AAA Spring 19 Catalogue by Aspire Art

Modern & Contemporary Art, with a special focus on William Kentridge

Modern & Contemporary Art, with a special focus on William Kentridge Evening Sale | Spring 19 Public auction hosted by Aspire Art Auctions

V IE W I N G A N D A U C TI O N LO C ATI O N

Avenue | V&A Waterfront | 40 Dock Road | Cape Town AUC TI O N

Sunday 1 September 2019 | 6 pm V IE W I N G

Friday 30 August 2019 | 10 am – 5 pm Saturday 31 August 2019 | 10 am – 5 pm Sunday 1 September 2019 | 10 am – 5 pm AUC TI O N EER

Ruarc Peffers AUC TI O N C O D E A N D N U M B ER

When sending telephone or absentee bids, this sale is referred to as: AAA SPRING 19 C ON D I TI O N S O F S A LE

The auction is subject to: Rules of Auction, Important Notices, Conditions of Business and Reserves AUC TI O N R ES U LTS

+27 11 243 5243 View them on our website www.aspireart.net AB S EN TEE A N D TELEPH O N E B I D S

bids@aspireart.net | +27 71 675 2991 S AL E C O N TA C TS

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Auction Week | Spring 19

COC K TA I L PA R T Y A N D P R E V I E W O P E N I N G

Thursday 29 August | 5 to 8 pm RSVP wendy@aspireart.net | +27 62 956 3881

PUB LI C P R E V I E W

All 105 lots will be on display & open to the public for viewing Friday 30 August to Sunday 1 September | 10 am to 5 pm

AAA A R T TA LK : S AT U R D AY 31 A U G U S T

11 am to 12 pm William Kentridge: Seven Works A talk by Professor Michael Godby Sunday 1 September 11 am | Aspire Specialists Walkabout

SPR I N G 19 P U B LI C A U C T I O N

Sunday 1 September at 6 pm

GLOSSARY O F CATAL O GU ING T E R M S AND P R AC T IC E

Terms used in this catalogue have the following meanings and conventions ascribed to them.

particular artist and is not proof of attribution or indicative of authenticity.

Condition reports are available on all lots by request, and bidders are advised to inspect all lots themselves.

C O N VEN TION S IN TITL 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.

ART 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. After … in our opinion, a copy by an unidentified artist of a work by the artist, of any date. A work catalogued with accompanying dates e.g. 1577–1640 relates to the identification of the

S IGN ATURE, DATE AN D IN SCRIPTION C O N VEN TION 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.

D IMEN SION CON VEN TION 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.

F RAMIN 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.

PROVEN AN CE The history of ownership of a particular lot.

EXHIBITED The history of exhibitions in which a particular lot has been included.

L ITERATURE The history of publications in which a particular lot has been included.

ESTIMATE 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.

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

RESERVE A confidential amount, below which we are not permitted to sell a lot.

SAL EROOM N OTICE 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).

CON DITION REPORT 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.] vii

AUCT ION VENUE – AVENUE | V &A WAT E R F R ONT | C AP E T OW N

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Avenue is located on Dock Road at the V&A Waterfront, situated between the Two Oceans Aquarium and The One & Only hotel, Cape Town.

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GPS coordinates are: 33°54”28.41”S |18°25”01.01”E2 R od

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Map of paid Parking can be found here: http://www.waterfront.co.za/Documents/map_print_parking.pdf

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Two Oceans Aquarium

One & Only Cape Town

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Avenue

Johannesburg | SUMMER 19 Modern & Contemporary Art 3 November 2019 Consignments close 13 September 2019

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UPCOM IN G L IVE A UCTIONS IN 2 0 1 9

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Directions from the Nelson Mandela Boulevard N1/N2, heading into Cape Town At the first set of traffic lights, turn right onto Walter Sisulu Avenue. At the roundabout, take the 1st exit onto Dock Road. At the roundabout, take the 2nd exit to stay on Dock Road. The venue will be on your right, between the Two Oceans Aquarium and the One & Only Cape Town. Paid parking is available at Portswood Parking Garage, which is past the Avenue venue, further along Dock Road, entrance on your left.

PARK HERE

Map and Street View can be found here: https://www.avenuecapetown.com/contact

CON TE N T S

Auction Information iii Auction Week v Glossary of Cataloguing Terms and Practice vii Auction Venue – Avenue, V&A Waterfront, Cape Town viii Aspire Specialists and Staff xiii Aspire’s Artist’s Resale Rights xv Guide for Prospective Buyers xvii

Sale Lots 1 to 105 2–145 Author Biographies and Acknowledgements 146 Terms and Conditions of Business 148 Details used in prelim pages from: COVER

Lot 17 William Kentridge Set of 5 Polychrome Heads PAGE II

Lot 18 William Kentridge Untitled (Witwatersrand landscape) PAGE IV

Lot 71 Cecil Skotnes Still life with vessels and fruit

Artist Index 154 Catalogue Subscription Form 157 Written/Telephone Bidding Form 158

PAGE VI

Lot 8 Willie Bester Poverty Driven PAGE IX

Lot 70 Edoardo Villa Janus PAGE X

Lot 65 Alexis Preller Stone PAGE XII

Lot 28 David Goldblatt The farmer’s son with his nursemaid, the farm Heimweeberg, near Nietverdiend in the Marco Bushveld. Transvaal (North-West Province), 1964 PAGE XIV

Lot 15 Billie Zangewa The Cotswolds PAGE XVI

Lot 64 Dumile Feni Mother and child PAGE XVIII

Lot 51 Peter Eastman Riverbank I

ASPIRE SPECIAL ISTS A ND S TAF F Ruarc Peffers  Senior Art Specialist | Managing Director Johannesburg ruarc@aspireart.net +27 84 444 8004

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

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

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

Kathryn Del Boccio Art Specialist Johannesburg kathryn@aspireart.net +27 79 791 6037

Alexia Walker Business Consultant | Senior Art Specialist Johannesburg alexia@aspireart.net +27 82 414 8541

James Sey Marketing Manager Johannesburg james@aspireart.net +27 82 330 3763

Candice Osenat-Boutet European Business Development Johannesburg candice@aspireart.net +33 6 73 66 4726 | +27 60 644 8988

Wendy Tyson Client Liaison Johannesburg wendy@aspireart.net +27 62 956 3881

Michelle Noble Financial Officer Johannesburg accounts@aspireart.net +27 83 273 8034

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

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

Marc Smith Cataloguer Cape Town marc@aspireart.net +27 21 418 0765

Phiwokwakhe Tshona Logistics Coordinator Cape Town enquiries@aspireart.net +27 76 304 6780

Ravélle Pillay Cataloguer Johannesburg ravelle@aspireart.net +27 11 243 5243

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

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

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ASPIRE ART AU CTIO NS PION E E R S AR T IS T ’S R E S AL E R IGHT S

Committed to the growth and development of the African art market, Aspire

does exist in the auction market. With little opportunity for funding in the

Art Auctions is the first and, to date, only auction house in South African

arts, the social inequalities of South Africa seem particularly magnified in

history to pay living artists residing in South African royalties on the resale of

the sector. In the absence of legislation or a government mandated collecting

their works of art on auction.

agency, Aspire voluntarily covers the cost of the ARR percentage fee.

The implementation of the Artist Resale Rights (ARR) initiative is an

To date, Aspire has earned royalties for over 100 living South African artists

investment back into the industry, acknowledging the value of authorship and

through their sales, across the market spectrum, and has paid out around

ensuring support and sustainability for artists. The inequality of artists only

R600 000. Aspire’s efforts to improve the sustainability of the art industry in

profiting from the initial sale is compounded when one considers the rise in

the country has been recognized at national level when the company won the

value of an artwork over time, in relation to the growing success of the artist.

Business Arts South Africa Best Strategic Project Award in 2017. Aspire is in

The resale royalties endeavour to return some of that value to the artist.

the process of partnering with an arts-related charity, and will offer artists the

Aspire’s vision places art, sustainability, and the development of

option of accepting their royalties, or donating them into the nominated charity.

the industry at its core. The sustainability of the practitioners and the professionals that have made this market what it is today forms the heart

HOW IT WORKS

of this pioneering auction house. Whilst upholding the significance of established artists, Aspire is building a market for the future. Across the world, artists, associations and collecting societies have

PORTION OF THE HAMMER PRICE ROYALTY RATE up to R100 000

been actively fighting, for decades, to achieve and implement resale rights.

R100 000.01 to R500 000

0.5%

With the globalisation of the art market, this is a timeous and significant

Over R500 000

0.25%

international trend. The droit de suite (French for ‘right to follow’) was first proposed in Europe around 1893 to alleviate the plight of the ‘struggling artist’. Although not yet

• Minimum hammer price R50 000 (royalties are not applicable for lots sold under R50 000).

universal, ARR has been implemented in different forms in over 70 countries

• Royalties are capped at R5 000 per lot.

including France, Australia, and Russia. The European Union standardised

• In an effort to grow and support the South African art economy, royalties

its legislation in 2001, with the payment mandated to official collecting

are restricted to South African taxpayers i.

agencies, or paid directly to the artist. The EU directive was met with loud

• Aspire issues bi-annual royalty statements.

protestations from established UK auction houses and galleries, however in

• Artists may choose to redeem their royalties or donate them to a charity

2011 and in 2012 the European Commission and UK Parliament reported that

with which Aspire will partner.

the resale right does not impact the art market negatively. This report was followed up by the World Intellectual Property Organisation research in 2017, which corroborated that the payment of royalties on works at auction has no discernible impact on prices. South Africa is one of a group of countries which has no existing legislation to govern the implementation of an ARR scheme. This group currently includes the USA, Canada, China, Japan, and Switzerland. The legislation in South Africa has been tabled, but the law is still in draft discussion form. Aspire was the only representative from the secondary market to submit representations to government on the public hearings for the draft legislation, and to appear before the parliamentary committee in 2017 to put forward the case for a national ARR. The company has followed this representation with educational presentations to artist’s groups hosted by collecting agency DALRO, to an artist’s collective in Soweto, and is in active discussion with the DAC regarding progress on the existing legislation. These initiatives are undertaken to spread the word in the artistic community that the ARR project

xvi

GUIDE FOR PRO SPECTIVE BUY E R S

The following information is designed to guide

reserve price agreed between Aspire and the seller

Recorded bids entered into the auctioneer’s

prospective bidders through the auction process

of the lot. The reserve is the minimum price that will

catalogue. The auctioneer will, in your absence, bid

and explains how to bid at auction with Aspire.

be accepted for a lot, any amount below which a lot

on your behalf, up to the maximum amount given

Our staff are happy to assist with any queries.

will not be sold. The reserve price will not exceed

by you. Should the bidding not reach your maximum

the low estimate.

bid, you will acquire the lot for one increment above

1. Identify your potential acquisition

the previous bid.

Aspire holds four auctions per annum, two in

4. Specialist assistance

Johannesburg and two in Cape Town. You can

Our specialists are available to discuss any lot in

6. Payments, collection and storage

subscribe to our printed catalogues to view all

further detail if you require additional information.

Payment must be made immediately after

works coming up in an auction or alternatively, our

Please do not hesitate to contact us.

completion of the auction, as stated in our Terms and Conditions of Business, unless

e-catalogues are posted online approximately a

otherwise agreed with Aspire.

month prior to each sale; these are free downloads

5 Bidding with Aspire

and give a full overview of each auction. Keep an

Bidding may be done in three ways, depending

Once payment for the purchased lot is made and

eye on our website and social media platforms

on your preference and availability during the live

cleared, you may take the lot or arrange for collec-

where we will provide regular updates regarding

auction.

tion. An Aspire representative will contact you the

sale information and when catalogues are available

New bidders to Aspire will need to supply us with

day after the auction to assist with logistics. If you

to view online. The auction preview is open to

their ID/Driver’s license and proof of address.

are unable to collect the artwork within the allo-

the public.

cated time – Aspire will arrange storage or delivery 5.1 Live bidding in the saleroom

of the lot, which will be for your account. A courier

2. The catalogue

You can physically bid during a live auction by

company will contact you with quotes for delivery

The catalogue includes all information regarding the

registering and bidding in the saleroom. You may

the day following the auction.

lot(s) being offered in an auction (including artwork

Aspire will store artworks purchased at the auc-

details, date, medium, dimensions, quantity of items

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

tion under Aspire’s insurance for a limited time only

in the lot, and so forth). Condition reports are not

sale.

(see our Terms and Conditions of Business). Storage

included in the 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 auction is open to the public. If you cannot attend the auction, there are two absentee bidding methods available to you.

and handling costs will be charged if the property is not collected within this time. 7. Commissions and fees payable

the condition of a prospective purchase. Condition

5.2. Telephone bid

Buyers premium

reports are not necessarily compiled by professional

An Aspire representative will phone you during

Buyers will be liable for payment of the purchase

conservators unless otherwise stated.

the live auction: a trained staff member will walk

price.

you through the auction as it happens and you may 3. Estimates

instruct the representative to bid on a lot on your

Aspire assigns a low and high estimate to every lot.

behalf. Don’t forget to send through your telephone

These estimates give our opinion of value, bearing

bids at least 24 hours before the commencement of

the following factors in mind: the sales precedent

the auction to ensure sufficient time for processing.

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

The purchase price is the hammer price, the Buyer’s premium and VAT charged on the premium. Commission charged on any lot selling up to and including R20 000 is 15% (plus VAT). Commission charged on any lot selling in excess of R20 000 is 12% (plus VAT).

5.3. Written bid (Absentee bid/Book bid/Commission bid)

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Contemporary Art, with a special focus on William Kentridge

Lot 1

Cecil Skotnes’ print of a cat made such an impression on

Cecil Skotnes

William Kentridge that he has acknowledged its influence

South African 1926–2009

on his use of cats in many of his films, drawings and prints.

Cat

During a reflection on his lifelong association with prints and

1960 colour woodcut signed in pencil bottom right image size: 40 x 71 cm

printmaking at a printmaking conference held in Cape Town in

R20 000 – 30 000

hung in his bedroom. By showing several images and film clips

2003, Kentridge gave a charming account of the significance of Skotnes’ print of a cat, given to him while still a child and which in which a cat appears in his work, he demonstrated the deep

L IT E R AT U R E

Harmsen, F. (ed.). Cecil Skotnes. Cape Town: Published privately, another example from the edition illustrated on p.84.

affect of Skotnes’ cat on him.1 Emma Bedford 1 Sue Williamson, https://artthrob.co.za/03sept/diary.html, accessed 31 July 2019

Lot 2

William Kentridge b.1955 South Africa

Four Cats colour lithograph and collage signed and numbered 21/50 in pencil along the bottom margin sheet size: 66 x 50 cm

R40 000 – 60 000 PROVENANCE

From the Cecil Skotnes Homage Porfolio, compiled by Stephen Inggs with Pippa Skotnes and Thomas Cartwright, 2009.

Lot 3

Sam Nhlengethwa b.1955 South Africa

The Yellow Couch 2012 oil and collage on canvas signed and dated bottom right; signed, dated and inscribed with the title on the reverse 100 x 90 cm

R80 000 – 120 000

Lot 4

Sam Nhlengethwa b.1955 South Africa

The Wooden Coffee Table 2008 oil and collage on canvas signed and dated bottom right; signed, dated and inscribed with the title on the reverse 94.5 x 84.5 cm

R80 000 – 120 000

Lot 5

Kay Hassan’s collage is both simple and perplexing. One

Kay Hassan

immediately recognises a human head, a name stretching

b.1956 South Africa

vertically at its left, from a viewer’s vantage point, which reads

PLE

‘Johannes’ – the name of a man, or a fragment which also

2003 paper construction signed and dated bottom right 108 x 90 cm

suggests the name of a city – Johannesburg. But it is the larger

R100 000 – 150 000

just an infuriating tease, made all the more infuriating given

and more perplexing letters – PLE – which leaves the viewer stymied. What do these letters mean? Is it a code or riddle? Or that it is also the name for the work? According to the urban dictionary, a trusty port of call for the nonplussed, PLES = and I’m inferring the existence of a missing letter in Hassan’s collage – is the universal term for please, of course, nice, sweet, sick, awesome, cool. Hassan’s collage, however, is by no means as endearing. Rather, it is as if the artist wishes to keep the viewer at a remove. The product of a long-standing tradition in South African art – and here another titan, Sam Nhlengethwa, springs to mind – Hassan’s collage is typically dark in its hue, a mix of sepia, ox-blood, and a dominant black. This combination of tones suggests the nocturnal – a face emerging enigmatically from a night-world. For it is darkness and impenetrability which is the work’s defining register – as though one was never meant to decipher the face in its entirety, as though the shreds of recombined paper traces were another level of mystery. PLE is not a declarative art work. It harbours no obvious political directive. Rather, what it most effectively achieves is a gnomic force that speaks of an artist uninterested in being understood or recognised as someone for whom prescription matters most. In short, this is no archetypal resistance art work – and yet in the purist sense it is resistant nonetheless. Ashraf Jamal

Lot 6

This work is characteristic of Mongezi Ncaphayi’s unique style of minimalism, which offers a

Mongezi Ncaphayi

sophisticated presentation of contemporary abstraction. With a focus on rhythm and form, Ncaphayi

b.1983 South Africa

creates an intricate and compelling network of line and colour, enhanced by focused areas of delicate

Untitled

mark-making, linear strokes and organic shapes. A proficient saxophonist himself, he creates work

2017 watercolour, acrylic and India ink on paper signed and dated bottom right 189 x 142 cm, unframed

driven by a process of intuition while incorporating the improvisational qualities of jazz music.

R50 000 – 70 000

School of the Museum of Fine Arts at Tufts University in Boston, USA, the previous year. In 2016, he

Ncaphayi was the recipient of the Absa L’atelier Gerard Sekoto Award in 2013, which earned him a residency at the Cité Internationale des Arts in Paris. This followed his Advanced Studies in Art at the was awarded a grant from the Prince Claus Fund in Amsterdam. Ncaphayi’s work forms part of many important collections including the Smithsonian National Museum of African Art in Washington D.C. and the Museum of Fine Arts, Boston. Marelize van Zyl

Lot 7

Born in 1981, young multi-media artist Vitshois Mwilambwe Bondo is fast becoming a

Vitshois Mwilambwe Bondo

recognised name in contemporary African art circles. From the Democratic Republic of Congo,

b.1981 Democratic Republic of Congo

Bondo’s work explores current societal and geographic boundaries and comments on the diversity of races and cultures, reflected in pressing political and socio-economic currents in

Untitled (series of nine works)

Africa and worldwide. Bondo’s collaged works, largely made up of elements from international

2011 collage and acrylic on canvas each signed and dated bottom right 50 x 50 cm each (9)

‘new body’, commenting on conflict and the discourses of race, class, gender and sexuality.

R90 000 – 120 000

fashion magazines, use images and fragments of an array of bodies to re-construct and re-design a

‘The mutilated bodies are a confrontation, making us aware of the chaotic situation and reflecting on current contemporary conflicts in Africa and in the world.’1 Vitshois Mwilambwe Bondo – Art Omiå, 2011

Jacqui Carney 1 https://vitshois.com/texts.html, accessed 8 August 2019.

Lot 8

This radically modified bulldozer is one of the most significant

Willie Bester

mixed media sculptures Willie Bester produced in the years

b.1956 South Africa

immediately after his career began to blossom in the late 1980s.

Poverty Driven

Images of the bulldozers, which are scattered throughout

2002 steel, enamel, oil on canvas and found objects 245 x 145 x 170 cm

the artist’s early collage assemblages, function as important

R500 000 – 800 000

bulldozers, Poverty Driven is a hybrid, makeshift concoction

metaphors of social and political change, alluding to the ideas of both demolition and reconstruction. But unlike commercial that includes references to various farm implements while at

EXHIBITED

Zeitz MOCAA, Cape Town, Still Here Tomorrow to High Five You Yesterday ..., 30 January to 23 August 2019. Iziko South African National Gallery, Cape Town, Willie Bester, 5 December 2007 to 13 April 2008. Montagu Museum, Montagu, Willie Bester, 3 to 16 November 2007. 34Long, Cape Town, METALized, 6 September to 8 October 2005. L IT E R AT U R E

Bedford, E. (ed.). (2007). Willie Bester. Cape Town: Goodman Gallery Editions, illustrated in colour on pp.20–21.

the same time drawing on the wirework art-making traditions associated with the rural poor. At one level, therefore, this monumental work pays homage to the lives of farm workers and the inventive creativity of migrant labourers, who adorned their knobkerries and other artefacts with densely woven patterns fashioned from plastic-coated telephone wire. While in this and other ways Poverty Driven signals a nostalgia for an integrated rural past, these intricately crafted, time-consuming details also allude to the imaginative powers of the ordinary men and women who in recent decades have found new ways to market their skills to urban buyers. At the same time, Bester reflects on the realities of what it means to live in closely populated urban environments where people have in many cases become dislocated from the social and emotional anchors that once sustained them. As in some of his other works, his introduction of hospital drips reminds the viewer that, under normal circumstances, people can expect to be cared for and nurtured. But rather than affording comfort, this medical paraphernalia can also signal a loss of personal control. As additions like these suggest, Poverty Driven is a deeply evocative work that points to the complex emotional experiences of people grappling with the challenge of surviving unexpected and unanticipated upheavals as they move from the comfort of the known to the uncertainties of the future. Sandra Klopper

Willie Bester, Poverty Driven (2002) in situ at Zeitz MOCAA, Cape Town, as part of the exhibition Still Here Tomorrow to High Five You Yesterday…. 2019

Lot 9

William Kentridge

Producing a sweeping set of scenes, Summer Graffiti possesses

b.1955 South Africa

a kinetic quality and a magnetic attraction which draws the

Summer Graffiti

viewer ever closer. Calling to mind Kentridge’s highly regarded

2002 five-colour lithographs on Vélin d’Arches crème 250 gsm paper, paper die-cut with round corners each signed and numbered 10/45 in red conté along the bottom margin sheet size: 18 x 23 cm each (8)

films and processional works, the ‘frames’ exhibited within

R220 000 – 280 000 NO T E S

Printed by The Artists’ Press and published by the artist. EXHIBITED

Annandale Galleries, Sydney, William Kentridge, 21 March to 21 April 2007, other examples from the edition exhibited. L IT E R AT U R E

Law-Viljoen, B. (ed.). (2006). William Kentridge Prints. Johannesburg: David Krut, other examples from the edition illustrated on pp.108–111.

the set animate the print series. Add to this the dynamic shifts in gaze within the various prints, and the viewer becomes complicit in the interactions of the subjects as they, on the one hand, observe the subjects gazing at one another and, on the other, find themselves confronted by the gaze of the subjects themselves. At a time when Kentridge was contributing to a fundraiser for his old school he found the impetus for the series in a teacher’s manual. The iconic blackboard visible in the set acts as a representational tool for the expression of erotic desires. Known for his depictions of the internal desires of human beings as socially unacceptable, Kentridge alludes here to those hidden impulses. Marc Smith

Lot 10

Claudette Schreuders b.1973 South Africa

Souvenirs; Souvenir – Nigeria; Souvenir – Conrad, three 2003 colour pencil and watercolour on paper each signed, dated and inscribed with the respective title in pencil on the reverse 24.5 x 18 cm each (3)

R80 000 – 120 000

Lot 11

Claudette Schreuders b.1973 South Africa

The Three Sisters I; The Three Sisters II; The Three Sisters III, three 2005 colour lithographs each signed, numbered 4/45, inscribed with the title in pencil and embossed with The Artists’ Press chop mark along the bottom margin sheet size: 66 x 41 cm each (3)

R60 000 – 90 000 EXHIBITED

Michael Stevenson Contemporary, Cape Town, Claudette Schreuders: Recent Works, 13 July to 13 August 2005, other examples from the edition exhibited.

Lot 12

Deborah Bell is one of South Africa’s most prominent

Deborah Bell

contemporary artists, and is notable for her ability to

b.1957 South Africa

shift between different mediums with equal facility and

Tapestry I hear you with my heart

accomplishment. She is respected as a sculptor, painter and

2003/2005 oil and pastel on paper signed and dated bottom right 122 x 196 cm

explore a similar set of thematics and concerns. Prominent

R250 000 – 300 000

work includes one of her most characteristic depictions of

printmaker, but her work in all mediums tends to express and among these is the dichotomy between mortality and immortality, between the living and the spirit worlds. This the goddess Diana, with her bow, leading a hunt through an arboreal scene. Diana is the goddess of the hunt, of fertility, and of the passage to the underworld, a spiritual journey Bell returns to again and again in her work. The allusion to a tapestry of the heart, perhaps recording this hunt and the heartfelt journey to another world on the other side of the forest, is emblematic of Bell’s core beliefs. James Sey

Lot 13

Gerda Scheepers b.1979 South Africa

Modal Approach Painting (Anonymous Poet) 2012 fabric collage 102.5 x 76 cm

R30 000 – 50 000 PROVENANCE

Blank Projects, Cape Town. EXHIBITED

Blank Projects, Cape Town, Modal Approach and Accent, 2012.

This work formed part of Gerda Scheepers’s debut solo exhibition Modal Approach and Accent in Cape Town in 2012. Her artistic practice is essentially conceptual as she continuously explores (and often pushes) the idea and medium of painting. She creates serial works, which allows for repetitive motifs and gestures in a move towards abstraction. Here, working with fabric stretched over canvas in black on black, the shape of a (folded) t-shirt functions as a motif in the picture – and the picture’s surface. A few paint marks record the artist’s hand and framing along the top balances the composition. Scheepers studied at the Kunstakademie Düsseldorf, Germany. Awards include the Art Cologne Preis für Junge Kunst and the Marianne-Defet-Malerei-Stipendium. She has exhibited internationally at renowned centers and galleries including the Kunstverein Nürnberg, Stadtmuseum Düsseldorf and Sprüth Magers in Berlin, Cologne and London. She recently presented a solo exhibition titled Rooms at Mary Mary Gallery in Glasgow. Marelize van Zyl

Lot 14

Kemang wa Lehulere is currently one of South Africa’s fastest

Kemang Wa Lehulere

rising international star artists. The prominent and influential

b.1984 South Africa

Marian Goodman Gallery in New York began representing him

Bedtime Stories 2

last year, when it also staged his first, highly praised, solo show

ink on paper 49 x 69.5 cm

at its London premises. An artist who works across installation,

R140 000 – 180 000

out in Cape Town, his home city, as a member of arts collective

NO T E S

Gugulective, an experience he still maintains was a formative

Accompanied by a certificate of authenticity signed by the artist. PROVENANCE

The Association for Visual Arts, Cape Town, 2009. EXHIBITED

The Association for Visual Arts, Cape Town, Ubontsi: Sharp Sharp, 2 to 20 March 2009. L IT E R AT U R E

Standard Bank Gallery. (2015). Kemang Wa Lehulere. Johannesburg: Standard Bank Gallery, illustrated on p.37.

performance and drawing as his primary mediums, he started

one in demonstrating to him both the value of collaboration and of artistic research in his work. His questing intellect led him to found the Centre for Historical Reenactments in Johannesburg, where he moved in 2010 to complete a Fine Arts degree. The work on auction shows a more lyrical side to his practice, but even this dreamy and child-like scene retains a sinister edge. James Sey

Lot 15

Billie Zangewa uses silk to create intricate tapestries that reflect

Billie Zangewa

light in different ways, based on the position of the viewer

b.1973 South Africa

relative to the artwork. This results in artworks that appear to

The Cotswolds

dance and perform as the gaze changes and the viewer moves

2009 embroidered silk signed and dated bottom right 43.5 x 50 cm

around the image’s environment. Artworks that defy replication

R150 000 – 250 000

in print media or on a computer screen, these are sensory objects that must be viewed in person. Zangewa grew up in Gaborone, where there was limited availability of an artist’s usual infrastructure – no studios, no printing presses, none of the typical materials one would normally associate with the creation of fine art. From this came something remarkable. ‘To make art I had to use what was available’ explains the artist, ‘[m]y creativity comes from lack – I had to work from scratch’.1 Later, living in Johannesburg, she was moved by the reflection of the highveld sun on the glass of inner-city buildings, and how it would pixelate and change on her commute between Kensington and Rosebank. Conscious of silk’s similar response to light, Zangewa started collecting swathes of the fabric from local shops, using the raw silk offcuts to create detailed hand-stitched collages – predominantly figurative compositions and cityscapes. Born in Malawi, growing up in Gaborone, now living and practicing in Johannesburg, Zangewa explores her intersectional identity in the contemporary context, ‘constantly challenging the historical stereotyping, objectification and exploitation of the black female body’.2 Her work is concerned with her lived experience, domestic preoccupations and the underlying universal themes that connect us to each other. The present lot was produced while Zangewa was staying in Europe. The artist said she went to the Cotswolds on a trip for her birthday in the middle of winter during a phone conversation. For her the area is the most beautiful part of England. She was particularly drawn to the town’s architecture and the barren winter trees. The piece is a celebration of the beauty of the place.3 Ruarc Peffers 1 I nterview with Andrea Nagel in Times Live ‘Billie Zangewa is proving critics who say feminine art doesn’t sell wrong’ published 8 July 2018: https://www. timeslive.co.za/sunday-times/lifestyle/2018-07-07-billie-zangewa-is-provingcritics-who-say-feminine-art-doesnt-sell-wrong/, accessed 28 July 2019 2 \http://www.blankprojects.com/cv-and-bio/billie-zangewa-cv-bio/, accessed 28 July 2019 3E mail correspondence with Alexia Walker, 2 August 2019.

W IL L IAM K E NT R IDGE

William Kentridge was born in 1955 in South Africa, and still lives and works in Johannesburg, the city of his birth. Now world renowned for his diverse artistic practice featuring drawing, film work with animation and live action, sculpture, printmaking, painting, stage direction and design for theatre and opera, it was always drawing which lay at the heart of his artworks. It is drawing, principally in charcoal, which informs his works in other media, especially the animated films based on multiple mark making and erasures which brought him to the world’s attention. Since the 1990s, his work has been exhibited and held in major museums and their collections around the world, such as the Museum of Modern Art in New York, the Albertina Museum in Vienna, the Musée du Louvre in Paris, The New Museum in New York, the Art Institute of Chicago, The Museo Nacional Centro de Arte Reina Sofía in Madrid, San Francisco Museum of Modern Art, Louisiana Museum Copenhagen, Sint-Janshospitaal in Bruges, Belgium, the Tate Modern, Tate Britain and Modern Oxford in the United Kingdom. In his theatre and film productions, Kentridge has earned international acclaim for his layered and complex work, which includes such operas as Alban Berg’s Lulu, his own theatre productions such as Ubu and the Truth Commission, written with Jane Taylor; films incorporating his own sculptures and drawings, as well as collaborations with dancers such as Dada Masilo, and composers like Phillip Miller and Neo Muyanga, both in film and live performance projects. Kentridge has participated in the Venice Biennale (1993, 1995, 2005) as well as Documenta X (1997), Documenta XI (2002) and Documenta XIII (2012), among others. A retrospective exhibition was seen in museums in Kyoto, Tokyo and Hiroshima in 2010 and the artist was awarded the prestigious Kyoto Prize that same year.

Earlier this year, his production of Mozart’s The Magic Flute was

reflective figure of vulnerability, depicted as naked), through

revived for performances in Japan.

a series of powerful animations which reveal collisions of

In April of 2016 Kentridge unveiled Triumphs and Laments, a

circumstance and recollection, parallel images of ambition, desire,

550-meter frieze along the banks of the River Tiber in Rome, Italy,

exploitation and protest. The city of Johannesburg asserts itself

featuring images of war, love, oppression, and resilience, power-

somewhat like another character. In its streets, facades, industries,

washed from the accumulated pollution on the walls of the river,

mines, landscapes and people, it is shown as desperate, desiring,

around stencils upscaled from the artist’s drawings dealing with

inconstant and impenetrable.

the history of Rome. 2016 also saw two further major exhibitions

The city and its mining landscapes have long been a subject of

travel to Europe: Thick Time to the Whitechapel Gallery in London

fascination for the artist. Its ‘invented landscape’, born of a gold

and NO IT IS!, to the Martin Gropius Bau, Berlin, Germany, an

rush, and the mine dumps and bleak empty land often left behind

exhibition which featured another edition of the five ‘Polychrome

by worked-out mines have featured as a kind of muse in drawings

Heads’ on Aspire’s current auction (Lot 17).

from Kentridge since the mid 1980s. Seen as the backdrops to the

The acclaimed and epically-scaled multimedia performance piece,

cycles of rise and fall in the city, these drawings are the scenes on

The Head and the Load, premiered in 2018 at the Tate Modern in

which the story of the artist himself, the evolution of the culture

London and was staged later in the year at the Park Avenue Armory

and the narratives of his protagonists play out. An early example

in New York City. The performance deals with the fate of nearly two

of these charged landscapes with the footprint of mining and its

million African porters and carriers used by the British, French, and

after effects, is a central work on the current auction, Untitled

German colonial powers during the First World War in Africa.

(Witwatersrand landscape) (Lot 18).

Kentridge has had survey exhibitions in 2019 at the Art Gallery

Each major new subject of interest, film or stage production from

of New South Wales in Sydney and the Art Gallery of South

the artist since the 1980s has also brought a new body of work in

Australia in Adelaide (currently on view); and has another major

printmaking in a wide range of types. Some multiples have used the

retrospective exhibition currently on view in the Kunstmuseum

pages of old books as their support papers, and many also feature

Basel, Switzerland, titled A Poem that is not Our Own.

collage and cut-out silhouettes, another favoured way in which he

Kentridge’s series named Drawings for Projection, beginning

sharply contrasts figures against a layered ground. The intricate and

with the work Johannesburg, 2nd Greatest City after Paris in 1989,

complex artist’s book work also on this auction, Portage (Lot 16),

has long been considered his seminal work. Animated from his

is a superb example of such work by the artist. It relates closely to

drawings, these films have been exhibited all over the world and

his highly regarded animated film Shadow Procession (1999), which

became well known for some years as 9 Films, though the series

features the use of torn and collaged black paper figures, as well as

reached its tenth film, Other Faces, in 2010. The films depict

the marching figures and silhouettes in such works as Triumphs and

the saga of the central character Soho Eckstein (a pinstripe-clad

Laments and The Head and the Load.

business mogul) and his alter ego, Felix Teitlebaum, (a more

Neil Dundas

Lot 16

William Kentridge b.1955 South Africa

Portage 2000 chine collé of figures from black Canson paper on multiple spreads from Le Nouveau Larousse Illustré Encyclopaedia (c.1906), on Vélin d’Arches créme paper, folded as a leporello signed, numbered 2/33 in pencil and stamped with The Artists’ Press chop mark on the colophon of the leporello sheet size (folded): 27.5 x 23.5 cm; sheet size (unfolded): 27.5 x 423 cm

R600 000 – 900 000 NO T E S

Published by William Kentridge in collaboration with The Artists’ Press, Johannesburg, 2000. Cloth casting made by Peter Castens. Printed by Mark Atwood, Paul Emmanuel and Joseph Legate, The Artists’ Press. This book’s long, accordion–folded format captures the forward rhythm of a procession. To produce the edition, the paper fragments were replicated using metal templates and affixed to additional dictionary pages. PROVENANCE

Other examples from the edition are in the permanent collections of The Museum of Modern Art, New York; The New York Public Library; The Museum of Contemporary Art, Chicago; Philadelphia Museum of Art, Philadelphia; National Gallery of Art, Washington DC; Milwaukee Art Museum, Milwaukee; The Metropolitan Museum of Art, New York; Pierre Lombart; the artist. EXHIBITED

Other examples from the edition exhibited at: Museum of Contemporary Art, Chicago, William Kentridge, which travelled to Hirshhorn Museum and Sculpture Garden, Smithsonian Institution; New Museum of Contemporary Art, New York; Contemporary Arts Museum, Houston; Los Angeles County Museum of Art; South National Gallery, Cape Town, 2001 to 2003; The Metropolitan Museum of Art, New York, Drawings and Prints: Selections from the Permanent Collection, 28 January to 21 April 2002; Herter Art Gallery, Massachusetts, Global Priority, 27 October to 23 November 2003; The College of Wooster Art Museum, Ebert Art Center, Ohio, William Kentridge Prints, 18 January to 6 March 2005; Miami Art Central, Miami, William Kentridge, 30 November 2005 to 5 March 2006; San Francisco Museum of Modern Art, California, William Kentridge:

Five Themes, which travelled to Modern Art Museum Forth Worth, Fort Worth; Norton Museum of Art, Florida; The Museum of Modern Art, New York; Galerie Nationale du Jeu de Paume, Paris; Albertina Museum, Vienna; Israel Museum, Jerusalem; Vancouver Art Gallery, Vancouver, 2009 to 2011; Kupferstichkabinett, Berlin, Double Vision: Albrecht Dürer & William Kentridge, 20 November 2015 to 6 March 2016; University of Johannesburg Art Gallery, Johannesburg, Booknesses: Artists’ Books from the Jack Ginsberg Collection, 25 March to 5 May 2017 and The SintJanshospitaal, Bruges, Belgium, William Kentridge: Smoke, Ashes, Fable, 21 October 2017 to 25 February 2018. LITERATU RE

Koerner, Margaret K. (ed.) (2017). William Kentridge: Smoke, Ashes, Fable, New Haven: Yale University Press, another example from the edition illustrated, p.212, exhibition catalogue for William Kentridge: Smoke, Ashes, Fable, the SintJanshospitaal, Bruges, Belgium, 21 October 2017 to 25 February 2018. Tone, L. (ed.). (2013). William Kentridge Fortuna. London: Thames and Hudson, another example from the edition illustrated on pp.264–267. Rosenthal, M. (ed.). (2009). William Kentridge: 5 Themes. London: San Francisco Museum of Modern Art and the Norton Museum of Modern Art in association with Yale University Press, another example from the edition illustrated on pp.148–150. Basualdo, C. (ed.). (2008). William Kentridge: Tapestries. New Haven: Yale University Press, another example from the edition illustrated on pp.24–25. Law-Viljoen, B. (ed.). (2006). William Kentridge Prints. Johannesburg: David Krut publishing, another example from the edition illustrated on pp.90–95. The College of Wooster Art Museum. (2005). William Kentridge Prints, Ohio: The College of Wooster Art Museum, detail illustrated on the cover of the exhibition catalogue and p.3.

Portage is a concertina-type fold out structure of assembled torn sheets of matte black paper collaged onto found sheets from an encyclopaedia, Le Nouveau Larousse Illustré (1901–1914). The sheets from the encyclopaedia were collaged onto eighteen connected support paper panels allowing for a fold out book format known as a leporello. The first seventeen pages of the work were published as the first pages of a catalogue for Kentridge’s travelling exhibition in the USA. The artist, having returned to the family home where he grew up in Johannesburg, was confronted with a library left by his father. Needing shelves for his own library, he began recycling the pages of redundant books to use for drawings and editioned work. As Kate McCrickard puts it, ‘Kentridge’s torn matte black paper creates punchy silhouette figures that share the boldness of his charcoal drawings. The opaqueness of these figures keys us directly into the parallel world of shadow’.1 Prior editions created by Kentridge using torn black collaged fragments depicting shadow procession imagery were De Peccato Originali on found sheets from the original book in Latin published circa 1750. Thereafter he made a work by taking apart a damaged copy of Leviathan, a very rare book by Thomas Hobbes published in 1651. Portage is in the collections of three major New York Museums: the New York Public Library, The Museum of Modern Art, and the Metropolitan Museum of Fine Art, as well as many other collections (see notes on

Faulconer Gallery. (2004). William Kentridge Prints. Iowa: Grinnell College, another example from the edition illustrated on pp.92–95.

provenance). It is a rare and highly desirable work for

Museum of Contemporary Art, Chicago and the New Museum of Contemporary Art, New York. (2001). William Kentridge. Chicago: Museum of Contemporary Art in association with New Museum of Contemporary Art, another example from the edition illustrated on pp.i–1.

presented in a perspex box more than four metres long to

major art collections. It was recently the main feature of the Hayward Gallery’s travelling exhibition in the UK, allow for the viewing of all the figures in procession. David Krut 1 McCrickard, K. (2012) Tate Modern Artists: William Kentridge. London: Tate. p. 47.

Lot 17

Sculptural work by the ever-prolific William Kentridge is still

William Kentridge

relatively rare. Though a fairly regular feature of his oeuvre,

b.1955 South Africa

it is often in conjunction with other bodies of work or a

Set of 5 Polychrome Heads

collaborative venture, such as the iconic Fire Walker public

2014 oil on bronze each stamped with the artist’s initials, FP and the Workhorse Foundry mark on the underside work 1: 30 x 21 x 8.5 cm; work 2: 27.5 x 15 x 11 cm; work 3: 31 x 17.5 x 10.5 cm; work 4: 30 x 17.5 x 10.5 cm; work 5: 31 x 20 x 11 cm Foundry Proof 1/1, from an edition of 9 +1 AP +1 Painter’s Proof (5)

Gerhard Marx.

R4 000 000 – 6 000 000 EXHIBITED

Liebieghaus Skulpturensammlung, Frankfurt, O Sentimental Machine, 22 March to 26 August 2018, 2 of 5 works from this Foundry Proof exhibited. Martin-Gropius-Bau, Berlin, NO IT IS!, 12 May to 21 August 2016, all 5 works from another edition exhibited.

sculpture in downtown Johannesburg, created with fellow artist The three dimensional medium also makes sense for the artist when seen as part of a multimedia, theatrical or music production, and often Kentridge’s planning for these live shows involves maquettes or modelling that can give rise to sculptural ideas. One of these, we might speculate, is the fascinating Set of Five Polychrome Heads. First shown in a formal gallery setting, and as a full edition of five sculptures, at the Marian Goodman Gallery in London in 2015, the idea for the works, according to a contemporary review in Black Qube magazine, comes from Kentridge’s staging of Alban Berg’s opera Lulu at the Metropolitan Opera in New York in the same year: ‘(the) painted bronze heads … originated through research for Kentridge’s production of Alban Berg’s opera ‘Lulu’. He placed cardboard cylinders over the actors’ heads, painting them with rudimentary features and creating simple masks that served

Frieze New York, New York City, Goodman Gallery, 4 to 8 May 2016, all 5 works from another edition exhibited.

as devices halfway between them and the drawings projected

Art Basel, Basel, Marian Goodman Gallery, 18 to 21 June 2015, all 5 works from another edition exhibited.

little is needed to recognise a head became adroitly bricolaged

Marian Goodman Gallery, London, More Sweetly Play the Dance, 11 September to 24 October 2015, all 5 works from another edition exhibited.

around them. What began as a formal investigation into how sets of five ‘Polychrome Heads’’.1 Far from being straightforward versions of these theatrical masks in the production, Kentridge brings his characteristic intellectual weight to realising the edition of five sculptures. They are cast in bronze, but painted, trompe l’oeil style, to resemble rough wooden stands on which are bricolaged, torn ledger pages, scribbled with obscure English names or Chinese characters. The heads hint at the Weimaresque, certainly Modernist, intellectual zeitgeist, a period in history in which post-colonial anxieties have provided Kentridge with much inspiration. James Sey 1 William Kentridge at Marian Goodman Gallery London, in Black Qube Magazine for Art and Design. 30 September 2015. http://www.blackqube.de/ william-kentridge-at-marian-goodman-gallery/ Accessed 6 August 2019.

Lot 18

The 1980s were a significant time in William Kentridge’s career. At

William Kentridge

the beginning of the decade, he was uncertain whether his future lay

b.1955 South Africa

in visual art or in the theatre; while by the end he had won both the

Untitled (Witwatersrand landscape)

Standard Bank Young Artist Award and the Cape Town Triennial

1988 charcoal and pastel on paper signed and dated bottom left 125 x 98 cm

was about to launch his international career. Thus the dispute over

R2 200 000 – 3 200 000

a ‘2’ or an ‘8’ – was significant. As it stands, the date certainly looks

PROVENANCE

Stephan Welz & Co., 4 November 1996. EXHIBITED

and, with the film Johannesburg 2nd Greatest City after Paris (1989), the date of this remarkable drawing – with experts reading the somewhat rubbed last digit in the bottom left hand corner as either like ‘1982’. But fortunately the artist himself has settled the matter, pronouncing that the drawing was certainly made in 1988. The later date obviously accommodates Kentridge’s absence at

cf. Gallery International, Cape Town, William Kentridge and Simon Stone, 1988, a similar work exhibited and illustrated on the exhibition invitation.

theatre school in Paris in 1981 and much of 1982, and his well-

L IT E R AT U R E

landscapes he made between the prize-winning Embarkation (1987)

cf. Ogilvie, G. (1988). The Dictionary of South African Painters and Sculptors. Cape Town: Everard Read, a similar work illustrated on p.333.

documented neglect of drawing until 1984. It also places both the style and the subject-matter of this drawing close to the several and the desolate peri-urban backgrounds to Johannesburg 2nd Greatest City after Paris. By around 1988, Kentridge had achieved a lightness and spaciousness in his rendering of landscape; and he had established his vocabulary of mine dumps, high-mast lighting, culverts, tyre tracks, etc., that feature prominently in this drawing and, in one way or another, many other works of this time. Moreover, in November 1988, Kentridge published his essay Landscape in a State of Siege2 that provides a theoretical platform for this and similar landscape drawings. The essay opens with the statement ‘For about a year I have been drawing landscapes’ and goes on to expound his condemnation of traditional landscape painting in South Africa and explains his strategies for rendering his geographical environment meaningful. Thus, to escape what he called ‘the plague of the picturesque’, he would set his odometer at random distances, drive, and draw whatever he found there, generally, as he wrote, ‘a catalogue of civil engineering details’. For the artist, ‘the variety of the ephemera of human intervention on the landscape is far greater than anything the land itself has to offer’ – and, one may add, more meaningful. Kentridge’s point in reproducing this ‘catalogue’, or, more often, constructing it from known parts, in the present drawing and all that he made around this time, is to insist on the historical dimension of landscape, a dimension that obviously privileges the economic and political aspects of the South African experience over any supposed beauty in nature. For Kentridge, evidently, the Witwatersrand of his landscape drawings is more truly real, more truly African, than any Tarzan movie or painting by Pierneef. Michael Godby. 1K entridge, W. (1988) Landscape in a State of Siege in Stet, volume 5, no.3, pp.15–18.

Lot 19

William Kentridge b.1955 South Africa

Head I (from the Four Paper Heads series) 2007 lithography, letterpress, book pages, chine collé, collage, watercolour and coloured pencil on a Perspex base signed and numbered PP 1/4 in red conté along the bottom edge 35.5 x 33 x 20 cm from an edition of 25

R100 000 – 150 000 L IT E R AT U R E

Tone, L. (ed.). (2013). William Kentridge Fortuna. London: Thames and Hudson, another example from the edition illustrated on pp.48–49. Kentridge, W. and Taylor, J. (2018). That Which We Do Not Remember. Sydney: Naomi Milgrom Foundation, another example from the edition illustrated on p.53. EXHIBITED

Art Gallery of New South Wales, Sydney. William Kentridge: That Which We Do Not Remember, March to June 2019, another example from the edition exhibited.

Two views of Lot 19

Lot 20

William Kentridge b.1955 South Africa

Black Monkey Thorn lithograph and collage on de-acidified book pages signed and numbered 42/60 in pencil along the bottom margin; embossed with the David Krut Workshop chop mark bottom left sheet size: 39 x 45 cm

R25 000 – 35 000 PROVENANCE

Produced as part of the Editions for ArtThrob.

Lot 21

Nelson Makamo b.1982 South Africa

Procession 2015 charcoal, pastel, watercolour and acrylic on paper signed and dated along the right edge 140 x 199 cm

R150 000 – 200 000

Lot 22

Nelson Makamo b.1982 South Africa

Portrait of a girl 2019 charcoal, acrylic and watercolour on paper signed and dated along the right edge 160 x 120 cm

R140 000 – 180 000

Lot 23

Conrad Botes b.1969 South Africa

Untitled (Self Portrait) 2012 oil on reverse glass signed with the artist’s initials and dated bottom right diameter: 75 cm

R30 000 – 40 000

Lot 24

Kendell Geers initially established himself in South African

Kendell Geers

contemporary art practice in the 1980s and 1990s as an enfant

b.1968 South Africa

Title Withheld (Red and White) 1993 found chevron signage signed, dated November 1993 and inscribed with the title on the reverse 44 x 75 cm

R40 000 – 60 000

terrible of conceptualism. A consistent deployment of the banal tools of insurrection and political revolt marked his work through this time – the safety match that lit the petrol bombs and the brick that smashed a window were, for example, staged as gallery exhibits in a post-Duchampian ready-made idiom. However, the most consistent visual marker of his approach was the use of red and white chevron security tape, as with the work on auction. This quotidian object is defined in civil uprising and security situations by being the definition of an excluded zone – either a site of unrest or even murder – and deployed by official state forces to define the spaces of inclusion and exclusion. Geers adds further nuance to this work through the wordplay on works of art being titled ‘Untitled’. Here, it is not an untitled work, but one for which the title is actively withheld in an ironically authoritarian gesture. James Sey

Lot 25

In this early work, Kudzanai Chiurai plays loosely with the

Kudzanai Chiurai

boundaries of the medium, juxtaposing photographs taken

b.1981 Zimbabwe

Untitled (Dakar street scenes) 2006 archival pigment print between spraypainted Perspex sheets 50 x 105.5 cm

R70 000 – 100 000

while traveling in Senegal with a highly-stylized, spray-painted portrait. The artist’s work has been widely exhibited across Africa, Europe and North America. He was recently included in dOCUMENTA 13 in 2012, Art/Afrique, Le nouvel atelier at the Fondation Louis Vuitton, Paris in 2017 and honoured with an early retrospective at the Zeitz Museum of Contemporary Art Africa in 2017. Kathryn Del Boccio

Lot 26

Kiluanji Kia Henda is an Angolan artist who has spent

Kiluanji Kia Henda

considerable time in South Africa, between Johannesburg and

b.1973 Angola

Cape Town. His exhibition, Expired Trading Products, was

Expired Trading Product I

first staged at Blank Projects in Cape Town in 2008, when

2008 digital print on found synthetic hessian bag signed, dated 08 C.T. and inscribed P/P in ink along the bottom 120 x 130 cm

R50 000 – 80 000 L IT E R AT U R E

Kia Henda, Kiluanji. (2016). Kiluanji Kia Henda: Travelling to the Sun Through the Night. Göttingen: Steidl, illustrated p.124 and 127. EXHIBITED

Blank Projects, Cape Town, Expired Trading Products, 2008.

Blank was still a project space and involved in co-ordinating artist’s residencies. The show was one of the results of a three-month residency in the city undertaken by the artist. In it, Henda responds to the widespread outbreak of xenophobic violence which at the time had spread across South Africa. Understandably, the artist was actively involved with the expat Angolan community in Cape Town, where they had established lives after leaving Angola to seek better opportunities. In his work, Henda draws explicit parallels between Angolan expats and the commodified and obsolete nature of ‘expired trading products’ – pointing first and formeost to the dehumanising nature of xenophobic violence, but also to the fact of the capitalist commodification of human life. James Sey

SOUT H AFRICA N PH OTO GRAP HY Photographs continue to be an important growth area in the South

Established photographers such as Mikhael Subotzky (Lot 37),

African and international art markets, and an increasingly integral

Sue Williamson (Lot 36) and Athi-Patra Ruga (Lot 38) are

part of private and institutional collections of all sizes. The strong

represented, alongside three particularly excellent examples from

global demand for established and emerging photographers from

David Goldblatt’s oeuvre (Lots 28, 29 and 33). Two of the three

Southern Africa shows no sign of abating. Beyond the collecting

were hand printed by Goldblatt himself in his own darkroom, all

market, the medium continues to capture the public imagination:

of which carry the excellent provenance of being acquired directly

2018 figures show in excess of 3 million tickets purchased for the

from the photographer. Aspire set a landmark world record price

world’s best-attended photography exhibitions.

at auction for a single David Goldblatt photograph in June of this

The photographic lots in this sale represent a wide range of

year, underscoring the demand for work by established masters of

modern and contemporary approaches to the medium. While many

the medium. Rounding out the offering is Zanele Muholi (Lot 31),

photographers work strictly within the medium, this sale offers

who will enjoy a major mid-career retrospective at the Tate Modern

strong examples of artists pushing the boundaries of contemporary

in 2020. Aspire is also pleased to debut rising star Jabulani Dlamini

photographic practice: an early work by Kudzanai Chiurai

(Lots 34 and 35) at auction with two works from his second show at

(Lot 25) and a rarely seen piece by Kiluanji Kia Henda (Lot 26)

Goodman Gallery.

each integrate photographs alongside other mediums; Andrew Putter (Lot 27) and Nandipha Mntambo (Lot 30) both explore photography’s potential to subvert older, art-historical traditions of portraiture, history and mythological paintings.

Kathryn Del Boccio. 1 The Art Newspaper. (2019.) https://www.theartnewspaper.com/feature/ranked-thetop-ten-most-popular-shows-in-their-categories-from-around-the-world. Accessed 4 August 2019.

LEFT (DETAIL)

Lot 29 David Goldblatt Circumcision Initiate near Coffee Bay, Transkei, 1975

Lot 27

African Hospitality emerged out of an interest in the encounter

Andrew Putter

between Africa and Europe – both as something that happened

b.1965 South Africa

in the past, as well as something that is still happening now.

Guillaume Chenude Chalezac (from the African Hospitality series) 2009 archival pigment ink on cotton rag paper 74 x 52.5 cm from an edition of 8 + 2AP

R30 000 – 40 000 NO T E S

Accompanied by a certificate of authenticity signed by the artist. Photography and compositing by Tony Meintjes. EXHIBITED

Michael Stevenson Contemporary, Cape Town, Summer 2009/10: Projects, 26 November 2009 to 16 January 2010, another example from the edition exhibited. Zeitz MOCCA Pavillion, Cape Town, Zanele Muholi and Andrew Putter, 23 July to 12 October 2014, another example from the edition exhibited.

Many Europeans were shipwrecked along the ‘Wild Coast’ in the 1600s and 1700s. Although most fled or perished, a handful were taken in by local Xhosa-speaking communities. Some of these European castaways formed deep ties with their African hosts, learning the language, intermarrying, and dying as Africans. Andrew Putter draws equally on the cultural histories of both Europe and Africa. Although the adornments and landscapes are largely South East African, the poses, compositions and lighting are heavily indebted to 18th century English painting. These works remind us that we can choose to affirm new thoughts and feelings emerging through the interplay of dissimilar cultures. Guillaume Chenude Chalezac was a 15-year old French cabin boy who found himself on a small boat sent to the mainland, near present-day East London, after the ship on which he sailed ran into trouble in 1687. Taken in by a Xhosa chief, he learned to speak Xhosa, took part in a military expedition against Khoi raiders, and built up a small herd of cattle. Guillaume wears crane feathers in his hair (signifying his status as a warrior). In his hair he also wears a European diamond comb, and in his ear a European pearl earring. Around his neck are brass and leather necklaces, and on his arms bracelets made of pearls, indigenous coral tree seeds, and a delicate string of ancient trade beads – which would have washed up along the Wild Coast for centuries. He carries an iron-tipped spear in one hand and a carved wooden fighting stick in the other. He wears a piece of French brocade at his waist, belted with goat-skin. Text supplied

Lot 28

David Goldblatt South African 1930–2018

The farmer’s son with his nursemaid, the farm Heimweeberg, near Nietverdiend in the Marco Bushveld. Transvaal (North-West Province), 1964 1964, printed 2006 gelatin silver print signed and dated in pencil on the reverse 28 x 40.5 cm from an open edition

R150 000 – 250 000 NO T E S

Other examples from the edition are in the permanent collections of the San Francisco Museum of Modern Art (SFMOMA), San Francisco; National Gallery of Victoria, Melbourne; Victoria and Albert Museum, London; Pier 24 Photography, San Francisco. PROVENANCE

From the same lab as the edioned prints and acquired directly from the artist. EXHIBITED

Museum of Contemporary Art Australia, Sydney, David Goldblatt: Photographs 1948–2018, 18 October 2018 to 3 March 2019, another example from the edition exhibited. Goodman Gallery, Johannesburg, On Common Ground: David Goldblatt and Peter Magubane, 28 July to 25 August 2018, another example from the edition exhibited. Centre Pompidou, Paris, David Goldblatt: Structures of Dominion and Democracy, 21 February to 13 May 2018, another example from the edition exhibited. L IT E R AT U R E

Kent, R. (ed.). (2018). David Goldblatt: Photographs 1948–2018. Sydney: Museum of Contemporary Art Australia, another example from the edition illustrated on p.74. Ziebinska-Lewandowska, K. (ed.). (2018). David Goldblatt: Structures of Dominion and Democracy. Göttingen: Steidl, another example from the edition illustrated on p.105.

Goldblatt, D. (2007). Some Afrikaaners Revisited. Johannesburg: Umuzi-Random House, another example illustrated on p.27 and 88. Paterson, Moira. (6 April 1986). Totems of the White Tribe. London, Observer magazine, another example illustrated on p.32. Barents, E. and O’Toole, S. (2014). Apartheid & After. Amsterdam: Huis Marseilles, another example illustrated on p.23, exhibition catalogue for Apartheid & After, Huis Marseilles, Amsterdam, 15 March to 8 June 2014. Goldblatt, D. (2010). Kith, kin & khaya: South African photographs. Johannesburg: Goodman Gallery Editions, another example from the edition illustrated on p.52, exhibition catalogue for South African Photographs, The Jewish Museum, New York, 2 May to 19 September 2010 and Kith, kin & khaya: South African photographs, South African Jewish Museum, Cape Town, 31 October 2010 to 11 February 2011. Goldblatt, D. and Parr, M. (2006). David Goldblatt: Photographs. Milan: Contrasto, another example illustrated on p.27, exhibition catalogue for David Goldblatt, Recontres Internationales de la Photographie, Arles, 2006. Goldblatt, D. (2001). Fifty-One Years. Barcelona: Museu d’Art Contemporani de Barcelona, another example from the edition illustrated on p.91, exhibition catalogue for David Goldblatt: Fifty-One Years, Museu d’Art Contemporani de Barcelona, February to May 2002, with four additional venues.

In 1964, David Goldblatt undertook a trip to the Marico Bushveld, near the Botswanan border. Prompted by the imminent launch of Herman Charles Bosman’s book of short stories Unto Dust, Goldblatt set out with South African Tatler editor Sally Angwin to photograph the land and the people who called it home. Goldblatt had only recently begun to take photographs full-time, and his work photographing the Afrikaners began the year prior. The trip proved to be fortuitous: among the photographs taken was the image in Lot 28, perhaps one of the most important and best known from the resulting publications Some Afrikaners Photographed (1975) and Some Afrikaners Revisited (2009). Another example of this image is planned for the cover of the forthcoming Steidl re-issue of Some Afrikaners Photographed. Highly regarded for both its incredible tenderness and complexity of subject and elegant composition, this work is a succinct appraisal of a particular moment in South African history and has been widely exhibited and even more widely reproduced. In speaking more generally about the project Some Afrikaners Photographed, Goldblatt alludes to the ambiguity and open-endedness that characterizes this landmark photograph, saying ‘I’ve learnt with photographs that if I’ve done my job properly I haven’t made judgements for the viewer. They’ve got to find their way into the picture and, often, what they find is not what I saw.’ Kathryn Del Boccio 1 Kent, R. (ed.) (2018). David Goldblatt: Photographs 1948-2018. Sydney: Museum of Contemporary Art Australia, p.28.

Lot 29

David Goldblatt South African 1930–2018

Circumcision Initiate near Coffee Bay, Transkei, 1975 1975, printed 1982 hand printed gelatin silver print on fibrebased paper signed, dated and inscribed with the title in pencil on the reverse sheet size: 38 x 30 cm

R150 000 – 250 000

American Corporation’s in house magazine Optima led to the publication of a photographic essay about the Transkei, a selection of photographs from which was later published in 1978 by German-language magazine Geo (this time in

NO T E S

collaboration with Nadine Gordimer.)1 The resulting images

Hand printed by the artist.

from Goldblatt’s Transkei sojourn were not published as

Other examples from the edition are in the permanent collections of the National Gallery of Victoria, Melbourne and the Victoria and Albert Museum, London. PROVENANCE

Acquired directly from the artist. EXHIBITED

Goodman Gallery, Johannesburg, On Common Ground: David Goldblatt & Peter Magubane, 28 July to 25 August 2018, another example from the edition exhibited. Standard Bank Gallery, Johannesburg, David Goldblatt: The Pursuit of Values, 21 October to 5 December 2015, another example from the edition exhibited. L IT E R AT U R E

Weinberg, P. (ed.) (2018). Magubane | Goldblatt: On Common Ground. Johannesburg: Goodman Gallery, another example from the edition illustrated on p.102, exhibition catalogue for 25–28 August 2018. Goldblatt, D. (2015). David Goldblatt: The Pursuit of Values. Johannesburg: Standard Bank Gallery, another example from the edition illustrated on p.36. Goldblatt, D. (2010). Kith, kin & khaya: South African photographs. Johannesburg: Goodman Gallery Editions, another example from the edition illustrated on p.83, exhibition catalogue for South African Photographs, The Jewish Museum, New York, 2 May to 19 September 2010 and Kith, kin & khaya: South African photographs, South African Jewish Museum, Cape Town, 31 October 2010 to 11 February 2011. Goldblatt, D. (2001). Fifty-one Years. Barcelona: Museu d’Art Contemporani de Barcelona, another example from the edition illustrated on p.91, exhibition catalogue for David Goldblatt: Fifty-one Years, Museu d’Art Contemporani de Barcelona, February to May 2002, with four additional venues.

In 1975, David Goldblatt’s association with the Anglo-

a stand-alone, dedicated photobook. Rather, they make appearances throughout a wide variety of museum, gallery and book projects, as proof of the consistency of Goldblatt’s methodology, approach and thematic concerns across his image-making lifetime. This iconic portrait of a young man entering into the mysteries and responsibilities of adulthood via circumcision initiation has been widely exhibited and reproduced and is a highly regarded example from Goldblatt’s work in the Transkei. Kathryn Del Boccio 1 Ziebinska-Lewandowska, K. (ed.). (2018). David Goldblatt: Structures of Dominion and Democracy. Göttingen: Steidl, p.333-4.

Lot 30

Drawing upon a rich tradition of art historical and

Nandipha Mntambo

mythological references, Nandipha Mntambo’s striking

b.1982 Swaziland

self-portrait is a composite in which the artist performs

The Rape of Europa

both subjects. The resulting image is tensely ambiguous:

2009 chromogenic print sheet size: 112 x 112 cm number 1, from an edition of 5

both minotaur and woman are frozen in medias res, with a

R50 000 – 70 000

Bank Young Artist Award for Visual Art in 2011. Her work

multiplicity of possible outcomes. Nandipha Mntambo was honoured with the Standard has been exhibited at the South African Pavilion at the 56th

NO T E S

Accompanied by a certificate of authenticity signed by the artist. Another example from the edition is in the permanent collection of Zeitz MOCAA, Cape Town. Photographic compositing by Tony Meintjies. EXHIBITED

Michael Stevenson Contemporary, Cape Town, The Encounter, 16 April to 30 May 2009, another example from the edition exhibited.

Venice Biennale, 2015; the Brooklyn Museum, New York; the Smithsonian National Museum of African Art, Washington DC and the Zeitz Museum for Contemporary Art Africa, among others. Kathryn Del Boccio

Lot 31

Zanele Muholi’s sustained and thoughtful investigation of black queer

Zanele Muholi

and trans visual identity has established her as one of South Africa’s

b.1972 South Africa

most important photographers. Her powerful portraits and self-portraits

Isililo XX

‘function on various levels and pay homage to the history of black

2014 inkjet print on Baryta coated rag sheet size: 50.5 x 50 cm number 75, from an edition of 100

women in Africa and beyond … They reimagine black identity in ways

R25 000 – 30 000

of color.’1

that are largely personal but inevitably political. And they challenge the stereotypes and oppressive standards of beauty that often ignore people Zanele Muholi’s recent honours include: France’s Chevalier de l’Ordre

NO T E S

Accompanied by a certificate of authenticity signed by the artist. PROVENANCE

Zeitz MOCAA, Cape Town. The entire edition of 100 was donated by the artist, for sale in support of the Zeitz MOCAA artist endowment fund to support exhibitions and acquisitions for Zeitz MOCAA. Another example is held in the permanent collection of the Zeitz MOCCA, Cape Town.

des Arts et des Lettres, 2018; The International Centre of Photography, New York, Infinity Award for Documentary and Photojournalism, 2016; shortlisted for the Deutsche Börse Photography Prize, London, 2015 for the publication Faces and Phases 2006-14 (Steidl/The Walther Collection); Fondation Blachère award, Les Rencontres de Bamako, Mali, 2009. Her retrospective will open at the Tate Modern in 2020. Kathryn Del Boccio 1 Berger, M. (2018). ‘Zanele Muholi: Paying Homage to the History of Black Women, New York Times, 3 December. Available at: https://www.google.co.za/amp/s/www.nytimes. com/2018/12/03/lens/zanele-muholi-somnyama-ngonyama-south-africa.amp.html. Accessed 4 August 2019.

Lot 32

Constance Stuart Larrabee British 1914–2000

Untitled (from the Ndebele series), three c.1937–1947, printed later gelatin silver prints 36.5 x 44.5 cm; 46 x 39 cm; 39 x 37 cm (3)

R18 000 – 24 000 PROVENANCE

Upon her death in 2000, the artist’s entire extant archive of over 9,000 negatives and 3,000 prints was entrusted to various institutions connected to the Smithsonian Institution, Washington DC, in which can be found either a negative or print of every image from her Ndebele series L IT E R AT U R E

Elliott, P. (2018). Constance: One Road to Take: The Life and Photography of Constance Stuart Larrabee (1914–2000). Alairac, France: Cantaloup Press, other comparable examples from the Ndebele series illustrated on p.22–27. Knight, N. (2017). The Big Picture. Johannesburg: Batya Bricker, another example from the edition illustrated on p.25. Comley, R., Hallett, G., Ntsoma, N. and Siopis, P. (2006). Women by Women: 50 Years of Women’s Photography in South Africa. Johannesburg: Wits University Press, other comparable examples from the Ndebele series illustrated on p.16–18. Wilcox, S. (1995). Constance Stuart Larrabee: Time Exposure. New Haven, Connecticut: Yale Centre for British Art and Herlin Press, other comparable examples from the Ndebele series illustrated throughout. Livingston, J. (1984). Constance Stuart Larrabee: Tribal Photographs. Washington DC: Corcoran Gallery of Art, other comparable examples from the Ndebele series illustrated throughout. Knight, N. and Priebatsch, S. (1983). Ndebele Images. Johannesburg: Studio Press, one comparable example from the Ndebele series illustrated on p.27.

DC, Constance Stuart Larrabee: Tribal Photographs, 7 April to 3 June 1984, other examples from the Ndebele series exhibited.

EXHIBITION

Natalie Knight Gallery, Johannesburg. Ndebele Images, 1983, other examples from the Ndebele series exhibited.

Yale Centre for British Art: New Haven, Connecticut, Constance Stuart Larrabee: Time Exposure, 9 September to 12 November 1995, other examples from the Ndebele series exhibited. Corcoran Gallery of Art, Washington

Association of Arts, Pretoria; Art Gallery, University of Stellenbosch; the Market Theatre Foundation, Johannesburg. Constance Stuart Larrabee Celebration,

1983, other examples from the Ndebele series exhibited. Johannesburg Art Gallery, Johannesburg, Constance Stuart Larrabee, opening 13 March 1979, other examples from the Ndebele series exhibited. Museum of Modern Art, New York, The Family of Man (curated by Edward Steichen), 24 January to 8 May 1955, followed by an eight year global tour throughout Africa, the Middle East, the

Americas, South and Southeast Asia and Europe. The exhibition is permanently archived and displayed in Clervaux Castle, Luxembourg and contains two Larrabee prints, one of which is another example from the Ndebele series. American Museum of Natural History, New York, Tribal Women of South Africa, 1953, other examples from the Ndebele series exhibited.

A consummate photographer and printer, Constance Stuart Larrabeeâ&#x20AC;&#x2122;s Bauhaus-influenced German photographic training is evident in her meticulous compositional strategies. A working commercial photographer, Larrabee owned and operated successful portrait studios in Johannesburg and Pretoria. Her portraits of Ndebele people living in the greater Pretoria area formed a separate, non-commercial project. It was carried out over many years of weekend trips, sometimes in the company of her friend and contemporary, the artist Alexis Preller. After working as South Africaâ&#x20AC;&#x2122;s first female war photographer in WWII, Larrabee left South Africa for the United States, where she lived until her death in 2000. Kathryn Del Boccio 55

Lot 33

David Goldblatt South African 1930–2018

Grandmother and Child, Transkei, 1975 1975 hand printed gelatin silver print on fibre-based paper signed, dated, inscribed with the title and 5 in pencil on the reverse sheet size: 29 x 25.5 cm

R90 000 – 120 000 NO T E S

Hand printed by the artist. Another example from the edition is in the permanent collection of the Victoria and Albert Museum, London. PROVENANCE

Acquired directly from the artist. EXHIBITED

Museum of Contemporary Art Australia, Sydney, David Goldblatt: Photographs 1948–2018, 18 October 2018 to 3 March 2019, another example from the edition exhibited. Howard Greenberg Gallery, New York, David Goldblatt: Particulars, 30 April to 12 June 2010, another example from the edition exhibited. Marian Goodman Gallery, Paris, David Goldblatt, 4 May to 16 June 2007, another example from the edition exhibited. Goodman Gallery, Johannesburg, David Goldblatt: Particulars and Rural South Africa, 25 October to 15 November 2003, another example from the edition exhibited. Rencontres Internationales de la Photographie, Arles. David Goldblatt. July to September 2006, another example exhibited. South African National Gallery, Cape

Town, Thirty-five years of photographs, April 1983 to January 1984, another example from the edition exhibited.

In a lifetime of image making, the photographs from David

Huis Marseilles Museum voor Fotografie, Amsterdam. Apartheid & After. 15 March to 8 June 2014, another example exhibited.

Goldblatt regularly offers a studious survey of rich and broad

LITERATU RE

Goldblatt’s body of work Particulars stands apart. Where context and associated peripheral layers of meaning, the Particulars images are singular in their focus. The series was an exploration undertaken largely in the mid

Goldblatt, D. (2014). Particulars. Germany: Steidl, another example from the edition illustrated plate 17.

1970s, though not seen publicly as a coherent body of work

Barents, E. and O’Toole, S. (2014). Apartheid & After. Amsterdam: Huis Marseilles, another example illustrated on p. 14 and 22, exhibition catalogue for Apartheid & After, 15 March to 8 June 2014.

Goldblatt shot both in Johannesburg’s Joubert Park, and on

Goldblatt, D. and Parr, M. (2006). David Goldblatt: Photographs. Milan: Contrasto, another example illustrated on p.77, exhibition catalogue for David Goldblatt, Rencontres internationales de la Photographie, Arles, July to September 2006. Goldblatt, D. (2001). 55. London: Phaidon, another example from the edition illustrated on p.65. Goldblatt, D & Gordimer, N. (1986). Lifetimes under Apartheid. London: Jonathan Cape, another example from the edition illustrated on p.29.

until the 2003 publication and exhibition of the same title. travels through the then-Transkei, in a six month period in which he described his image making as ‘… mostly portraits, quite formal encounters between the subjects and me, in which I was often intensely conscious of details: folds of flesh, the weight of limbs, roughness of hands, length of fingers … repose and tension. Such awareness was part of the making of portraits. But I found out that it was the thing itself. For about six months in 1975 I become completely absorbed in exploring something that I had possibly had since childhood – a certain way of knowing our bodies; a heightened awareness of our particulars.’1 Kathryn Del Boccio 1 Kent, R. (ed.) (2018). David Goldblatt: Photographs 1948–2018. Sydney: Museum of Contemporary Art Australia, p.260.

Lot 34

A fast-rising talent in South African photography, Jabulani

Jabulani Dhlamini

Dlamini was the recipient of the Edward Ruiz Fellowship at

b.1983 South Africa

Dhlomo, Putswastena, Sharpeville

showing his work with Goodman Gallery in 2013.

2015 pigment ink on fibre paper image size: 69 x 69 cm

and 35) investigate the long shadow of the 1960 Sharpeville

R40 000 – 60 000 NO T E S

Accompanied by a certificate of authenticity signed by the artist. EXHIBITED

Goodman Gallery, Cape Town, Recapture, 10 March to 6 April 2016, another example from the edition exhibited.

Johannesburg’s Market Photo Workshop in 2011-2 and began These two photographs from his Recapture series (Lots 34 Massacre; its legacy of violence and trauma, and the vocabulary and importance of remembrance. Over a period of many years, Dlamini photographed and interviewed Sharpeville survivors, in a careful meditation on the formation and persistence of collective memory. Kathryn Del Boccio

Lot 35

Jabulani Dhlamini b.1983 South Africa

Shebezi I, Sea Point, Sharpeville 2015 pigment ink on fibre paper image size: 69 x 69 cm

R40 000 – 60 000 NO T E S

Accompanied by a certificate of authenticity signed by the artist. EXHIBITED

Goodman Gallery, Cape Town, Recapture, 10 March to 6 April 2016, another example from the edition exhibited.

Lot 36

Sue Williamson b.1941 South Africa

Deka Yusuf Farrh and Nisa (from the Better Lives series) 2003 pigment ink on cotton rag paper signed, dated and numbered 2/6 in pencil along the bottom margin image size: 117.5 x 91 cm

R30 000 – 50 000 EXHIBITED

Apartheid Museum, Johannesburg, Can’t Remember, Can’t Forget, 21 March to 31 May 2017, another example from the edition exhibited. 6th Beijing International Art Biennale, Beijing, 2015, another example from the edition exhibited. Wertz Gallery, Atlanta, Hotels and Better Lives, 2 February to 20 March 2007, another example from the edition exhibited. Goodman Gallery, Johannesburg, Hotels and Better Lives, 2005, another example from the edition exhibited. João Ferreira Gallery, Cape Town, Hotels and Better Lives, 11 to 28 May 2005, another example from the edition exhibited. Michael Stevenson Contemporary, Cape Town, Staged Realities: Composure, 24 March to 8 May 2004, another example from the edition exhibited. L IT E R AT U R E

Williamson, Sue. (2015). Sue Williamson: Life and Work. Milan: Skira Editore S.p.A., another example from the edition illustrated on p.170. Virginia Museum of Fine Arts. (2009). Darkroom: Photography and New Media in South Africa, 1950 to the Present. USA: Virginia Museum of Fine Arts, another example from the edition illustrated n.p. cf. Williamson, S. (2009). South African Art Now. New York: Collins Design, another example from the series illustrated in colour on p.14. Dak’Art 2004: 6th Biennial of Contemporary African Art. (2004). Senegal: Dak’Art, another example from the edition illustrated in the catalogue, n.p.

The portrait of Deka Yusuf Farrh and her daughter Nitshma is one of six in the Better Lives series, about immigrants from other African countries who come to Cape Town to seek a better life. In 1998, Deka Yusuf Farrh’s father was shot in his shop by robbers. Deka left Somalia the next day. She was pregnant at the time. At the Namibian border, she was arrested, as the Namibian officials did not recognise her Somalian passport. Deka spent six months in jail there, where she gave birth to her daughter, Nitshma. Eventually her mother sent her money to bribe officials and Deka got to Cape Town, where at the time of the portrait she was surviving by running a cigarette stand next to the Kimberley Hotel. Sue Williamson

Lot 37

Mikhael Subotzky’s much-lauded series Beaufort West

Mikhael Subotzky

documents life within and outside of Beaufort West Prison in

b.1981 South Africa

Sunday Service, Beaufort West Prison, 2006 lightjet chromogenic print 126 x 147.66 cm number 3, from an edition of 9

R100 000 – 150 000 NO T E S

Accompanied by a certificate of authenticity, signed by the artist. EXHIBITED

Museum of Modern Art, New York, New Photography 2008: Josephine Meckseper and Mikhael Subotzky, 10 September 2008 to 12 January 2009, another example from the edition exhibited.

the Western Cape. Of Subotzky’s considerable body of work, this series is among the best-known, having been exhibited at the Museum of Modern Art, New York in 2008. In addition to honours including the Deutsche Börse Photography Prize (for the book Ponte City, in collaboration with Patrick Waterhouse), London, 2015; Standard Bank Young Artist of the Year for Visual Art, Grahamstown, 2012; and being accepted as the youngest full member of Magnum Photos, 2008, Subotzky’s work is collected by institutions such as the Museum of Modern Art, New York; the Solomon R Guggenheim Museum, New York; Tate, London; and Centre Pompidou, Paris. Kathryn Del Boccio

L IT E R AT U R E

Subotzky, M. (2008). Beaufort West. London: Chris Boot Ltd, illustrated in colour on p.71.

Lot 38

Athi-Patra Ruga b.1984 South Africa

Intervention on the Anglo Boer Monument 2015 chromogenic print on Fuji Crystal Archive paper signed, dated and numbered 98/100 in pencil in the margin sheet size: 54 x 38 cm from an edition of 100 + 2AP

R15 000 – 20 000 NO T E S

Number 1 from this edition is in the permanent collection of the Iziko South African National Gallery (ISANG).

Athi-Patra Ruga is a multidisciplinary artist who uses his own imagined fictional characters to explore notions of utopia and dystopia in a post-apartheid South Africa. In many of his performances, Ruga’s characters confront colonial-era monuments and landmarks, reclaiming them for the artist’s utopian nation of Azania. This still is taken from Ruga’s performance at the 2012 National Arts Festival in Grahamstown where one of the artist’s most prominent characters, the Future White Woman of Azania (FWWOA), is seen bursting paint-filled balloons against the Winged Angel of Peace, erected on Bathurst street to

P RO V E N A N C E

commemorate fallen soldiers in the Boer War. The artist refers

The entire edition was donated to the Friends of the Iziko South African National Gallery Print Collection. All proceeds from this fundraising initiative went towards furthering the Friends’ support of ISANG.

to this act as ‘counter-penetration’; the non-destructive protest against and reclamation of signifiers in a dystopian nation. Lisa Truter

Lot 39

Norman Catherine b.1949 South Africa

Tapticle resin and found objects 19 x 8 x 11 cm

R20 000 – 30 000

Lot 40

David Brown South African 1951–2016

On the Telephone IV 2001 wood, paint, found photographs and found object assemblage with vinyl on glass signed with the artist’s initials and dated on the reverse; inscribed with the artist’s name and the title on Everard Read and João Ferreira Gallery labels on the reverse 110 x 80 x 10 cm

R20 000 – 30 000 PROVENANCE

Everard Read, Cape Town. João Ferreira Gallery, Cape Town.

In the 1970s, David Brown photographed in the oldest, but also the only, tattoo parlour in Cape Town, called Tattoo Jim. In those days, tattoos were not the desired affirmation of personal identity that they are today and those who were seen to be, or thought themselves to be on the fringes of society went to Tattoo Jim’s for their tattoo fantasies. Brown hung out at Jim’s place and met many people whom were keen to show off their tattoos. In this image, one of Tattoo Jim’s regulars posed for Brown. The image is surrounded by photographs of childhood and the case includes a pile childhood toys. I think he was thinking about forms of innocence and the ways in which the world of play in childhood finds expression in adulthood, often against

EXHIBITED

all odds.1

Everard Read, Cape Town, David Brown: On the Telephone: Multi-media sculpture and sculptural paintings, 2012

Pippa Skotnes 1 Email to Emma Bedford, 3 August 2019.

Lot 41

Recognised by many for his performance pieces, Steven Cohen considers himself as much of a

Steven Cohen

visual artist as a performer on account of the multidisciplinary nature of his practice, alongside

b.1962 South Africa

Schlafe Süss, dass Du am Morgen Frisch und froh bist, ohne Sorgen! (Sleep sweetly, so that you are fresh and happy in the morning, without worries!) screenprint and embroidery on linen 68 x 165 cm

R50 000 – 80 000

his role as a queer activist. These roles overlap and integrate as Cohen’s unapologetic recognition of his multifaceted identity, as that of a South African who is at once Jewish, queer and white, is articulated through a series of confrontational spectacles intended to provoke audiences. Cohen’s performances, accompanied by video and photographic documentation, often feature the artist’s distinct screenprints, an element of his oeuvre which predates his performance work and appear as backdrops, upholstery and costume, or, as in this case, as standalone works. In these early prints, the confrontational use of the motif of the erect penis, which often featured, confirms Cohen’s stance as a queer activist artist. His work at the time is all the more brave for having confronted the draconian apartheid regime with his marginalized and actively policed sexual identity. Cohen has performed and exhibited across the world. Works by the artist, such as Chandelier (2002), form part of the permanent collections of the Iziko South African National Gallery and are regularly exhibited. Marc Smith

Lot 42

Diane Victor b.1964 South Africa

Bayard (from the Four Horses series) 2009 offset lithograph and etching with embossing signed, numbered 1/20 V.O. and inscribed with the title in pencil along the bottom margin sheet size: 190 x 124 cm

R90 000 – 120 000 EXHIBITED

Goodman Gallery, Johannesburg, Transcend, 15 April to 22 May 2010, another example from the edition exhibited.

This large-scale etching from Diane Victor’s Four Horses series was exhibited as part of her Transcend solo exhibition at the Goodman Gallery in Johannesburg in 2010. It is a striking work in which an image of a seemingly valorous, apocalyptic horseman on horseback appears as the harbinger of a different era. The rearing horse traverses history, casting a shadow of destruction which is rendered as a detailed aerial view of a historical European city. Victor’s command of mark-making to depict the subject in hauntingly fine detail is evident. She is a master draughtsman and an expert printmaker – here incorporating various traditional techniques with digital printing to heighten meaning. A renowned figure in South African and international art, Victor has exhibited widely at major centers including MoMA in New York. Marelize van Zyl

Lot 43

Wim Botha b.1974 South Africa

Untitled (Ecstasy drawing) 2010 charcoal on paper signed and dated centre-right 98.5 x 69.5 cm

R50 000 – 70 000

Lot 44

Paul du Toit South African 1965–2014

Internal Heat 2003 oil and acrylic on canvas signed top right and dated bottom left 140 x 120.5 cm

R50 000 – 70 000 L IT E R AT U R E

Jamal, A. (ed.). (2016). Paul. Cape Town: PlanetPaul, illustrated in colour on p.158.

Lot 45

Best known for his highly technical neo-pointillist style paintings, Gavin Rain’s

Gavin Rain

work nods toward the structure and rigour of digital printing technologies. Rain’s

b.1971 South Africa

carefully planned compositions are underpinned by hours of preparation: each

Marilyn

dot of painting meticulously mapped using projection or a string grid super-

2014 acrylic on canvas signed with the artist’s initials and dated bottom right 100 x 100 cm

structure over his canvas. The resulting portraits are an elegant challenge to the

R80 000 – 120 000

Pavillion at the 55th Venice Biennale.

limitations of human vision: familiar subjects snap into focus only as we allow our eyes and brain a bit of distance to process the complex arrangements of colour and composition. In 2013, Rain’s work was included in the Bangladesh

Kathryn Del Boccio

Lot 46

John Kramer b.1946 South Africa

Grocotts, Grahamstown 1978 acrylic over pencil on board signed and dated bottom right; inscribed with the title, the artistâ&#x20AC;&#x2122;s name and address on the reverse 43.5 x 57.5 cm

R25 000 â&#x20AC;&#x201C; 35 000

Lot 47

Hannatjie Van Der Wat b.1923 South Africa

Abstract oil on canvas laid down on board signed bottom centre 102 x 76 cm

R30 000 – 40 000

Lot 48

Keith Alexander South African 1946–1998

Desert 1975 oil on canvas board signed and dated bottom right 38 x 47 cm

R40 000 – 60 000

Lot 49

MJ Lourens b.1973 South Africa

Junction 2002 oil on board signed and dated bottom left 70 x 90 cm

R20 000 – 30 000

Lot 50

Ransome Stanley b.1953 United Kingdom

Untitled, diptych 2010 charcoal and pastel on paper inscribed with the artist’s name and the title on a Gallery MOMO label on the reverse 68.5 x 197 cm, combined (2)

R80 000 – 120 000 PROVENANCE

Gallery MOMO, Johannesburg.

Lot 51

Peter Eastman creates immersive and atmospheric forest-scapes

Peter Eastman

in close-up view. Referencing his own photographs taken of a

b.1976 United Kingdom

deep-sided valley on his family farm, he reworks the images to

Riverbank I

construct quiet, yet mesmerising scenes, which hover between

2018 oil on aluminium signed and dated on the reverse 185 x 148 cm

representation and abstraction.

R70 000 – 90 000

is one of only two works in Eastman’s Riverbank series

Here, the monochromatically rendered riverbank is dense and dreamlike – its hazy hyperrealism visually alluring. Riverbank I produced thus far.

EXHIBITED

Investec Cape Town Art Fair, Cape Town, SMAC Gallery, 16 to 18 February 2018.

Lisa Truter

Lot 52

Sam Nhlengethwa b.1955 South Africa

Miles Davis Solo I; Miles Davis; Take I; Take II; John Coltrane; Score Reading (from the Kind of Blues series), six 2010 two-colour chine collé lithographs each signed, dated, numbered and inscribed with the respective title in pencil along the bottom margin image size: 24.5 x 30.5 cm each (6)

R20 000 – 30 000 NO T E S

Numbered: Miles Davis Solo I, 23/25; Miles Davis, 23/25; Take I 6/25; Take II, 7/25; John Coltrane, 16/25; Score Reading, 5/25 EXHIBITED

Wits Art Museum, Johannesburg, Leto: A Sam Nhlengethwa Print Retrospective, 11 June to 17 August 2019, other examples from the edition exhibited. Goodman Gallery, Johannesburg, Kind of Blues, 26 August to 29 September 2010, other examples from the edition exhibited.

Lot 53

Gary Stephens b.1962 United States of America

Spiral braids charcoal on folded paper with string system signed bottom right 152 x 152 cm

R70 000 – 100 000

Lot 54

Diane Victor b.1964 South Africa

Untitled (Ballet studio) charcoal and pastel on paper signed bottom right 92 x 57.5 cm

R80 000 – 120 000

Lot 55

In 2018, David Hockney’s Portrait of an Artist (Pool with Two Figures) sold in New York

David Hockney

for $90.3 million, at the time the highest amount paid for an artwork by a living artist. The

b.1937 Britain

work features a figure swimming breaststroke underwater in a crystal blue pool while another

Peter (S.A.C 110; MCA Tokyo 107)

figure peers down from the edge. The standing blonde figure in this iconic painting is Peter

1969 etching and aquatint on J. Green wove paper signed, dated and numbered 39/75 in pencil along the bottom margin sheet size: 93 x 71.5 cm

was teaching a summer drawing class that Schlesinger attended. Schlesinger then moved into

R50 000 – 70 000 NO T E S

Published by Petersburg Press, London.

Schlesinger, a longtime lover and muse of Hockney. They met at UCLA in 1966 where Hockney Hockney’s home while he lived in Los Angeles and then later in London. This etching of Schlesinger encapsulates Hockney’s affectionate intimacy with his partner. The gentle observation of the simple lines that make up his naked body are extended to the artist’s sensitive rendering of his subject’s hair. Schlesinger gazes off into the distance in an almost nonchalant manner, his hands resting on his hips as if this is yet another occasion he has had to pose for Hockney. Schlesinger is an honest portrait of everyday love, lust and the enjoyable mundanity of it. Joshua Stanley

Lot 56

Angus Taylor b.1970 South Africa

Composite Portrait Belfast granite, steel, concrete and ground on a concrete base head: 124 x 55 x 65 cm; base: 73 x 44 x 44 cm From a series of 12

R150 000 – 250 000 EXHIBITED

Fried Contemporary, Pretoria, New Work: Angus Taylor, 20 July to 27 August 2015.

Angus Taylor is an internationally recognised sculptor, usually of large-scale works in natural materials. His work often exposes and comments on the relationships between the human and the natural world, generally expressed in monumental formal relationships. This portrait, on a more human scale than much of his work, is typical of both the gravitas his figures evoke as they meld with the fundamental rock, but also the sense, as the rock on top of the head frames the figure, that there is a hierarchy in the relationship between man and nature. Taylor’s works can be found in many private and public collections including Sasol, Rand Merchant Bank, Pretoria Art Museum, University of Pretoria, University of the Free State, Ellerman House, Spier Art Collection and Oliewenhuis Museum. He has been the recipient of numerous awards including Best Sculpture Student at the University of Pretoria, first prize – PPC young Sculptors’ Award and the prestigious University of Pretoria Alumni Laureate in 2005. Taylor was also selected as the Festival Artist for the Aardklop Art Festival in 2010. James Sey

The artist in his studio. Photo by Elani Willemse.

Lot 57

Lionel Smit b.1982 South Africa

Female bust 2014 painted cast resin on a steel base signed, dated and numbered 3/12 on the back 80 x 30 x 60 cm

R100 000 – 150 000

Lot 58

Esther Mahlangu b.1935 South Africa

Untitled 2002 oil on canvas signed and dated bottom left 60 x 80 cm

R20 000 – 30 000

Lot 59

Dylan Lewis has become the pre-eminent sculptor of wildlife

Dylan Lewis

subjects in South Africa. Despite his extensive forays into

b.1964 South Africa

alternative subjects, including the human form in recent years,

Stalking Cheetah II (S346)

his focus on a unique visioning of African wildlife in its natural

2001 bronze signed, numbered 11/15 and stamped with the Bronze Age Foundry mark 54 x 118 x 28 cm

habitats has led him into commissions and associations with

R400 000 – 600 000

conducted by Christie’s held, in his case, with great success.

L IT E R AT U R E

Twiggs, L. (ed.). (2006). Forces of Nature: The Sculpture of Dylan Lewis. Stellenbosch: Pardus Publishing, another cast from the edition illustrated in colour on pp.46–47.

wildlife agencies and galleries around the world, including the World Wildlife Fund. He is one of only a handful of living artists to have had more than one solo auction of their work His focus on the sculpting of wildlife as a subject goes back to his earliest years as an artist in the 1990s. Since then, although his subject matter has diversified somewhat, the artist’s modus operandi has remained the same – a passionate concern to observe the animals at first hand in the wild, sketch them in situ, and to begin to develop the ideas for the sculpture from the sketches. There is a clear combination of passion, talent and hard work in the progress of his sketches to magisterial, often bigger than life bronzes – usually cast, with impeccable provenance, in his own foundry. The combination only cements the artist’s reputation around the world, particularly, as with this work, for his studies of big cats. In this example, the animal’s portrayal in movement brings to prominence the importance of the materiality of the sculpting process for Lewis. His work usually bears unmistakable traces of his moulding and manipulation of the material – in this case, bronze – in the form of hand- and fingerprints in the rendition of the animal’s very form. This sinuous example from the early 2000s – perhaps the high point of his big cat work – bears all the hallmarks of a Lewis predatory feline, both agile and imposing. James Sey

Modern Art

Lot 60

Pablo Picasso and Jean Cocteau Spanish 1881–1973 and French 1889–1963

Jean Cocteau, Picasso de 1916 à 1961, Éditions du Rocher, Monaco, 1962 (B. 1037-60; M. 358-81; C. books 117) 1962 the complete set of 24 lithographs on Rives paper, with margins, loose (as issued), with title, text in French and justification, in the original portfolio slipcover signed by the artist and author in pencil on the colophon; printed with the edition number portfolio: 40 x 29.5 x 6.5 cm number 183, from an edition of 255 + an unrecorded number on AP’s

R60 000 – 80 000

Lot 61

Walter Battiss South African 1906–1982

Tokkelos 1973 colour screenprint signed and numbered 5/25 in pencil along the bottom margin image size: 45 x 28 cm

R15 000 – 25 000 L IT E R AT U R E

Skawran, K. and Macnamara, M. (1985). Walter Battiss. Johannesburg: AD Donker, another example from the edition illustrated on pp.82–83. Siebrits, W. and Ginsberg, J. (2016). Walter Battiss “I Invented Myself”. Johannesburg: The Ampersand Foundation, another example from the edition illustrated on p.121. Battiss, G. and du Plessis, S. (2010). Walter Battiss: On the Edge. Johannesburg: Gallery AOP and Gilles Battiss, another example from the edition illustrated on the cover.

Lot 62

This George Pemba work from 1979 clearly demonstrates

George Pemba

his mastery of the social realist painterly idiom. The interior

South African 1912–2001

domestic scene, given a clearer context by its title, is full of

After the Initiation

the kinds of characterisations and implicit narratives that

1979 oil on board signed and dated bottom left; inscribed with the title in another hand on the reverse 36 x 50 cm

were typical of Hogarth in the eighteenth century. As with

R150 000 – 250 000

that predecessor, Pemba’s keen eye for detail offers a glimpse into a way of life for urban black South Africans that is gently humorous but also pointed. The gusto with which the old man in the foreground is drinking from the tin, on his haunches, counterpoints the admonishing gesticulations of the dominant woman figure in the midground, as if cautioning against too much celebration of the just-finished initiation ceremony. James Sey

Lot 63

George Pemba is one of the artists most typical of the under-

George Pemba

represented generations of black artists neglected in the South

South African 1912–2001

The Funeral 1968 oil on canvas board signed and dated bottom left; inscribed with the title on the reverse 40 x 30 cm

R150 000 – 200 000

African art establishment in the second half of the twentieth century who have come to critical and collector attention in the decades since. Born in the Eastern Cape, and commencing a storied career as a full-time artist in the 1940s, he spent the entirety of his long life in South Africa. Yet he only came to mainstream prominence after a 1991 retrospective exhibition at Everard Read Gallery in Johanneburg. He had exhibited widely prior to that point, but never at prominent galleries – as with many other black artists working through the apartheid era, Pemba was denied access to mainstream exhibition and gallery networks on account of his race. For Pemba, even the work on the Everard Read show was not properly compensated after a white art dealer bought most of the works on show at a discount and brokered the selling exhibition without the artist’s knowledge. To its credit, Read offered the artist a sales percentage when they discovered the situation. Pemba’s entire career is marked by his commitment to narrative. The imperative to storytelling in his circumstances is not hard to understand. For anyone with an artistic talent working in South Africa’s townhips during apartheid, the wish to document a repressed and misrepresented life was dominant. When Pemba had mastered his technique in oils by the time this remarkable work was painted in the late 1960s, he had also mastered a sense of drama and dynamism in his realist and narrative paintings that is pefectly illustrated here. Sadly, even in the late 1960s, the social institution of the funeral for beleaguered black South Africans was already all too familiar. Pemba’s depiction brings not only pathos, but colour and a deep sense of community to a mournful scene. James Sey

Lot 64

Dumile Feni’s 1986 drawing, entitled Mother and child , not

Dumile Feni

only explores an established and ubiquitous iconographic

South African 1942–1991

Mother and child 1986 charcoal on paper signed and dated bottom left 158 x 119 cm

R500 000 – 800 000

convention in art history but one that is also pervasive in his own oeuvre. In fact, his earlier portrayal of Mother and child circa 1966 was once found intolerable by a reviewer, pointing to its disturbingly ‘ugly’ appearance. This compulsion wasn’t about luxuriating over largely Western art historical mores as these relentless returns to the theme were very personal for the artist. Feni lost his mother at a very young age, and

PROVENANCE

Acquired directly from the artist in New York by Dr Cyril Khanyile, close friend of Feni, thereafter Daville Baillie Gallery where it was purchased by the current owner.

was brought up by his older sister, fondly known as Kulie. Interestingly, a sketch of a mother and child has recently appeared on the reverse of Feni’s small earthy hued piece Untitled [The Expulsion] (1978) which also confirms this thematic. Although his earlier pieces tended to wallow in despair, this wasn’t always the case. The figure of the maternal in Feni’s work was also one of possibility and that is why the invocation of the maternal also suggested his deep reverence for all mothers and women folk. This particular Mother and child piece suggests something between that loss and that gain, as it were. Rendered in a later, relatively meticulous drawing style in which both mother and child appear anatomically between human, beast, and the machine, the chasm between them – like a blackened cavity – contravenes convention’s logics of maternalism and intimacy. However, there’s a relation here, which despite its unconventional pictorialism, intimates a filial intimacy. In their muscular composition, particularly of the mother’s strange balancing posture as she holds a precariously positioned baby (seemingly unaffected) on her lap, it seems the artist mobilizes the body as a metonym for that within it and beyond. He renders the body not as an empty exteriority. Thus, Mother and child constructs maternalism, not through a given ‘empty’ abstraction, but through the realities and adversities we experience together through and because of our relationship between our own and our mother’s bodies. Athi Mongezeleli Joja 1F or a deeper exposition and explanation to this narrative, see Maganizer, A. (2016) Art of a Life in South Africa. Ohio University Press: Ohio, Pg 241-243 and Duke, P. (2010) Dumile Feni: The Story of a Great Artist, Vol 1. Mutloatse Arts Heritage Trust: Johannesburg, Pg. 218.

Lot 65

By the time this work of Alexis Preller’s was made in 1966,

Alexis Preller

he was moving into a phase of his career marked by both a

South African 1911–1975

concern with more ‘cosmic’ subjects on the one hand, and

Stone

an increasingly abstract style on the other. The decisive move

1966 oil and gold leaf on a found stone in the artist’s hand-made brass frame signed and dated on an adhered sun motif on the back of the stone 46 x 46 x 5 cm

into abstraction was unveiled in a highly successful exhibition

R400 000 – 600 000 EXHIBITED

Pretoria Art Museum, Pretoria, Alexis Preller Retrospective, 24 October to 26 November 1972.

in Johannesburg, at the Lidchi Gallery in October 1965. The money generated by the exhibition was ploughed back into Preller’s home and studio complex at Dombeya. As Berman points out, Preller’s guest suite at his home was designed partially with ‘the co-operation of the Pretoria jeweller Erich Frey, to create a brass mural panel comprised of multiple rectangular units set out in rows’.1 Berman further points out that the design for Preller’s homestead also featured stones set into the floor, selected by Preller himself.2 It is not such a leap to seeing the household environment as inspiration for this quirky and arresting work, with its elements of brass plate and centrally-set and painted stone. We might speculate further that the sad passing, a few months after the Johannesburg exhibition, of Preller’s great friend, the architect Norman Eaton, gave some inspiration to the piece. Eaton had been actively involved in the design of Preller’s home. The jeweller Frey, also a personal friend of the artist, was gifted a contemporaneous work at this time, one of his Gold Primavera paintings, which was displayed in a similar brass and gold frame. The work on auction bears a Pretoria Art Museum label with the word ‘Retrospective’ on it, although no record of it appears in the retrospective catalogue from the Museum of 1972. James Sey 1 Berman, E. (2010). Alexis Preller: Africa, the sun and shadows. Johannesburg: Pan McMillan/Shelf Publishing. p.265 2 Ibid.

Lot 66

Helen Sebidi is an elder stateswoman of South African art, and

Mmakgabo Mmapula Mmankgato Helen Sebidi

an important figure among black modernist painters of the late twentieth century. Born in 1943 in a rural area outside of Tshwane, she committed herself to art practice and teaching

b.1943 South Africa

from the 1980s onward, becoming the first black woman

Milking the cows

to win the prestigious Standard Bank Young Artist Award

oil on board signed bottom left 37.5 x 53 cm

in 1989. Numerous other awards have come her way, as she

R60 000 – 90 000

began, from that time, to be more widely exhibited locally and internationally. Her upbringing in a rural area remains an important influence, as evidenced by the work on auction. Sebidi’s early focus in her painting on realist depictions of rural life among black South Africans not only honours her own family and traditions, but acts as an important medium through which connections to a vanishing, largely oral, rural culture and way of life can be maintained. James Sey

Lot 67

Edoardo Villa South African 1915–2011

Vertical form 1981 bronze on a granite base signed and dated 65 x 20.5 x 24.5 cm including base

R150 000 – 250 000 In 1980, Edoardo Villa had a major retrospective exhibition of almost 300 works at the Randse Afrikaanse Universiteit (RAU, now University of Johannesburg). This provided Villa a consolidated moment to revisit formal possibilities and methods he had previously dealt with. For Villa, the early 1980s did not have a defining sculptural style or thematic, but rather this period served to exemplify the creative range Villa possessed. Encouraged by varying commissions from all over the country, Villa took the opportunity to experiment with a number of different forms and processes. Between 1981 and 1982, Villa created a number of modelled maquettes for his large bronze commission for the Durban Art Gallery, a sculpture that, although horizontal, shares similarities to the work on auction. The amalgamation of organic and geometric planes and curves suggest an anthropomorphic figure. The repetition of segmented forms is in part a product of his process. Villa would cast multiples of certain shapes in bronze and then weld them together, enlivening the spontaneity of creating abstract compositions in bronze. Joshua Stanley

Lot 68

Douglas Portway South African 1922–1993

Abstract oil on canvas signed bottom centre 100 x 100 cm

R60 000 – 80 000

100

Lot 69

Douglas Portway South African 1922–1993

Abstract composition 1972 conté and pigment on paper signed and dated bottom right 51 x 66 cm

R20 000 – 30 000

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Lot 70

Karel Nel et al. refer to the late 1980s as a ‘simplifying pause’ in Edoardo

Edoardo Villa

Villa’s career1 in which he restricted himself to working with bold

South African 1915–2011

elements as in Looking at the Sun (1987) in which ‘colour emphasises

Janus

the dialogue between the interior and exterior parts of the work, with

1988 painted steel signed and dated 121 x 130 x 150 cm

startling bright yellow inside the pipes asserting itself against the

R500 000 – 700 000

produced in 1986 and acquired by the Johannesburg Art Gallery in 1987

somber black of the exterior. Despite the evocative titles, these are some of Villa’s most strongly non-figurative works’.2 San Sebastiano, for the entrance platform is a comparably bold sculptural statement in

PROVENANCE

Gifted to Carmel Back, prominent Johannesburg architect from whom the work was acquired by the current owner. EXHIBITED

SMAC Gallery, Stellenbosch, Back to The Future: Abstract Art in South Africa Past and Present, 17 October to 23 November 2013.

steel, evoking the materials and industrial forms of the sophisticated city which drives the country’s economy. Villa’s genius lies in this extraordinary capacity to conjure images of our time and place from the contemporary industrial materials being generated by new technologies. Janus, produced in 1988, is no exception. Bright yellow emerges from the powerful black forms of Janus that can be viewed in the round. In Roman myth, Janus is the god of beginnings, gates, transitions, time, duality, doorways, passages, and endings. He is usually depicted as having two faces, since he looks to the future and to the past. As a god of transitions, he has functions pertaining to birth, journeys and exchange, and is associated with travelling, trading and shipping. Villa’s modernist vision was shared by his great friend, Carmel Back, one of the first woman architects to shape the evolving image of Johannesburg. They recognised each other as fellow visionaries and, according to Back’s daughter, enjoyed a lasting friendship during which they met regularly on most Saturdays to people gaze and gossip over coffee. Villa created Janus as a house-warming gift to the architect for her new home in Parktown, which featured prominently in design publications in the early 1990s. Emma Bedford 1N el, K., Burroughs, E. and Von Maltitz, A. (2005). Villa at 90: His Life, Work and Influence. Johannesburg & Cape Town: Jonathan Ball Publishers with Johannesburg: Shelf Publishing. p. 96. 2 Ibid.

Sale notice where the Villa sculpture is clearly visible on its plinth overlooking the lounge and the view to the garden, Saturday Star, 28 March 2009, Property Section.

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Carmel Back in her home with Villa’s Janus on its plinth behind her. From Building, August, 1993.

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Lot 71

On invitation via personal email correspondence1, Pippa and

Cecil Skotnes

John Skotnes offered some insights into their father’s still life

South African 1926–2009

Still life with vessels and fruit

paintings. Pippa Skotnes reflects on his practice and passions: ‘Cecil loved to make still lifes and would often produce them between other bodies of work as a kind of contemplation both

carved, incised and painted wood panel in the artist’s handmade frame signed bottom right 111 x 110 cm

of life and of painting. Originally, as a very young painter he

R600 000 – 900 000

were tilted to reveal to the viewer the simple fruits and objects

was influenced by the still lifes of Cézanne, but later dwelled more on the last suppers of Duccio and Giotto where the tables of the Passover Feast. He was also very moved by the frescoes of Pompeii and the quiet object collections of Giorgio Morandi. The meal, or feast, was very important to Cecil – he and Thelma frequently had friends over for dinner or lunch, and during his life in Johannesburg the family spent every Sunday at Vittorio and Paolina Meneghelli’s household where artists and poets and other friends gathered for long lunches. In these

Cecil and Thelma Skotnes’ sitting room with two of Cecil’s favourite still life paintings adorning the wall.

paintings, somehow, the very rich extent of his influences came together, and he demonstrated these with a sense of the fullness of what paint and brush could represent. There would always be a still-life hanging in the kitchen or in the living room, or arranged as a collection of objects on a table.’ On seeing an image of this painting, John Skotnes exclaimed: ‘Beautiful work!! … He liked the juxtaposition of things. The

A table in the Skotnes home carefully arranged with a sculpture by John Skotnes, a Dog by David Brown, a Benin bronze lion, a carved walking stick and fishsurmounted bowl, a woven basket, and a warthog alongside a dried stem.

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metaphysical nature of inanimate objects … is hinted at in his still life paintings.’ Emma Bedford 1 Email to Emma Bedford, 29 July 2019

Â© The Estate of Cecil Skotnes/DALRO

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Lot 72

Robert Gwelo Goodman loved painting, architecture and

Robert Gwelo Goodman

flowers. He first exhibited a collection of flower-studies in

South African 1871–1939

1918 at the Herbert Evans Gallery in Johannesburg, but it was

Proteas

during the latter part of his life, from the 1930s onwards, that

oil on canvas signed with the artist’s initials bottom left 89 x 89.5 cm

he explored this genre more fully. Goodman lived in Newlands

R100 000 – 150 000

House near the Kirstenbosch Botanical Gardens in Cape Town, which allowed him easy access to the many varieties of Cape flora to study as subjects for his work. In addition to the many rose studies he produced, his realistic paintings of proteas in particular were much-admired and sought after. In 1930, Goodman exhibited at the Durban Art Gallery and included Study of Protea, on loan from the Earl of Athlone and Princess Alice. The painting returned to England where it was displayed in the Athlone’s drawing-room in Kensington Palace.1 Later, in 1934, another striking rendering of proteas formed part of the artist’s presentation at the Royal Academy in London.2 Goodman’s last exhibition was in 1938 at Argus Galleries in Cape Town where seventeen flower pieces were shown, among them a large picture of proteas.3 Shortly after his passing later that year, the Cape Government acquired two protea paintings for the collections of the Government Residences; Genadendal and Leeuwenhof. The present work is an elegant and superb example of Goodman’s protea studies from the mid to late 1930s. Its magnetism lies in the simplicity of the floral arrangement. The composition is impressive. A lush bouquet of various protea species and natural foliage – rendered with loose, short brushstrokes in shades of pink, yellow and green – is set against a flat teal background. The result is vivid, dramatic and visually spectacular, giving the painting a timeless and almost contemporary edge. Although academic in nature, Proteas is in a sense romantic, as it embodies the artist’s interest and appreciation for the unique and indigenous plants of his adopted country. Marelize van Zyl 1T hompson, N. J. (1951). Gwelo Goodman. South African Artist. Cape Town: Cape Times LTD. p. 96. 2 Ibid 104. 3 Ibid 115.

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107

Lot 73

In 1955, Christo Coetzee presented his first international solo show in London at the Hanover

Christo Coetzee

Gallery, which was known for presenting the work of the modern European and British avant-garde

South African 1929–2000

artists. The exhibition comprised fifty-one impressive still-life paintings, including the fantastical

Hermetic Still Life: Snake and Bird

Hermetic Still Life: Snake and Bird which was painted a year earlier in 1954.

1954 oil on board signed bottom left 60.5 x 122 cm

extensive travels in Spain and short return to South Africa in 1953. The young artist first arrived in

R300 000 – 500 000

break away from naturalism, he leaned towards lyrical themes, while drawing extensively from various

PROVENANCE

Coetzee was 26 years old at the time and had been living in London once again, following his the city in 1951 to further his art studies at the Slade School of Art. It was a time of social and artistic flux, change and renewal which inspired Coetzee to extend his own creative boundaries. Striving to art historical references like Roman art, Pompeian murals and the imagery of medieval Spain.1 Hermetic Still-life: Snake and Bird shows Coetzee’s fascination with the primordial and surreal.

Joseph Farley Collection, London. Private Collection, Johannesburg.

While citing seventeenth century Spanish still life painting, his rendering of the scene is uniquely

EXHIBITED

imaginative. The artist suggests a poetic interpretation of the various motifs depicted and gives the

Standard Bank Gallery, Johannesburg, The Safest Place is the Knife’s Edge: Christo Coetzee (1929–2000), 5 October to 1 December 2018. Hanover Gallery, London, Still Life Paintings by Christo Coetzee, 17 March to 15 April 1955. L IT E R AT U R E

Ballot, M. (1999). Christo Coetzee. Cape Town: Human & Rousseau, illustrated on p.99. Vorster, A. and Van Rensburg, W. (eds.). (2018). The Safest Place is the Knife’s Edge: A Retrospective Exhibition of the Works of Christo Coetzee. Johannesburg: Standard Bank, illustrated on pp.38–39.

title of the work as a key to unlock its cryptic meaning. The composition is foregrounded by the painterly images of a snake and a bird (perhaps a Black-billed Magpie), precariously positioned above an open, ornamental hexagonal box, adorned with peculiar renditions of the infinity sign. The background is dramatically dark and indistinct. In Hermeticism (an ancient occult tradition encompassing alchemy, astrology, and theosophy), the image of a snake is one of the oldest mythological symbols of duality. In many folkloric accounts, birds have been regarded as omens or forecasters of future events. The bird in this context may be symbolic of transcendence and eternal life. It is a bold and provocative work, typifying an important phase in Coetzee’s career that would set him on the path to become one of South Africa’s most important experimental and internationally regarded artists. Marelize van Zyl 1 S tevenson, M. & Viljoen, D. (2001). Christo Coetzee. Paintings from London and Paris: 1954–1964. Cape Town: Fernwood Press. pp.10–13.

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Lot 74

François Krige, of the prominent Krige family, was born near Oudtshoorn in the Cape, and studied

François Krige

initially at Michaelis in Cape Town in the 1920s. Closest to his brother, the celebrated writer Uys

South African 1913–1994

Krige, he moved to Johannesburg around 1930 and became a part of Uys’s circle of artists and literati.

Initiate

He produced this fascinating figure study on a visit to the Krige family farm near Cathcart in the Cape

1931 oil on board signed and dated top left 38 x 33.5 cm

in 1931. Krige’s longstanding fascination with the work of Van Gogh is evident, as is his interest in

R40 000 – 60 000

his brother Uys’s criticism of then-doyenne of South African artists, Irma Stern’s approach to painting

Japanese art and woodcuts, seen in the angular planes of the initiate’s face. This early painting clearly shows a much more vigorous expressionistic approach from the young artist, perhaps in response to black subject matter as being too aestheticized and idealised. James Sey

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Lot 75

Pranas Domsaitis South African 1880–1965

Ceremony 1954 oil on board signed and dated bottom centre 58.5 x 47.5 cm

R40 000 – 60 000 NO T E S

Authenticated on a label signed by the artist’s wife, Adelheid Domsaitis, on the reverse.

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Lot 76

Ruth Prowse South African 1883–1967

In the Malay Quarter oil on canvas signed with the artist’s monogram bottom right; inscribed with the artist’s name and the title on a South African National Gallery label on the reverse 47 x 38 cm

R60 000 – 90 000 PROVENANCE

Morris Robinson, Cape Town and thence by descent. Morris Robinson was born in Dublin, Ireland in 1890. In 1904 he joined his father and brother who had arrived a few years earlier in search of a new life in South Africa. In 1914, at the age of 24, Robinson bought Ashbey’s Galleries which had been established in Cape Town in 1891 by Edwin Rivers Ashbey. He owned the gallery until his death in 1947, after which his son Basil took over the business. Over the years Ashbey’s held exhibitions for some of South Africa’s most respected artists of the twentieth century. EXHIBITED

South African National Gallery, Cape Town, Florence Zerffi and Ruth Prowse, May 1996. South African National Gallery, Cape Town, Ruth Prowse Memorial Exhibition, 1968. L IT E R AT U R E

cf. Berman, E. (1970). Art and Artists of South Africa. Cape Town: A.A Balkema, a depiction of this same view by Edward Roworth illustrated on p.253.

Ruth Prowse’s painting provides us with perceptive insight into Cape Town life in the first half of the twentieth century. A champion for the preservation of Cape cultural heritage, Prowse used her art, and in particular street scene painting, to capture a now bygone era in the Cape. Prowse uses warm, complementary tones of blue and orange in an almost impressionistic style to capture the Mosque Shafee and the flat roofed, pastel coloured houses which have come to characterise the Bo-Kaap – one of the oldest surviving residential neighbourhoods in South Africa. The Mosque, established in 1859, still stands today on the slopes of Signal Hill at the corner of Chiappini and Helligar street. In the background, Lion’s Head towers over the minaret of the mosque on a sweltering day in the Cape. Earlier this year, nineteen new National Heritage sites were listed in the Bo-Kaap area. It will have given Prowse much pride to learn that the 160-year old Mosque Shafee is amongst them.

Mosque Shafee as it appears today.

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Lisa Truter

Lot 77

Nita Spilhaus South African 1878–1967

A shady respite oil on board signed with the artist’s monogram bottom right 30 x 39 cm

R40 000 – 60 000

Lot 78

Nita Spilhaus South African 1878–1967

Hopefield gouache and acrylic on card inscribed with the artist’s monogram bottom left; inscribed with the artist’s name and the title on the reverse 29.5 x 39 cm

R20 000 – 30 000 PROVENANCE

Morris Robinson, Cape Town and thence by descent.

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Lot 79

As a school girl in Johannesburg Maud Sumner received art

Maud Sumner

lessons from A.E. Gyngell (1866–1949) but family members

South African 1902–1985

advised her to consider an academic career above that of a fine

Dorothy

artist. She was sent to Oxford University in 1922 where she

oil on canvas signed bottom right; signed on the stretcher and inscribed with the artist’s name and the title on an Everard Read Gallery label on the reverse 91.5 x 72.5 cm

studied English and French literature.

R350 000 – 500 000 PROVENANCE

Everard Read Gallery, Johannesburg.

However, during her time at Oxford, Sumner commenced with art training as her enduring interest in fine art compelled her to investigate other creative options. In 1925 she briefly registered for an art course at the Westminster School of Art in London but it soon became apparent that the English art school tradition did not suit her temperament or artistic inclination. Conversely, France became her creative and spiritual home as she subsequently made her way to Paris, where she initially worked in the studio of the sculptor Naum Aronson (1872–1943). But Sumner was a painter at heart and eventually enrolled at the Grande Chaumière where she worked under the guidance of George Devallières (1861–1950) and Maurice Denis (1870–1943). Devallières founded the Ateliers d’Art Sacré with Denis in 1919 in an attempt to renew interest in religious art and symbolist themes whilst Denis later became well-known for his association with the art movement known as Les Nabis. The distinct world views and interests of these two artists had a lasting influence on the stylistic development of the young Sumner especially Denis’ portrayals of inviting intimate interiors. Other notable members of Les Nabis who followed in this Intimist tradition were Bonnard, Valloton and Vuillard. For some time during the 1930s, Sumner concentrated on Intimist themes and settings in which she applied her growing knowledge of oil painting. In this portrait of Dorothy, who could have been either a sister or a fellow student, the artist effectively captured the intimate mood and the very moment of a contented figure busying herself with the absorbing pastime of embroidery. The location is somewhat cluttered but homely. Similar depictions of these intimate interiors can be seen in her Chez Maria Blanchard in the Johannesburg Art Gallery as well as in La Poupeé Rose in the collection of the Nelson Mandela Metropolitan Art Museum in Port Elizabeth. Eunice Basson

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Lot 80

Gerard Sekoto’s work was indelibly linked to his dissociated position as a self-imposed

Gerard Sekoto

exile from his home country of South Africa. His long-term life in Paris was marked

South African 1913–1993

by periods of intense economic hardship, but afforded him what he was looking for

Portrait of a woman

when he left South Africa, which was a fulfilling creative life. An important interregnum

1968 watercolour and gouache on paper signed and dated bottom right 52.5 x 36.5 cm

came during a year-long sojourn in Senegal, where he was in the ambit of the legendary

R180 000 – 240 000

from Senegal, but reflects a certain idealisation in his figuration of this beautiful and

political leader, poet and influential theorist of negritude, Leopold Senghor. This delicate and regal watercolour and gouache portrait dates to the year after his return noble woman, pictured in almost full profile, which tallies with what may have been his

L IT E R AT U R E

cf. Lindop, B. (1988). Gerard Sekoto. Johannesburg: Dictum Publishing, a similar gouache painting titled Woman’s Head, 1968 illustrated on p.219.

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memories of what was at the time an African utopia. The portrait is a long way from the grittier social realist depictions of his South African youth. James Sey

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Lot 81

Encouraged by his lifelong friend, architect Norman Eaton,

Alexis Preller

Alexis Preller set off for London in 1934. J.H. Pierneef, who was

South African 1911–1975

then working on the South Africa House murals, advised him to

Woman in blue

enrol at the Westminster School of Art where, under renowned

1939 oil on board signed and dated bottom right 41 x 32.5 cm

British artist Mark Gertler, he made a commitment to painting

R400 000 – 600 000

Chaumière in Paris, under Othon Friesz, whose more lyrical

as a career. In 1937 he attended classes at the Académie de la Grande interpretation of Fauvism can be detected in this portrait. As a student he was fascinated by Paul Gauguin and Vincent van Gogh, and on a group exhibition held at the Gainsborough Gallery in Johannesburg in 1937, a reviewer called him the ‘South African Gauguin’. By 1938 he had joined the New Group, where artists like Walter Battiss and Freida Lock sought, in their respective ways, to reconcile their knowledge of European modernism with their experiences of Africa. On a camping trip in Swaziland in 1937, he painted continuously and patterned cloths bought from local trading stores appeared as a constant feature. In the artist’s own words, ‘in all the early paintings, right through until about 1948, I think, there is this constant use of the Swazi cloth. … it became part of my repertoire … and the tiny little red accenting dots or horns in a painting – I call them ‘direction lines’ …’1 This patterning is evident in Woman in blue painted in 1939, where her dark eyes and the red patterning surrounding the neckline serve to draw attention to the warm sensuality of flesh and lips in this elegant face. Still-life with mask, also painted in 1939 and acquired by the South African National Gallery collection, has a similar palette of dusty blues and pinks that echoes Woman in blue. Congo Figures, painted in the same year, sold at Aspire Art Auctions in March 2019 for R4 552 000. Emma Bedford 1B erman, E. & Nel, K. (2009). Alexis Preller: A Visual Biography: Africa, the Sun and Shadows. Saxonwold: Shelf Publishing, p. 42.

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Lot 82

According to Karel Nel and Esmé Berman, the year 1965 ended

Alexis Preller

on a high note for Alexis Preller with his Primavera purchased

South African 1911–1975

by the South African National Gallery in Cape Town.1

Head of a prince

Completed in that year, it was considered a magnum opus, not

oil on panel signed bottom right 30.5 x 25.5 cm

only for its subject and scale but also for its referencing of the

R400 000 – 600 000

apogee of early Renaissance art, namely Sandro Botticelli’s famous painting of the same name, which Preller would have seen on his trip to Italy in 1953. Head of a Prince was probably painted during this period as it shares certain key features with his major museum piece. The paternal figure seen comforting the semi-nude young man in Primavera wears the same headgear as this young prince. The rounded conical hat may be derived from the pileus, a brimless felt hat worn in ancient Greece and Rome and seen in late Medieval and early Renaissance paintings. In both paintings, the hat is surrounded with a band of fabric from which tendrils of hair emerge to frame the sensitive face. With his dark eyes and aquiline nose, his seductive mouth edged by a youthful moustache, and his aristocratic mien, this is a thoughtful and poignant expression of youth. The subtlety of colour, captured in pared-down earthy ochres and ox blood reds, lends the work both regal splendour and calm tranquility. While the source is European, this prince may equally embody African royalty as the artist was increasingly exploring indigenous ideas and traditions. In a letter to a collector on 6 May, Preller states enthusiastically ‘the painting with the red ground is now in the National Gallery in Cape Town …’. Relating Primavera to his earlier two Hieratic Women paintings, which he considered very important, he elaborates ‘the figures depart from the studies I made for years from the Mapogga women and represent more distinctly a totally ‘African’ quality (as against a more local definition)’.2 Emma Bedford 1 Berman, E. & Nel, K. (2009). Alexis Preller: A Visual Biography: Africa, the Sun and Shadows. Saxonwold: Shelf Publishing, p. 253. 2 Ibid.

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Lot 83

At the Sea 1932 by Maggie Laubser has an interesting

Maggie Laubser

provenance. When research was conducted for the Catalogue

South African 1886–1973

By die See (Seascape with Boats and Birds)

Raisonné of Laubser’s oeuvre, initially by Liz Delmont in the 1970s and later by Dalene Marais (finally published in 1994),1 the owner of At the Sea had not been traced. The only record

1932 oil on board signed bottom left 45.5 x 56 cm

of this work was a photograph in the collection of Dr Elza

R700 000 – 1 000 000

University of Pretoria in 1964. The photograph is annotated on

NO T E S

Miles. Miles (under her birth name Botha) was awarded her Masters dissertation on the work of Maggie Laubser by the the back: ‹At the sea: painted 1932; Maggie Laubser; 9; By die

An annotation on the back of a photograph of this work in the collection of Dr E Miles reads as follows: “At the sea: painted 1932; Maggie Laubser; 9; By die See (olieverf) 1932”.

see (olieverf) 1932’.

L IT E R AT U R E

the South African National Gallery together with the South

Marais, D. and Delmont, E. (1994). Maggie Laubser: her paintings, drawings and graphics. Johannesburg and Cape Town: Perskor Publishers, illustrated on p.195, catalogue number 588.

In December 1931 – March 1932, as part of a growing South African nationalism, the First Annual Exhibition of Contemporary National Art was organized by what was then African Association of Artists. Laubser participated in both this exhibition, (her work was very unfavourably reviewed by the deeply conservative art critic Bernard Lewis), and

Sunday Express, 8 March 1936, illustrated.

in all the following annual exhibitions which, from 1933–4

Huisgenoot, 31 January 1936, illustrated.

onwards, were titled Annual Exhibition of Contemporary South African Art. At the Sea was exhibited at the Fifth Annual Exhibition of Contemporary South African Art 18 Dec 1935 – end Feb 1936 (catalogue number 42).2 Not all critics were as damning of Laubser’s work as Bernard Lewis. The very influential Modernist art historian Prof A.C. Bouman referred to Laubser’s two works on exhibition as ‘die beste op die hele tentoonstelling’ with an illustration of At the Sea.3 The painting was also illustrated in in an article by Z.M. Silva entitled ‘An artist devoted to farm life’.4 Interestingly there are three other works (as well as preparatory drawings in one of Laubser’s sketchbooks) which are very similar to this work on auction, although two of them (Marais and Delmont nos 587 and 589) are much smaller and painted on cardboard, probably as studies for the larger works on board: Marais and Delmont no 590 and the work on auction here.5 Liz Delmont 1M arais, D. and Delmont, E. (1994). Maggie Laubser: her paintings, drawings and graphics. Johannesburg and Cape Town: Perskor Publishers, illustrated on p.195, catalogue number 588. 2 Ibid. 3 Huisgenoot, 31 January 1936. 4 Sunday Express, 8 March 1936. 5 Marais, D. and Delmont, E. (1994). Maggie Laubser: her paintings, drawings and graphics. Johannesburg and Cape Town: Perskor Publishers.

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Lot 84

Throughout his life, the notion of Africa captured Alexis Preller’s imagination. He was fascinated by

Alexis Preller

the mystique of the continent’s ancient and traditional cultures – their legends, surviving rituals and

South African 1911–1975

historical ruins. He had formulated a personal concept of primeval Africa, identifying aspects of its

Shield

many art forms, customs and symbols from the past while adding his own iconography. Preller experimented with pure abstract compositions from the mid-1950s to late 1960s. When

oil on canvas 50 x 61 cm

designing the motif in Shield, the artist may have drawn inspiration from Ndebele patterning, or

R180 000 – 240 000

may have referenced archaeological sites, Zulu shields, images on Swazi cloth or the early sketches

PROVENANCE

he made of traditional sculptures during his trips through Swaziland, Zululand and the Congo

Gifted by the artist to Mr and Mrs Jack and Eoni Harrington in 1956, Johannesburg.

in the late 1930s. While alluding to an African theme, Preller’s intention here is clearly nonrepresentational. In cool, subtle tonalities he inventively constructs the image as an abstract design with an optical effect – a perceptual device he would master in his later intaglio works. Notably, Shield is reminiscent of the various compositional patterns found in the impressive large scale-triptych All Africa which Preller completed a few years earlier in 1955. Marelize van Zyl

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Lot 85

Cecil Skotnes South African 1926–2009

Abstract landscape 1981 oil on board in the artist’s hand painted frame signed and dated bottom centre 28.5 x 42 cm

R70 000 – 90 000

Lot 86

Cecil Skotnes South African 1926–2009

Totem carved, incised and painted wood signed on the reverse 74.5 x 9.5 x 2.5 cm

R40 000 – 60 000

127

Lot 87

Gregoire Boonzaier South African 1909–2005

Evening, below Kenilworth Racecourse Cape/Aand toneel naby die Reisiesbaan Kenilworth Kaap (sic) 1969 oil on canvas signed and dated bottom left; signed and inscribed with the title in English and Afrikaans on the reverse 43 x 50.5 cm

R120 000 – 180 000

128

Lot 88

Jan Ernst Abraham Volschenk South African 1853–1936

The Stellenbosch Mountain 1913 oil on canvas signed and dated bottom right; signed, dated and inscribed with the title on the reverse 46 x 56 cm

R40 000 – 60 000

Lot 89

Robert Gwelo Goodman South African 1871–1939

View of Stellenbosch mountain from Spier Wine Estate watercolour on paper signed bottom left 36 x 54 cm

R20 000 – 30 000

129

Lot 90

Gregoire Boonzaier South African 1909–2005

Street, Wynberg, Winter 1963 oil on canvas laid down on board signed and dated bottom right 29.5 x 47 cm

R80 000 – 120 000 NO T E S

Accompanied by a signed copy of Scott, F. P. (1964). Gregoire Boonzaier. Cape Town: Tafelberg Publishers. L IT E R AT U R E

Scott, F. P. (1964). Gregoire Boonzaier. Cape Town: Tafelberg Publishers, illustrated n.p., image number 13, catalogued on p.146.

130

Lot 91

Gregoire Boonzaier South African 1909–2005

The Entry, Golden Gate Valley Clarens OFS/Die Poort, Golden Gate Vallei OVS 1963 oil on board signed and dated bottom left; signed and inscribed with the title in English and Afrikaans on the reverse 33 x 46 cm

R100 000 – 150 000

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Lot 92

Maud Sumner moved to Paris from London, where she had

Maud Sumner

completed a Master’s degree at Oxford, in 1926. In Paris

South African 1902–1985

she enrolled in the Ateliers d’Art Sacré. The founders of the

Toledo

Ateliers, George Desvallières and Maurice Denis, introduced

oil on canvas signed bottom right 63 x 53 cm

the young artist to the works of Cézanne, Renoir and Vuillard.

R200 000 – 300 000

‘As a painter I am French’, she maintained and managed to keep studios in both Paris and London until her final return to South Africa in the 1960s. In August 1936, a month after the start of the Spanish Civil War, Sumner decided to return to Johannesburg and to spend six months in her hometown. Earlier that year she had visited Spain where she encountered the paintings of El Greco (1541–1614), the artist who drew on three traditions: Greek, Italian and Spanish. At the time the 34 year old Sumner’s art was absorbed by the richness of colour and texture, owing more to the Nabis than the post expressionists. She was influenced by her teachers Denis and Desvallières, both prominent exponents of the Nabis, a group with the aim of regenerating painting by simplifying design and tone, suppressing relief and depth, and by placing emphasis on composition. The trip to Spain provided new material and she was deeply attracted to and influenced by the work of El Greco. Although his View of Toledo has been part of the permanent collection of the Metropolitan Museum of Modern Art in New York since 1929, Sumner referenced El Greco’s focus on an emotional state rather than a mere rendition of the city. In line with the approach of the Nabis she based her landscape of Toledo on the values of colour, and manages to free her composition ‘from a certain restraint and stiffness, and to exploit the use of colour as her guiding principle’.1 Johan Myburg 1E glington, C., (1967) Maud Sumner. Purnell: Cape Town and Johannesburg. P.29.

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133

Lot 93

Tinus de Jongh South African 1885–1942

Chrysanthemums oil on canvas signed bottom right 54.5 x 73.5 cm

R70 000 – 100 000

Lot 94

Gregoire Boonzaier South African 1909–2005

Still life with asters 1935 oil on canvas signed and dated top right 34.5 x 29 cm

R40 000 – 60 000 PROVENANCE

Morris Robinson, Cape Town and thence by descent.

134

Lot 95

Frans Oerder South African 1867–1944

Cinerarias oil on canvas signed bottom left 71 x 91 cm

R100 000 – 150 000

135

Lot 96

Maurice van Essche South African 1906–1977

Fisherfolk oil on board signed bottom left 28 x 38 cm

R80 000 – 120 000

136

Lot 97

Maurice van Essche South African 1906–1977

Reclining nude oil on board signed bottom right 33 x 41 cm

R120 000 – 180 000

137

Lot 98

Johannes Meintjes South African 1923–1980

Man with Hands 1945 oil on panel signed and dated bottom left 43 x 35 cm

R80 000 – 120 000 L IT E R AT U R E

Meintjes, J. (1992). Diary of Johannes Meintjes, catalogue number 90.

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Lot 99

Johannes Meintjes South African 1923–1980

Men with Guitars 1971 oil on board signed and dated bottom left 60 x 45 cm

R80 000 – 120 000 PROVENANCE

Dr H Rutenberg, Cape Town.

EXH IBITED

Gallery Breván, Cape Town, 21 to 30 March 1972, where it was illustrated in the catalogue as cat no.22. LITERATU RE

Meintjes, J. (1992). Diary of Johannes Meintjes, catalogue number 1075. The Cape Times, 23 March 1972. The Cape Argus, 23 March 1972. The Cape Times, 25 March 1972. The Argus, 28 March 1972. Die Burger, 29 March 1972.

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Lot 100

Skotnes, throughout his long career, was noted for his work on carved,

Cecil Skotnes

incised and painted wooden panels. His central position in and influence

South African 1926–2009

on South African art history derives not only from his pedagogical work

Two figures

at Polly Street or even in his membership in the influential 1960s Amadlozi

carved, incised and painted wood panel 122.5 x 90.5 cm

Group. It is much more, as this work reflects, about his long-term search

R200 000 – 300 000

wrestling with a European cultural and artistic legacy, and at the same time

for an adequate visual vocabulary to express his position as an artist shaping an African visual idiom. His figural depictions mark most clearly the ongoing inflections he gave to this quest, changing subtly throughout his career, but very definitely marking out his work as characteristically Skotnes. James Sey

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Lot 101

Lucky Sibiya South African 1942–1999

Buffalo carved, incised and painted wood panel signed bottom left 55 x 64 cm

R70 000 – 100 000

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Lot 102

Durant Sihlali South African 1935–2004

Gumboot dancers 1970 oil on board signed and dated bottom right 88.5 x 71 cm

R50 000 – 80 000

142

Lot 103

After Anton van Wouw South African 1862–1945

The Bushman Hunter 1907 bronze bears signature and date 48 x 28 x 19.5 cm

R30 000 – 50 000

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Lot 104

Eleanor Esmonde-White South African 1914–2007

Nude on the beach oil on canvas signed bottom left 40 x 25.5 cm

R60 000 – 90 000

144

Lot 105

Florian Wozniak b.1962 Germany

Group 4/7 (Unity) 2000 bronze signed, dated and numbered 3/7 on the base 29 x 20.5 x 9.5 cm

R40 000 – 60 000

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AUT HOR BIO GRAPH IES Dr. Eunice Basson is an art historian and former Senior Lecturer in Art History at the University of Pretoria and UNISA. She was also joint editor of the art history journal de arte, and a former artadvisor for ABSA bank. Liz Delmont taught Art History at Wits for 23 years until 2005, when she left to pursue independent research in hertiage, museums and public art and to run her guesthouse in Johannesburg. Neil Dundas is the senior curator at the Goodman Gallery Prof. Michael Godby is an Emeritus Professor of History of Art at UCT, who has published widely and curated several noteworthy exhibitons of South African art. Ashraf Jamal is a Research Associate in the Visual Identities in Art and Design Research Centre, University of Johannesburg. He is the co-author of Art in South Africa: the future Present, coeditor of Indian Ocean Studies, and author of Love themes for the wilderness, Predicaments of culture in South Africa, and In the World: Essays on contemporary South African art. Athi Mongezeleli Joja is an art critic and theorist. He is also a member of the art collective , Gugulective.

AC K NOW L ED G EM EN TS W I T H S P E C I AL T HANK S T O

RES E AR C H AND AUT HOR S HI P

Eunice Basson Liz Delmont Neil Dundas Michael Godby Ashraf Jamal Athi Mongezeleli Joja Sandra Klopper David Krut Johan Myburg

DE S I GN

Kevin Shenton | Triple M Design Assisted by Danel van Jaarsveld P HOT OGR AP HY

Nina Lieska | Repro Pictures Matthew Bradley P R I NT I NG

Prof. Sandra Klopper is most recently former Deputy Vice-Chancellor of UCT. Amongst extensive research and publishing, Klopper was previously the Head of Visual Arts as well as Vice Dean of the Arts at Stellenbosch University and Dean of Humanities at the University of Pretoria. David Krut is a well-known international art publisher, printmaker and gallerist. In 1980 he commenced publsiing visual art editions in London. Among many other career highlights, in 1998 he published a CD-ROM on Kentridge, and also presented the artistâ&#x20AC;&#x2122;s first major exhibition in Chicago. In 1999 he commenced publishing TAXI Art Books Series in South Africa. Johan Myburg is an independent writer, former arts editor at a daily newspaper, and art critic who has published widely on South African art.

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Typo, Johannesburg

Helen Sebidi, Lost Human Life, Estimate: R400 000 â&#x20AC;&#x201C; 600 000

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T E RMS AND CONDITIO NS OF B US INE S S

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. ‘Artistic work’ means: 1.1.1.1. 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; 1.1.1.2. any work of craftsmanship and/or artwork which does not fall under 1.1.1.1 as set out in the Copyright Act No. 78 of 1978. 1.1.2. ‘Aspire’ means Lixotone Proprietary Limited t/a Aspire Art Auctions (Registration No. 2016/074025/07) incorporated under the laws of South Africa; 1.1.3. ‘Auction’ means any sale whereby a Lot is put up for sale by any Auction by Aspire; 1.1.4. ‘Auctioneer’ means the representative of Aspire conducting the Auction; 1.1.5. ‘Bidder’ means any person who makes an offer to buy a particular Lot (whether by Private Treaty, Auction or otherwise) and includes the Buyer of any such Lot; 1.1.6. ‘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 been accepted by Aspire; 1.1.7. ‘Business day’ means any day other than a Saturday, Sunday, or any other official public holiday in South Africa; 1.1.8. ‘Buyer’s premium’ means the commission payable by the Buyer to Aspire on the sale of a Lot at a rate of: 1.1.8.1. 12% (twelve per cent) calculated on the amount of the Hammer price in excess of R20, 000 (twenty thousand rand), plus any VAT payable on that amount; 1.1.8.2. 15% (fifteen per cent) calculated on the amount of the Hammer price not exceeding R20, 000 (twenty thousand rand) plus any VAT payable on that amount; 1.1.9. ‘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; 1.1.10. ‘CPA’ means the Consumer Protection Act 68 of 2008 as amended from time to time; 1.1.11. ‘Forgery’ means any imitation 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 finally accepted 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, 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 (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

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price and the Buyer’s premium. The Purchase price does not include insurance or transport costs. The relevant Lot will remain insured at Aspire’s expense for a period of 24 hours after the fall of the Auctioneer’s hammer. After the relevant Lot has been collected by the Buyer (or any other person on behalf of the Buyer), the responsibility for, and costs of, insurance for the Lot shall pass to the Buyer. Following the completion of the Auction, 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; 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 amount of the Hammer price in excess of R20, 000 (twenty thousand rand) plus any VAT payable on that amount (if any); 1.1.24.2. 15% (fifteen per cent) calculated on the amount of the Hammer price not exceeding R 20, 000 (twenty thousand rand) plus any 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 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 shall constitute an offer which will lay open for acceptance by the Auctioneer. Acceptance of the highest bid made 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. 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 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 or the Buyer of any Lot shall be binding or legally enforceable. 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 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; 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. 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 processing of their personal information and the disclosure of such information to third parties 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 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: 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 affects 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 of full force and effect. 4.17. The Buyer and/or Seller, as the case may be, hereby pledges the goods either sold and/or bought as security to Aspire for all amounts which are owing to it. 4.18. Should either 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 constitute the entire agreement between the Parties.

4.21. The Buyer shall be responsible for the payment of Aspire’s legal costs, calculated on the scale as between attorney and client incurred by 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. T ERMS 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. 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 satisfactory to Aspire in its discretion. 5.4 A Lot shall be sold to the highest bidder (regardless of the real value of the Lot). Any sale that requires a reserve shall be sold to the highest bidder either on or in excess of the Reserve. 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 E ach 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. 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, 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 A ny 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. Following hand over of the Lot to the Buyer (or his representative), the full risk and title 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 24 (twenty-four) 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 Seller has not made payment within 1 (one) week of the Auction Aspire reserves the right to cancel the Sale.

6. E XCLUSION 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 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 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, 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 effective from the day after the date of sale for the purposes of protecting their interests as Aspire cannot warrant that the Seller has insured its interests in the Lot or that Aspire’s insurance cover will extend to all risks. 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.

7. G ENERAL 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 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 up to one increment below the Reserve, where applicable. 7.4. A contract shall be concluded between the Buyer and

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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). Aspire is not a party to the contract of sale and shall not be liable for any breach of that contract by either the Seller or the Buyer.

8. I MPORT, 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 rescission of the sale.

9. A BSENTEE 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. R ESCISSION OF SALE 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 in respect of that sale and the Seller authorises Aspire to do so.

11. P AYMENT AND COLLECTION 11.1. T he Buyer acknowledges that should Aspire be acting in a capacity as agent for the Seller of a particular Lot, then:

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11.1.1. 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 may also be entitled to a Seller’s commission and/or any other agreed fees for that Lot. 11.2. Upon the knock down of the hammer and acceptance of the price by the Auctioneer, the Buyer shall, against 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. Unless otherwise agreed by the Parties, 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 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 credit card purchases are to be settled in full on the date of sale. 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, 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. 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. 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 consent from Aspire. Aspire shall exercise its discretion when granting credit to the Buyer, including the terms and conditions applicable to any such credit. 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. Should any requests for credit be proposed by a potential Buyer on a specific Lot, these terms will be relayed to the Seller and only accepted if agreed by the Seller and Aspire. If credit is granted by Aspire without agreement from the Seller, that is an arrangement between the Buyer and Aspire, and the risk for this credit falls to Aspire and not the Seller.

12. O WNERSHIP 12.1. Until such time that the total Purchase price and hand over has taken place, ownership of the purchased goods shall vest with the principal. Payment of the Purchase price includes the payment of any Buyer’s premium to which Aspire is entitled along with VAT or any other amount required by these Terms of Business. 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. 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 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. B REACH 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 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 the non-payment of and/or 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. 13.2. 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

14. T ERMS RELATING TO THE SELLER 14.1. A s 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. T he 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. A spire 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. A spire 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. A spire 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. E STIMATION OF SELLING PRICE AND DESCRIPTION OF GOODS

15.1. A ny 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. 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. T he 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. A spire 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. W ARRANTIES 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. C OMMISSION 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. R ESERVES 18.1. All Lots are to be sold without a Reserve, unless otherwise agreed upon between Aspire and Seller in writing prior to the date of Auction. In the event that a Reserve for a Lot exists, the Lot will be offered for sale subject to this Reserve. Any changes to a Reserve will require the prior consent of Aspire and the Seller. 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 a Reserve 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 done 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. I NSURANCE 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 property within 1 (one) calendar month after the Auction. Should any property not be collected within this time Aspire reserves the right to discontinue the insurance cover.

20. P AYMENT 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 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. t o 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. W ITHDRAWAL FEES Written notice must be given to Aspire 24 (twenty-four) hours

151

prior to the Auctions, where a Seller decides to withdraw a Lot from Auction. Aspire reserves the right to convert any Seller’s commission or Buyer’s premium payable on this 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. P HOTOGRAPHY 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. L OTS WHICH HAVE NOT BEEN SOLD 23.1. S ubject 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 15th (fifteenth) 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. T he 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. I f after 6 (six) 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. A spire reserves the right to charge commission on the Purchase price and any expenses incurred in respect of any unsold Lots.

24. A MENDMENT OF THESE TERMS AND CONDITIONS

24.1. A spire 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. N o 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).

1. I NFORMATION 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. O NLINE 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. S TORAGE 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. A MENDMENTS 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. T HIRD 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.

RIGHT (DETAIL)

Lot 66 Mmakgabo Mmapula Mmankgato Helen Sebidi Milking the cows

153

ARTIST INDEX

Alexander, K 48

Kentridge, W 2, 9, 16, 17, 18, 19, 20

Schreuders, C 10, 11

Battiss, W 61

Kia Henda, K 26

Sebidi, MH 66

Bell, D 12

Kramer, J 46

Sekoto, G 80

Bester, W 8

Krige, F 74

Sibiya, L 101

Bondo, VM 7

Larrabee, CS 32

Sihlali, D 102

Boonzaier, G 87, 90, 91, 94

Laubser, M 83

Skotnes, C 1, 71, 85, 86, 100

Botes, C 23

Lewis, D 59

Smit, L 57

Botha, W 43

Lourens, MJ 49

Spilhaus, N 77, 78

Brown, D 40

Mahlangu, E 58

Stanley, R 50

Catherine, N 39

Makamo, N 21, 22

Stephens, G 53

Chiurai, K 25

Meintjes, J 98, 99

Subotzky, M 37

Coetzee, C 73

Mntambo, N 30

Sumner, M 79, 92

Cohen, S 41

Muholi, Z 31

Taylor, A 56

De Jongh, T 93

Ncaphayi, M 6

Van Der Wat, H 47

Dhlamini, J 34, 35

Nhlengethwa, S 3, 4, 52

Van Essche, M 96, 97

Domsaitis, P 75

Oerder, F 95

Van Wouw, A 103

Du Toit, Paul 44

Pemba, G 62, 63

Victor, D 42, 54

Eastman, P 51

Picasso, P and Cocteau, J 60

Villa, E 67, 70

Esmonde-White, A 104

Portway, D 68, 69

Volschenk, JEA 88

Feni, D 64

Preller, A 65, 81, 82, 84

Wa Lehulere, K 14

Geers, K 24

Prowse, R 76

Williamson, S 36

Goldblatt, D 28, 29, 33

Putter, A 27

Wozniak, F 105

Goodman, RG 72, 89

Rain, G 45

Zangewa, B 15

Hassan, K 5

Ruga, A 38

Hockney, D 55

Scheepers, G 13

DETAIL ON PAGE 156

Lot 5 Kay Hassan PLE

154

RIGHT (DETAIL)

Lot 3 Sam Nhlengethwa The Yellow Couch

155

156

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157

WRITT E N /TEL EPHO NE BIDD ING F OR M A Written bid is also referred to as an Absentee or Commission bid.

SALE TITLE: Historic, Modern & Contemporary Art

L OT S –

SALE VENUE: Avenue | V&A Waterfront | Cape Town

LOT NUMBER LOT DESCRIPTION

Please print clearly MAXIMUM | EMERGENCY BID (HAMMER PRICE)

SALE DATE: 1 September 2019 | 6 pm SALE CODE: AAA | Spring 19 Telephone bid Absentee/Commission/Written bid Written 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 CLIENT CODE B ILL I N G N A M E AD D R E S S

P R I M A R Y C O N TA C T N U MBER S E C O N D A R Y C O N TA C T N U MBER E MA I L A D D R E S 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. 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.

Payment method: EFT Credit Card

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.

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.

158

BI DDI NG I NCREMENTS

>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.

SI GNATURE