Aspire catalogue jun 2018 by Aspire Art

Historic, Modern & Contemporary Art

Historic, Modern & Contemporary Art Evening Sale | Winter 18

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

Gordon Institute of Business Science | 26 Melville Road | Illovo | Sandton AUCTI O N

Sunday 17 June 2018 | 6 pm Drinks and canapés will be served following the auction V IE W I N G

Thursday 14 June 2018 | 10 am – 5 pm Friday 15 June 2018 | 10 am – 5 pm Saturday 16 June 2018 | 10 am – 5 pm Sunday 17 June 2018 | 10 am – 5 pm WAL K A B O U TS

Saturday 16 and Sunday 17 June 2018 at 11 am AUCTI O N EER

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

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viii

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 NVEN 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.

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

AUCT ION VENUE – G ORDO N INS T IT UT E OF B US INE S S S C IE NC E 26 Melville Road, Illovo, Johannesburg

From the M1, take the Corlett Drive off-ramp and proceed west up Corlett Drive towards the Wanderers Club. At the top of Corlett Drive, turn left into Oxford Road. Move immediately into the right lane, and turn right at the first set of traffic lights into Bompas Road. Continue to the next set of traffic lights and turn right into Melville Road. Continue past another set of traffic lights and GIBS will be on your right.

ad ia Ro Rivon

Fricker Road

From the M1

Aspire Art Auctions Offices

Harries

Road

GIBS Business School

Chaplin

N E XT AUCTIO NS IN 2018 Timed Online | Old & New 26 June – 3 July 2018

Timed Online | Contemporary Art 4 – 11 September 2018

Live Johannesburg | Historic, Modern & Contemporary Art 28 October 2018 Consignments close end August

Timed Online | Holidays! 20 – 27 November 2018

Road

oad Oxford R

oad Fricker R

Parking entrance in Melville Road GPS co-ordinates: S26º07’46.2” E28º02 ‘46.788”

Melville

From Jan Smuts Avenue, turn east into Bompas Road. Continue to the next set of traffic lights and turn left into Melville Road. Continue past another set of traffic lights and GIBS will be on your right.

Road

From Jan Smuts Avenue

CON TE N T S

Auction Information vii Glossary of Cataloguing Terms and Practice ix Auction Venue – Gordon Institute of Business Science x Aspire Specialists and Staff xv Artist’s Resale Rights xvii

Sale Lots 1 to 140 1–143 Author Biographies and Acknowledgements 145 Guide for Prospective Buyers 146 Terms and Conditions of Business 149 Details used in prelim pages from:

Artist Index 155

COVER

Lot 41 Irma Stern Still life with magnolias, apples and bowl

Catalogue Subscription Form 157

PAGE I

Lot 33 Irma Stern Still life with chrysanthemums in the artist’s handmade ceramic jug

Written/Telephone Bidding Form 158

PAGE II

Lot 40 Peter Clarke Lazy Day PAGE IV–V

Lot 15 Jacobus Hendrik Pierneef Landscape near Golden Gate PAGE VI

Lot 19 Gerard Sekoto Bustling street scene PAGE VIII

Lot 26 Cecil Skotnes The Legend of the Judean War PAGE XI

Lot 50 Edoardo Villa Stallone PAGE XII

Lot 35 Alexis Preller Celestial Twins PAGE XIV

Lot 72 Robert Hodgins Girlfriend, Boyfriend PAGE XVI

Lot 8 Maurice van Essche Sucrier Bakete PAGE XVIII

Lot 31 Edoardo Villa Sculpture VIII

xiii

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

Mary-Jane Darroll Senior Art Specialist | Director Johannesburg mj@aspireart.net +27 82 567 1925

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

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

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

Kathryn Del Boccio Client Liaison kathryn@aspireart.net +27 79 791 6037

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

Wendy Tyson Client and Office Administrator Johannesburg wendy@aspireart.net +27 62 956 3881

Louise Prinsloo Financial Officer Johannesburg accounts@aspireart.net +27 11 243 5243

Joshua Stanley Cataloguer Cape Town joshua@aspireart.net +27 76 647 8560

Layla Leiman Cataloguer Johannesburg layla@aspireart.net +27 11 243 5243

Lisa Truter Cataloguer Cape Town lisa@aspireart.net +27 82 568 6685

Maileshi Setti Cataloguer Cape Town maileshi@aspireart.net +27 71 518 3092

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

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

xvi

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

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

South Africa is one of a group of countries that have no existing

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

legislation to govern the implementation of an ARR scheme. This group

to pay living South African artists royalties on the resale of their works of art

currently includes the USA, Canada, China, Japan, and Switzerland. The

on auction.

legislation in South Africa has been tabled, but the law is still in draft

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

discussion form. Aspire was the only representative from the secondary

investment back into the industry, acknowledging the value of authorship

market to submit representations to government on the public hearings for

and ensuring support for artists. The inequality of artists only profiting from

the draft legislation, and to appear before the parliamentary committee in

the initial sale is compounded when one considers the rise in value of an

2017 to put forward the case for a national ARR.

artwork over time, in relation to the growing success of the artist. The resale royalties endeavour to return some of that value to the artist. Aspire’s vision places art, sustainability, and the development of 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 of

With little opportunity for funding in the arts, the profound social inequalities of South Africa seem particularly magnified in the sector. In the absence of legislation or a government mandated collecting agency, Aspire voluntarily covers the cost of the ARR percentage fee. Aspire is perfectly placed to usher in a new era, as the newest South

this pioneering initiative. Whilst upholding the significance of established

African art auction house, with the longest combined secondary art market

artists, Aspire is building a market for the future.

experience in the country and a particular focus on top-quality fine art. To

Across the world, artists, associations and collecting societies have

date, Aspire has earned royalties for over 80 living South African artists

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

through their sales, across the market spectrum. Exiled South African artist

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

Louis Maqhubela, one of the artists who has benefited from the Aspire ARR,

international trend.

had this to say: ‘your email was like a whisper from the “Old Ones” – a grand

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 universal, ARR has been implemented in different forms in over 70 countries including France, Australia, and Russia. The European Union standardised

affirmation of ethical market practice, goodwill and generosity that really made my day.’ (email correspondence, 2017). In the absence of legislation and a government sanctioned policy, Aspire calculates ARR based on the sum of an artist’s sales per auction.

its legislation in 2001, with the payment mandated to official collecting agencies, or paid directly to the artist. The EU directive was met with loud

PORTION OF THE SALE PRICE

ROYALTIES

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

From 0 to R50,000

the resale right does not impact the art market negatively. This report was

From R50,000.01 to R200,000

followed up by World Intellectual Property Organisation research in 2017,

From R200,000.01 to R350,000

which corroborated that the payment of royalties on works at auction has no

From R350,000.01 to R500,000

0.5%

discernible impact on prices.

Exceeding R500,000.01

0.25%

protestations from established UK auction houses and galleries. However, in

xvii

Historic, Modern & Contemporary Art

Lot 1

Robert Hodgins South African 1920–2010

These Sundays, triptych 1997–98 colour screenprints over lithographs each sheet signed, dated 97–98 and numbered AP II/II in pencil in the margin sheet size: 50 x 35 cm each

R30 000 – 50 000 L IT E R AT U R E

Buys, Anthea. (ed.) (2012). A Lasting Impression: The Robert Hodgins Print Archive. Johannesburg: Wits Art Museum, another example from the edition illustrated on p.42. NO T E S

Based on the 1989 poem These Sundays by Robert Berold.

Lot 2

Jacobus Hendrik Pierneef South African 1886–1957

Study of aloes pen, ink and watercolour on paper signed 27 x 21.5 cm

R20 000 – 30 000 NO T E S

One of only two known aloe studies by the artist, the other example is housed in the archives of the Ditsong Cultural History Museum in Pretoria.

Lot 3

Jacobus Hendrik Pierneef South African 1886–1957

Boerehuis – Tulbagh 1930 etching and aquatint signed and numbered 61/100 in pencil in the margin plate size: 20.5 x 27 cm

R30 000 – 40 000 L IT E R AT U R E

Nel, P.G. (ed.) (1990). J H Pierneef. His Life and his Work. Perskor: Cape Town & Johannesburg, another example from the edition illustrated on p.129.

Lot 4

Pablo Picasso Spanish 1881–1973

Célèstine, Maja ou Olympia nue, avec Manet et Marcellin Desboutin 1968 etching and aquatint on wove paper signed and numbered 22/50 in pencil in the margin 36 x 47 cm

R80 000 – 120 000 NO T E S

Published by Atelier Crommelynck, Paris. PROVENANCE

White House Gallery, Johannesburg.

Lot 5

Pablo Picasso Spanish 1881–1973

Bacchanale 1955 etching and aquatint signed and numbered 22/250 in pencil in the margin sheet size: 55.9 x 76.2 cm

R160 000 – 200 000 NO T E S

Published by Atelier Crommelynck, Paris. PROVENANCE

White House Gallery, Johannesburg.

Lot 6

This series of five prints by William Kentridge from the late

William Kentridge

1970s presents an exciting opportunity for the serious collector

b.1955 South Africa

to acquire some of the artist’s rarest and most influential early

The Muizenberg Series

works. They are uncatalogued, but clearly part of the wider

1977 colour linocuts each signed, dated and numbered 5 in pencil in the margin sheet size: 24.5 x 21 cm each

series of Muizenberg prints, some of which are catalogued.

R300 000 – 500 000

(1976–1977) are illustrated in the book William Kentridge:

L IT E R AT U R E

Prints (2006), on pages 22 and 23. Given that the works on

Law-Viljoen, Bronwyn. (ed.) (2006). William Kentridge: Prints. Johannesburg and Iowa: David Krut Publishing, three prints from the series (1976 to 1977) illustrated on pp.22–23. Kentridge, Matthew. (2015). The SOHO Chronicles: 10 Films by William Kentridge. London: Seagull Books, the series mentioned on p.57: ’I had done drawings of people on the beach at Muizenberg in my first year of university (1974) and this was an extension of those images.’

Intriguingly, these prints have a key influence on the later development of Kentridge’s seminal Soho Eckstein character. Three works from the very early Muizenberg series of prints

auction are five different prints, there must be at least 8 in the series, but the final number is unclear. All are linocuts, other than one colour etching and aquatint, and all were printed by Kentridge himself. The three that are catalogued in the book were from incomplete editions, and were printed on at least two kinds of paper (Mulberry paper and also newsprint), even within the same image run. The five works on auction were therefore not found for the exhibition catalogued in the book, and are uncatalogued themselves. This indicates how rare the works are, and how incomplete the records were from that time. One of the catalogued works is a black and white family group portrait which has the date 1933 in the image, and the colour one is an image of 3 people on a beach. The text that accompanies the works on the pages reads: ‘The man in the deck chair wearing a three-piece suit and Homberg (sic) was my grandfather on holiday at the South African coastal resort of Muizenberg, in Cape Town. As a child, I had been struck by this photograph which depicted such an alien world. Decades later when I had been working on films showing the character Soho Eckstein wearing his pinstriped suit under all circumstances, I realised that this photo had been the source, not of the character of Soho, but of his dress. The two young boys in the print are my father and uncle. […] The man in his pinstriped suit in Muizenberg does another circle in my animated film Tide Table, made in 2003’. (2006:22–23) To this day it seems the artist is also uncertain how many prints were made of these works and even exactly how many images were made as prints. What we do know is that the five prints on offer have not been seen in a long while and represent a rare opportunity for collectors. Neil Dundas/James Sey Law-Viljoen, Bronwyn. (ed.) (2006). William Kentridge: Prints. Johannesburg and Grinnell, Iowa: David Krut and Grinnell College.

Lot 7

Walter Battiss South African 1906–1982

Three figures 1980 oil on canvas laid down on board signed 30 x 28 cm

R120 000 – 180 000

Lot 8

Maurice van Essche South African 1906â&#x20AC;&#x201C;1977

Sucrier Bakete oil on canvas signed; inscribed with the title on the reverse 55 x 65.5 cm

R180 000 â&#x20AC;&#x201C; 240 000

Lot 9

This finely honed undated self-portrait illustrates a keen sense

Maud Sumner

of identity and self-confidence, together with an engaging gaze

South African 1902–1985

that holds the viewer’s attention. Maud Sumner reveals herself

Self portrait

here as a newly settled art debutante, conceivably in Paris,

oil on board signed with the artist’s initials 48 x 38 cm

probably in the late 1920s. Could this interior have been her first

R180 000 – 240 000

modest lodgings in which she saw herself as an independent young woman in pursuit of a career within the art world? Although Sumner was born in Johannesburg and schooled at Roedean where she was encouraged by the well-known art teacher AE Gyngell (1866–1949) to follow a career in art, her father was far more in favour of solid academic training. With relatives in Warwickshire where she was to spend happy and fruitful holidays with her grandmother and aunts, it was decided that she would study at Oxford. Sumner commenced her studies in 1922 reading English and French language and literature and for some time became fully engaged in the academic life at Oxford University. However, with her enduring interest in art and the compulsion to draw and paint, she soon investigated other creative options and in 1925 registered for an art course at the Westminster School of Art in London. Nonetheless, the English Art School tradition proved not to agree with her imaginative nature and she took the bold decision to travel to Paris. There the art galleries, art schools and a sense of creative experimentation, confirmed Sumner’s realisation that she had found her artistic roots and spiritual home. The small, evocative painting in the background of this rather minimalist interior might shed light on the way in which this early self-portrait evokes Sumner’s initial introduction to French painting. The architectural structure portrayed here reminds the viewer of an aqueduct, a favourite subject matter of various French artists such as Cézanne (1839–1906), Gericault (1791– 1824) and Vuillard (1868–1940) amongst others that she might have encountered on her visits to the city’s various art museums. Moreover, the young Sumner portrayed herself here rather provocatively by shedding her green stole, perhaps suggesting a mood of newly found personal freedom in the ‘City of Light’. Eunice Basson

Lot 10

The life and artistic practice of Cecil Skotnes was deeply

Cecil Skotnes

entrenched in Africa. His experience of teaching at the Polly

South African 1926–2009

Street school in the heart of Soweto was one that allowed him

African figures

to see past the blinkered view of white life under apartheid, and

circa 1965 carved, incised and painted wood panel signed 63.5 x 50 cm

exposed him to the day to day issues of township life. For his

R200 000 – 300 000

into everyday life.

PROVENANCE

The Premier Milling Collection, Johannesburg.

part, Skotnes brought to the Polly Street school a vision of art from Europe – one where art was a lived experience integrated The kind of figures and styles that became iconic in Skotnes’ works were born from an eye not focused on Europe but a vision that showed a deep understanding of African art forms; a visceral consciousness seen in the highly conceptualised portraits and depictions of people – their emotional states moulded into a new form. This panel, African figures, is signed with a very small, precise signature – seldom seen beyond the period where Skotnes and Egon Guenther were breaking the mould and challenging a Eurocentric South African art community with the formation of the Amadlozi Group. Amadlozi, meaning ‘spirit of our ancestors’, was selected as a name to signal the group’s interest in an African identity, exemplified by Skotnes’ iconic depictions of Shaka. The precision of Skotnes’ forms is remarkable in the 1960s and is reflected in the prints he made in collaboration with Guenther. The print block became liberated into its own form – an artwork in itself. Continued on page 38

African figures, 1965 Photograph: John Hodgkiss

Â© The Estate of Cecil Skotnes | DALRO

Lot 11

Hannes Harrs South African 1927–2006

Totem 1967 Burmese teak signed with the artist’s monogram and dated 72 x 26 x 13 cm

R15 000 – 20 000 PROVENANCE

Egon Guenther Gallery, Linksfield, 1967. Accompanied by the original invitation to the exhibition. L IT E R AT U R E

cf. Rankin, Elizabeth. (1989). Images of Wood: Aspects of the History of Sculpture in Twentieth Century South Africa. Johannesburg: Johannesburg Art Gallery, a similar example from the same year illustrated on p.109.

Lot 12

Sidney Goldblatt South African 1919–1979

King and Queen 1970 acrylic, hessian and linoleum on canvas signed; inscribed with the artist’s name, the title and address on the reverse 101.5 x 121.5 cm

R45 000 – 65 000 EXHIBITED

Pretoria Art Museum, Pretoria, Sidney Goldblatt (1919–1979) Commemorative Exhibition, 18 to 26 November 2000.

Lot 13

Cecil Skotnes South African 1926–2009

Three Kings: David, Samuel and Saul carved, incised and painted wood panels each signed 20 x 31.5 cm each (3)

R150 000 – 250 000 PROVENANCE

Die Kunskamer, Cape Town. EXHIBITED

Iziko South African National Gallery, Cape Town, Cecil Skotnes: Retrospective Exhibition in Celebration of the Artist’s 70th Birthday, 1996. © The Estate of Cecil Skotnes | DALRO

Lot 14

Sunset at Windemere (Afrika Mayibuye) is perhaps one of

Peter Clarke

Peter Clarke’s oddest works, yet it is not a surprise considering

South African 1929–2014

his penchant for humour. Those who know the now late artist

Sunset at Windemere (Afrika Mayibuye) (sic)

and his work, might remember him for his diligence and often

1957 gouache on paper signed and dated 10.1.1957; inscribed with the title on the reverse 24 x 30 cm

yet whimsical painterly touches, Clarke’s distinctive saturated

R150 000 – 200 000

humourous observation of the everyday. With their quiet and palette and bold contours, often appear misleadingly passive. He is sometimes referred to as an heir to movements such as German Expressionism, the Harlem Renaissance etc., but rarely to the haunting influence of African sculptural traditions

PROVENANCE

which runs through his work. The Machiavellian wit that

Purchased from the artist’s family.

clandestinely pops up in his oeuvre, depicts reality with a bold disregard of naturalistic conventions. Sunset at Windemere (Afrika Mayibuye) represents a rather earlier Clarke, almost emboldened by his era’s journalistic preoccupations. It depicts three men defecating in a row of rickety, open toilet cubicles. Completed in 1957, at the height of apartheid’s forced removals, it portrays the tragedy and neglect faced by the residents of the now lost community of Windermere. At first glance, the painting draws us in with the warm, liquid colours of the sunset, into what deceptively becomes a comical representation. But Clarke depicts something more than just the spatial sanitary ecology of apartheid South Africa. He reveals the monotony of racial oppression with pathos and reluctant comic ease. Upon closer reading, he unveils a spatio-existential tragicomedy, where space and race correlatively define the logics of incongruity and the daily naturalization of destitution. Thus his subtitle Afrika Mayibuye (Africa Return) presupposes a nostalgic yearning for a different sociality and time. Athi Mongezeleli Joja

Â© The Estate of Peter Clarke | DALRO

Lot 15

Despite a busy lecturing schedule, J.H. Pierneef kept up his

Jacobus Hendrik Pierneef

daunting exhibition programme throughout South Africa during the 1950s and 1960s. His career as an art educator,

South African 1886–1957

artist and painter of the South African landscape was widely

Landscape near Golden Gate

acknowledged with many impressive highlights to his name

1955 oil on board signed and dated 46 x 64 cm

and Pretoria, as well as more commissions at national level,

R2 000 000 – 3 000 000

established proved to be the artist’s most creative and prolific

PROVENANCE

decade. In 1948 a major exhibition titled the ‘Overseas

Johans Borman Fine Art, Cape Town.

Exhibition of South African Painting and Sculpture’comprising

such as two honorary doctorates from the universities of Natal amongst others. The 1940s with Pierneef in his middle-age and well

149 artworks, was showcased at the Tate Gallery in London, where six of the artist’s works were exhibited to public acclaim. This exhibition later travelled to the Netherlands in 1949. By the end of the decade, owing to his declining health, Pierneef was gradually scaling down, withdrawing from the public arena and making more time to travel the country together with his wife and with close friends. With his ever resourceful eye Pierneef continued to pursue the challenges and versatility of the South African veld which remained his major creative inspiration throughout a long career. He was no longer young and during this last decade of his life many galleries all over the country were either planning or curating major retrospective exhibitions of the grand master’s work. In this splendid vignette of the Golden Gate region with its wind-eroded sandstone outcrops, Pierneef demonstrates his preference once again for the milder landscape colours, interspersed with vivid green stretches of vegetation on the higher slopes of the sandstone ridges. The unique characteristics of the eastern Free State are captured in an almost streamlined manner, as if the artist’s concern is more focussed here on the swathes of light soaking up the warm and familiar tonality of this wintery scene. Eunice Basson

Lot 16

Frans Oerder South African 1867â&#x20AC;&#x201C;1944

Transvaal Landscape (near Pretoria) oil on canvas signed; inscribed with the title on a label on the reverse 34.5 x 61.5 cm

R70 000 â&#x20AC;&#x201C; 90 000

Lot 17

Piet van Heerden South African 1917–1991

Namaqualand in Spring 1986 oil on board signed and dated 29.5 x 40 cm

R20 000 – 30 000

Lot 18

Conrad Theys b.1940 South Africa

Kokerbome Nigramoebvlakte Namaqualand 2000 oil on canvas signed and dated; signed, dated and inscribed with the title on the reverse 51 x 61 cm

R40 000 – 60 000

Lot 19

Gerard Sekoto painted this township scene in 1961, while living

Gerard Sekoto

in what has mistakenly been called ‘self-imposed’ exile. After

South African 1913–1993

all, to what extent are we truly the masters of our exile?

Bustling street scene

Sekoto’s decision to live abroad was never an easy one,

1961 oil on canvas signed and dated 54 x 65 cm

which is why we find ourselves in the grip of nostalgia when

R500 000 – 800 000

oil painting entitled Bustling street scene.

PROVENANCE

Acquired directly from the artist in Paris in 1961.

looking at his paintings. Gestural, expressive, they often conjure conviviality and human warmth. This is strikingly evident in the In the foreground we see a dapper man, coolly perched beside his bicycle – a man on the move – in conversation with a young mother. There are others milling about, since what Sekoto has cast for us is a familiar social scene, or, as Welsh cultural analyst Raymond Williams terms it, a ‘knowable community’. It is a glancing intimacy which Sekoto seeks to capture; a vision simple, pure, and ordinary. The brushstrokes are effortless, the figures poised between abstraction and detail, for this is a world which can only be sketched, or felt in passing, like a breeze or a fleeting memory. And therein lies the pathos, because in Sekoto’s painting, it is both conviviality and melancholy which emerge. While this ‘bustling street scene’ has all the casual verve of life caught in passing, it is also a scene drawn from memory – a recollection in tranquillity. To understand a Gerard Sekoto art work, therefore, requires that we move past the clichéd summation of ‘urban black art’ or ‘social realism’. In Bustling street scene what we are witnessing is not the gravitas of an empirical impression but the weightlessness that stems from longing and loss. The beauty of the painting, like the beauty of a momentarily warm conversation, lies in its effervescence – and the flushed surge that returns when it is remembered. Ashraf Jamal

Â© Gerard Sekoto Foundation | DALRO

Lot 20

From the summer of 1923 Ruth Everard Haden was in France

Ruth Everard Haden

and, on a holiday with friends from the Slade Art School, began

South African 1904–1992

painting directly from the French landscapes and producing

A French village in the Alps

works that showed her interest in Cézanne’s formalism. She

circa 1924 oil on canvas signed by Leonora Everard Haden and inscribed ‘I sign this on behalf of Ruth Everard Haden on 12-7-1985’ and ‘France +- 1924’ on the stretcher 72 x 52 cm

Grande Chaumière, a street containing several dynamic and

R120 000 – 180 000

later enrolled at the Colarossi Art School in the Rue de la influential art schools and studios. Amongst these was the Académie de la Grande Chaumière, where several South Africans had studied under well-known masters such as Antoine Bourdelle, Othon Friesz and André Lhote. It is possible she saw the celebrated Matisse exhibition at Bernheim’s gallery in 1924. ‘Ruth could not sufficiently emphasise how important the exhibitions of the established artists had been for her, and how much she learnt from discussing them with her fellow students’, according to Everard Group biographer, Frieda Harmsen (1980:86). Everard Haden began her studies in 1927 under Lhote, in whose opinion ‘everything of permanent value produced since Impressionism originated in the meditations of the Master of Aix’ (1953:59). She certainly drew on Cézanne’s simplified forms and modulated colour to create subtle gradations. By eschewing modelling and strong tonal contrasts in favour of broader areas of colour, her painting emphasised a strong pictorial cohesion. Through the use of bold uncompromising forms in a structured composition, she achieved an extraordinary monumentality in A French village in the Alps, a sophistication virtually unparalleled in South African art of the time. Emma Bedford Harmsen, F. (1980). Women of Bonnefoi. Pretoria: J.L. van Schaik Lhote, A. (1953). Figure Painting. London: Zwemmer quoted in Alexander, L., Bedford, E. and Cohen, E. (1988). Paris and South African Artists 1850–1965. Cape Town: South African National Gallery.

Lot 21

In the catalogue of his exhibition of War Paintings that was

Alexis Preller

held at the Gainsborough Gallery, Johannesburg, in June 1944,

South African 1911–1975

Alexis Preller included a summary of a War Diary that he

The Wounded Soldier

composed in Pretoria from letters written to family and friends

1944 oil on canvas laid down on board signed and dated 40 x 55.5 cm

while he was on active service. Preller’s diary entry for 9. 12.

R700 000 – 1 000 000

featured on this exhibition:

1941, referring to his time at Sidi Omar in the Libyan Desert, seems to relate directly to The Wounded Soldier that was

EXHIBITED

Working in the operating theatre offers enormous opportunities to

Gainsborough Gallery, Johannesburg, Alexis Preller, 6 to 19 June 1944.

see the thing at a high level. Somehow I intend getting it down in

L IT E R AT U R E

Berman, Esmé and Nel, Karel. (2009). Alexis Preller: Africa, the Sun and Shadows. Johannesburg: Shelf Publishing, colour illustration on p.70. NO T E S

Esmé Berman and Karel Nel in Alexis Preller: Africa, the Sun and Shadows, Saxonwold: Shelf Publishing, 2009, do not discuss this painting directly, but their Chapter 4, ‘1939–1943’, pp.57–78, describes the context in which it was made and the quotations reproduced here are taken from pages 67 and 64 respectively.

a permanent form. Though if I did nothing about it, it is enough that I am here to see it, to be part of it. To feel the pity of it, to look calmly at its brutal momentum. (2009:67)

The indications of ‘a high level’ and being ‘part of it’ suggest that Preller’s representation of the wounded soldier was never intended to be a straightforward record of a war-time operating theatre such as might have been made by an official War Artist, but rather an expression of his heightened experience of witnessing such a scene. This sense of intense emotional engagement with the wounded recurs in a letter to his partner Christi Truter of 12th December 1941 that probably refers to this same moment: I am moved terribly at times. I could weep and be sad for the individual if I had time to crawl away and be quiet – but there is no time. We work like demons far into the night. And so I am a spectator … It is right for me to be here. I know that now. This is about the biggest thing I have yet seen involving people – men. That it is the worst thing is perhaps better too - better to see the evil at its worst – It is all hell, but … there is a hell of a lot of humanity here too. (2009:64)

Recalling such experiences in an interview with Esmé Berman and Harold Jeppe for the SABC in July 1964, Preller perhaps alluded to the homoerotic quality of these paintings when he stated that ‘I saw something infinitely beautiful, and it had no horror for me at all’. The Wounded Soldier, in other words, is testament both to the horrors of war and, with extraordinary compassion, the triumph of the human spirit in these appalling conditions. Michael Godby Berman, E and Nel, K. (2009). Alexis Preller: Africa, the Sun and Shadows. Johannesburg: Shelf Publishing.

Lot 22

Leonora Everard Haden b.1937 South Africa

Arum Lilies in a Vase 1996–97 oil on canvas signed and dated ‘96–97’; signed and inscribed with the title on the stretcher 92 x 76 cm

R40 000 – 60 000

Lot 23

Christo Coetzee South African 1929–2000

Roses oil on canvas signed 76 x 61 cm

R40 000 – 60 000

Lot 24

Kay Hassan b.1956 South Africa

Untitled paper construction signed 69 x 130 cm

R70 000 â&#x20AC;&#x201C; 100 000

† Lot 25

Paul Emmanuel b.1969 Zambia

Transitions II 2010 manière noire stone lithograph, hand printed and coloured with ink and watercolour pigment signed, dated, numbered 3/35 and inscribed with the title in pencil sheet size: 80 x 158 cm

R30 000 – 50 000

EXH IBITED

Irma Stern Museum, Cape Town, Rites of Passage: Between Light and Shadow, 11 June to 18 June 2016. Turchin Center for the Visual Arts, Appalachian State University, North Carolina, USA, Twenty: Contemporary Art from South Africa, 2014. La Maison Rouge Fondation Antoine de Galbert, Paris, France (c) & Staatliche Kunstsammlungen, Dresden, Germany, My Joburg (touring), 2013.

Dak’Art: 10th Biennale of Contemporary African Art, Dakar, Senegal, 2012. Michaelis Galleries, University of Cape Town, Not My War, 2012. Featured Artist, Transitions Multiples, FNB Joburg Art Fair, Johannesburg, 23 to 25 September 2011. Goya Contemporary Gallery, Baltimore, USA, Transitions Multiples, 2011.

Continued from page 12

The delicate fine lines that are almost unimaginably difficult in this technique show a mastery that is synonymous with their collaborative works during this period. African figures was in all likelihood made in the mid-1960s

Lot 26

and demonstrates the style, execution and subtle, muted earthy

Cecil Skotnes

palette of many of the works produced under Guenther’s

South African 1926–2009

The Legend of the Judean War

influence. It is strikingly similar in palette and execution to another work known as African figures, from 1965, which has to date fetched the highest price for a work by Skotnes at auction.

1984 carved, incised and painted wood panel signed and dated 121 x 243 cm

In the many hundreds of works in his oeuvre it is rare to find

R600 000 – 900 000

this work Skotnes adopted a more definitively carved, tougher

a work with this degree of finesse. It may be compared to the important later work, The Legend of the Judean War (1984), in form – albeit with a more vibrant colour palette. Here one sees

PROVENANCE

Goodman Gallery, Johannesburg.

an almost brutalist consciousness which is very different from

Everard Read Gallery, Johannesburg.

the early work.

The Premier Milling Collection, Johannesburg.

Mary-Jane Darroll

Lot 27

Deborah Poynton

First exhibited in 2006, Safety and Security by Deborah Poynton

b.1970 South Africa

formed part of one of four massive canvases comprising her

Safety and Security, diptych

third show at Michael Stevenson Gallery, in Cape Town. This

2005 oil on canvas each canvas signed, dated and inscribed with the title and position on the reverse 200 x 600 cm (2)

from the show.

R150 000 â&#x20AC;&#x201C; 250 000

female character, elevated on a stage in the foreground and

diptych, measuring two by six metres in total, is the titular work Poynton is renowned for her hyper-realist painting style, often employed to realise startlingly non-realistic scenarios. Safety and Security hinges on its centrally positioned nude facing into the frame. Her provocative look over her shoulder is

PROVENANCE

Michael Stevenson Contemporary, Green Point, Cape Town. EXHIBITED

Michael Stevenson, Cape Town, Safety and Security, 18 January to 18 February 2006. L IT E R AT U R E

Deborah Poynton: Safety and Security (2006). Catalogue 19. Cape Town: Michael Stevenson, illustrated in colour, unpaginated.

aimed directly at the viewers of the work, and implicates them in the scene. Poyntonâ&#x20AC;&#x2122;s astonishing command of detail and texture in her brushwork is amply demonstrated in the cavernous background of the piece, which shows an exterior space under a brutalist concrete building, inside of which other spectators survey the scene. Three figures join the nude on the foregrounded stage: one figure, stage left, has his back to the viewer. Two others,

stage right, can’t face the apparent shame of the scene, and look out of the frame, away from any lines of sight. They appear to be perfectly painted, mortified middle-aged parents, whose daughter, conceivably, is appearing naked and on display. The cast of characters in mid-ground spectate the scene in different ways, from lasciviousness to shock, to boisterous appreciation. Some take smartphone pictures. Many of Poynton’s scenarios seduce the viewer with detail. For example, her paintings often feature painstakingly observed interiors behind a confrontationally realist figure study, or a terra nullius landscape overflowing with potentially allegorical visual cues. This immense, and immensely meticulous work, pushes the realist conventions to their limits, presenting what is surely the brilliantly painted lucid quality of a dreamscape – one of those dreams where you appear naked in public and no one is quite sure how to react. Poynton’s talent is such that even the viewer, usually at a safe distance, becomes part of the dream. James Sey

ÂŠ Andrew Verster | DALRO

Lot 28

Andrew Verster b.1937 South Africa

Rideaux 1997 oil on canvas signed and dated; signed, dated, inscribed with the title and medium on the reverse 170 x 220 cm

R70 000 â&#x20AC;&#x201C; 100 000

Lot 29

William Kentridge b.1955 South Africa

Rumours and Impossibilities 2010 colour screenprint signed and numbered 19/30; embossed with the Caversham Press chop mark sheet size: 160 x 110 cm

R150 000 â&#x20AC;&#x201C; 200 000 EXHIBITED

808 Gallery, Boston University, USA, South Africa: Artists, Prints, Community/ Twenty Five Years at The Caversham Press, another example from the edition exhibited 8Â February to 27 March 2011.

Lot 30

Brett Murray’s Praise Singer, by dint of its title, references a

Brett Murray

peculiarly South African political lingua franca and situation. In

b.1961 South Africa

common political parlance ‘praise singer’ has come to represent

Praise Singer

an unquestioning aspirant ideologue, and is a term that has

2008 bronze From an edition of 8 75 x 45 x 42 cm

come to mark a certain dogmatism associable with particularly

R150 000 – 250 000

portrays a black burly bipedal creature with a protruding

PROVENANCE

black political servants. Well-known for his painting Spear (2010) and similarly provocative works, Murray’s Praise Singer tail and short limbs, with raised paws surrendered in the air.

Goodman Gallery, Johannesburg.

Visually, this work appears comical with its plump physique,

EXHIBITED

typical perhaps of children’s toys. So there’s a cunning

Goodman Gallery, Cape Town, Crocodile Tears, 10 April to 3 May 2008.

playfulness, a conceptual split even, that is only revealed when

Goodman Gallery, Johannesburg, Crocodile Tears II, February 2009.

‘praise singer’ historically emerges out of colonial ignorance

we reconsider the rhetorical seriousness of its title. The term

L IT E R AT U R E

and the bastardisation of the role of the village bard, whose

Brett Murray: Crocodile Tears. (2008). Cape Town: Goodman Gallery Editions, another example from the edition illustrated in colour on pp. 60–61.

obligations were far from showering royalty with compliments. Its contemporary iteration, seemingly stretched, if not conflated (as per Murray’s conception) with yet another roving local moniker for the political petit bourgeoisie as ‘fat cats’, raises pertinent critical challenges in attempts at describing the post-apartheid anomaly. However, his characterisation, as provocative as it is, does not diminish the work’s restrained and urgent critique of the self-serving and selfish political leadership. Praise Singer indexes a deep desire to flag a cautionary insight into the political state of affairs. Athi Mongezeleli Joja

Lot 31

This monumental work in steel was created at the end of the

Edoardo Villa

1960s, the most tumultuous and influential period in Edoardo

South African 1915–2011

Villa’s long career. Its extended forms and starkly elegant

Sculpture VIII

simplicity are characteristic of other works from the same

1970 painted steel signed and dated 201 x 265 x 110 cm

period, like the Maquette proposal for Jan Smuts airport.

R1 000 000 – 1 500 000

identity as a sculptor of European origin working in Africa.

L IT E R AT U R E

Nel, Karel. (2005). Villa at 90. Johannesburg: Shelf Publishing, illustrated on p.140.

During this time, Villa was searching for a range of conceptual and visual solutions to the challenge of representing his hybrid His association with the Amadlozi Group through the 1960s is much remarked upon. While Amadlozi had no doctrinal artistic manifesto as such, it was driven by founder Egon Guenther’s conviction that artists should draw on their own experiences and milieu in order to create. This meant that Villa, for one, had to find ways to reconcile his European heritage and training with his African experience and visual source material. As with the other Amadlozi sculptors, Sydney Kumalo and Ezrom Legae, Villa drew on his exposure to Guenther’s African art collection, as well as that of his other friend Vittorino Meneghelli, to fashion his own unique visual language. As Karel Nel points out in the book Villa at 90, the extended forms projecting dramatically outward from the tapering base of the piece recall the great Songe Kwifebe masks of the Democratic Republic of Congo: ‘In the Songe masks, [viewers] … cannot mistake this face for that of a living being. Rather it represents that of a powerful, ancestral spirit whose extended senses are associated with altered consciousness and the supersensory ancestral world’ (2005:140). While Villa’s commitment to a graceful abstraction is present in this imposing and balanced piece, the spirituality of its African identity also shines through. James Sey Nel, K, Burroughs, E, von Maltitz, A. (eds.) 2005. Villa at 90. Johannesburg: Jonathan Ball and Shelf.

Lot 32

At first glance, Robert Hodgins’ Father and Son might look

Robert Hodgins

unfinished. But look again: it is not the painting that is

South African 1920–2010

unresolved; the painting is, precisely, of ideas coming into form.

Father and Son

Note in particular the irreducible paradox in the way the central

1996 oil on canvas signed, dated, inscribed with the title and medium on the reverse 90 x 120 cm

figure – as asserted in hard, spare outlining in red, minimal

R500 000 – 800 000 PROVENANCE

Goodman Gallery, Johannesburg.

modelling in blue – dissolves into mute offwhite background at left. By the same token, Hodgins renders the figure as form emerging from out of nothingness. Idea, God-like in the time-space of art, becomes flesh. Aficionados will recognise in Father and Son something like a command performance of Hodgins’ avowed painterly process: as an all but automatic engagement between the artist’s unconscious and the empty canvas, in which the artist would lay on marks without conscious purpose to ‘push paint around’ until form would emerge and finally cohere into the state of grace of the finished work of art. Thus the intensity with which the eye is drawn to the focus area of the painting, the portraiture in the central figure – as counterpointed with the primitive, cartoonish paint-sketching in the smaller, disembodied head. There is a livid quality to the way Hodgins’ pinks, reds and blues come together to define form – an almost flayed rawness of sensibility. The effect is haunting, and made more so by a fundamental dualism in his portraiture. The two halves do not cohere, and the visage is left in an anxious irresolution that leads into the titular theme. One both atavistic and heavily invested with emotion: fraught with ambivalence and snagged on hooks of blood and self, continuity and discontinuity. Hodgins is far too good a painter to exploit autobiography to sentimental or anecdotal effect. But he never knew his own father, nor, himself, fathered a son. That non-consummation is frozen here in an image of rare accomplishment and human empathy. Ivor Powell

Lot 33

Titles can silence the evocative power of paintings and inhibit

Irma Stern

a search for meaning beyond the picture frame. This painting is

South African 1894–1966

presented with a descriptive title since the only evidence of what

Still life with chrysanthemums in the artist’s handmade ceramic jug

may have been Stern’s title is a 1980 exhibition catalogue entry:

1950 oil on canvas signed and dated; inscribed with the title on an exhibition label on the reverse 85 x 63 cm

flowering plants?

R3 000 000 – 5 000 000 EXHIBITED

South African National Gallery, Cape Town, Exhibition of 20th Century Still Life from the collections of the friends, April 1980, titled Still life with Chrysanth(a)mums on a label on the reverse.

‘Chrysanth(a)mums (sic)’. The question arises – if the flowers are chrysanthemums why are they given such cursory treatment by an artist renowned for her ability to convey the characters of The foliage bears a generalised resemblance to the tooth-edged leaflets of the Chrysanthemum genus and close examination of the flower forms reveals several linear indications of small petals in the impasto brushwork, knife marks and incised lines of the dominant central blooms. We can deduce that chrysanthemums probably provided Stern’s source material but she chose not to portray these flowers in the realistexpressionist style she developed successfully throughout the 1930s and 1940s. The descriptive title provides a reason for her decision; this is a painting with ‘the artist’s handmade jug’. The artist’s creative practice as painter and ceramist suggests that the painting represents Stern using pictorial language to reflect on her complex artistic identity in 1950. Her handmade ceramic jug, dated 1949, features the back view of a nude woman against white drapery, and Stern’s signature and date are prominent images in the upper right space. The dates are relevant. Stern remained in Africa during the second World War, and on her return to Europe in 1946 and 1950, she reconnected with her European heritage and studied current European painting. This still life painting is about Stern, woman and artist in a post-war era, confronting change. This boldly simplified painting asserts the artist’s pictorial language and evokes the issues of how different cultural contexts influence art practice, and whether artists embrace or reject change in their physical and cultural environments.

Irma Stern’s hand made jug. Collection of the Irma Stern Museum, Cape Town.

Marion Arnold

Lot 34

Simon Stone’s Exposed Foundation was produced for inclusion

Simon Stone

in his 1992/1993 solo exhibition: Recent Works at the Everard

b.1952 South Africa

Read Contemporary in Johannesburg, owned by Trent Read.

Exposed Foundation

This was to be the third exhibition hosted at this new space

1992 oil on canvas signed and dated 116 x 93 cm

– the first dedicated gallery for contemporary art in South

R70 000 – 100 000

Tribunal threatened to close the gallery’s doors on grounds of

EXHIBITED

Everard Read Contemporary, Simon Stone (solo show), November 1992 to January 1993. The exhibition received a merit award at the Vita Art Now competition the following year.

Africa at the time. A few months prior to the opening of the gallery, the conservative Parkwood Residents Association infringement of building and municipal by-laws. This event caused great concern for the art community. It was also the same year that South Africans voted in favour of political reforms following the signing of the National Peace Accord in 1991 to end apartheid. A time of social and political transition followed – further disrupting the status quo, the country had been in recession for three years despite the lifting of United Nations sanctions. But most importantly, it was also the year after the birth of the artist’s daughter, Elizabeth Francesca. A typical Stone allegory, Exposed Foundation suggests a physiological state. The setting is dreamlike, saturated in atmosphere and mystery to convey a peculiar sense of timelessness. Three stacked motifs, set against a nondescript background, structures the composition. A gloomy desolate terrain, a mass of uncertainty, executed in energised brushwork dominates the picture plane. Is this the place where fear and doubt reside? An obelisk, literally referencing the totems at the gallery building site, for which he was commissioned to do mosaics, is embedded in this flux. Strong and solid, the foundation is made visible. At the top, an image of a young female figure appears, almost hovering on the structure. She is rendered angelic and innocent, supported and protected from the turmoil that lies beneath. Is she perhaps also a guiding and liberating force? Exposed Foundation is a scene of individual reflection. Confusion, meaning and beauty coalesce. The artist may allude to bearing the load of fatherhood, of feelings laid bare – vulnerability exposed amidst social chaos. It is the balance between artistic self-consciousness and visual expressiveness that makes this work powerful. Its essence is testament to the zeitgeist of the time and a significant moment in the artist’s life. Stone’s exhibition went on to receive the coveted Vita Art Now Quarterly Award. The Johannesburg Art Gallery also purchased a key work from this exhibition. Marelize van Zyl

Lot 35

The title Celestial Twins does not appear in the list of any of

Alexis Preller

Alexis Preller’s exhibitions around 1955, the year the present

South African 1911–1975

painting is dated. This, with the absence of a title from the

Celestial Twins

painting itself, suggests that either the work was not exhibited

1955 oil on canvas laid down on panel signed and dated 52 x 40 cm

at this time or that it acquired the present title at some later

R700 000 – 900 000

any title.

L IT E R AT U R E

Berman, Esmé and Nel, Karel. (2009). Alexis Preller: Collected Images. Johannesburg: Shelf Publishing, colour illustration on p.149.

time – or, perhaps, both. Significantly, the work is reproduced in the standard Esmé Berman and Karel Nel catalogue without The point is important because Preller often used titles to indicate the meaning of his work. And doubt over the authenticity of the present title opens the possibility that Preller did not intend his two figures to be either ‘celestial’ or ‘twins’. Confronted figures are common in art history – in Europe, in Anglo-Saxon and Byzantine art, and in Africa, in ancient Egyptian, Yoruba, Luba and Malagasy art, for example – but these possible sources are not necessarily either celestial or twins. The symmetry of confronting figures lends them a certain authority, which might reinforce a symbolic meaning but their principal function is generally decorative. The present painting actually relates to Preller’s magnum opus of 1953–1955, the three panel All Africa that he had been commissioned to make for the offices of the Receiver of Revenue, Johannesburg. In December 1959, Preller described the theme of the central panel as the ‘triumph of the sun and light over Africa’. The left and right panels depict ‘formal towers built up of purely African forms and patterns’, sympathetic to the central theme. The so-called Celestial Twins derives from the tower in the right panel of All Africa and, considered without this title, is consistent with the artist’s concern for formal rather than iconographic matters. This sense is confirmed by the fact that the design was a relatively late addition to the painting. One of Richard Cutler’s photographs of the artist in his studio shows Preller in front of the right panel – from which the celestial twins detail is absent. The present painting may well have been a worked-up sketch for this panel. And the probability that it was not exhibited at the time suggests that Preller might have given it to a friend once he had incorporated the design into his painting. Michael Godby Esmé Berman and Karel Nel, Alexis Preller: Collected Images, Saxonwold: Shelf Publishing, 2009, p.149, reproduces the present work without title, and pp.142–147 for All Africa; and Africa, the Sun and Shadows, pp.352–355, for Preller’s text on All Africa and Richard Cutler’s photographs of Preller with the painting in his studio.

Lot 36

Cecil Skotnes South African 1926–2009

Conversation carved, incised and painted wood panel, in the artist’s handmade frame signed 59 x 76.5 cm, including frame

R60 000 – 90 000 © The Estate of Cecil Skotnes | DALRO

Lot 37

Cecil Skotnes South African 1926–2009

Standing figures carved, incised and painted wood panel, in the artist’s handmade frame signed 121 x 77 cm, including frame

R80 000 – 120 000 © The Estate of Cecil Skotnes | DALRO

PRO VEN A N CE

Karin Skawran, Pretoria.

Lot 38

Edoardo Villa South African 1915â&#x20AC;&#x201C;2011

Machine Ballet 1962 copper and brass relief mounted on a wooden base 39.5 x 39 x 8 cm

R180 000 â&#x20AC;&#x201C; 240 000

LITERATU RE

Watter, Lola. (1967). Villa. Johannesburg: Phillip Stein, illustrated figure 18, unpaginated. Engel, E.P. (ed.) (1980). Edoardo Villa: Sculpture. Johannesburg: United Book Distributors, illustrated on p.55. N O TES

Accompanied by a letter written by Karin Skawran explaining the significance of this work which was in her personal collection for over 50 years.

Karin Skawran in her study

Lot 39

Lucas Sithole displayed a natural talent for art from a young

Lucas Sithole

age, and his parents sent him to Vlakfontein Technical College

South African 1931–1994

in 1948. After working in a soap factory, he created tourist craft

Mother and Child (LS7003)

in the 1950s, making his way eventually to the Polly Street Art

1970 bronze signed From an edition of 3 139 x 19 x 15 cm

Kubeka at the Chiawelo Centre, and in 1960 successfully

R400 000 – 600 000 L IT E R AT U R E

Haenggi, F. F. (1979). Lucas Sithole 1958–1979: A Pictorial Review of Africa’s Major Black Sculptor. Johannesburg: Gallery 21 and The Haenggi Foundation Museum, illustrated on p.84. NO T E S

Accompanied by the book, Lucas Sithole 1958–1979: A Pictorial Review of Africa’s Major Black Sculptor. The other two casts from the edition are in private collections in Johannesburg.

Centre in 1959/60. Later he studied painting under Alpheus migrated into Johannesburg’s art gallery system. The Adler Fielding Gallery hosted his first exhibitions, and later Gallery 101 and Gallery 21 promoted Sithole as a major artist. Aubrey Fielding remebers: ‘One day in early 1960 when the Adler Fielding Gallery was a mere tin shed, a young, shy African walked timidly into our workshops […] Lawrence Adler and I were most impressed with two wood carvings of African women. He said that he always wanted to do fine arts, but he was sent by his parents to learn carpentry and cabinet making.’ (1979:7) John Povey, reviewing Sithole’s Retrospective (1958–79), writes: ‘the elongation of writhing form, the simplification in lines, allow[s] the image to emerge from the natural forms of the wood [into] mythological beings’. (www.sithole.com) His biomorphic forms are drawn from nature: the wood or bronze is a living organism, a living spirit, in which the artist finds, and carves, symbolic human and animal archetypes. Mother and Child is certainly one of these. The elongated figures in textured bronze are non-naturalistic and yet intensely spiritual. Sithole had major solo and group exhibitions during his life in London, Basel, Berlin, Chicago and New York, and represented South Africa at the Venice Biennale in 1968. His work is housed in some 18 museums and institutions including the Museum der Weltkulturen in Frankfurt, the Johannesburg Art Gallery, and the Wits Art Museum. He has over 70 recorded works in the USA, more than 40 in the UK, and at least 60 more in collections throughout Europe, testament to his international appeal. Steven Sack Major Aubrey Fielding, www.sithole.com Povey, John. www.sithole.com Haenggi, F. (1979). Lucas Sithole, 1958–1979: Review of Africa’s Major Black Sculptor. Johannesburg: Gallery 21.

Lot 40

Peter Clarke typically used high white walls with cornices

Peter Clarke

reminiscent of Cape Dutch architecture to carry a political

South African 1929–2014

message about the exclusions of apartheid South Africa,

Lazy Day

separating white from black, privileged from oppressed. But

1975 acrylic and gouache on paper signed and dated 25.2.1975; inscribed with the title and medium on the reverse 60.5 x 75.5 cm

here, the wall takes on a benign role – it provides solitude and privacy for a lone nude woman enjoying the sun, its warmth and brightness suggested not only by the vivid blue of the cloudless sky but the dark shadows the figure casts. The pleasurable

R600 000 – 900 000

scene is enhanced by flowering plants with thick green leaves

PROVENANCE

and brilliant red blooms, and a limpid pool that mirrors one of

Acquired from the artist’s family.

them, as well as complementing reflections of the cerulean sky. It is a luxuriant, peaceful garden, sheltered from the outside world: only a black cockerel on the wall overlooks the scene. The woman’s relaxed body is languorously sprawled on the grass, arms raised to reduce the glare of the sun on her face, but also to expose her generous breasts. Nudity is unusual in Clarke’s oeuvre, although he produced a series of life drawings in 2008 when he attended life classes in Kalk Bay. But the only naked females in Clarke’s paintings that spring to mind are ‘exotic’ – a blonde woman carried off by a black centaur in a 1958 work after Picasso’s Rape, and a Japanese Geisha and her lover in Lady with a chiffon scarf in her mouth, made in 2007 as part of his Fan Series. The current beauty is black, with the sun’s sheen on her dark skin. Given Clarke’s impish sense of humour and the double entendres of works like Cock Stand of 1978, portraying the bird perched on the buttocks of a young man doing press-ups, it seems unlikely that the rooster on the wall of Lazy Day is about to interrupt the woman’s leisure only with his crowing. Elizabeth Rankin

Â© The Estate of Peter Clarke | DALRO

Lot 41

Irma Stern produced still life paintings throughout her career,

Irma Stern

invariably depicting natural and cultural forms. Flowering

South African 1894–1966

plants and fruits, often from her garden at The Firs in

Still life with magnolias, apples and bowl

Rosebank, feature prominently as do artefacts she collected.

oil on canvas signed and indistinctly dated 1944/1949 86.5 x 86.5 cm

(issuing orders rather than digging holes one suspects) and

R6 000 000 – 9 000 000 PROVENANCE

Acquired from Jo Montgomery, Johannesburg, 27/1/1949 and thence by descent. NO T E S

Accompanied by the original invoice of sale.

Comments by Stern’s friends affirm her love of gardening vases of flowers adorned her home and studio. Berman recalls being invited to lunch with Stern and notes, ‘Pink and white magnolias, fresh from the tree, were placed informally in the centre of the table’ (2003, pp.75–6). Magnolias are an ancient genus pollinated by beetles before the evolution of bees. To avoid damage from pollinating beetles, the carpels of Magnolia flowers are extremely tough. Used as a botanical term ‘primitive’ carries none of the derogatory connotations conferred on ‘primitive’ in references to people; Magnolias are primitive, beautiful survivors. In Stern’s painting, the cut flowers, removed from their natural environment, will last only briefly but they establish a dialogue between the procreative life force of flowering plants and evidence of human creativity – the martaban in which they are placed, and a small post-Sung period Chinese celadon bowl. The martaban, a Chinese storage jar commonly used on trading vessels, is listed in the Irma Stern Museum catalogue as Southern Chinese, provincial prototype Yüan or later. It is damaged and the greyish areas on the dark iron glaze in the painting are missing areas of glaze, not highlights. Stern depicts round vessels and green apples which contrast with opulent pink-mauve and white magnolia petals, a lattice of branches and the linear patterns of a large, woven Zanzibari mat on which everything is placed. The artful construction evokes a long history of human cultures, a longer history

Zanzibari woven mat

of plant survival and the suspension of time conferred by a skilfully painted still image. Marion Arnold Berman, M. (2003). Remembering Irma, Cape Town: Double Storey Books Irma Stern Museum (1971). Catalogue of the Collections in the Irma Stern Museum. Cape Town: University of Cape Town

Martaban fragment. Southern Chinese, provincial prototype Yüan or later

Lot 42

Sam Nhlengethwa b.1955 South Africa

An Orange Glove 2006 oil and assemblage on canvas signed and dated; signed, dated and inscribed with the title on the reverse 122 x 76 cm

R100 000 â&#x20AC;&#x201C; 150 000

Lot 43

Sam Nhlengethwa b.1955 South Africa

Friends 2007 oil and collage on canvas signed and dated; signed, dated and inscribed with the title on the reverse 101 x 76 cm

R80 000 â&#x20AC;&#x201C; 120 000

Lot 44

Walter Battiss had an unquenchable thirst for knowledge and

Walter Battiss

artistic exploration. An adventurer at heart, his extensive

South African 1906–1982

trips to distant destinations and archeological research took

Study I

different directions, each contributing to his creative approach

1966 oil on canvas signed and dated 39 x 32.5 cm

and stylistic maturity. The symbolic power of Southern African

R150 000 – 250 000

added a complex and continuing iconographic richness to his

rock art attracted him early on, and his interest in Ndebele beadwork, hieroglyphics, calligraphy and pre-Islamic cultures work from the 1950s onwards. Battiss painted Study I in 1966. The previous year, he visited Hadramaut in Southern Arabia to view the early rock engravings in the desert and to study the Yemeni alphabet, which in turn, shaped the Arabic alphabet. He also made use of the opportunity to investigate the Arabian source of the ‘designs’ he encountered on the East African coast. Battiss also travelled to Greece, Jordan and Lebanon later that same year. Study I perfectly demonstrates Battiss in conceptual and experimental mode. Loosely, yet sensitively composed and seemingly handled spontaneously, the painting is classically intellectual, minimal and precise. Continued on page 78

Key to Battiss’ Fook Script

Continued from page 76

Colours are restricted to a few warm tonalities, each separately applied in thick paint with a palette knife on a muted background. Drawn from the observational brush drawings he made during his expeditions, Battiss introduces flowing linear and simple calligraphic marks in solid black and a crescent moon motif in sgraffito. One is unsure if these marks serve as witty decorative simulations of ancient Arabic script, or if the challenge to decode their possible hidden meanings should be accepted. They have become integral to Battiss’ visual and symbolic language. In 1967, Battiss collated his findings on the historical engravings and the Yemeni and Arabic scripts at Hadramaut. This research culminated in the creation of his own unique personalised alphabet – the Fook Script. The existence of this alphabet and the many sketches and more formal painterly abstract studies, like Study I, which Battiss produced during the 1960s, are evidence of the ideas and creative impetus that would later lead to his invention of Fook Island a decade later. Marelize van Zyl

Walter Battiss performing ‘It became necessary for me to invent my own alphabet’, 14 June 1967

Lot 45

Since he began exhibiting in the mid 2000s, the idea of the

Zander Blom

unresolved project of modernism has often been invoked with

b.1982 South Africa

regard to the work of Zander Blom. Perhaps this is unsurprising

Untitled 1.5

for the Pretoria-born artist who grew up ‘with all the modernist

2010 oil and graphite on Belgian linen signed, dated and inscribed with the title on the reverse 239 x 144 cm

stuff,’ and found a ‘natural inclination to mimic it.’ (2014:

R250 000 – 350 000

work reflected his feelings during the early part of his career

EXHIBITED

which he explains: ‘felt like I was studying the masters in a way

Stevenson, Cape Town, Paintings, Drawings, Photos, 9 September to 16 October 2010. L IT E R AT U R E

Blom, Zander. (2013). Paintings: Volume I 2010–2012. Cape Town: Stevenson, colour illustration on p.195. NO T E S

Accompanied by a copy of the artist’s catalogue, Paintings: Volume I 2010–2012.

unpaginated). Beginning with the series of installation shows he produced as an artist working with the Rooke Gallery, which combined sculpture, drawings, photographs and music, Blom’s

but from this weird position as a young dude in Johannesburg making this shit in his house.’ When Blom moved to the Stevenson Gallery and exhibited his first show of paintings, his fascination and interaction with modernism was still heavily evident in paintings such as this work, Untitled 1.5, which, through its heavy daubs and splatters of paint and compositional solutions to the problem of the restrictions of the frame, evoke the work of Jackson Pollock and Francis Bacon. This painting, with its swirls of black and white obscuring brighter colours behind and its background figuration of a floating geometrical chair, seems to channel the spirit of Bacon in particular and his famous series of pope portraits. However while Blom’s work may echo that of his artistic mentor, it remains singularly his own and is perhaps best seen not as mere mimicry, but rather the work of an artist who has taken his influences and re-imagined them through his own experiences working in South Africa – one ‘who through his work … doesn’t steal [but] attacks and devours the legacy of painting.’ (2016:17) This work stands as a prime example of that impulse and also serves as a strong early display of the artist’s incorporation of modernist ideas into his work, which have lead to more direct experiments in later works that have made use of collage and drawings in more recognisably direct conversations with the works of modernist masters such as Picasso, Mondrian and Matisse. Tymon Smith Friedman, J. (2014). Zander Blom: New Paintings. [interview] www.newancestors. nyc/set-1/zader-blom-paintings Trezzi, N. (2016). Paintings Volume II 2013–2016. Johannesburg and Cape Town: Stevenson. p.17.

Lot 46

Zander Blom b.1982 South Africa

Untitled [1.826] 2016 oil and graphite on Belgian linen signed, dated Aug 2016 and inscribed ‘CT’ on the reverse 121 x 44 cm

R60 000 – 90 000

Lot 47

Edoardo Villa South African 1915â&#x20AC;&#x201C;2011

Duet in Yellow 1974 painted steel on a terrazzo base signed and dated 210 x 32 x 32 cm

R200 000 â&#x20AC;&#x201C; 300 000 PROVENANCE

Mike McLennan, Johannesburg, a close friend of the artist and architect of House Villa, built in Kew in 1968.

Lot 48

Andrzej Urbanski b.1983 Poland

A0037 47/47/16 2016 spray paint and acrylic on canvas signed, dated and inscribed ‘CT’ twice in paint and twice in pencil on the reverse 190 x 170 cm

R80 000 – 120 000

Two views of Lot 49

Lot 49

Edoardo Villa South African 1915â&#x20AC;&#x201C;2011

Winkie 1992 painted steel signed, dated and numbered 6/9 202 x 60 x 40 cm

R250 000 â&#x20AC;&#x201C; 350 000

Two views of Lot 50

Lot 50

Edoardo Villa South African 1915–2011

Stallone 1992 painted steel signed and dated 203.5 x 67.5 x 53 cm

R350 000 – 450 000

Lot 51

Pascale Marthine Tayou b.1967 Cameroon

Kapital Is What? 1995 mixed media, collage and found object on paper 61.5 x 85 cm

R50 000 – 80 000 L IT E R AT U R E

Fall, N’Goné and Pivin, Jean Loup. (eds.) (2002). An Anthology of African Art: The Twentieth Century. New York: DPA, colour illustration on p.352. NO T E S

Accompanied by a copy of the book, An Anthology of African Art: The Twentieth Century.

Lot 52

Durant Sihlali South African 1935–2004

Composition (from the Rhini Walls series) 1993 hand-made coloured paper pulp signed and dated 48.5 x 98 cm

R12 000 – 18 000

Lot 53

Lionel Smit b.1982 South Africa

Origins Broken Fragment K 2015 bronze on a steel base signed, dated and numbered 3/6 45 x 24 x 24 cm

R80 000 â&#x20AC;&#x201C; 120 000

Lot 54

Minnette Vári b.1968 South Africa

Arena: The Conception of an Impossible Movement acrylic on canvas signed, inscribed with the title, medium and artist’s address on the reverse 196 x 165 cm

R20 000 – 30 000

Neil Goedhals was an influential, underground avant-garde artist working through the 1980s in Johannesburg, before his untimely death in 1990. His work has only come to auction once before, in 2015.

Lot 55

Neil Goedhals

Apart from producing various mixed media works on paper and canvas, Goedhals was also a well-known performer and

South African 1957–1990

musician, predominantly with the alternative rock band Koos in

Suburban

the late 1980s.

1988 mixed media on prepared canvas with insulation tape around the edges printed with the artist’s name, the title, medium and dimensions on a label on the reverse 35 x 45.5 cm

R15 000 – 20 000 EXHIBITED

Gertrude Posel Gallery, Johannesburg, Neil Goedhals 1957–1990, 16 March to 16 April 1993. The Market Gallery, Johannesburg, Neil Goedhals: The Sunday Painter, 13 March 1988.

His experimental sensibility was best reflected in the deliberate naïveté of his style and the incorporation of popular culture and iconography into his art. The current work is a fine example of this. In the only catalogue on his work, for his posthumous retrospective exhibition in 1993, a note is given that the work ‘depicts a landscape reminiscent of geographical contour maps, with a wheelbarrow in the centre’. Accompanying this image and obscuring it, is the word ‘Suburban’. Goedhals commented about his work that he wanted to ‘explore the implication of Matsamela’s (Manaka, author of Echoes of South African Art) category of “Suburban Art”.’ (1990:4-5)

L IT E R AT U R E

Jersky, Michelle and Rosen, Rhoda (curators) (1993). Neil Goedhals 1957–1990. Johannesburg: University of Witwatersrand, listed cat. no.99.

James Sey Jersky, Michelle & Rosen, Rhoda (curators). (1990). Neil Goedhals 1957-1990. Johannesburg: University of Witwatersrand.

Lot 56

Robert Hodgins South African 1920â&#x20AC;&#x201C;2010

Girl and Hand 1989 oil on canvas signed and dated; dated and inscribed with the title and medium on a label on the reverse 37 x 47 cm

R100 000 â&#x20AC;&#x201C; 200 000

Lot 57

Robert Hodgins South African 1920–2010

Torso 2003 oil on canvas signed, dated, inscribed with the title and medium on the reverse 45 x 45 cm

R180 000 – 240 000 PROVENANCE

João Ferreira Gallery, Cape Town.

Lot 58

William Kentridge b.1955 South Africa

Woozebear and the ZooBears 1981 colour screenprint signed in red conté, printed with the artist’s initials and date sheet size: 59.5 x 49.5 cm

R12 000 – 18 000 Recto

Lot 59

William Kentridge b.1955 South Africa

Sophiatown 1986 colour screenprint signed in red conté, printed with the artist’s signature and date sheet size: 78 x 45 cm

R30 000 – 50 000

Verso

Lot 60

William Kentridge b.1955 South Africa

Tooth & Nail 1989 colour screenprint signed in red conté, printed with the artist’s signature and date sheet size: 62 x 44 cm

R25 000 – 40 000

Lot 61

William Kentridge b.1955 South Africa

Security screenprint signed in red conté sheet size: 83 x 45.5 cm

R20 000 – 30 000

Lot 62

William Kentridge b.1955 South Africa

Smoke, Ashes, Fable etching signed and numbered A/P in pencil in the margin sheet size: 15 x 48 cm

R50 000 – 80 000

Lot 63

Gerard Sekoto South African 1913–1993

Horse and rider 1961 watercolour and gouache on paper signed and dated 32 x 49 cm

R150 000 – 250 000

Lot 64

Herman Niebuhr b.1972 South Africa

Assembled still life oil on canvas signed 90 x 70 cm

R25 000 – 40 000

Lot 65

Kenneth Bakker South African 1926–1988

Mouille Point lighthouse 1955 oil on board signed and dated 40.5 x 51 cm

R20 000 – 30 000

Lot 66

Diane Victor b.1964 South Africa

Transcend I 2010 ash and charcoal dust on paper signed 151 x 100 cm

R100 000 â&#x20AC;&#x201C; 150 000 EXHIBITED

Goodman Gallery, Johannesburg, Transcend (solo show), 15 April to 22 May 2010.

100

Lot 68 Lot 67

Paul Stopforth b.1949 South Africa

Steve Biko’s Right Hand 1980 wax and graphite on paper 63 x 50 cm

R40 000 – 60 000

Sue Williamson b.1941 South Africa

Dinner is ready 1993 colour laser print, steel and found mesh signed; dated and inscribed with the title, medium and ‘Page from a government tourist brochure c.1956’ on a paper label on the reverse 53 x 41 cm

L IT E R AT U R E

R8 000 – 12 000

Malpert, Catherine. (1995). Seven Stories about Modern Art in Africa. Great Britain: Whitechapel, illustrated on p.146.

PROVENANCE

Goodman Gallery, Johannesburg.

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Lot 69

David Goldblatt b.1930 South Africa

Woman Collecting Shellfish, Port St Johns, Transkei, 1975 1975 black and white silver gelatin print signed, dated and numbered 10/25 on the reverse image size: 20 x 20 cm

R30 000 – 40 000 L IT E R AT U R E

Goldblatt, David. (2014). Particulars. Göttingen: Steidl, another example from the edition illustrated, catalogue no.5, unpaginated. NO T E S

Accompanied by a signed copy of the book, Particulars.

Lot 70

Henry Moore British 1898–1986

Mother and Child 1983 etching and aquatint signed and numbered PL XI HC 12/15 in pencil in the margin; printed with the artist’s signature in the plate From an edition of 65 plate size: 34.5 x 26.5 cm

R30 000 – 50 000 PROVENANCE

White House Gallery, Johannesburg.

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Lot 71

Simon Stone b.1952 South Africa

Gibbous Moon 2001 oil on canvas signed and dated 106.5 x 94 cm

R60 000 â&#x20AC;&#x201C; 90 000

EXH IBITED

Standard Bank Art Gallery, Johannesburg, Simon Stone: A Retrospective Exhibition, 9 July to 14 September 2013. LITERATU RE

Pollak, L. (2013). Simon Stone: Collected Works. Stellenbosch: SMAC Art Gallery, colour illustration on p.219.

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Lot 72

Robert Hodgins’ reputation as the quintessential South African

Robert Hodgins

‘artist’s artist’ is by now untouchable. His late start as a

South African 1920–2010

dedicated full-time painter is also well-documented, and has

Girlfriend, Boyfriend

given rise to some debate about whether to understand his work

1987 oil on canvas signed twice, dated and inscribed with the title and medium on the reverse 61 x 82 cm

in art historical terms as ‘modern’ or ‘contemporary’. Certainly,

R350 000 – 500 000

In sensibility and style however, he is perhaps closer to his great

in terms of chronology, he is a contemporary painter. Through the 1980s and 1990s in particular, he found himself in the role of a mentor to many other much younger contemporary artists. modern spiritual and aesthetic influences, Francis Bacon and Pablo Picasso. This vibrant early work from 1987, bears the hallmarks of the audacious compositional approach seen in other works in that decade. A ‘split-screen’ cinematic canvas, it presents a character study and a narrative that is oddly prescient of David Lynch’s classic film from 1990, Wild at Heart. On the left of the canvas is the titular girlfriend, smouldering seductively across the frame, her legs akimbo, realised in blood-reds against a white background. The hairstyles of both characters is a key feature: the girlfriend’s hair is a fiery, comehither red-blonde, offsetting the flashes of white jewellery at her wrists, waist and ankle. On the right of the canvas looms the boyfriend. His depiction in profile against a black background streaked with red is dominated by his pompadour-mohican punk hairstyle. He too sports jewellery, a row of earrings in his left ear. His expression, masterfully realised, suggests his lust for the girl displaying herself to him. Hodgins’ talents for composition, a startlingly original palette, and acute human observation in his painterly narratives, are all fully present in this witty and compelling early work. James Sey

104

105

Lot 73

Sandile Zulu b.1960 South Africa

Archetype Forms Case 12 2012 fire, water, air and earth on canvas signed and dated twice 145 x 160 cm combined (2)

R20 000 – 30 000 PROVENANCE

Telkom Art Collection, Pretoria. EXHIBITED

SMAC Gallery, Stellenbosch, ARTOMS: Histopathology, Regeneration and Other Cases (solo show), 27 September to 18 November 2012. SMAC Gallery, Johannesburg, FNB Joburg Art Fair, 27 to 29 September 2013. NO T E S

Accompanied by the exhibition catalogue and a fragment of a fire painting from Zulu’s first solo exhibition, Fire!, held at the Rembrandt van Rijn Art Gallery in Johannesburg, signed, dated 1995 and inscribed with the medium on the reverse.

Lot 74

Sandile Zulu b.1960 South Africa

Baptism of Fire, diptych 1995 fire, water, air and earth on board with string, beads and seeds each panel signed, dated, inscribed with the title, dimensions and medium on the reverse 217 x 113 cm each (2)

R20 000 – 30 000 EXHIBITED

The Rembrandt van Rijn Art Gallery, Johannesburg, Fire! An Exhibition of Burnt Paintings by Sandile Zulu, 22 October to 22 November 1995.

106

Lot 75

Michele Mathison b.1977 South Africa

Chainsaw 2014 cast concrete and paint From an edition of 10 21 x 82 x 13 cm

R8 000 – 12 000 EXHIBITED

WHATIFTHEWORLD, Cape Town, Manual (solo show), 8 October to 21 November 2014.

Lot 76

Brett Murray b.1961 South Africa

Heritage: War Tears laser cut steel, Angolan curio and plastic 44 x 80.5 x 11 cm

R50 000 – 80 000 EXHIBITED

Newtown Gallery, Johannesburg, Heritage: Other Visibilities (solo show), 1992.

107

Lot 77

David Goldblatt b.1930 South Africa

Johannesburg from the Southwest 2003 archival pigment inks on 100% cotton rag paper signed, dated 12 July 2003 and numbered 2/6 in pencil in the margin image size: 98.5 x 123 cm

R200 000 – 300 000 EXHIBITED

Iziko South African National Gallery, Cape Town, 1910-2010: From Pierneef to Gugulective, 15 April to 15 September 2010, another example from the edition exhibited. L IT E R AT U R E

Vladislavic, Ivan. (2010). David Goldblatt: Johannesburg Photographs 1948–2010. Cape Town: Random House Struik, another example from the edition illustrated in colour on p.266.

David Goldblatt’s legacy is assured in South African art history. His work has always reflected a dual agenda: firstly, he is a social documentarian, his images full of poignant reflection on South African inequalities and foibles. Secondly, he is an artist, those same images are carefully composed and constructed to convey the emotion of the scene. This is particularly true of his landscapes, which are often concerned with what constitutes a sense of place, of belonging, in this country. This view of Johannesburg, his home town, provides a starkly dramatic examination of the alienation and division that has always characterised the city. The tin-roofed shanties in the foreground, shakily erected at the foot of the looming electricity pylons, are cut off from the skyscrapers of the old CBD by a wall of land. This barrier is itself a remnant of the city’s history as a monument to mining capital – the ‘city of gold’. Goldblatt’s

Lot 78

eye is unerring – the composition of the scene immediately and

Leon Krige

powerfully elicits the inequality on which the city is built.

b.1962 South Africa

Diagonal Street, 22 March 2011, from Franklin – After Massive Storm

complements Goldblatt’s image of the city. Krige specialises in

archival pigment print signed, numbered 1/6 and inscribed with the title in pencil in the margin image size: 80 x 150 cm

Street, taken roughly from the northeast, offers the city as

R15 000 – 20 000

work. The information that the image is taken of the city after

NO T E S

a ‘massive storm’ points to the clarity of the atmosphere which

This iconic Johannesburg landmark was designed by the renowned GermanAmerican architect, Helmut Jahn (b.1940). He was commissioned by Anglo-American properties and it was completed in 1984.

108

Leon Krige’s large-scale photograph in many ways perfectly the elevated view, and often depicts Johannesburg at night. But his view across the old financial services district of Diagonal a sleek, bejewelled and sophisticated EveryCity, with little outward sign of the degradation and squalor in Goldblatt’s

marks his visual understanding of the city. It is a considerably more optimistic position than Goldblatt’s. James Sey

109

THE COLLECTION OF THE LAT E AN THON Y AND PIPPA L ANGE

Pippa and Anthony Lange’s collection of art works and furniture

academic editor and it was her great joy to work with graduate

from different eras and cultures reflects their pleasure in well-

science students to improve the clarity and expressiveness of their

made things. Anthony’s own family background, growing up with

dissertations, latterly at the MAPS unit at UNISA. Pippa combined

the artist, architect and fantasy illustrator William Timlin as his

austere logic with a delight in a gripping narrative – honed, she

godfather, only added to their natural inclinations

related, by spending her year as a post-graduate British Council

Their household, initially in Orchards, provided a creative

student at Cambridge reading and re-reading Tolkien’s Lord of

environment in which their two children could grow up, running

the Rings. She was an excellent cook, and friends would vie for

over slasto floors between the French armoire, Cape Regency

invitations to Sunday lunch at the Castelli table in the kitchen at the

cupboards, and a Frink ‘Ted head’. Anthony’s architectural practice

Berea house, reached only after the obligatory traversal, Campari

was based in Norwood from where designs and plans emanated for,

orange in hand, of her wonderful flower arrangements and to

amongst others, the Johannesburg Civic Centre, several factories,

admire her latest wire basket by Elliot Mkhize.

and houses for wealthy Johannesburg entrepreneurs. Dinner parties on the long yellowwood table were where Anthony shared stories,

rather that one simply got to look after them for a while and enjoy

for example, of what meeting with Robert Kennedy in Washington

their presence. For us, these pieces helped create the generous and

in 1960 meant for a 24-year-old graduate student at Yale.

imaginative home beloved of family and friends.

Pippa trained as a medievalist and later as a philosopher, and taught at several universities and schools, notably St Barnabas College in Soweto. She found her metier later in life as an

110

The Lange’s believed that one never ‘owned’ special objects,

Text supplied by the children of Pippa & Anthony Lange. L OT S 7 9 T O 9 1

Lot 79

William Timlin British 1892â&#x20AC;&#x201C;1943

The Making of the Tower (from The Ship that Sailed to Mars) c.1923 pen, ink and watercolour on paper signed; inscribed with the title on the reverse 28 x 23 cm

R80 000 â&#x20AC;&#x201C; 120 000 NO T E S

Accompanied by a first edition copy of The Ship that Sailed to Mars (1923) and the original pen, ink and watercolour typography of The Tower.

111

Lot 80

William Timlin British 1892–1943

Christmas Card: Fairy Snow 1942 pen, ink and watercolour on paper watercolour signed, dated and inscribed with the title; greeting inscribed ‘To Anthony, Wishing you a happy Christmas and many good new years, from Uncle Tim’ 38 x 56 cm, open

R30 000 – 50 000 NO T E S

Comprising illustrated typography and watercolour in the artist’s handmade folio.

Lot 81

William Timlin British 1892–1943

Zanzibar pastel on paper signed 53 x 39 cm

R15 000 – 20 000

112

Lot 82

William Timlin British 1892–1943

Scotston Underberg December 1955 1955 watercolour on canvas board signed, dated and inscribed with the title 27 x 38 cm

R20 000 – 30 000

Lot 83

William Timlin British 1892–1943

Mountainous landscape 1934 watercolour on silk signed and dated 19.5 x 28 cm

R15 000 – 20 000 NO T E

Accompanied by the etchings: Bechuanaland Mission Bell and the artist’s iconic signing device mark of an Owl; Bechuanaland Mission Bell signed and inscribed with the title in pencil in the margin. Owl device mark signed and numbered No.4/30 in pencil in the margin.

Lot 84

Christo Coetzee South African 1929–2000

Floral abstract 1963 pen, ink, watercolour and collage on paper signed and dated 39.5 x 30 cm

R20 000 – 30 000

113

Lot 85

A 670 Lounge Chair and 671 Ottoman designed by Ray and Charles Eames in 1956 for Herman Miller, manufactured under license by ICF 1970s–1980s with rosewood shell and padded black leather upholstery on swivel base, chair and ottoman with maker’s label (2)

R30 000 – 50 000

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Lot 86

A Cape Yellowwood, Teak and Pine Jonkmanskas, late 19th century

Lot 87

A Cape Regency Stinkwood and Teak Cupboard, mid 19th century

the rectangular top above two drawers and two doors with ogee-shaped panels, enclosing two shelves, on turned feet, restoration 154 cm high, 113.5 cm wide, 48 cm deep

the rectangular moulded top above a pair of panelled doors, opening to shelves and a pair of yellowwood-fronted short drawers, two further drawers below, on turned, tapering feet, some deficient 215 cm high, 130 cm wide, 57.5 cm deep

R20 000 â&#x20AC;&#x201C; 30 000

R60 000 â&#x20AC;&#x201C; 80 000

115

Lot 88

A Teak Cupboard, early 20th century the rectangular top above a pair of panelled doors, enclosing three shelves on a moulded plinth base 136.5 cm high, 99 cm wide, 45.5 cm deep

R20 000 â&#x20AC;&#x201C; 30 000

Lot 89

A Country Pine and Hardwood Kitchen Cabinet, late 19th/early 20th century the superstructure with four glazed doors, enclosing adjustable shelves, the outset base with three frieze drawers, above four panelled doors enclosing space for further shelves, on shaped bracket feet, restorations 219 cm high, 230 cm wide, 53.5 cm deep

R20 000 â&#x20AC;&#x201C; 30 000

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Lot 90

A Yellowwood and Pine Table,19th century and later the rectangular plank top above two frieze drawers to one side, on turned tapering legs, restoration 75.5 cm high, 325.5 cm long, 72 cm wide

R20 000 â&#x20AC;&#x201C; 30 000

Lot 91

A set of eight Transvaal Syringa Dining Chairs, early 20th century and a Transvaal Tamboti Side Chair, and a Transvaal Regency Syringa Armchair comprising eight side chairs, each rectangular back with plain top rail and cross bar, the riempie seat on squaresection tapering legs and 3/4 boxstretcher, together with an armchair, the rectangular back with shaped top rail and baluster splat, shaped arms, the riempie seat on square-section tapering legs and 3/4 box-stretcher, and a Regency side chair, with shaped top rail, plain cross rail, the riempie seat on turned tapering legs with 3/4 box-stretcher (10)

R30 000 â&#x20AC;&#x201C; 50 000

Part Lot

End of Lange Estate

117

Lot 92

Michael Zondi South African 1926–2008

Seated man 1975 wood signed with the artist’s initials and dated 39 x 15 x16 cm

R10 000 – 15 000

Lot 93

Michael Zondi South African 1926–2008

Standing woman 1975 wood signed with the artist’s initials and dated 61 x 14 x 14 cm

R12 000 – 18 000

Lot 94

John Muafangejo Namibian 1943–1987

Priest 1969 etching signed, dated, numbered 6/100 and inscribed with the title in pencil in the margin sheet size: 50 x 36 cm

R15 000 – 20 000 L IT E R AT U R E

Vale, Helen (ed.) (2010). John Ndevasia Muafangejo (1943–1987) – Etchings, Woodcuts and Linocuts from the Collection of the Arts Association Heritage Trust. Windhoek: Arts Association Heritage Trust, another example from the edition illustrated on p.53.

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Lot 95 © The Estate of Cecil Skotnes | DALRO

Lot 95

Cecil Skotnes South African 1926–2009

The Assassination of Shaka 1973 colour woodcuts A portfolio of forty-three colour woodcuts by Cecil Skotnes with forty-three caption texts by Stephen Gray. This edition limited to 225 sets and 25 artist proofs, this portfolio numbered ‘Trial’, each print signed, dated, inscribed with the sequence number and ‘trial’ in pencil in the margin, the title page signed by the artist and the poet. sheet size: 50 x 33 cm each, within a beige linen-covered portfolio box

R50 000 – 70 000 NO T E S

This particular portfolio was the only proof produced before the edition was printed. Each print (signed by Skotnes and marked Trial), was sequentially numbered 1 to 43. PROVENANCE

Acquired directly from the artist in 1973 and thence by descent.

Lot 96

Cecil Skotnes South African 1926–2009

Man’s Gold 1975 A portfolio of twenty-eight woodcuts by Cecil Skotnes, six poems and text by Stephen Gray, based on ideas by Denis Godfrey. These woodcuts were printed from original blocks in 2 to 5 colours on Zerkall Buetten paper by Egon Guenther, hand bound in Oasis goat skin by Peter Carstens, Johannesburg, August 1975 to January 1979, edition limited to 75 copies and 15 artist’s proofs, this set numbered Artist Proof XV/XV, each woodcut signed and numbered in pencil in the margin, the title page signed by the artist and poet. sheet size: 38.5 x 53.5 cm each

R40 000 – 60 000

Lot 97

Cecil Skotnes South African 1926–2009

Assassination of Shaka 1973 colour woodcuts each signed, dated, numbered 188/225 and inscribed with the sequence number in pencil in the margin sheet size: 50 x 30 cm each (43)

R60 000 – 90 000 NOTES

Each woodcut and accompanying caption text framed individually, not including the title page and portfolio case.

119

Lot 98

Robert Slingsby b.1955 South Africa

Three figures with plates 1984 oil and gold leaf on canvas signed and dated 154 x 125 cm

R40 000 – 60 000

Lot 99

Noria Mabasa b.1938 South Africa

Mother and child unglazed clay and paint signed 60 x 30 x 30 cm

R20 000 – 30 000 NO T E S

This is an early and rare example of a clay work by Noria Mabasa and is in exceptional condition. It is suggestive of similar early works illustrated in Gavin Younge’s book Art of the South African Townships (Thames and Hudson: London, 1988, pp.38–40).

120

Lot 100

After Anton van Wouw South African 1862–1945

Shangaan 1907 bronze bears the artist’s signature and inscribed ‘S.A. Jo-Burg’ 32 x 16 x 20 cm

R40 000 – 60 000

Lot 101

Sidney Beck b.1936 South Africa

Penny whistler bronze signed 110 x 45 x 35 cm

R20 000 – 30 000

Lot 102

Sidney Beck b.1936 South Africa

Penny whistler (bust) bronze on a wooden base signed and numbered 3/5 53 x 38 x 30 cm

R15 000 – 20 000

121

Lot 103

Bettie Cilliers-Barnard South African 1914–2010

Abstract composition 1963 oil and enamel on board signed and dated 37 x 75.5 cm

R20 000 – 30 000

Lot 104

Lucky Sibiya South African 1942–1999

The Drums (from the Umabatha series) 1975 carved, incised and painted wood panel signed 57.5 x 40 cm

R40 000 – 60 000

122

Lot 105

Zakkie Eloff South African 1925–2004

Three Hyenas oil on canvas signed 90 x 128 cm

R30 000 – 40 000 NO T E S

Accompanied by a photolithograph of the painting, signed and numbered 657/1250.

Lot 106

Gordon Vorster South African 1924–1988

Herd of wildebeest oil on canvas laid down on board signed 75 x 114.5 cm

R25 000 – 40 000

123

Lot 107

Ezrom Legae South African 1938–1999

Beast 1971 colour pencil on paper signed and dated 76 x 56 cm

R15 000 – 20 000 PROVENANCE

Egon Guenther, Johannesburg.

Lot 108

Peter Schütz South African 1942–2008

Leopard painted plaster 57 x 27.5 x 21 cm

R12 000 – 18 000

124

Lot 109

Dumile Feni South African 1942â&#x20AC;&#x201C;1991

A busy day 1965 pen and ink on paper signed and dated 29.5 x 42 cm

R30 000 â&#x20AC;&#x201C; 50 000

125

Lot 110

Sam Nhlengethwa b.1955 South Africa

Gossipers 1972 collage on wood panel signed and dated; signed and inscribed with the title on the reverse 40 x 64 cm

R20 000 â&#x20AC;&#x201C; 30 000

Lot 111

Norman Catherine b.1949 South Africa

UFO Detector 2005 oil on canvas signed and dated; dated and inscribed with the title, medium and dimensions on a label on the reverse 50 x 60 cm

R35 000 â&#x20AC;&#x201C; 50 000

126

Lot 112

Nelson Makamo b.1982 South Africa

The Guys 2013 oil on canvas signed and dated 100 x 100 cm

R90 000 â&#x20AC;&#x201C; 120 000

Lot 113

Willie Bester b.1956 South Africa

Stop Apartheid Now 1993 mixed media and found objects on board signed and dated 44.5 x 78.5 cm

R15 000 â&#x20AC;&#x201C; 25 000

127

Lot 114

Hennie Niemann Jnr b.1972 South Africa

Llanes Apartment – Asturias, Spain 2012 oil on canvas signed with the artist’s initials and dated; signed, dated and inscribed with the title on the reverse 90 x 70 cm

R100 000 – 150 000 PROVENANCE

Johans Borman Fine Art, Cape Town.

128

Lot 115

Hennie Niemann Jnr b.1972 South Africa

Seated Woman II 2010 oil on canvas signed with the artist’s initials and dated; inscribed with the title on a gallery label on the reverse 90.5 x 70 cm

R120 000 – 180 000 PROVENANCE

Johans Borman Fine Art, Cape Town.

129

Lot 116

Maximilien Luce French 1858–1941

Sailor oil on canvas signed 65 x 54 cm

R60 000 – 90 000

Lot 117

Maud Sumner South African 1902–1985

Woman writing watercolour on paper signed 32 x 41 cm

R20 000 – 30 000

130

Lot 118

Christo Coetzee South African 1929–2000

Portrait 1993 oil on board signed and dated 120 x 120 cm

R180 000 – 240 000

131

Lot 119

Robert Hodgins South African 1920–2010

La Contessa Venomosa 2002 colour lithograph signed, dated, numbered 57/60 and inscribed with the title in pencil in the margin; embossed with the Artist’s Press chop mark sheet size: 57 x 75.5 cm

R20 000 – 30 000 L IT E R AT U R E

Buys, Anthea. (ed.) (2012). A Lasting Impression: The Robert Hodgins Print Archive. Johannesburg: Wits Art Museum, another example from the edition illustrated on p.35.

Lot 120

Walter Battiss South African 1906–1982

Man Alive colour screenprint signed, numbered 22/30 and inscribed with the title in pencil sheet size: 44 x 63 cm

R20 000 – 30 000 L IT E R AT U R E

Siebrits, Warren and Ginsberg, Jack. (2016). Walter Battiss: I Invented Myself. Johannesburg: The Ampersand Foundation, another example from the edition illustrated in colour on p.120. Skawran, Karin and Macnamara, Michael. (eds.) (1985). Walter Battiss. Johannesburg: AD. Donker, another example from the edition illustrated on p.87.

132

Lot 121

Walter Battiss South African 1906â&#x20AC;&#x201C;1982

Timon in Athens colour screenprint signed and inscribed with the title in pencil in the margin sheet size: 67 x 48 cm

R20 000 â&#x20AC;&#x201C; 30 000 L IT E R AT U R E

Siebrits, Warren and Ginsberg, Jack. (2016). Walter Battiss: I Invented Myself. Johannesburg: The Ampersand Foundation, another example from the edition illustrated in colour on p.87. NO T E S

There are only five recorded copies of this print.

133

Lot 122

Jessica Webster b.1981 South Africa

Her Painted Face, diptych 2012 oil on canvas one signed and dated on the reverse 76 x 76 cm each (2)

R30 000 – 50 000

Lot 123

Diane Victor b.1964 South Africa

The Sleep of Our Reason Produces Our Monsters – Eugene de Kock 2015 graphite, charcoal and ash on paper signed and dated; printed with the title on a label on the reverse sheet size: 118 x 90 cm

R60 000 – 90 000

134

Lot 124

Russell Marshall b.1967 Britain

Kate Moss (Black on Silver) 2015 two colour screenprint on 300gsm Somerset Satin paper signed and numbered 31/40 in pencil in the margin sheet size: 56 x 76 cm

R10 000 – 15 000 EXHIBITED

Imitate Modern, London, 40: A Kate Moss Retrospective by Russell Marshall, 17 January to 15 February 2014, another example from the edition exhibited.

Lot 125

Diane Victor b.1964 South Africa

Smoke Portrait III (from the Missing Children series, Sacmec) 2005/06 smoke on paper dated, printed with the artist’s name, the title, medium and dimensions on a label on the reverse 58.5 x 42 cm

R25 000 – 40 000 PROVENANCE

Goodman Gallery, Johannesburg.

135

Lot 126

Conrad Botes b.1969 South Africa

Untitled 2012 oil on reverse glass signed with the artist’s initials and dated diameter: 55 cm

R25 000 – 35 000

Lot 127

Andrew Verster b.1937 South Africa

Figure 2007 ink and organic pigments on wax-impregnated tissue paper signed and dated 202 x 80 cm

R30 000 – 50 000 EXHIBITED

136

Lot 128

Alessandro Papetti b.1958 Italy

Nudo – Notturno 2002 oil on canvas signed and dated; signed, dated, inscribed with the title, medium and dimensions on the reverse 158 x 98 cm

R40 000 – 60 000

Lot 129

Walter Battiss South African 1906–1982

Orgy 1973 pen and ink on paper signed and dated 28 x 38.5 cm

R30 000 – 40 000

137

Lot 130

Walter Battiss South African 1906–1982

Streets of Great Freedom (The Strasse Der Grosse Freiheit, Hamburg) colour lithograph signed in pencil in the margin image size: 41 x 75 cm

R20 000 – 30 000 L IT E R AT U R E

Siebrits, Warren and Ginsberg, Jack. (2016). Walter Battiss: I Invented Myself. Johannesburg: The Ampersand Foundation, another example from the edition illustrated in colour on p.97. NO T E S

All the Hamburg works exist in proofs only and were never editioned by Battiss. Each of the three variations that have been traced thus far are unique. With another print fragment on the reverse.

Lot 131

Caroline van der Merwe South African 1932–2012

Il Volo 1986 bronze on a granite base signed with the artist’s initials and numbered 8/8 58 x 16 x 16 cm

R20 000 – 30 000

Lot 132

Barend de Wet b.1956 South Africa

Mielies and Masks circa 1991 plaster and aluminium 51 x 40 x 44 cm

R40 000 – 60 000 EXHIBITED

F.I.G. Gallery, Johannesburg, 1992.

138

Lot 133

Walter Battiss South African 1906–1982

Liza colour lithograph signed, numbered 23/50 and inscribed with the title in pencil in the margin sheet size: 67 x 34 cm

R20 000 – 30 000 L IT E R AT U R E

Siebrits, Warren and Ginsberg, Jack. (2016). Walter Battiss: I Invented Myself. Johannesburg: The Ampersand Foundation, another example from the edition illustrated in colour on p.139. Geers, Kendell. (1997). Contemporary South African Art: The Gencor Collection. Johannesburg: Jonathan Ball Publishers, another example from the edition illustrated in colour on p.30. Skawran, Karin (ed.) (2005). Gentle Anarchist: A Retrospective Exhibition of Works by Walter Battiss (1906–1982). Johannesburg: Standard Bank Gallery, another example from the edition illustrated in colour on p.199.

Lot 134

Walter Battiss South African 1906–1982

Hermaphrodite (Tokkelos) colour screenprint signed, numbered 22/25 and inscribed with the title in pencil sheet size: 63 x 44.5 cm

R20 000 – 30 000 L IT E R AT U R E

Siebrits, Warren and Ginsberg, Jack. (2016). Walter Battiss: I Invented Myself. Johannesburg: The Ampersand Foundation, another example from the edition illustrated in colour on p.121. Skawran, Karin and Macnamara, Michael (eds.) (1985). Walter Battiss. Johannesburg: AD. Donker, another example from the edition illustrated on p.82. NO T E S

This is a very rare example of this print with the alternative title Hermaphrodite, inscribed by Walter Battiss in ink.

139

Lot 135

Kate Gottgens b.1965 South Africa

Johannesburg 1967 No. 1 2012 oil on canvas signed and dated on the reverse; dated and printed with the title, dimensions and medium on a gallery label on the reverse 61 x 84 cm

R45 000 â&#x20AC;&#x201C; 55 000 PROVENANCE

SMAC Gallery, Cape Town. EXHIBITED

SMAC Gallery, Cape Town, Kate Gottgens: Malice Aforethought, 16 May to 6 July 2013. L IT E R AT U R E

Van Zyl, Marelize. (2015). Kate Gottgens: Infinite Loop. Stellenbosch: SMAC Gallery, illustrated in colour on p.91.

140

Lot 136

Johann Louw b.1965 South Africa

Three Men with Cityscape 1996 oil on board signed, dated and inscribed ‘Woodstock’ on the reverse 61 x 200.5 cm

R70 000 – 100 000 EXHIBITED

Sanlam Art Gallery, Belville, Johann Louw: A Mid-Career Retrospective, 2009. The exhibition toured to the Pretoria Art Museum and the Oliewenhuis Art Museum, Bloemfontein. L IT E R AT U R E

Hundt, Stefan. (2007). Johann Louw. Cape Town: Sanlam Life Insurance Ltd., colour illustration on p.29.

141

Lot 137

Andrzej Urbanski b.1983 Poland

A028 2013 spray paint and acrylic on canvas signed, dated 2013 and inscribed ‘Cape Town’ on the reverse diameter: 75 cm

R20 000 – 30 000

Lot 138

Andrzej Urbanski b.1983 Poland

A011 03/04/14 2014 spray paint and acrylic on paper 82 x 82 cm

R15 000 – 20 000

142

Lot 139

Stephen Hobbs b.1965 South Africa

Very Important Invisible Gallery 2015 woodblock printed paper assemblage, wood, enamel paint and found objects 51 x 105 x 48 cm

R10 000 â&#x20AC;&#x201C; 15 000 EXHIBITED

David Krut Gallery, Johannesburg, Permanent Culture at 1800 metres (solo show), 20 February to 25 April 2015.

Lot 140

Joni Brenner; David Koloane; Dorothee Kreutzfeldt; Serge Nitegeka and Walter Oltmann 20th Century South Africa

Portfolio 1 each signed, numbered Publishers Proof III/III and inscribed with the respective title in pencil in the margin sheet size: 60 x 42.5 cm each, in original portfolio box

R70 000 â&#x20AC;&#x201C; 100 000

143

Pictured: Re/discovery and Memory in Gallery 8

Welcome to Norval Foundation Located in the Steenberg area of Cape Town, adjacent to Table Mountain National Park, the Norval Foundation combines the experience of art with an appreciation for nature. Our sculpture garden, outdoor amphitheatre, purpose-built exhibition spaces and research library are situated within a unique setting that offers visitors a multisensory experience. This is complemented by a sophisticated restaurant and bar, a bespoke shop and a childrenâ&#x20AC;&#x2122;s playground. We aim to create high-quality exhibitions and public programming to broaden our understanding of the visual arts.

144

www.norvalfoundation.org

AUT HOR BIO GRAPH IES

Dr Marion Arnold lectures in the School of the Arts, English and Drama, Loughborough University, United Kingdom. She taught formerly at UNISA and Stellenbosch University. A practising artist and active researcher, she has published extensively on Irma Stern (Irma Stern: a Feast for the Eye, 1995), South African women artists and feminist theory, and on Thomas Baines. Current research focuses on drawing and a forthcoming book discusses printed drawings in The Caversham Press archive. Dr Eunice Basson is an art historian and a 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 art advisor for ABSA Bank. Emma Bedford is a Senior Art Specialist and Director of Aspire Art Auctions. She co-authored Paris and South African Artists 1850–1965, and edited both Contemporary South African Art 1985–1995 and A Decade of Democracy: South African Art 1994–2004. Her monographs include the Fresh series (Dorothee Kreutzfeldt, Moshekwa Langa, Senzeni Marasela, Robin Rhode, Tracey Rose, Berni Searle and Usha Seejarim) from 2000 to 2003 and Marlene Dumas: Intimate Relations co-authored with the artist in 2007. Mary-Jane Darroll is Senior Art Specialist and Director of Aspire Art Auctions. Her career experiences span the breadth and depth of South African fine art. Darroll served in numerous roles at the Standard Bank Art Gallery, including Curator of the Gallery and Corporate Collection and Standard Bank National Arts Festival. She was head of the Art Department at auction house Stephan Welz & Co in association with Sotheby’s, Specialist, COO and Executive Director at Strauss & Co. and Specialist Curator and Director at the Everard Read Gallery. Curatorial work includes directing the hugely popular and critically acclaimed art programmes and exhibitions at NIROX Sculpture Park, Edoardo Villa and Gerard Sekoto. Darroll is a trustee of the Edoardo and Claire Villa Will Trust and the UJ Arts Advisory Committee on Arts and Culture. Neil Dundas is a senior curator at the Goodman Gallery is Johannesburg and has worked extensively with the works of William Kentridge for some 18 years.

AC K NOW L ED G EM EN TS

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 artist collective, Gugulective. Ivor Powell has published on a wide range of subjects, as a playwright, lecturer, art critic, editor and investigative journalist. Prof Elizabeth Rankin is an Emeritus Professor of Art History at the University of Auckland, and the former Dean of Arts at Wits, who has worked on significant exhibitions and publications, including co-writing the extensive monograph Listening to Distant Thunder: The Art of Peter Clarke (2011, 2014). Steven Sack has lived his entire life in Johannesburg and over a period of more than 40 years worked in many areas within the Heritage, Museums, Culture and Arts Public Sector and Economy. He has worked as a teacher, a lecturer, an artist, a civil servant and a museum director. His undying passion is in the arts and increasingly in archaeology. James Sey is the Marketing Manager at Aspire Art Auctions. He is also a Research Associate in the Faculty of Fine Art, Design and Architecture at the University of Johannesburg. He has published and lectured widely on all forms of art, locally and internationally.

W I T H S P E C I AL T HANK S T O

RE S E A R C H AND A U T H O R S H I P

Marion Arnold Eunice Basson Emma Bedford Mary-Jane Darroll Neil Dundas Michael Godby Ashraf Jamal Athi Mongezeleli Joja Ivor Powell Elizabeth Rankin Steven Sack James Sey Tymon Smith Marelize van Zyl

DE S I GN

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

Nina Lieska | Repro Pictures P R I NT I NG

Typo, Johannesburg

Tymon Smith was the literary editor of the Sunday Times for six years. He has since written on the arts, music, film and television for the paper as well as ArtThrob, adjective and The Lake Magazine. Smith was the recipient of a 2016 silver arts journalist award for features writing and also works as a scriptwriter, researcher and story editor for the television industry. Marelize van Zyl is an Art Specialist at Aspire Art Auctions. She has worked in the local and international art market for the past 10 years gathering an impressive resumé of curatorial and editorial projects. She holds a Masters in Visual Studies from Stellenbosch University.

Prof Michael Godby is an Emeritus Professor of History of Art at the University of Cape Town (UCT), who has published widely and curated several noteworthy exhibitions on South African art.

145

GUIDE FOR PRO SPECTIVE BUY E R S

The following information is designed to guide

the work and assimilates the accumulative totality

Recorded bids entered into the auctioneer’s

prospective bidders through the auction process

of all of these factors. Each lot has a confidential

catalogue. The auctioneer will, in your absence, bid

and explains how to bid at auction with Aspire.

reserve price agreed between Aspire and the seller

on your behalf, up to the maximum amount given

Our staff are happy to assist with any queries.

of the lot. The reserve is the minimum price that

by you. Should the bidding not reach your maximum

will be accepted for a lot, any amount below which

bid, you will acquire the lot for one increment

1. Identify your potential acquisition

a lot will not be sold. The reserve price will not

above the previous bid.

Aspire holds four auctions per annum, two in

exceed the low estimate. 6. Payments, collection and storage

Johannesburg and two in Cape Town. You can subscribe to our printed catalogues to view all

4. Specialist assistance

Payment must be made immediately after

works coming up in an auction or alternatively, our

Our specialists are available to discuss any lot in

completion of the auction, as stated in our Terms

e-catalogues are posted online approximately a

further detail if you require additional information.

and Conditions of Business, unless otherwise

month prior to each sale; these are free downloads

Please do not hesitate to contact us.

agreed with Aspire.

and give a full overview of each auction. Keep an

Once payment for the purchased lot is made

eye on our website and social media platforms

5 Bidding with Aspire

and cleared, you may take the lot or arrange for

where we will provide regular updates regarding

Bidding may be done in three ways, depending

collection. An Aspire representative will contact

sale information and when catalogues are available

on your preference and availability during the live

you the day after the auction to assist with logis-

to view online. The auction preview is open to

auction.

tics. If you are unable to collect the artwork within

the public.

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

delivery of the lot, which will be for your account.

2. The catalogue

You can physically bid during a live auction by

A courier company will contact you with quotes for

The catalogue includes all information regarding

registering and bidding in the saleroom. You may

delivery the day following the auction.

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

artwork details, date, medium, dimensions,

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

auction under Aspire’s insurance for a limited time

quantity of items in the lot, and so forth). Condition

sale.

only (see our Terms and Conditions of Business).

reports are not 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

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

Aspire will store artworks purchased at the

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

person to satisfy yourself as to the condition of a

5.2. Telephone bid

Buyers premium

prospective purchase. Condition reports are not

An Aspire representative will phone you during

Buyers will be liable for payment of the purchase

necessarily compiled by professional conservators

the live auction: a trained staff member will walk

price.

unless otherwise stated.

you through the auction as it happens and you may instruct the representative to bid on a lot on your

3. Estimates

behalf. Don’t forget to send through your telephone

Aspire assigns a low and high estimate to every lot.

bids at least 24 hours before the commencement of

These estimates give our opinion of value, bearing

the auction to ensure sufficient time for processing.

the following factors in mind: the sales precedent of each artist, the subject matter, the importance of

5.3. Written bid (Absentee bid/Book bid/

the work within the artist’s oeuvre, the condition of

Commission bid)

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).

Lot 39 Lucas Sithole Mother and Child (LS7003)

146

Ruby Swinney, Fall IX, 2015

HUMAN NATURE RUBY SWINNEY

1 June â&#x20AC;&#x201C; 31 October 2018 www.zeitzmocaa.museum

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

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.

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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.

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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. TERMS RELATING TO THE BUYERS 5.1. Any Buyer and/or Bidders must register his/her identity with Aspire before the commencement of an Auction in accordance with Chapter 1 (one) of the regulations in terms of the Financial Intelligence Centre Act, 2011, which requires the establishment and verification of identity published in Notice No. R. 1595 in Gazette No. 24176 of 20 December 2002. 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 Each Bidder is deemed to be acting in their capacity as principal unless Aspire has acknowledged otherwise in writing prior to the commencement of the Auction. 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 Any bids placed by telephone before an Auction are accepted at the sender’s risk and must, if requested by Aspire, be confirmed in writing to Aspire before the commencement of the Auction. Any person who wishes to bid by telephone during the course of an Auction must make arrangements with Aspire at least 24 (twenty-four) hours before the commencement of the Auction. Aspire shall not be held liable for any communication breakdown or any losses arising thereof. The Buyer consents that any bidding may be recorded at the discretion of Aspire and consents to these Terms of Business. 5.10.The Buyer must make payment in full and collect the purchased Lot immediately after completion of the Auction and no later than 48 (forty-eight) hours after completion of the Auction. 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. EXCLUSION OF LIABILITY TO BUYERS OR SELLERS

6.1. No Buyer or Seller shall be entitled to cede, delegate and/or assign all or any of their rights, obligations and/ or interests to any third party without the prior written consent of Aspire in terms of these Terms of Business. 6.2. The Buyer accepts that neither Aspire nor the Seller: 6.2.1. shall be liable for any omissions, errors or misrepresentations in any information (whether written or otherwise and whether provided in a Catalogue or otherwise) provided to Bidders, or for any acts 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. GENERAL CONDUCT OF THE AUCTION 7.1. The Auctioneer remains in control of the Auction and has the absolute discretion to either withdraw or reoffer any Lots for sale, to accept and refuse bids and/or to reopen the bidding on any Lots should he/she believe there may be a dispute of whatever nature (including without limitation a dispute about the validity of any bid, or whether a bid has 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

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. IMPORT, EXPORT, COPYRIGHT

RESTRICTIONS, LICENSES AND QUALITY OF THE GOODS SOLD

8.1. Aspire and the Seller, save for those expressly set out in paragraph 16 of these Terms of Business, make no representation or warranties whether express, implied or tacit pertaining to the authenticity, quality, genuineness, condition, value, origin, ownership of any goods or whether express, implied or tacit as to whether any Lot is subject to import, export, copyright and licence restrictions. It is the sole responsibility of the Buyer to ensure that they acquire the relevant export, import licenses or copyright licenses prior to exporting or importing any Lots. 8.2. Aspire does not in any way undertake to ensure that the Buyer procures the necessary permits required under law, nor are they responsible for any costs incurred in obtaining a license (whether an application for such license was approved or not). 8.3. All Lots which incorporate any material originating from an endangered and/or protected species (including but not limited to ivory and bone) will be marked by a symbol in the description of the Lot in the Catalogue. Aspire does not accept responsibility for a failure to include these marks on the Lots. Any prospective Buyer is to ensure that they received the necessary permission from the relevant regulatory agents, specifically when importing and/or exporting the Lot. A Buyer will be required to acquire a permit from the Department of Nature Conservation prior to exporting the Lot as well as any other export license which may be required by law, including the licences required under the Convention of the International Trade in Endangered Species (‘CITES’). Failure to obtain such permits shall not constitute a ground for the rescission of the sale.

9. ABSENTEE BIDS 9.1. Absentee bids are a service provided by Aspire upon the request of the Buyers. Aspire shall in no way be liable for any errors or omissions in such bidding process. The Purchase price of the Lots will be processed in the same manner as it would be in other bids. 9.2. Where two or more Buyers provide identical bids, the earliest will take precedence. When absentee bids occur by telephone they are accepted at the Buyer’s risk, and must be confirmed prior to the sale by letter or e-mail to Aspire. 9.3. All absentee bids shall be registered with Aspire in accordance with Aspire’s procedures and requirements not less than 24 (twenty-four) hours before the Auction and/or the Private Treaty sale. Aspire reserves its right to receive, accept and/or reject any absentee bids if the aforementioned time period has not been satisfied. 9.4. An absentee bidder must register his/her identity in the same way that any other would be required to under these Terms of Business.

10. RESCISSION OF SALE 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. PAYMENT AND COLLECTION 11.1. The Buyer acknowledges that should Aspire be acting in a capacity as agent for the Seller of a particular Lot, then:

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. OWNERSHIP 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. BREACH BY THE BUYER 13.1. In the event that the Buyer breaches any provision of these Terms of Business, fails to make payment of the full Purchase price 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

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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. TERMS RELATING TO THE SELLER 14.1. As per the Seller’s irrevocable instruction, Aspire is instructed to sell at an Auction all objects submitted for sale by the Seller and accepted by Aspire and to sell the same to the relevant Buyer of the Lot of which those objects form part, provided that the bid or offer accepted from that Buyer is equal to or higher than the Reserve (if any) on that Lot (subject always to paragraph 14.4), all on the basis set out in these Terms of Business. 14.2. The Seller also irrevocably consents to Aspire’s ability to bid for any Lot of which any of those objects form part as agent for one or more intending Buyers. 14.3. Aspire is authorised to retain any objects not sold on Auction for a period of 14 (fourteen) days after the Auction for the possible sale of such objects by Aspire by way of Private Treaty or otherwise pursuant to paragraph 14.4. 14.4. Aspire is authorised to offer for sale either by Private Treaty or otherwise, without further instruction or notification to the Seller, within 14 (fourteen) days after the Auction, all or any remaining objects submitted for sale by the Seller and received and accepted by Aspire in accordance with paragraph 14.1, which objects were not sold on Auction. The bid accepted on these items must not be less than the amount that the Seller would have received, had that Lot been sold on Auction at the Reserve (if any) on that Lot taking into account the deduction of the applicable Seller’s commission and Recoverable expenses for which the Seller is liable. 14.5. Both Aspire and the Auctioneer each have the right, to offer an object referred to above for sale under a Lot, to refuse any bid or offer, to divide any Lot, to combine two or more Lots with the prior approval of the relevant Seller(s), to withdraw any Lot from an Auction, to determine the description of Lots (whether in any Catalogue or otherwise), to store accepted objects at the Auction premises or any other location as he/she may deem fit and whether or not to seek the opinion of experts. 14.6. Aspire shall not be under any obligation to disclose the name of the Buyer to the Seller, save for the circumstances contemplated elsewhere in these Terms of Business or otherwise required by law.

15. ESTIMATION OF SELLING PRICE AND DESCRIPTION OF GOODS

15.1. Any estimation given by Aspire is an opinion and cannot be relied on as a true reflection of what the final Hammer price will be on the date of the sale. Aspire has the right to change any estimations at any point in time in agreement with the Seller recorded on the relevant Property Receipt Form. 15.2. The Seller hereby agrees that Aspire may fully rely on any description of the goods or Lots provided to them by the Seller or his agent. 15.3. Aspire shall not be held liable for any error, misstatement or omission in the description of the goods/Lots whether in the Catalogue or otherwise unless such error, misstatement, omission is a direct result of the intentional, misleading and deceptive conduct of Aspire’s employees and/or agents.

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16. WARRANTIES AND INDEMNITIES PROVIDED FOR BY THE SELLER

16.1. The Seller hereby warrants to Aspire and the Buyer that: 16.1.1. he/she is the lawful owner of the objects put up for sale or Auction and is authorised to offer such objects up for sale at an Auction; 16.1.2. he/she is legally entitled to transfer title to all such objects and that they will be transferred free of any encumbrances of third party claims; and 16.1.3. he/she has complied with all requirements necessary, legal or otherwise, for the import (if importing is applicable to the sale) and has notified Aspire in writing of any third parties who have failed to comply with the aforesaid requirements in the past; 16.1.4. the place of origin of the Lot is accurate. 16.1.5. the object forming part of the Lot is capable of being used for the purpose to which it was made and has no defects which are not apparent from any external inspections and that he/she is in possession of any valid approval, license, consent, permit or clearance required by law for the sale of any Lot. 16.2. The Seller hereby indemnifies and shall keep Aspire and the Buyer indemnified against any loss or damage suffered by either party as a result of any breach of any warranty in these Terms of Business. 16.3. The Seller hereby agrees that Aspire may decline to sell any object submitted for sale, irrespective of any previous acceptance by Aspire to sell it, for any reason deemed reasonable and appropriate in its discretion.

17. COMMISSION Subject to the Terms of Business set out in paragraph 17.3 17.1. Any applicable Seller’s commission in respect of each Lot (comprising one or more objects) shall be payable to Aspire by the Seller. 17.2. Any applicable Buyer’s premium in respect of each Lot (comprising one or more objects) shall be payable to Aspire by the Buyer; 17.3. Notwithstanding the authority provided for by the Seller to Aspire to deduct any of the Seller’s commission and any Recoverable expenses (as agreed to by the Seller) for which the Seller is liable from the Hammer price, the Seller shall still be liable for the payment of the Seller’s commission and any Recoverable expenses. 17.4. Notwithstanding the authority provided for by the Buyer to Aspire to deduct any of the Buyer’s premium and any Recoverable expenses (as agreed to by the Seller) for which the Buyer is liable from the Hammer price, the Buyer shall still be liable for the payment of the Buyer’s premium and any Recoverable expenses. 17.5. Aspire reserves the right to deduct and retain the Seller’s commission prior to the sale proceeds being handed over to the Seller, from the amount paid by the Buyer upon receipt of the full Purchase price, or any part thereof. 17.6. Aspire reserves the right to deduct and retain the Buyer’s premium prior to the Purchase price being handed over to the Seller from the Purchase price paid by the Buyer.

18. RESERVES 18.1. All Lots are to be sold 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. INSURANCE 19.1. Aspire undertakes to insure all objects to be sold as part of any Lot, at its own expense, unless otherwise agreed to in writing, or otherwise, between the Seller and Aspire. Aspire may, at its discretion, insure any property which is placed under their control for any other purpose for the duration of the time that such property remains on their premises, under their control or in any storage facility elected by them. 19.2. In the event that Aspire is instructed to not insure any property, the Seller shall bear the cost and risk at all times. The Seller also agrees to: 19.2.1. indemnify Aspire for any claims brought against Aspire and/or the Seller for any damage or loss to the Lot, however it may arise. Aspire shall be reimbursed by the Seller for any costs incurred as a result thereof; and 19.2.2. notify the insurer of the existence of the indemnities set out herein. 19.3. The Seller is obliged to collect their 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. PAYMENT IN RESPECT OF THE SALE PROCEEDS

The proceeds of sale shall be paid as follows: 20.1. Aspire shall make payment to the Seller not later than 20 (twenty) working days after the date of the Auction provided that full payment of the Purchase price for said Lot has been received from the Buyer by Aspire. 20.2. If the Buyer fails to pay the full Purchase price within the allocated time set out in paragraph 11.2, Aspire shall notify the Seller in writing and request instruction on how to proceed. Aspire may at its discretion, decide to assist the Seller with the recovery of any outstanding amount from the Buyer. 20.3. The Seller hereby authorises Aspire to proceed: 20.3.1. to agree to the terms of payment on any outstanding amount; 20.3.2. to remove, store and insure the Lot which has been sold; 20.3.3. to settle any claim by or against the Buyer on such terms as Aspire deems fit and do all such things necessary to collect from the Buyer any outstanding amounts due to the Seller; 20.3.4. to rescind the sale and refund these amounts to the Buyer; 20.3.5. where Aspire pays the Sale proceeds to the Seller prior to receipt of the full Purchase price then ownership shall pass to Aspire; 20.3.6. to obtain a refund from the Seller where the sale of a Lot has been set aside, or cancelled by the Buyer in terms of paragraph 10 above and Aspire has paid the sale proceeds to the Seller. In such instance, the Seller shall be required to refund the full sale proceeds to Aspire, who will then in turn refund the Buyer. Aspire will then make the Lot available for collection to the Seller; and 20.3.7. that any annulment, rescission, cancellation or nullification of the sale in terms of paragraph 10 above shall not extinguish the Seller’s obligation to pay the commission to Aspire and/or to reimburse any expenses incurred by Aspire in respect of this.

21. WITHDRAWAL FEES Written notice must be given to Aspire 24 (twenty-four) hours

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. PHOTOGRAPHY AND ILLUSTRATIONS Aspire reserves the right to photograph or otherwise reproduce the images of any Lot put on offer by the Seller for sale and to use such photographs and illustrations as they deem necessary. Aspire undertakes to ensure compliance with the relevant Copyright laws applicable in their dealings with any and all Lots put up for sale.

23. LOTS WHICH HAVE NOT BEEN SOLD 23.1. Subject to paragraph 14.4 above, upon the receipt of notice from Aspire of any unsold Lots, the Seller agrees to collect any such Lots no later than the 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. The Seller shall be liable for all costs, whether it be for storage, transport or otherwise as a result of their failure to collect the Lot. 23.3. If after 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. Aspire reserves the right to charge commission on the Purchase price and any expenses incurred in respect of any unsold Lots.

24. AMENDMENT OF THESE TERMS AND CONDITIONS

24.1. Aspire may, at any time and from time to time, in its sole discretion, amend, cancel or rescind any provision of these Terms of Business by publication of any such amended Terms of Business (whether on its website or by any other means whatsoever). 24.2. No amendment in terms of paragraph 24.1 above shall be binding on any Party to any Sale which has been entered into as at the date of that amendment unless agreed to by the relevant Parties in terms of paragraph 24.3. 24.3. No: 24.3.1. amendment or consensual cancellation of these Terms of Business or any provision or term hereof; 24.3.2. agreement, bill of exchange or other document issued or executed pursuant to or in terms of these Terms of Business (including, without limitation, any valuation, estimate or reserve issued in terms hereof); 24.3.3. settlement of any dispute arising under these Terms of Business; 24.3.4. extension of time, waiver or relaxation or suspension of or agreement not to enforce or to suspend or postpone the enforcement of any of the provisions or terms of these Terms of Business or of any agreement, bill of exchange or other document issued pursuant to or in terms of these Terms of Business, shall be binding on any Party to any Sale concluded in terms of these Terms of Business unless agreed to by the Parties to that Sale (whether that agreement is recorded in writing or otherwise).

1. INFORMATION ASPIRE MAY COLLECT AND PROCESS

1.1. Aspire may use and store the following: 1.1.1. any information received, whether it be from the completion of online forms for registration purposes or otherwise, from any Bidder, Buyer or Seller (including documents filled out in person by any Bidder, Buyer or Seller); 1.1.2. information required to send out marketing material; 1.1.3. any data received from the making of a bid or the posting of any material to Aspire; 1.1.4. any information received from correspondence between Aspire and any Bidder, Buyer or Seller, whether it be by e-mail or otherwise; 1.1.5. information received for the purpose of research, including by conducting surveys; 1.1.6. information received from telephone communications, in person or otherwise in carrying out any transaction and/or Auction; 1.1.7. general information from the receipt of any hard copy documents in respect of the date of birth, name, address, occupation, interests, credit information (if required by Aspire) and any further personal information of any Bidder, Buyer or Seller obtained by Aspire during the course of conducting its business; 1.1.8. details received from the completion of any contract of sale between Aspire, the Bidder, Buyer and/or Seller; 1.1.9. details from the visits made to Aspire’s website and any resources/information accessed therein; 1.2. the aforesaid data shall not be supplied and distributed to any third person without the consent of the relevant Bidder, Buyer or Seller unless such supply or distribution is required under law or is reasonably necessary for Aspire to ensure performance of any and all of their obligations under the Terms of Business. Therefore, Aspire shall only use the data collected for internal purposes; 1.3. personal information, whether private or public, shall not be sold, exchanged, transferred, or provided to any other company for any reason whatsoever without the relevant Bidder, Buyer or Seller’s consent, other than for the express purpose of effecting the collection of any purchased Lot. This will not include trusted third parties, who assist Aspire in operating the website, conducting business or servicing the website. All such persons agree to keep the aforesaid personal information confidential; and 1.4. the release of any relevant Bidder, Buyer or Seller’s personal information if any shall be done only in circumstances which Aspire deems fit and necessary to comply with the law or enforce its Terms of Business and/ or to protect third parties’ rights, property or safety.

2. ONLINE INFORMATION PROCESSED BY ASPIRE

2.1. Aspire may collect and store information relating to a Bidder, Buyer or Seller’s (‘User’) computer, including its IP address, operating system and browser type, in order to assist Aspire with their systems administration from the use of the website and previous transactions with them: 2.2. Cookies (a text file stored on the website’s servers) may be placed on Aspire’s website to collect the information from each User pursuant to: 2.2.1. incorporating each User’s preference and customising the website, business accordingly; 2.2.2. improving customer services; 2.2.3. the acceleration of searches; 2.2.4. automatically storing information relating to the most visited links; 2.2.5. sending updated marketing information (where the User has consented to the receipt thereof). A User has the option to not accept cookies by selecting such option on his/her browser. If a User does so, it may restrict

the use of certain links on the website. The sole purpose of the aforesaid cookies is to collect information about Aspire’s website and not gather any personal information of the User.

3. STORAGE OF PERSONAL INFORMATION

3.1. Aspire shall do all such things reasonably necessary to ensure that the security and privacy of all personal information received, is upheld - whether it be from a bid made, a Lot which is purchased or where personal information is stored, recalled or accessed from Aspire’s servers and/or offices. This will include the implementation of measures creating an electronic firewall system, regular virus scanning mechanisms, security patches, vulnerability testing, regular backups, security checks and recovery mechanisms and any other such mechanisms that is reasonably necessary to ensure the protection of personal information. 3.2. Aspire shall ensure that all employees are sufficiently trained in the use of Aspire’s systems to ensure that the protection of all databases containing any personal information is maintained. 3.3. Any information relating to, but not limited to, any personal information, account details and personal addresses of any Bidder, Buyer or Seller shall be encrypted and only accessible by limited authorised personnel and stored either on an electronic server or in a safe area on the premises of Aspire. Each individual with such authorisation shall ensure that all personal information remains confidential and is protected in the manner contemplated in this Privacy Policy. 3.4. After the sale of a Lot, any credit card and EFT details shall not be stored by Aspire. 3.5. Aspire does not send out e-mails requesting the account details of any Bidder, Buyer or Seller. Aspire shall not be liable for any loss suffered as a result of any fraudulent e-mails sent to any Bidder, Buyer or Seller by any third parties or related fraudulent practices by third parties (including the unauthorised use of Aspire’s trademarks and brand names) in order to mislead any prospective Bidder, Buyer or Seller into believing that such third party is affiliated with Aspire; and 3.6. Aspire may send out e-mails in respect of payment for any registration fees (if applicable) and/ or payment with respect to the purchase of a particular Lot placed on Auction.

4. AMENDMENTS TO THE PRIVACY POLICY

4.1. Aspire may, from time to time, in its sole discretion, amend, cancel or rescind any provision of this Privacy Policy by publication of any such amended version (whether on its website or by any other means whatsoever). It is the responsibility of any Bidder, Buyer or Seller to ensure that they are aware, understand and accept these changes before conducting business with Aspire.

5. THIRD PARTY WEBSITES Any links on the website to third party websites are independent of this Privacy Policy. Any third party’s Privacy Policy is separate and Aspire shall not be liable for any information contained therein.

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A Home for the Art of Africa The Javett Art Centre (Javett-UP), currently under construction at the University of Pretoria's Hatfield campus in Gauteng, South Africa, is due to open in 2019 and will become an important platform for the study, appreciation, conservation, curation and interrogation of the art of Africa. The Javett-UP, in collaboration with the university, will celebrate and grow the creativity that J epitomises the continent through permanent and temporary exhibitions, multi-disciplinary events and performances, and extensive research and educational initiatives. With one foot firmly rooted in academia, and the other imbedded in the public, the Javett-UP aims to make the art of Africa accessible, relevant and engaging to local and international audiences. The Javet t-UP, established around the Javett Foundation's 20th century classic art collection and featuring the iconic Mapungubwe Gold Collection and works from the universityâ&#x20AC;&#x2122;s extensive collections, and is made possible by the Javett Foundation and the University of Pretoria

www.javettup.art 154

ARTIST INDEX

Bakker, K 65

Kentridge, W 6, 29, 58, 59, 60, 61, 62

Skotnes, C 10, 13, 26, 36, 37, 95, 96, 97

Battiss, W 7, 44, 120, 121, 129, 130, 133, 134

Krige, L 78

Slingsby, R 98

Beck, S 101, 102

Legae, E 107

Smit, L 53

Bester, W 113

Louw, J 136

Stern, I 33, 41

Blom, Z 45, 46

Luce, M 116

Stone, S 34, 71

Botes, C 126

Mabasa, N 99

Stopforth, P 67

Brenner; Koloane; Kreutzfeldt; Nitegeka and

Makamo, N 112

Sumner, M 9, 117

Oltmann 140

Marshall, R 124

Tayou, P 51

Catherine, N 111

Mathison, M 75

Theys, C 18

Cilliers-Barnard, B 103

Moore, H 70

Timlin, W 79, 80, 81, 82, 83

Clarke, P 14, 40

Muafangejo, J 94

Urbanski, A 48, 138, 137

Coetzee, C 23, 84, 118

Murray, B 30, 76

Van der Merwe, C 131

De Wet, B 132

Nhlengethwa, S 42, 43, 110

Van Essche, M 8

Eloff, Z 105

Niebuhr, H 64

Van Heerden, P 17

Emmanuel, P 25

Niemann, H Jnr 114, 115

Van Wouw, A 101

Everard Haden, L 22

Oerder, F 16

Vári, M 54

Everard Haden, R 20

Papetti, A 128

Verster, A 28, 127

Feni, D 109

Picasso, P 4, 5

Victor, D 66, 123, 125

Goedhals, N 55

Pierneef, JH 2, 3, 15

Villa, E 31, 38, 47, 49, 50

Goldblatt, D 69, 77

Poynton, D 27

Vorster, G 106

Goldblatt, S 12

Preller, A 21, 35

Webster, J 122

Gottgens, K 135

Schütz, P 108

Williamson, S 68

Harrs, H 11

Sekoto, G 19, 63

Zondi, M 92, 93

Hassan, K 24

Sibiya, L 104

Zulu, S 73, 74

Hobbs, S 139

Sihlali, D 52

Hodgins, R 1, 32, 56, 57, 72, 119

Sithole, L 39

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THE ART OF COLLECTING AN INTIMATE TOUR INSIDE PRIVATE ART COLLECTIONS

Image courtesy of the Erik Laubscher Trust

The Friends of the Iziko South African National Gallery are excited to announce a series looking at private collections/collecting for the home. Taking members into private homes and allowing for an intimate view of private collections, this series of visits is a not to be missed opportunity to see behind the often closed doors of the collector. We also hope to expose members of the Friends to the passion behind the collections and make collecting a Friends' experience. The first of these visits is scheduled to take place at the end of July and will be open to paid-up members only. Memberships start at R200 (concessions available). The series is held on the occasion of the exhibition FRIENDS50, celebrating 50 years of the Friends acquiring art for the nation, currently on show at Iziko SA National Gallery. For further information please visit our website:

FRIENDS OF THE IZIKO SOUTH AFRICAN NATIONAL GALLERY

http://friendsofsang.co.za

Johannesburg Auction Catalogues | 2 catalogues per annum R500 for deliveries in South Africa R900 for deliveries outside of South Africa

Cape Town Auction Catalogues | 1 catalogue per annum R250 for deliveries in South Africa R450 for deliveries outside of South Africa

Johannesburg and Cape Town Auction Catalogues | 3 catalogues per annum R750 for deliveries in South Africa R1350 for deliveries outside of South Africa Subscriptions are for a one-year period. Send the completed form to wendy@aspireart.net

E-catalogues will be uploaded onto the Aspire website for each auction and will be available as a free download. Personal subscription

Delivery details

T IT L E

STREET ADDRESS

NA M E SURNAME E MA I L A D D R E S S

SUBURB

MOBILE NUMBER

CI TY/TOWN

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Bank: FNB, Account: Aspire Art Auctions (Pty) Ltd

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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 SALE VENUE: Gordon Institute of Business Science | JHB

L OT S –

Please print clearly

LOT NUMBER

LOT DESCRIPTION

MAXIMUM | EMERGENCY BID (HAMMER PRICE)

SALE DATE: 17 June 2018 | 6 pm SALE CODE: AAA | Winter 18 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 BI DDI NG I NCREMENTS

AD 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.

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

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

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.

Credit Card

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

158

R10 000–R20 000

>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