seller. The Seller will then be required to pay all expenses which the Buyer is liable for and any expenses which the Seller is liable for along with

the Seller’s commission to Aspire. 18.3. In the event that a Reserve exists on a particular Lot, Aspire may sell such Lot at a Hammer price below the Reserve, on the condition that the Seller receives the amount they would have been entitled to, had the sale been concluded at the Reserve. Aspire reserves the right to adjust the Seller’s commission accordingly in order to allow the Seller to receive the amount payable had the Lot been sold at the Reserve. 18.4. Where a Reserve on a Lot does not exist, Aspire shall not be liable for the difference between the Purchase price and the estimated selling range. 19. INSURANCE 19.1. Aspire undertakes to insure all objects to be sold as part of any Lot, at its own expense, unless otherwise agreed to in writing, or otherwise, between the Seller and Aspire. Aspire may, at its discretion, insure any property which is placed under their control for any other purpose for the duration of the time that such property remains on their premises, under their control or in any storage facility elected by them. 19.2. In the event that Aspire is instructed to not insure any property, the Seller shall bear the cost and risk at all times. The Seller also agrees to: 19.2.1. indemnify Aspire for any claims brought against Aspire and/or the Seller for any damage or loss to the Lot, however it may arise. Aspire shall be reimbursed by the Seller for any costs incurred as a result thereof; and 19.2.2. notify the insurer of the existence of the indemnities set out herein. 19.3. The Seller is obliged to collect their unsold property within 30 calendar days after the Auction. Should any property not be collected within this time Aspire reserves the right to discontinue the insurance cover. 20. PAYMENT IN RESPECT OF THE SALE PROCEEDS The proceeds of sale shall be paid as follows: 20.1. Aspire shall make payment to the Seller not later than 20 (twenty) working days after the date of the Auction provided that full cleared payment of the Purchase price for said Lot has been received from the Buyer by Aspire. 20.2. If the Buyer fails to pay the full Purchase price within the allocated time set out in paragraph 11.2, Aspire shall notify the Seller in writing and request instruction on how to proceed. Aspire may at its discretion, decide to assist the Seller with the recovery of any outstanding amount from the Buyer. 20.3. The Seller hereby authorises Aspire to proceed: 20.3.1. to agree to the terms of payment on any outstanding amount; 20.3.2. to remove, store and insure the Lot which has been sold; 20.3.3. to settle any claim by or against the Buyer on such terms as Aspire deems fit and do all such things necessary to collect from the Buyer any outstanding amounts due to the Seller; 20.3.4. to rescind the sale and refund these amounts to the Buyer; 20.3.5. where Aspire pays the Sale proceeds to the Seller prior to receipt of the full Purchase price then ownership shall pass to Aspire; 20.3.6. to obtain a refund from the Seller where the sale of a Lot has been set aside, or cancelled by the Buyer in terms of paragraph 10 above and Aspire has paid the sale proceeds to the Seller. In such instance, the Seller shall be required to refund the full sale proceeds to Aspire, who will then in turn refund the Buyer. Aspire will then make the Lot available for collection to the Seller; and 20.3.7. that any annulment, rescission, cancellation or nullification of the sale in terms of paragraph 10 above shall not extinguish the Seller’s obligation to pay the commission to Aspire and/or to reimburse any expenses incurred by Aspire in respect of this. 21. WITHDRAWAL FEES Written notice must be given to Aspire 7 (seven) days prior to the Auction, where a Seller decides to withdraw a Lot from Auction. Aspire reserves the right to convert any Seller’s commission and Buyer’s premium payable on this Lot, as well as any Recoverable expenses, photography costs, advertising and marketing costs, or any other expenses incurred on a Lot, into withdrawal fees. The amount of this withdrawal fee shall be determined based on the mid-estimate of the selling price of the objects comprising the Lot along with any VAT and expenses incurred thereon given by Aspire. 22. PHOTOGRAPHY AND ILLUSTRATIONS Aspire reserves the right to photograph or otherwise reproduce the images of any Lot put on offer by the Seller for sale and to use such photographs and illustrations as they deem necessary. Aspire undertakes to ensure compliance with the relevant Copyright laws applicable in their dealings with any and all Lots put up for sale.

23. LOTS WHICH HAVE NOT BEEN SOLD 23.1. Subject to paragraph 14.4 above, upon the receipt of notice from Aspire of any unsold Lots, the Seller agrees to collect any such Lots no later than the 30th (thirtieth) day after receipt of such notice. The Seller must make further arrangement to either have the Lot resold or collect it and pay all agreed Recoverable expenses for which they are liable. 23.2. The Seller shall be liable for all costs, whether it be for storage, transport or otherwise as a result of their failure to collect the Lot. 23.3. If after 3 (three) months of notice being sent to the Seller, Aspire will proceed to sell the Lot by Private Treaty or public Auction on the terms and conditions that they deem fit, without Reserve and Aspire shall be able to deduct from the Hammer price all amounts owing to them including (but not limited to) any storage or transport expenses, any reduced commission from the Auction as well as any other reasonable expenses before the balance is paid over to the Seller. If Aspire is unable to locate the Seller, Aspire shall open a bank account in which Aspire will hold on behalf of the Seller the amount due to the Seller. 23.4. Aspire reserves the right to charge commission on the Purchase price and any expenses incurred in respect of any unsold Lots. 24. AMENDMENT OF THESE TERMS AND CONDITIONS 24.1. Aspire may, at any time and from time to time, in its sole discretion, amend, cancel or rescind any provision of these Terms of Business by publication of any such amended Terms of Business (whether on its website or by any other means whatsoever). 24.2. No amendment in terms of paragraph 24.1 above shall be binding on any Party to any Sale which has been entered into as at the date of that amendment unless agreed to by the relevant Parties in terms of paragraph 24.3. 24.3. No: 24.3.1. amendment or consensual cancellation of these Terms of Business or any provision or term hereof; 24.3.2. agreement, bill of exchange or other document issued or executed pursuant to or in terms of these Terms of Business (including, without limitation, any valuation, estimate or reserve issued in terms hereof); 24.3.3. settlement of any dispute arising under these Terms of Business; 24.3.4. extension of time, waiver or relaxation or suspension of or agreement not to enforce or to suspend or postpone the enforcement of any of the provisions or terms of these Terms of Business or of any agreement, bill of exchange or other document issued pursuant to or in terms of these Terms of Business, shall be binding on any Party to any Sale concluded in terms of these Terms of Business unless agreed to by the Parties to that Sale (whether that agreement is recorded in writing or otherwise). PRIVACY POLICY AND THE PROTECTION OF PERSONAL INFORMATION ACT NO. 4 OF 2013 Terms defined in the Terms of Business shall bear the same meaning when used in this Privacy Policy. 1. INFORMATION ASPIRE MAY COLLECT AND PROCESS 1.1. Aspire may use and store the following: 1.1.1. any information received, whether it be from the completion of online forms for registration purposes or otherwise, from any Bidder, Buyer or Seller (including documents filled out in person by any Bidder, Buyer or Seller); 1.1.2. information required to send out marketing material; 1.1.3. any data received from the making of a bid or the posting of any material to Aspire; 1.1.4. any information received from correspondence between Aspire and any Bidder, Buyer or Seller, whether it be by e-mail or otherwise; 1.1.5. information received for the purpose of research, including by conducting surveys; 1.1.6. information received from telephone communications, in person or otherwise in carrying out any transaction and/ or Auction; 1.1.7. general information from the receipt of any hard copy documents in respect of the date of birth, name, address, occupation, interests, credit information (if required by Aspire) and any further personal information of any Bidder, Buyer or Seller obtained by Aspire during the course of conducting its business; 1.1.8. details received from the completion of any contract of sale between Aspire, the Bidder, Buyer and/or Seller; 1.1.9. details from the visits made to Aspire’s website and any resources/information accessed therein; 1.2. the aforesaid data shall not be supplied and distributed to any third person without the consent of the relevant Bidder, Buyer or Seller unless such supply or distribution is required under law or is reasonably necessary for Aspire to ensure performance of any and all of their obligations under the Terms of Business. Therefore, Aspire shall only use the data

collected for internal purposes; 1.3. personal information, whether private or public, shall not be sold, exchanged, transferred, or provided to any other company for any reason whatsoever without the relevant Bidder, Buyer or Seller’s consent, other than for the express purpose of effecting the collection of any purchased Lot. This will not include trusted third parties, who assist Aspire in operating the website, conducting business or servicing the website. All such persons agree to keep the aforesaid personal information confidential; and 1.4. the release of any relevant Bidder, Buyer or Seller’s personal information if any shall be done only in circumstances which Aspire deems fit and necessary to comply with the law or enforce its Terms of Business and/or to protect third parties’ rights, property or safety. 2. ONLINE INFORMATION PROCESSED BY ASPIRE 2.1. Aspire may collect and store information relating to a Bidder, Buyer or Seller’s (“User”) computer, including its IP address, operating system and browser type, in order to assist Aspire with their systems administration from the use of the website and previous transactions with them: 2.2. Cookies (a text file stored on the website’s servers) may be placed on Aspire’s website to collect the information from each User pursuant to: 2.2.1. incorporating each User’s preference and customising the website, business accordingly; 2.2.2. improving customer services; 2.2.3. the acceleration of searches; 2.2.4. automatically storing information relating to the most visited links; 2.2.5. sending updated marketing information (where the User has consented to the receipt thereof). A User has the option to not accept cookies by selecting such option on his/her browser. If a User does so, it may restrict the use of certain links on the website. The sole purpose of the aforesaid cookies is to collect information about Aspire’s website and not gather any personal information of the User. 3. STORAGE OF PERSONAL INFORMATION 3.1. Aspire shall do all such things reasonably necessary to ensure that the security and privacy of all personal information received, is upheld - whether it be from a bid made, a Lot which is purchased or where personal information is stored, recalled or accessed from Aspire’s servers and/or offices. This will include the implementation of measures creating an electronic firewall system, regular virus scanning mechanisms, security patches, vulnerability testing, regular backups, security checks and recovery mechanisms and any other such mechanisms that is reasonably necessary to ensure the protection of personal information. 3.2. Aspire shall ensure that all employees are sufficiently trained in the use of Aspire’s systems to ensure that the protection of all databases containing any personal information is maintained. 3.3. Any information relating to, but not limited to, any personal information, account details and personal addresses of any Bidder, Buyer or Seller shall be encrypted and only accessible by limited authorised personnel and stored either on an electronic server or in a safe area on the premises of Aspire. Each individual with such authorisation shall ensure that all personal information remains confidential and is protected in the manner contemplated in this Privacy Policy. 3.4. After the sale of a Lot, any credit card and EFT details shall not be stored by Aspire. 3.5. Aspire does not send out e-mails requesting the account details of any Bidder, Buyer or Seller. Aspire shall not be liable for any loss suffered as a result of any fraudulent e-mails sent to any Bidder, Buyer or Seller by any third parties or related fraudulent practices by third parties (including the unauthorised use of Aspire’s trademarks and brand names) in order to mislead any prospective Bidder, Buyer or Seller into believing that such third party is affiliated with Aspire; and 3.6. Aspire may send out e-mails in respect of payment for any registration fees (if applicable) and/ or payment with respect to the purchase of a particular Lot placed on Auction. 4. AMENDMENTS TO THE PRIVACY POLICY 4.1. Aspire may, from time to time, in its sole discretion, amend, cancel or rescind any provision of this Privacy Policy by publication of any such amended version (whether on its website or by any other means whatsoever). It is the responsibility of any Bidder, Buyer or Seller to ensure that they are aware, understand and accept these changes before conducting business with Aspire. 5. THIRD PARTY WEBSITES Any links on the website to third party websites are independent of this Privacy Policy. Any third party’s Privacy Policy is separate and Aspire shall not be liable for any information contained therein.

191

ARTI ST I ND EX Andrianjafy, E BAHA Berry, I Bieber, J Buthelezi, M Cole, E Courtney-Clarke, M Dennis, N Dhlamini Dondo, C Edelstein, J Essop, H & H Feni, M Godfrey, I Goldblatt, D Gosani, B Inggs, S Kally, R Kheir, A Kia Henda, K Kumalo, A Kyambi, S Langenhoven, S Ledochowski, C Lemon, TJ Loots, A Marinovich, G Matlala, W Maubane, D

3; 17 110–122 94; 95; 96 41 75; 76 48 37 15; 16 62; 63 24 64; 65 73; 74 56; 57 55 66 100–106; 123–126 20 97; 98; 99 1; 2 11 47; 92 13; 23 32; 33 49; 50 85–91 34; 35 71 79; 80 25; 26

Mendel, G Miller, E Mkhobeni, M Mlangeni, S Moeng, MM Molepe, O Motau, RS Naidoo, GR Ngcobo, B Ngilima, R Ngwenya, X Nqaba, N Nxumalo, MN Paul, D Qampi, L Ractliffe, J Sekgala, T Shoul, M Sobekwa, L Subotzky, M Tillim, G Unknown Photographer Unknown Photographer, Marabastad Van Gysen, A Walters, A Weinberg, P Williams, G Yudelman, D

60; 61 14; 44 5; 6 12 9; 10 30; 31 69; 70 93 21; 22 77; 78 42; 43 28; 29 27 58; 59 81; 82 67 36 45; 46 38; 39 68 4 107–109 83; 84 18; 19 7; 8 40; 72 53; 54 51; 52

DETAIL ON PAGE 193

Lot 71 Greg Marinovich Pilgrims on a Three-day Barefoot Journey to the Holy Mountain in KZN following the Route of the Founder Isaiah Shembe DETAIL ON PAGE 195

Lot 54 Greame Williams From the series A City Refracted

DETAIL ON BACK PAGE

Lot 41 Jodi Bieber Sunday School, Nababeep, Northern Cape, 1999

192

193

COMMISSION /T EL EP H ON E BI DDI NG FO RM A Commission bid is also referred to as an Absentee or Written bid.

Aspire Art Auctions (Pty) Ltd | www.aspireart.net

SA L E T I T L E: AAA X PLP African Photography Auction

L OT S

SALE VENUE: Illovo Edge, Building 3 | JHB

LOT NO.

DESCRIPTION

EMERGENCY BID (HAMMER PRICE)

SA L E D ATE : 5 November 2020 | 7 pm SA L E C O D E : AAA X PLP 20 Telephone bid

Absentee/Commission/Written bid

Commission bids must be received at least 24 hours prior to commencement of the auction. For dealers, please ensure the billing name and address corresponds with the company VAT number. Aspire cannot re-invoice or re-issue an invoice in a different name from the one listed on this form. Aspire will confirm receipt of all written bids telephonically or by email within one business day.

Please send completed forms to bids@aspireart.net Enquiries: +27 11 243 5243 | +27 71 675 2991 ID NU MBE R BILL ING N AME BI DDING INCREM ENTS

ADDR ES S

Bidding generally starts below the low estimate and increases in increments of approximately 10% of the total amount. The auctioneer decides on the increments, and the amount at which bidding starts. The auctioneer may vary increments during the course of the auction at his/ her own discretion.

PRIMA RY CO NTACT N U MBER

R10 000–R20 000

R1 000 increments

R20 000–R30 000

R2 000 increments

R30 000–R50 000

R2 000, R5 000, R8 000 increments (i.e R32 000, R35 000, R38 000)

R50 000–R100 000

R5 000 increments

R100 000–R200 000

R10 000 increments

R200 000–R300 000

R20 000 increments

R300 000–R500 000

R20 000, R50 000, R80 000 increments (i.e R320 000, R350 000, R380 000)

For new bidders at Aspire Art Auctions, please attach a copy of the following documents: Proof of identity (ID document, Drivers License or Passport) Proof of current address

R500 000–R1 000 000

R50 000 increments

If bidding on behalf of a third party who has not previously bid at Aspire Art Auctions, please attach the same documents listed above for this bidder, as well as for yourself, accompanied by a signed authorisation from the third party.

I understand that written bids and telephone bids are a free and confidential service. While Aspire will be as careful as can reasonably be expected in processing these bids, Aspire will not be liable for any problems with this service or missed bids.

SE CO ND ARY CON TAC T NU MBER EMAI L A DD RE SS

Payment method: EFT

Credit Card

If you are the successful bidder, the full amount payable will be the sum of the hammer price, the buyer’s premium and VAT charged on the premium.

194

>R1 000 000 Repeated in the same proportions as above, or at the auctioneer’s discretion

I accept that if Aspire receives identical written bids on the same lot, the bid received first will take precedence.

I have read and understood this Written/Telephone Bid Form and the Terms and Conditions of Business as printed in the auction catalogue, and agree to be bound by the terms laid out therein. SI GNATURE

195

196