Aspire Summer 2018 Catalogue by Aspire Art

Historic, Modern & Contemporary Art

Historic, Modern & Contemporary Art Afternoon Sale and Evening Sale | Summer 18

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

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

Afternoon Sale | Sunday 25 March 2018 | 3 pm Evening Sale | Sunday 25 March 2018 | 5 pm V IE W I N G

Friday 23 March 2018 | 10 am – 5 pm Saturday 24 March 2018 | 10 am – 5 pm Sunday 25 March 2018 | 10 am – 3 pm WAL K A B O U TS

Aspire Specialist Walkabout | Saturday 24 March 2018 | 11 am Walkabout with Karel Nel | Sunday 25 March 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

When sending telephone or absentee bids, this sale is referred to as: AAA SUMMER 18 C ON D I TI O N S O F S A LE

The auction is subject to: Important Notices, Terms & Conditions of Business and Reserves AUCTI O N R ES U LTS

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

bids@aspireart.net | +27 71 675 2991 OF F I C E A D D R ES S ES

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

ART I ST D E TA I L S If a work is by a deceased artist, the artist’s name is followed by their country of origin and birth–death dates. If an artist is still living, the artist’s name is followed by their birth date and country of origin. Attributed to … in our opinion, most likely a work by the artist in whole or in part. Studio of … / Workshop of … in our opinion, a work likely to have come from the studio of the artist or produced under their supervision. Circle of … in our opinion, a contemporaneous work by an unidentified artist working in that artist’s style. Follower of … in our opinion, a work by an unidentified artist working in the artist’s style, contemporary or near contemporary, but not necessarily by a student of the artist. School of … in our opinion, a work executed at the time and in the style associated with the artist. South African School, 18th century … in our opinion, a work executed at the time and in the style associated with that region. Manner of … in our opinion, a work by an unidentified artist working in the artist’s style but at a later date, although not of recent execution. Style of … in our opinion, a work by an unidentified artist working in the artist’s style and of recent execution. After … in our opinion, a copy by an unidentified artist of a work by the artist, of any date. A work catalogued with accompanying dates e.g. 1577–1640 relates to the identification of the

S IGN ATURE, DATE AN D IN SCRIPTION C O N VEN TION S The term signed … /dated…and /or inscribed … means that the signature and/ or date and/or inscription is by the artist, in our opinion. The term bears a … signature/date/ inscription indicates our opinion that the artist’s name/date/inscription has been added by another hand (this is also applicable where the term ‘in another hand’ is used). Where a semi-colon is used, everything thereafter is on the reverse of the artwork.

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

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

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

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

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

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

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

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

SAL EROOM N OTICE A written notice regarding a specific lot(s), posted near the lot(s) in the saleroom, published on www.aspireart.net, and announced by the auctioneer prior to selling the lot(s).

CON DITION REPORT A report on the condition of the lot as noted when catalogued. [We are not qualified restorers or conservators. These reports are our assessment of the general condition of the artwork. Prospective buyers are advised to satisfy themselves as to the condition of any lot(s) sold.] ix

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

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

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

kR d

Map and Street View can be found here: https://www.avenuecapetown.com/contact Map of available Parking can be found here: http://www.waterfront.co.za/Documents/map_print_parking.pdf

o wo

At the first set of Traffic Lights, turn right onto Walter Sisulu Avenue.

One & Only Cape Town

At the roundabout, take the 2nd exit to stay on Dock Road.

len

The venue will be on your right, between the Two Oceans Aquarium and the One & Only Cape Town.

ule

Bo rd

Parking is available at Portswood Parking Garage, which is past the Avenue venue, further along Dock Road, entrance on your left.

N E XT AUCTIO NS IN 2018

Two Oceans Aquarium

Avenue

At the roundabout, take the 1st exit onto Dock Road.

Timed Online | Focus on Works on Paper, Prints & Multiples 28 March – 4 April 2018

Timed Online | Contemporary 5 – 12 September 2018

Live Johannesburg | Historic, Modern & Contemporary Art 17 June 2018 Consignments close 1 May 2018

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

Timed Online | Books & Collectables 14 – 21 May 2018

Timed Online | Holidays! 19 – 26 November 2018

Timed Online | Old & New: Landscapes and Contemporary Art 28 June – 5 July 2018

rki

a gG

rts

Directions from the Nelson Mandela Boulevard N1/N2, heading into Cape Town.

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CON TE N T S

Auction Information vii Glossary of Cataloguing Terms and Practice ix Auction Venue – Avenue, V&A Waterfront x Aspire Specialists and Staff xv Artist’s Resale Rights xvii

Afternoon Sale Lots 1 to 91 1–53

Evening Sale Lots 92 to 167 55–178 Author Biographies and Acknowledgements 179 Guide for Prospective Buyers 180 Details used in prelim pages from:

Terms and Conditions of Business 183

COVER

Lot 128 Alexis Preller Gold Angel (Arêté) PAGE I

Lot 145 Athi-Patra Ruga The Night of the Long Knives III PAGE II

Lot 135 Deborah Bell Unearthed V PAGE IV–V

Artist Index 188 Catalogue Subscription Form 189 Written/Telephone Bidding Form 190

Lot 132 Robert Hodgins Night of the Awards, triptych PAGE VI

Lot 126 Stanley Pinker Artist and his models PAGE VIII

Lot 104 Peter Clarke Bowl of Fruit on Table PAGE XI

Lot 160 Zander Blom Untitled 1.96 PAGE XII

Lot 115 Alexis Preller The Dance PAGE XIV

Lot 153 Wim Botha Prism II PAGE XVI

Lot 138 Athi-Patra Ruga Uzukile the Elder PAGE XVIII

Lot 118 Maggie Laubser Stil Life with Vase and Sunflowers

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 11 243 5243

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 which have no existing

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

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

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

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

works of art on auction.

legislation in South Africa has been tabled, but the law is still in draft discussion form. Aspire was the only representative from the secondary

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

market to submit representations to government on the public hearings for

investment back into the industry, acknowledging the value of authorship

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

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

2017 to put forward the case for a national ARR.

the initial sale is compounded when one considers the rise in value of an artwork over time, in relation to the growing success of the artist. The

With little opportunity for funding in the arts, the profound social inequalities

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

of South Africa seem particularly magnified in the sector. In the absence of legislation or a government mandated collecting agency, Aspire voluntarily

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

covers the cost of the ARR percentage fee.

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

Aspire is perfectly placed to usher in a new era, as the newest South

auction house. Whilst upholding the significance of established artists, Aspire

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

is building a market for the future.

experience in the country and a particular focus on top quality fine art. To date, Aspire has earned royalties for over 80 living South African artists

Across the world, artists, associations and collecting societies have been

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

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

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

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

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

international trend.

affirmation of ethical market practice, goodwill and generosity that really made my day.’ (email correspondance, 2017).

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 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 protestations from established UK auction houses and galleries, however in 2011 and in 2012 the European Commission and UK Parliament reported that the resale right does not impact the art market negatively. This report was

PORTION OF THE SALE PRICE

ROYALTIES

From 0 to R50,000

From R50,000.01 to R200,000

From R200,000.01 to R350,000

From R350,000.01 to R500,000

0.5%

Exceeding R500,000.01

0.25%

followed up by the World Intellectual Property Organisation research in 2017, which corroborated that the payment of royalties on works at auction has no discernible impact on prices.

xvii

Historic, Modern & Contemporary Art

Historic, Modern & Contemporary Art Afternoon Sale Lots 1 to 91

PAGE 2

Lot 1â&#x20AC;&#x201A; Walter Battiss Comores (detail)

Lot 1

Walter Battiss South African 1906–1982

Comores watercolour on paper signed and inscribed with the title 15.5 x 23 cm

R30 000 – 40 000

Lot 2

Mimmo Paladino b.1948 Italy

Naufragio 1993 watercolour and gouache on paper inscribed with the title on a Goodman Gallery label on the reverse 30.5 x 39.5 cm

R30 000 – 50 000 PROVENANCE

Goodman Gallery, Johannesburg.

Lot 3

Peter Clarke South African 1929–2014

A Poem, Prose and Floating Pieces 1992 pen, ink and collage on paper signed, dated 4.6.1992, inscribed with the title and ‘For Sipho from Father Clarke’ 29.5 x 20.5 cm

R18 000 – 24 000

Lot 4

Peter Clarke South African 1929–2014

Lost Touch? 1997 pen, ink and collage with lithograph on paper lithograph signed, inscribed with the title and numbered AP in pencil; collage signed ‘Father C’ 29.5 x 20.5 cm

R18 000 – 24 000

Lot 5

Peter Clarke South African 1929–2014

Walking Through Weeds 1966 ink and watercolour on paper signed and dated March 1966; dated 3.3.1966, inscribed with the title and medium on the reverse 36 x 25 cm

R30 000 – 40 000

Lot 6

Robert Gwelo Goodman South African 1871–1939

South Easter at Table Bay pastel on card signed with the artist’s initials; inscribed with the artist’s name and the title on the mount 28 x 35 cm

R25 000 – 40 000

Lot 7

Robert Gwelo Goodman South African 1871–1939

Granada Evening pastel on card signed with the artist’s initials; engraved with the title on a plaque on the frame 35.5 x 45.5 cm

R20 000 – 30 000

Lot 8

Jan Ernst Abraham Volschenk South African 1853–1936

Crag and Kloof (Riversdale, South Africa) 1911 oil on canvas signed and dated; signed, dated and inscribed with the title on the reverse 46 x 37 cm

R30 000 – 50 000

Lot 9

Jan Ernst Abraham Volschenk South African 1853–1936

A Riversdale Mountain 1921 oil on canvas signed, dated and inscribed with the title on the reverse 14 x 19 cm

R20 000 – 30 000

Lot 10

Piet van Heerden South African 1917–1991

Agterplaas 1950 oil on canvas laid down on board signed and dated 67 x 77 cm

R50 000 – 80 000

Lot 11

David Botha South African 1921–1995

Boland Winter oil on canvas laid down on board signed 51 x 76 cm

R30 000 – 50 000

Lot 12

Hugo Naudé South African 1868–1941

Spring, Worcester oil on card signed with the artist’s initials 19 x 28 cm

R30 000 – 50 000

Lot 13

Wopko Jensma South African 1939–1993

Beast carved, incised and painted wood panel signed with the artist’s initials 61 x 76 cm

R20 000 – 30 000 PROVENANCE

Acquired from Gallery 101 in the early 1970s.

Lot 14

Giuseppe Cattaneo South African 1929–2015

Contact 1963 oil on paper laid down on board 91 x 62.5 cm

R20 000 – 30 000 EXHIBITED

SMAC Gallery, Stellenbosch, Abstract South African Art Revisited, 9 June to 1 September 2011. L IT E R AT U R E

Berman, E. (1970). Art & Artists of South Africa. Cape Town: A. A. Balkema, illustrated on p.62.

Lot 15

Lot 16

Caroline van der Merwe

South African 1932–2012

Male torso

Female form

white marble signed with the artist’s monogram 30 x 13 x 10 cm

white marble signed with the artist’s monogram 28 x 17.5 x 12.5 cm

R30 000 – 40 000

R25 000 – 35 000

Lot 17

Robert Hodgins South African 1920–2010

Untitled (Skull) 1994 porcelain slabbed and carved with underglaze colour beneath transparent glaze signed and dated on the underside 10.5 x 19 x 13 cm

R35 000 – 50 000 L IT E R AT U R E

Van Wyk, R. (2008). The Ceramic Art of Robert Hodgins. Cape Town: Bell-Roberts, colour illustration on pp.113 and 134.

Lot 18

Hylton Nel b.1941 South Africa

Cat in Blue Dress 2010 hand painted and glazed ceramic signed, dated and inscribed ‘Nuestra Sénora de los Gattos’ (sic) 27.5 x 21.5 x 7.5 cm

R20 000 – 30 000 EXHIBITED

Stevenson, Cape Town, Cats and Other Creatures, June to December 2010.

Lot 19

Lot 20

Hylton Nel

b.1941 South Africa

Vase with woman riding a llama

Yellow vase with nude

over-glazed and re-fired ceramic signed 28.5 x 11 cm

hand painted and glazed ceramic 24 x 13 x 11.5 cm

R15 000 â&#x20AC;&#x201C; 20 000

R20 000 â&#x20AC;&#x201C; 30 000

Lot 21

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

Guinea Fowl 1973 colour screenprint signed, numbered 19/30 and inscribed with the title in pencil image size: 52 x 38 cm

R25 000 â&#x20AC;&#x201C; 35 000 L IT E R AT U R E

Siebrits, W. and Ginsberg, J. (2016). Walter Battiss: I Invented Myself. Johannesburg: The Ampersand Foundation, another example from the edition illustrated in colour on p.123.

Lot 22

Walter Battiss South African 1906–1982

Desert (Karoo) 1973 colour screenprint signed, numbered 29/30 and inscribed with the title in pencil image size: 43 x 62.5 cm

R30 000 – 40 000 L IT E R AT U R E

Siebrits, W. and Ginsberg, J. (2016). Walter Battiss: I Invented Myself. Johannesburg: The Ampersand Foundation, another example from the edition illustrated in colour on p.121. Skawran, K. (2005). Walter Battiss: Gentle Anarchist. Johannesburg: Standard Bank Gallery, another example from the edition illustrated in colour on p.188.

Lot 23

Walter Battiss South African 1906–1982

Orgy I 1973 colour screenprint signed and numbered Artist’s Proof 1/5 in pencil image size: 38 x 57.5 cm

R30 000 – 50 000 L IT E R AT U R E

Siebrits, W. and Ginsberg, J. (2016). Walter Battiss: I Invented Myself. Johannesburg: The Ampersand Foundation, another example from the edition illustrated in colour on p.121.

Lot 24

Walter Battiss South African 1906–1982

Luiperdsvlei Estate, G.M. Coy near Krugersdorp 1974 colour screenprint signed, numbered 8/30 and inscribed with the title in pencil in the margin image size: 41.5 x 61.5 cm

R20 000 – 30 000 L IT E R AT U R E

Macnamara, M. and Skawran, K. (eds.). (1985). Battiss. Johannesburg: AD. Donker, another example from the edition illustrated in colour on p.175. Siebrits, W. and Ginsberg, J. (2016). Walter Battiss: I Invented Myself. Johannesburg: The Ampersand Foundation, another example from the edition illustrated in colour on p.137.

Lot 25

Norman Catherine b.1949 South Africa

You Are Under My Spell 1992 colour screenprint signed, dated and numbered 24/45 in pencil in the margin image size: 60.5 x 92 cm

R20 000 – 30 000 EXHIBITED

cf. Gallery AOP, Johannesburg, Norman Catherine Print Editions 1968–2014, August to September 2014, another example from the edition illustrated in the catalogue on p.38.

Lot 26

Robert Hodgins South African 1920–2010

Interviewer 1994 lithograph signed, dated, numbered 14/20, inscribed with the title in pencil and embossed with The Artist’s Press chop mark sheet size: 38 x 54 cm

R20 000 – 30 000 L IT E R AT U R E

Buys, A. (ed.). A Lasting Impression: The Robert Hodgins Print Archive. Johannesburg: Wits Art Museum, another example from the edition illustrated on p.74.

Lot 27

Robert Hodgins South African 1920–2010

Montmartre Suite IV 2003 colour monotype signed, dated, inscribed with the title in pencil and embossed with the Mark Attwood chop mark image size: 56.5 x 76 cm

R30 000 – 50 000 PROVENANCE

Goodman Gallery, Cape Town.

Lot 28

Christo Coetzee South African 1929â&#x20AC;&#x201C;2000

Fire Curtain 1980 oil, enamel and collage on paper signed, dated and numbered 3; signed and dated on the mount 43 x 61 cm

R60 000 â&#x20AC;&#x201C; 80 000

In 1980, Christo Coetzee received a commission to design a prototype for the fire curtain of the Drama theatre in the newly built State Theatre in Pretoria. The building was officially opened in 1981. Coetzee met the brief with enthusiasm, designing multiple proposals. The present lot is one of those proposals. Another example, Prototype: Fire Curtain (1980) sold on our Autumn 2017 auction for R136 416. Characters in Eden was the final selection to adorn the Drama fire curtain.

Lot 29

Christo Coetzee South African 1929–2000

The Nodes 1978 oil and airbrush on paper signed, dated, numbered 34, inscribed with the title and ‘Tulbagh Cape SA’ 50.5 x 64 cm

R30 000 – 40 000

Lot 30

Christo Coetzee South African 1929–2000

Tulbagh, Abstract 1989 oil, ink, airbrush and collage on paper signed, dated, numbered 5 and inscribed with the title 51 x 63.5 cm

R20 000 – 30 000

Lot 31

Terence McCaw South African 1913–1978

Thesen Island 1940 oil on canvas laid down on board signed and dated 30 x 40 cm

R40 000 – 50 000

Lot 32

Piet van Heerden South African 1917–1991

Washday 1944 oil on panel signed and dated 40 x 50 cm

R25 000 – 40 000

Lot 33

Leng Dixon South African 1916–1968

Nederburg Estate pen, ink, watercolour and gouache on paper laid down on card signed 50 x 68 cm

R30 000 – 50 000

Lot 34

Conrad Theys b.1940 South Africa

Quiver trees 2006 pastel on paper signed and dated 25 x 30 cm

R20 000 – 30 000

Lot 35

Clement Serneels South African 1912–1991

Siena Piazza 1974 oil on canvas signed and dated 68 x 77 cm

R40 000 – 60 000

Lot 36

Anton van Wouw South African 1862–1945

The Dagga Smoker bronze on a wooden base signed and inscribed ‘SA Joh-burg’ 17 x 51.5 x 21.5 cm

R40 000 – 60 000

Lot 37

Anton Mauve Dutch 1838–1888

Friesian cow charcoal and pastel on paper signed 36.5 x 47.5 cm

R30 000 – 50 000

Lot 38

Diederick During South African 1917–1991

Water carrier charcoal and pastel on paper signed 40 x 32 cm

R15 000 – 20 000 PROVENANCE

Purchased from the artist in the early 1970s and thence by descent.

Lot 39

Gordon Vorster South African 1924–1988

Untitled No. 9 oil on board signed; signed and inscribed ‘No.9’ on the reverse 76 x 91 cm

R30 000 – 40 000

Lot 40

Kenneth Bakker South African 1926–1988

Composition No. 26 Fragments of Landscape 1966 relief construction signed and dated; inscribed with the title on a Republican Arts Festival label on the reverse 129 x 91 cm

R40 000 – 60 000 EXHIBITED

SA Association of Arts, Pretoria, Republic Festival Exhibition, section A1, May 1966.

Lot 41

Bettie Cilliers-Barnard South African 1914–2010

Abstract composition 1966 oil on board signed and dated 92 x 91 cm

R40 000 – 60 000

Lot 42

Wolf Kibel South African 1903–1938

Mother and Child colour monotype signed; inscribed with the title on a South African National Gallery label on the reverse image size: 25 x 20 cm

R12 000 – 18 000 EXHIBITED

South African National Gallery, Cape Town, Wolf Kibel Retrospective, September 1976, catalogue number 50.

Lot 43

Cecil Skotnes South African 1926–2009

Three figures 1967 charcoal and pastel on paper signed and dated 45 x 63 cm

R20 000 – 30 000

Lot 44

Johann Louw b.1965 South Africa

Portret van C met Fragment 2011 oil on panel signed and dated on the reverse 122 x 122 cm

R70 000 â&#x20AC;&#x201C; 90 000 EXHIBITED

SMAC Gallery, Johannesburg, FNB Joburg Art Fair, 23 to 25 September 2011.

Lot 45

Johannes Meintjes South African 1923â&#x20AC;&#x201C;1980

Woman and Dam 1976 oil on board signed and dated 60 x 32.5 cm

R30 000 â&#x20AC;&#x201C; 50 000 L IT E R AT U R E

Meintjes, J. (1972). Diary of Johannes Meintjes II, catalogue number 1226.

Lot 46

Marianne Podlashuc South African 1932â&#x20AC;&#x201C;2006

Maternity Ward oil on board signed; signed and inscribed with the title on a label on the reverse 74.5 x 58.5 cm

R30 000 â&#x20AC;&#x201C; 40 000

Lot 47

Nel Erasmus b.1928 South Africa

I like wind 1992 oil on board signed and dated twice; signed and inscribed with the title on the reverse 151 x 66 cm

R18 000 – 24 000

Lot 48

Judith Mason South African 1938–2016

The Garden of Gethsemane oil on board signed 122 x 181 cm

R60 000 – 80 000 NO T E S

cf. This painting is similar in size, palette and subject matter to Archangel Gabriel (1968) in the PELMAMA Permanent Art Collection, Pretoria Art Museum.

Lot 49

Cecil Higgs South African 1898–1986

Still Life with Mask oil on canvas signed; inscribed with the title on an exhibition label on the reverse 45 x 30.5 cm

R25 000 – 35 000 EXHIBITED

Wolpe Gallery, Cape Town, Over Four Decades, 1980, catalogue number 152.

Lot 50

Cecil Higgs South African 1898–1986

Sea Anemones oil on canvas laid down on board signed 35.5 x 45 cm

R30 000 – 40 000

Lot 51

Johannes Segogela b.1936 South Africa

Noah, Mrs Noah, Son, Daughter and Animals from the Ark 1993 oil on carved wood Mrs Noah signed and dated on the underside dimensions variable, tallest figure: 54.5 cm

R20 000 â&#x20AC;&#x201C; 30 000

Lot 52

Lot 53

Robin Lewis

South African 1942–1988

Finch

Barn owl

moulded copper on a marble base signed 34.5 x 9.5 x 9.5 cm

moulded copper on a marble base signed 27 x 14.5 x 14.5 cm

R20 000 – 30 000

R30 000 – 40 000

Lot 54

Brian Bradshaw South African 1923–2016

Landscape oil on canvas signed 75 x 90 cm

R20 000 – 30 000 PROVENANCE

Everard Read Gallery, Cape Town.

Lot 55

Frans Claerhout South African 1919–2006

Chickens, figures and sunflowers oil on board signed 51 x 61 cm

R25 000 – 35 000

Lot 56

Frans Claerhout South African 1919–2006

Harvesters oil and acrylic on board signed 74.5 x 90 cm

R40 000 – 60 000

Lot 57

Frans Claerhout South African 1919–2006

Farm at dawn oil on board signed 51.5 x 61.5 cm

R25 000 – 35 000

Lot 58

Robert Slingsby b.1955 South Africa

Arum Lilies 1993 charcoal, pastel and gouache on paper signed and dated sheet size: 114 x 101 cm

R30 000 â&#x20AC;&#x201C; 40 000

Lot 59

Phillemon Hlungwani b.1975 South Africa

Landscape 2011 charcoal on paper signed and dated 75.5 x 199 cm

R30 000 â&#x20AC;&#x201C; 50 000

Lot 60

Minnette Vári b.1968 South Africa

Monomotapa II 2007 digital print on 100% cotton rag paper signed, dated and numbered 1/3 in pencil image size: 78 x 110 cm

R15 000 – 25 000

Lot 61

Andries Botha b.1952 South Africa

Black Hat charcoal and pastel on paper 143 x 144 cm

R35 000 – 50 000 PROVENANCE

The Marvellous Collection, Johannesburg.

Lot 62

Anton Kannemeyer b.1967 South Africa

B is for Black; W is for White (from the Alphabet of Democracy series) 2008 colour lithographs both signed, dated and numbered 4/35 in pencil in the margins and embossed with the Mark Attwood chop mark sheet size: 57 x 44.5 cm each (2)

R40 000 – 60 000 E XH I B I T E D

cf. Johannes Stegmann Gallery, University of the Free State, Bloemfontein, Representations of Otherness and Resistance, 21 May to 19 June 2015, another example from the edition illustrated in the catalogue, unpaginated. cf. Michael Stevenson, Cape Town, Anton Kannemeyer: Fear of a Black Planet (solo show), 16 October to 22 November 2008, another example from the edition illustrated in the catalogue on pp.18–19. cf. Jack Shainman Gallery, New York, The Haunt of Fears (solo show), 17 April to 17 May 2008. L IT E R AT U R E

cf. Botes, C. and Kannemeyer, A. (2008). Bitterkomix 15, Johannesburg: Jacana Media, another example from the edition illustrated in colour on p.52. cf. Tyson, J. (2012). Anton Kannemeyer’s Tactics of Translation as Critical Lens, Synthesis, Summer (4):121–148, another example from the edition illustrated in colour on p.126.

Lot 63

Anton Kannemeyer b.1967 South Africa

Raw Deal 2008 ink and acrylic on paper signed with the artist’s initials and dated 30 x 22.5 cm

R18 000 – 24 000 PROVENANCE

The Marvellous Collection, Johannesburg.

Lot 64

Marcel Dzama b.1974 Canada

Untitled, two pen, ink and watercolour on paper each signed 31 x 24.5 cm each (2)

R40 000 – 60 000

Lot 65

Robert Hodgins South African 1920–2010

Sergeant Major 2006 colour lithograph signed, dated, numbered 11/30, inscribed with the title in pencil and embossed with The Artists’ Press chop mark sheet size: 66.5 x 50 cm

R25 000 – 35 000 L IT E R AT U R E

Buys, A. (ed.). A Lasting Impression: The Robert Hodgins Print Archive. Johannesburg: Wits Art Museum, another example from the edition illustrated on pp. 240 and 276.

Lot 66

Robert Hodgins South African 1920–2010

The Colonel Drunk 2007 colour lithograph signed, dated, numbered 17/25 in pencil in the margin, printed with the title in the plate and embossed with The Artists’ Press chop mark sheet size: 50 x 38 cm

R20 000 – 30 000 L IT E R AT U R E

Buys, A. (ed.). A Lasting Impression: The Robert Hodgins Print Archive. Johannesburg: Wits Art Museum, another example from the edition illustrated on p. 278.

Lot 67

William Kentridge b.1955 South Africa

Man with Megaphone Cluster 1998 etching and softground aquatint with pastel hand colouring signed, numbered 41/70 in pencil in the margin and embossed with the Caversham Press chop mark sheet size: 35 x 50 cm

R30 000 â&#x20AC;&#x201C; 50 000 NO T E S

Co-published by Kunstverein, Munich and the artist.

Lot 68

William Kentridge b.1955 South Africa

Man in Chair (from Zeno at 4am series) 2001 etching with sugarlift aquatint signed and numbered AP IV/V in pencil in the margin From an edition of 40 sheet size: 33 x 28 cm

R20 000 â&#x20AC;&#x201C; 30 000 NO T E S

Published by David Krut Fine Art, Johannesburg and New York.

Lot 69

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

Hotel 1997 charcoal, pastel, ink and collage on paper signed and dated 48 x 69 cm

R35 000 â&#x20AC;&#x201C; 50 000

Lot 70

Dan Halter b.1977 Zimbabwe

UDI hand-woven archival inkjet print 62.5 x 45 cm

R25 000 – 40 000 EXHIBITED

FNB Joburg Art Fair, Johannesburg, Heartland, Dan Halter special project, 27 to 29 September 2013.

Lot 71

Bronwyn Lace b.1980 Botswana

Collapse (Infinitas Swarm) (from the Collapse series) 2010 and 2014 fishing line, beads, fishing flies and Perspex 105 x 105 x 5 cm

R30 000 – 40 000 PROVENANCE

Wits Art Museum Endowment Auction, Johannesburg, 27 May 2015. EXHIBITED

Nirox Projects at Arts on Main, Johannesburg, Resuscitate, 2013. Circa Gallery, Johannesburg, Teeming, 2014.

Lot 72

Pieter Hugo b.1976 South Africa

Vernon Barnard, Somerset West, 2005 archival pigment print on cotton rag paper signed, dated, numbered 3/3 and inscribed with the title in pencil in the margin From an edition of 3 + 1 AP image size: 99.5 x 80 cm

R40 000 â&#x20AC;&#x201C; 60 000 EXHIBITED

cf. Barnard Gallery, Cape Town, Changing Faces: Profiling Portraits in South African Art, 23 May to 18 July 2013. cf. Stevenson, Cape Town, Looking Inside, ongoing.

Lot 73 Pieter Hugo b.1976 South Africa

Justus Wilhelm Reitz, Carnarvon, 2005 archival pigment print on cotton rag paper signed, dated, numbered 1/3 and inscribed with the title in pencil in the margin From an edition of 3 + 1 AP image size: 100 x 80 cm

R30 000 â&#x20AC;&#x201C; 50 000 EXHIBITED

cf. Barnard Gallery, Cape Town, Changing Faces: Profiling Portraits in South African Art, 23 May to 18 July 2013. cf. Stevenson, Cape Town, Looking Inside, ongoing.

Lot 74

David Goldblatt b.1930 South Africa

At Kevin Kwanele’s Takwaito Barber, on Lansdowne Road, Khayelitsha, Cape Town, in the time of AIDS, 2007 (from the Intersections series) 2007 digital print on 100% cotton rag paper signed, dated 16 May 2007 and numbered 3/10 in pencil in the margin From an edition of 10 + 2APs sheet size: 99 x 127 cm

R40 000 – 60 000

EXH IBITED

cf. Huis Marseille Museum voor Fotografie, Amsterdam, David Goldblatt: Intersections, 10 March to 28 May 2007. cf. Michael Stevenson, Cape Town, David Goldblatt: Intersections Intersected, 16 January to 1 March 2008. cf. The New Museum, New York, Intersections Intersected: The Photography of David Goldblatt, 15 July to 11 October 2009, and Fundação Serralves, Porto, 2008. LITERATU RE

Loock, U. (2008). Intersections Intersected: The Photography of David Goldblatt exhibition catalogue, Portugal: Fundação Serralves/Edicoes Asa, another example from the edition illustrated in colour on the cover and p.109.

The proceeds from the sale of this lot will go towards the Khulisa charity that has adopted a systemic approach to community development. Khulisa’s strategy aims to enhance social services to children, youth and families, with an orientation towards crime reduction. www.khulisa.org.za

Lot 75

Lot 76

Lionel Smit

Deborah Bell

b.1982 South Africa

b.1957 South Africa

Obscura Study #3

Till Death Do Us Part

2015

1998

archival pigment inks on Hahnemühle paper signed, dated and numbered 2/3 in pencil in the margin sheet size: 112 x 81.5 cm

monotype etching with colour roll and chine collé signed, dated, numbered 1/1 and inscribed ‘II’ in pencil; printed with the title in the plate sheet size: 70 x 59.5 cm

R30 000 – 50 000 EXHIBITED

R30 000 – 50 000

Everard Read Gallery, Cape Town, Obscura, 4 to 17 February 2015.

Lot 77

Lot 78

Jared Ginsburg

Kudzanai Chiurai

b.1985 South Africa

b.1981 Zimbabwe

Portrait

Portrait Study IV

printing ink on Perspex 71.5 x 54 cm

2011

R15 000 – 20 000

oil on canvas 90 x 60 cm

R40 000 – 60 000 EXHI BI TED

Goodman Gallery, Johannesburg, State of the Nation, 3 November to 3 December 2011.

Lot 79

Lot 80

Mark Hipper

Angus Taylor

South African 1960–2010

b.1970 South Africa

Handstand

Untitled

2008

2003

oil on canvas signed and dated on the reverse 115 x 100 cm

bronze, aluminium and ciment fondu signed with the artist’s initials, dated and numbered 1/24 74.5 x 22 x 20.5 cm

R20 000 – 30 000

R40 000 – 60 000 E XHI BI TED

Open Window Contemporary Gallery, Pretoria, Africana and other baggage, 1999.

Lot 81

Lot 82

Penny Siopis

Marlene Dumas

b.1953 South Africa

Help

Faceless

2004/5

1993

oil and enamel on board signed and dated on the reverse 26 x 22 cm

lithograph on wove paper signed, dated, numbered 182/200 in pencil in the margin and printed with the title in the plate From an edition of 200 + 26 APs sheet size: 29 x 20 cm

R20 000 â&#x20AC;&#x201C; 30 000 NO T E S

Accompanied by Smith, K. (ed.). (2005). Penny Siopis. Johannesburg: Goodman Gallery, signed by the artist, from an edition of 100, this one numbered 29.

R25 000 â&#x20AC;&#x201C; 35 000 NOTES Published by ICA, London.

Lot 83

Mark Hipper South African 1960â&#x20AC;&#x201C;2010

Robert Hodgins 1993 charcoal on paper signed and dated 107 x 64 cm

R20 000 â&#x20AC;&#x201C; 30 000

Lot 84

Speelman Mahlangu South African 1958–2004

African Theology oil on canvas signed; inscribed with the title on the reverse 109 x 81 cm

R25 000 – 35 000 PROVENANCE

Everard Read Gallery, Cape Town.

Lot 85

Willie Bester b.1956 South Africa

NY8 1991 oil, collage and assemblage on board signed and dated 38.5 x 60 cm

R35 000 – 50 000

Lot 86

David Koloane b.1938 South Africa

Four views wax crayon and pastel on paper 29.5 x 41.5 cm each

R18 000 – 24 000 PROVENANCE

Acquired from the artist.

Lot 87

Norman Catherine b.1949 South Africa

Ear, Nose & Throat oil on canvas signed 60 x 70 cm

R70 000 – 100 000 PROVENANCE

Graham’s Fine Art Gallery, Johannesburg.

Lot 88

Lot 89

Velaphi Mzimba

b.1959 South Africa

Afternoon

Untitled

2005

acrylic on panel signed and dated; dated and inscribed with the title and medium on an Everard Read Gallery label on the reverse 61 x 122 cm

acrylic and assemblage on panel signed and dated; dated and inscribed with the title and medium on an Everard Read Gallery label on the reverse 46 x 120.5 cm

R30 000 â&#x20AC;&#x201C; 40 000

R30 000 â&#x20AC;&#x201C; 50 000

PROVENANCE

PRO VEN A N CE

Everard Read Gallery, Cape Town.

Lot 90

Lot 91

Velaphi Mzimba

Paul Johan du Toit

b.1959 South Africa

South African 1965–2013

Brand New Day

Freedom

2004

2008

oil, acrylic and charcoal on military tarpaulin signed and dated 138 x 254 cm

oil and acrylic on canvas signed and dated 99.5 x 254.5 cm

R80 000 – 120 000 PROVENANCE

Everard Read Gallery, Cape Town.

R90 000 – 120 000 EXH IBITED

LI TERATURE

Graham’s Contemporary Fine Art Gallery, Johannesburg, Some strange alphabet, September 2008.

Jamal, A. (ed.). (2016). Paul. Cape Town: PlanetPaul, colour illustration on p.202.

Historic, Modern & Contemporary Art Evening Sale Lots 92 to 167

PAGE 52

Lot 95â&#x20AC;&#x201A; Strat Caldecott Village square (detail)

Lot 92

Jacobus Hendrik Pierneef South African 1886–1957

Self Portrait 1921 linocut signed, dated, and inscribed ‘Aan Meneer Morris Robinson, as a kind remembrance, from JH Pierneef’ in pencil in the margin plate size: 17 x 17 cm

R20 000 – 30 000 L IT E R AT U R E

cf. The Rupert Art Foundation, JH Pierneef: The Station Panels, another example from the edition illustrated on the cover. Nilant 124.

Lot 93

Jacobus Hendrik Pierneef South African 1886–1957

House and figure, Pretoria 1913 pen, ink and gouache on paper signed, dated and inscribed with the location 19.5 x 29.5 cm

R50 000 – 70 000

Lot 94

Jan Ernst Abraham Volschenk South African 1853–1936

The Shepherd’s House (near Riversdale) 1904 oil on canvas signed and dated; signed, dated, inscribed with the title and ‘Riversdale’ on the reverse 44.5 x 88 cm

R100 000 – 150 000

Lot 95

Strat Caldecott is well-known for his Impressionist technique,

Strat Caldecott

born of his education and life in Paris prior to the outbreak of

South African 1886–1929

the First World War. This busy street scene seems set perhaps

Village square

in a provincial French village, and is full of energy and vibrant

oil on canvas signed with the artist’s initials 30 x 40 cm

colour. The brushwork and palette evoke both the village

R300 000 – 500 000

environment and the many human narratives that run across it. The startling pink of the corrugated tiled roofs catch the eye, and the stippled brickwork of the building facades offers great character to the main boulevard. Fine details are painted sensitively to the left and right foregrounds – the fountain forms an off-centre focus for the strolling villagers, and the two dogs introducing themselves in the bottom right of the picture offer a touch of quotidian humour. The figures themselves are rendered with confident brushwork: their distance, being painted at a vantage point overlooking the square from above, renders fine detail unnecessary. Their bustling up and down the street in a lambent early afternoon light, to judge by the short shadows, provides a comforting dynamism and a sense of the purpose of their lives. James Sey

Lot 96

Gregoire Boonzaier South African 1909â&#x20AC;&#x201C;2005

District Six street scene, Table Bay beyond 1987 oil on board signed and dated; signed and dated twice on the reverse 34 x 51 cm

R100 000 â&#x20AC;&#x201C; 200 000

Lot 97

Leonora Everard Haden b.1937 South Africa

Buffel-Spruit (sic) 1986 oil on canvas signed and dated; inscribed with the title on the reverse 102 x 66 cm

R50 000 â&#x20AC;&#x201C; 80 000

Lot 98

Wealth creation in South Africa at the time these portraits were

Gerard Bhengu

painted, was primarily from the mining industry, predominantly

South African 1910â&#x20AC;&#x201C;1990

gold and diamonds. Labour and its cost to mining capital, was

Inyanga in traditional dress; Inyanga with coat, two

a large part of the cost structure of the industry. In 1913, the

watercolour on paper signed 35 x 25.5 cm each (2)

purchasing land outside of a tiny area. As the demand for cheap

R120 000 â&#x20AC;&#x201C; 180 000

feed this voracious demand. However, as long as black people

PROVENANCE

Johans Borman Fine Art, Cape Town.

Native Trust and Land Act was passed into law by the South African parliament, which prohibited black africans from labour in the mining industry increased, the primary thrust of the legislation was to create a class of landless workers to still possessed a small portion of land, which meant they had no need to work as miners, the available labour pool was insufficient for the industry. To force them out of the land reserves additional legislative measures were required, which included the poll tax of one pound per head per annum. This forced more of them out of the reserves resulting in the further destruction of the euphemistically termed rural idyll where black people could still live an agrarian lifestyle. These two portraits of Inyangas are estimated to have been done between 1926 and 1931 and are very early examples of Bhenguâ&#x20AC;&#x2122;s mature style and therefore more likely the latter date, which was after the poll tax. This is further evidenced by the polarity of the sitters. The one Inyanga is characterised by a regal elegance and confidence of pose and is dressed in completely traditional regalia, whilst the other exhibits consternation and uncertainty and is dressed with an element of Western attire. Bhengu could hardly be described as an overtly political artist but in executing his form of social realism, the polarised characterisation of the two portrait subjects could be construed as articulating the influence of legislation and its accompanying taxation elements imposed by the government of the day, resulting in the further destruction of the rural way of life. The fact that the sitter with the Western attire exudes an uncertain consternation is more than likely not a coincidence. It confirms that cultural production does not take place within a social, political and economic vacuum, even though the artist may not have executed these portraits with the intention of a direct socio-political commentary in mind. Text supplied

Lot 99

Terence McCaw South African 1913–1978

Helderberg 1949 oil on canvas signed and dated 62 x 74.5 cm

R100 000 – 200 000

Lot 100

Strat Caldecott South African 1886–1929

Landscape near Uitkyk oil on canvas laid down on board inscribed with the title on a South African National Gallery label on the reverse 23 x 33 cm

R200 000 – 300 000

EXH IBITED

South African National Gallery, Cape Town, Strat Caldecott Retrospective, 7 May to 15 June 1986.

Lot 101

Nita Spilhaus South African 1878–1967

Afternoon Light 1958 oil on canvas laid down on board signed with the artist’s monogram; dated and inscribed with the artist’s name and the title on the reverse 41 x 61.5 cm

R50 000 – 70 000 66

Lot 102

Erik Laubscher South African 1927–2013

Winter Sun Cederberg oil on canvas laid down on board signed; inscribed with the title in another hand on the reverse 13 x 17.5 cm

R30 000 – 50 000 PROVENANCE

From the Rod and Hermine Wengrowe collection, acquired from the artist.

Lot 103

Maud Sumner South African 1902–1985

Trees oil on canvas signed twice 27 x 42 cm

R70 000 – 100 000

Lot 104

Although Peter Clarke had no formal art training, and no

Peter Clarke

contact with art schools until he spent a few months at

South African 1929–2014

Michaelis in 1961, he had been sketching since his schooldays

Bowl of Fruit on Table

and attended art groups while he worked at Simon’s Town

1958

docks, finally giving up his job to become an artist in 1956.

oil on paper signed and dated 3.7.1958; inscribed with the title on the reverse 39 x 48 cm

Most of his earliest works were in pencil, ink, or inexpensive

R300 000 – 500 000

1948, and an artist named Gordon-Taylor gave him some tubes

water-based paints, but his friend Roland Alexander had introduced him to oils when they were out painting together in of paint. Clarke continued to use watercolour and gouache, but experimented with oils for his more studied paintings, usually quite traditional themes such as land- and seascapes, and still life groups, perhaps preferred when the weather was inclement. Sometimes they were no more than an array of his mother’s kitchen paraphernalia, but for Bowl of Fruit on Table he set up a conventional still life group of fruit in a white china container on a table, a subject favoured by historical European painters from Caravaggio to Chardin. Much of Clarke’s knowledge came from studying art books, and here we sense his admiration of the Post Impressionists. Cezanne’s creation of form through colour is particularly evident in the oranges; Gauguin’s vibrant palette in the different fruits and the brilliant blue backdrop; Van Gogh’s expressive brushwork in the free paint application that enlivens the table cloth and the background. The table is tipped up to give the subject a sense of immediacy, and the palpable threedimensionality of the forms is further enhanced by the deep cast shadows. These qualities, together with Clarke’s judicious colour harmonies, such as the dull pinks of the tablecloth followed through in the plums and even the oranges, make this painting a remarkably accomplished work for a young selftaught artist. Elizabeth Rankin

Lot 105

Both the vase and the carved head in this beautiful still life

Alexis Preller

of 1956 feature regularly in Alexis Preller’s idiosyncratic

South African 1911–1975

iconography. They are placed next to each other in his The

Still-life with Vase and Carved Head

Long Shelf (1952), his arrangement of many of what he called

1956

compositions, for example The Broken Vase (1952) and The

oil on panel signed and dated 25 x 30.5 cm

Gateway (1949). And they are grouped together, in a rather

R700 000 – 1 000 000 L IT E R AT U R E

Berman, E. and Nel, K. (2009). Alexis Preller: Collected Images. Johannesburg: Shelf, colour illustration on p.185.

his ‘Household Gods’. Individually they form the core of many

different arrangement, in Still-Life with Head and Vase of 1955. The vase was a piece of Persian ceramic, apparently valued by the artist for its decorative qualities and for sentimental reasons as a gift from his mother. A symbolic dimension is suggested because in all his varied representations of the vase, he chose to emphasise rather than conceal the damage to its neck: perhaps coincidentally, the broken vase has a long symbolic history in European iconography. The significance of the carved head in Preller’s work is rather more complex. This piece of Kenyan tourist art is depicted in the present work in a more or less straightforward manner except that Preller has added the significant detail of the beard. This feature derives from ancient Egyptian representations of pharaohs – and so invites suggestions of divine kingship, spirituality and the afterlife: these themes, and the visual appearance of the carved head, are elaborated in many other works by Preller, notably his iconic works of Young Kings (1957). Some would argue, however, that the real magic of this beautiful still life is to be found more in its formal qualities than in its iconography. The two objects are pushed to the surface

Porcelain vase given to Preller by his mother

by the radical foreshortening of its perspective in which all the horizontal planes are made to read as verticals. The pattern-like matrix of the work is maintained through the use of looselydrawn African textiles that surround the principal objects. And the deep and resonant colours that he used in this small work and a few other still life paintings of this time, create an ensemble of extraordinary and concentrated harmony. Michael Godby With thanks to Karel Nel for permission to reproduce the Persian vase and the Kenyan carved head from Berman, E. and Nel, K. (2009). Alexis Preller, Collected Images. Johannesburg: Shelf Publishing.

Carved wooden head from Kenya

Lot 106

Gregoire Boonzaier South African 1909–2005

Still life with pomegranates 1972 oil on board signed and dated 25 x 31 cm

R50 000 – 70 000 PROVENANCE

Acquired from the artist.

Lot 107

Hugo Naudé South African 1868–1941

Daisies in a green vase oil on card signed 26 x 31.5 cm

R70 000 – 90 000

Lot 108

Alexander Rose-Innes South African 1915–1996

Still life with white hibiscus oil on canvas signed 59.5 x 39.5 cm

R50 000 – 70 000

Lot 109

Jean Welz read a paper, Kuns is die wetenskap van simbole (Art

Jean Welz

is the science of symbols), at a symposium held by the Suid-

South African 1900–1975

Afrikaanse Sielkundige Vereniging (South African Psychological

Head of a Poet

Association), at Stellenbosch in July 1955.

1952 oil on board signed and dated 41 x 31 cm

R150 000 – 250 000 PROVENANCE

Die Kunskamer, Cape Town.

Later the same year, the text of this talk, along with nine images illustrating Welz’s art, was published in the Oct/Nov issue of Standpunte, a well-known magazine of literature and the arts at the time, initially edited by well-known Afrikaans poet N.P. van Wyk Louw. Two images that appear in the publication concern us: Die Digter and Silwerkleurige Hooftooisel, which would eventually become Poet1 (c 1955) and the current work, Head of a Poet (1952). Welz’s persistent search after what he called the ‘poetic moment’ entailed a constant re-adjusting and changing of elements in paintings that had already been finished. The abovementioned pieces did not escape the artist’s persistent search for the ‘poetic moment’ and undoubtedly, Welz turned them into masterpieces. This becomes evident when one compares the images published in Standpunte with the eventual paintings titled Poet (c 1955) and Head of a Poet (1952). Though the transformation of Silwerkleurige Hooftooisel into Head of a Poet is less radical than what happened to the changing of Die Digter into Poet, the result is just as magical. Welz refrained from altering the free and lush application of colour touches in Silwerkleurige Hooftooisel. Yet, he intensified the shadow in the background on the left of the young man’s head, so that it subliminally reminds us of the artist’s own shadow as captured by photographer Bryan Heseltine2 in 1955 in the magazine Sarie Marais. This shadow subtly slips over the young man’s shoulder and outlines his profile. Nonetheless two major changes appear between the earlier version and this final work. The left hand disappears and the right hand, lifted, comes forward in a gesture suggestive of the awakening and flow of a poem. Elza Miles 1 Miles, E. The World of Jean Welz 1997: 86, 110. 2 Ibid: 32.

Lot 110

Jean Welz South African 1900–1975

Seated girl 1960 gouache on paper signed and dated 66.5 x 41 cm

R60 000 – 90 000

Lot 111

Maud Sumner South African 1902–1985

Portrait of Mrs Shackleton 1928 oil on canvas signed and dated 76 x 57.5 cm

R80 000 – 120 000

Lot 112

Adriaan Boshoff South African 1935–2007

Time with Ouma oil on canvas laid down on board signed 90.5 x 52 cm

R120 000 – 180 000

Lot 113

Adriaan Boshoff South African 1935–2007

Feeding the animals oil on canvas laid down on board signed 91 x 106 cm

R500 000 – 700 000

Lot 114

Sydney Kumalo is an alumnus of the historic Polly Street Art

Sydney Kumalo

Centre where he studied under Cecil Skotnes from 1953, and

South African 1935–1988

Leopard

with sculptor Edoardo Villa in 1958–59. Their respective influence is palpable in Kumalo’s approach

1966 bronze signed with the artist’s initials and numbered i/x 14 x 33 x 15 cm

to form. This bronze sculpture titled Leopard rings with a

R300 000 – 500 000

the technical licence of going into mythology. His treatment

PROVENANCE

Purchased in the 1970s by Dr BH Holsboer, the former Managing Director of Nedbank, and thence by descent. L IT E R AT U R E

Watter, L., Toerien, H. and Duby, G. (eds.). Our Art 3, Sydney Kumalo. Pretoria: Lantern, illustrated on p.72 where it is incorrectly titled Leopard II.

register, of his lifelong fixation with both the human form and that of beasts – real and imagined. He often created work that fused the two in abstracted motifs. Abstraction allowed Kumalo of the leopard subject is an example of this. He renders the beast not as we know it, but as it may appear in folklore or myths. This is not the leopard of nature nor the zoo, but of nightmares and folktales. In classic Polly Street style, it wrestles with incorporating both African and European traditions of sculptural sensibilities. Kumalo often returned to the same motif multiple times to

NO T E S

re-imagine its form. This sculpture is one of a few ‘leopards’

Cast by Egon Guenther.

he created with variation in style and composition. This ‘Leopard’ was cast by Egon Guenther in 1966 in an edition of 10. Guenther had cast another larger Kumalo leopard, which he called Black Leopard, in 1961/1962. It can be compared with another less stylised and less fanciful leopard bronze sculpture titled The Leopard cast in 1961, which is in the Standard Bank corporate collection. Kumalo’s approach was to model his sculptures in terracotta and cast them in bronze. This gave his works a plasticity hard to achieve by other means. The exaggerated muscle curvature and the rhythm in the naïve and childlike approach to proportions on this ‘leopard’ betray the clay beginnings of the work. Percy Mabandu

Lot 115

In a hall decorated with bunting, but with lights and chairs that

Alexis Preller

seem to suggest a more quotidian function, five couples are

South African 1911–1975

shown dancing. The men are smartly dressed in tuxedos and the

The Dance

women wear full-length sleeveless ball gowns with tight, figure-

oil on hessian signed 72 x 72 cm

revealing bodices. Three of the women have headwear – a beret,

R1 500 000 – 2 500 000 PROVENANCE

Purchased from the artist in 1936, and thence by descent.

a polka-dot scarf and a cloche hat – and the hair of the other two women, like that of the men, appears to have been relaxed. The dance is physical and very energetic. This description of the painting should show that in a pre-war South African context, The Dance is a highly unusual representation of African people. It is certainly not a typical Preller image of Africa that he had begun to develop following his first contact with the Ndebele in 1935 and that, drawing on the purity of Constance Stuart’s photography, he was to refine as his mythical African dreamworld. Nor is it Irma Stern’s expressionist image of Africa that Preller invoked occasionally, for example, in The Garden of Eden (1937). Nor, evidently, is it the African idyll that A.M. Duggan Cronin and others claimed to discover in the so-called Native Reserves. Nor, even, is it the counter to this image demanded by Alan Paton and others for the representation of the contemporary urban experience of South African black people: Constance Stuart’s 1948 photograph of dancing couples in the Johannesburg Welfare Continued on page 88

Self-Portrait, 1939

Continued from page 86

Centre is similar in subject but utterly different in the style that is represented. In fact, it is not until Drum magazine of the 1950s that a comparable cosmopolitan image of urban black life emerged in South Africa. A painting entitled The Dance is listed in Preller’s second exhibition at Glen’s Salon, Pretoria, in December 1936. If, as is probable, this is the present work, it demonstrates the young artist’s startling willingness to experiment. Preller was to visit Paris only in 1937 yet The Dance seems to show familiarity with Art Deco and the Jazz Age with its French icons of Josephine Baker and the Revue Nègre that are suggested in both the subject and the almost caricatural style of the dancers’ faces: a similar, if more brutal stylisation is apparent in the background figure in Preller’s Self-Portrait of 1939 that is obviously included to denote African ‘Otherness’ in contrast with the artist’s own fair features. Perhaps in The Dance, Preller was inspired by his association with the younger, more ‘European’, artists on the Empire exhibition of 1936 – Walter Battiss, Wolf Kibel and Lippy Lipschitz – to explore new forms of ‘African’ expression. Similarly, unless it simply signifies that he could not afford to buy canvases at this time, the unusual hessian ground of this work may also constitute a kind of formal experimentation: as a matter of fact, Preller did use hessian again to good effect, for example in Congo Figures (1939) and The Offering (1938). Michael Godby. Although Esmé Berman and Karel Nel do not treat The Dance specifically in Alexis Preller: A Visual Biography (2009), they have written the definitive artist’s biography from which much of the information in this essay has been drawn.

Lot 116

Maggie Laubser South African 1886â&#x20AC;&#x201C;1973

Still Life with Flowers watercolour on paper laid down on card signed 55 x 38 cm

R80 000 â&#x20AC;&#x201C; 120 000 PROVENANCE

Mrs E. de Kock, Rusape, Inyazura, Zimbabwe. Rand Afrikaanse Universiteit, catalogue number 3740. L IT E R AT U R E

Marais, D. (1994). Maggie Laubser: her painting, drawings and graphics. Johannesburg: Perskor Publishers, illustrated on p.304, catalogue number 1250.

Lot 117

Gregoire Boonzaier South African 1909â&#x20AC;&#x201C;2005

Kannas, Hibiskus & Vrugte 1989 oil on canvas signed and dated; signed and inscribed with the title on the reverse 41 x 31 cm

R60 000 â&#x20AC;&#x201C; 80 000

Lot 118

On Maggie Laubser’s return from Germany in 1924 after a

Maggie Laubser

decade in Europe, she was hailed by many as an avant-garde

South African 1886–1973

painter, a South African expressionist and a brave modernist.

Still Life with Vase and Sunflowers

More conservative critics panned her works as childish, crude

1940

positive or negative way, on her bold pictorial style using broad

oil on canvas laid down on board signed; signed and dated on the reverse 55 x 45 cm

slabs of pigment, dark outlines and simplification of detail; a

R350 000 – 500 000 PROVENANCE

Acquired from the artist and thence by descent. L IT E R AT U R E

Marais, D. (1994). Maggie Laubser: her paintings, drawings and graphics. Johannesburg: Perskor Publishers, illustrated on p.296, catalogue number 1205. NO T E S

Verso: preliminary sketch of boats and birds.

and un-naturalistic. Both views were commenting, whether in a

visual language which was so different from that practised by the earlier generation of romantic-realist painters like Edward Roworth, Gwelo Goodman and Jan Volschenk. And within her oeuvre there remains a tension and slight contradiction between this notion of breaking new ground on the one hand, but on the other remaining within the conservative genres of art which were deemed particularly suitable for a woman painter: landscape, portraiture and still lifes. Yet within this traditional genre of still life painting, Laubser’s style was individualistic and expressive. The flowers in her still lifes are always large, bold and striking … no delicate small florets, no highly realistic minute detailing, no plethora of studio objects. So proteas, hibiscus, poinsettias, zinnias, arum lilies and in this work, sunflowers, stand in clunky vases on simple horizontal surfaces against plain backgrounds, depicted with a loose energised brushwork and reduced imitative detail. Here four large blooms with two curvilinear organic leaves are represented with an immediacy and directness, close to the picture plane. The disjunction of the table level behind the vase on the left and the right, gives a further energy and tension to the work. Iconographically, the sunflower had a particular significance for Laubser who associated the colour yellow with the sun, with light and on a symbolic level with a positive and optimistic attitude. This can be seen most directly in her naming her house in the Strand, Altyd Lig (Always Light). This work has an excellent provenance having been bought directly from the artist by a Pretoria collector c 1941. Elizabeth Delmont Marais, D. Maggie Laubser: her paintings, drawings and graphics. Johannesburg, Perskor 1994, catalogue number 1205.

Lot 119

The Cape coastal town of Hermanus was a favourite port of

Hugo Naudé

call for Hugo Naudé during many of his painting expeditions,

South African 1868–1941

as an artist in search of the visual drama that southern African

Hermanus

landscapes and shores had to offer. After his formal art studies

1912

at the Slade School of Fine Art in London and the Kunst

oil on canvas signed and dated 40 x 60 cm

R350 000 – 500 000 PROVENANCE

Bequeathed by the artist to his niece, and thence by descent.

Akademie in Munich between 1889 and 1894, followed by a year spent with the Barbizon painters in Fontainebleau near Paris, the young Naudé visited Hermanus for the first time shortly after his return to South Africa in 1896. He stayed at House Mon Desir, one of the first stone cottages built in the village. The scenic beauty of this coastline captivated Naudé and he would, throughout his professional career, return to Hermanus to scout its rugged cliffs for the perfect spot to paint the seascape views en plein-air. Painted in 1912, this work offers an impressive view across the bay at Hermanus from this particular vantage point – one which Naudé depicted many times. The artist has beautifully rendered the scene in muted tones of blue and warm browns, while capturing the atmosphere and light of dawn. Working on a slightly larger canvas, with considered brushstrokes and an underlying sense of composition, Naudé intuitively found the pictorial essence of this seemingly calm seascape. At first glance, one is drawn into the wide openness of the scene, before a small flock of seagulls in the middle ground capture attention and the three sailboats in the distance invite you to explore the horizon. The significance of this work lies in its honest and sophisticated modesty – it carries a quiet elegance. The artist clearly concentrated on the quality of the coastal setting in his view, his purpose being to capture an impression of a particular moment in time. Marelize van Zyl

Lot 120

Ruth Everard Haden was the daughter of Bertha Everard, and

Ruth Everard Haden

a key figure in the celebrated Everard Group of women artists.

South African 1904â&#x20AC;&#x201C;1992

The Group, all from the same family, has work hanging in all

A seated woman

major South African art museums and galleries including Cape

oil on canvas signed 92 x 72 cm

Town, Johannesburg, Pretoria, Durban, Pietermaritzburg, Port

R600 000 â&#x20AC;&#x201C; 900 000

Elizabeth, East London, Bloemfontein and Kimberley, as well as collections abroad, including South Africa House in London. Everard Haden grew up on the family farm called Bonnefoi in Mpumalanga, a location that offered much inspiration for the accomplished landscapes painted by the different artists in the family. Her artistic education was begun at the Cape Town School of Art, and completed at the Slade in London. She exhibited her work from the 1930s through the 1950s, including having work on Everard Group shows and international touring exhibitions. Everard Haden was perhaps the most naturally gifted of the group and, in addition to her talent, was known for a focused work ethic and disciplined nature. Stylistically she was influenced by a European modernist sensibility, evident in the free form, structure and compositional approach, as well as the non-naturalistic palette, of her characteristic landscapes. This incisive and observant portrait study is evidence, however, that Everard Haden was just as accomplished away from the landscape genre. Its bold planes and muted hues convey a simple, rustic interior, emphasised by the rough stool on which the subject sits. She is, by contrast, elegance personified in her posture and pensive expression, as well as in her beautifully observed morning robes. James Sey

Lot 121

Christo Coetzee South African 1929–2000

Glass Protea 1965 oil on board signed and dated; signed, dated ‘Paris 65 May’, inscribed with the artist’s name, the title and address on the reverse 54 x 36 cm

R60 000 – 80 000 PROVENANCE

Stephan Welz & Co., Cape Town, June 2016, lot 437. EXHIBITED

SMAC Gallery, Cape Town, Cape Town Art Fair, Battiss & Coetzee, 2017.

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Lot 122

Kenneth Bakker South African 1926â&#x20AC;&#x201C;1988

Untitled 1980 relief construction with Perspex and metal signed and dated 120 x 156 cm

R50 000 â&#x20AC;&#x201C; 80 000

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Lot 123

Erik Laubscher is renowned for his distinctive, hard-edged

Erik Laubscher

portrayals of the countryside in the Western Cape region

South African 1927–2013

during the 1960s. This stylistic approach to depicting the rural

Graanlandery

scenery of the Overberg area across the Hottentots-Holland

1969

mountains, the Swartland and Klein Karoo, revealed his acute

acrylic and mixed media on canvas signed and dated; inscribed with the title on the reverse 92 x 122 cm

observation of the structural elements (natural and man-made)

R300 000 – 500 000

of bold colour variations. The visual expressiveness of these

that constitute each area. He translated this onto canvas as a compositional arrangement of simplified forms with flat planes hard-edged landscapes were ground-breaking at the time. Graanlandery was painted in 1967, a time of renewed artistic energy and output for Laubscher. He had just returned from a three-month study sabbatical in the United States on a Carnegie grant and was working on a new series of paintings for his solo exhibition at the newly opened Wolpe Gallery in Cape Town later that year. Laubscher’s abstract rendering of this cultivated landscape shows a clear outline of shapes; the contours of the wheat fields, the track of tarred road, and the subtle curves of the hillside that meets the sky of thinly layered clouds. Each shape is schematically filled with colour, painted flat except at the bottom of the composition, where he introduces a textured area for visual effect. The painted image continues, physically, over the sides of the stretcher frame. This was a device Laubscher incorporated in many of his landscape paintings at the time, to convey the feeling that the scene pictured continues outside of the frame, while still being compositionally contained within it. His considered palette is based on the colour theories of Ben Cunningham, whom he met in the United States. It introduces warm yellows and dusky mustards, with subtle hints of cool grey and blues to convey a late winter scene, the fields ready for harvest time. This painting is powerful in its simplicity, showing the artist’s balanced approach between an applied formalism and his fascination with the reality from which it is derived – the landscape views he so loved. Marelize van Zyl

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Lot 124

Claude Bouscharain b.1922 South Africa

Trocadero Fountains, Paris acrylic on canvas signed and inscribed ‘Fountains’ on the reverse 88.5 x 122 cm

R50 000 – 80 000 PROVENANCE

From the Rod and Hermine Wengrowe collection, acquired from the artist.

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Lot 125

Michael Taylor b.1979 South Africa

Mister Magic Touch 2015 acrylic and flashe on paper 140 x 110 cm

R70 000 – 90 000 EXHIBITED

WHATIFTHEWORLD, Cape Town, Michael Taylor: Trophies, 19 September to 17 October 2015.

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Lot 126

In this delightful gem, owned by Stanley Pinker’s closest friends

Stanley Pinker

Rod and Hermine Wengrowe, Pinker doffs his hat to many of

South African 1924–2012

his favourite artists. The relaxed poses of the rather desultory

Artist and his models

nudes contrast with the formality of the artist, dressed in suit and

oil on board 32.5 x 26 cm

bowler hat, evoking the fin-de-siècle era of the Modernists from

R200 000 – 400 000

in this painting.

PROVENANCE

From the Rod and Hermine Wengrowe collection, acquired from the artist.

Manet to Picasso whose early developments are so clearly echoed Wide loosed limbs, rendered in an expressive painterly approach and outlined with blue, resemble the nudes in Pinker’s celebrated Fête champêtre (after the painting by Giorgione) of 1958, affirming the artist’s thorough knowledge of the history of Western painting. Working, studying and painting in London and the south of France in the 1950s and 1960s would have enabled him to see Giorgione’s masterpiece, a favourite of his, in the Louvre. Similarities between Pinker’s Fête champêtre, sold at Stephan Welz & Co. in 2015 for R1 951 940, and the present lot allow us to date this painting to the mid to late 1950s, a time when he was preoccupied with Cezanne’s use of colour. Like the central figure in that painting, here the artist wears a bowler hat, explained by Pinker as being due to living in Britain at the time. Emma Bedford

Photograph of Stanley Pinker wearing his artist’s hat.

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Lot 127

In its bright palette of rich buttery yellows and textured

Stanley Pinker

surfaces, Woman in a Yellow Landscape resembles Wind

South African 1924–2012

over grass, 1976, in Iziko South African National Gallery’s

Woman in a Yellow Landscape

collection, and Into orbit, 1978, from a private collection, both

oil and pencil on board in the artist’s hand-made frame signed; inscribed with the title on the reverse 37 x 37 cm

As in the former, ‘the whole painting is a field of yellow grass

illustrated in the Pinker monograph. that goes right to the edges of the painting’ (2004:58). A shapely woman, dressed in nothing but a feather boa, cavorts across a flat plane, behind which, a curious ostrich peers. The yellow

R150 000 – 250 000

square upon a square, in a nod to Josef Albers’ colour theory

PROVENANCE

abstractions, is relieved by dynamic diagonals that draw

Acquired from the artist in the late 1970s.

attention to the woman’s sexuality. The ovoid within a circle, referencing fertility as far back as prehistory, leave little doubt as to the artist’s thoughts and intentions. Emma Bedford Stevenson, M. 2004. Stanley Pinker. Cape Town: Michael Stevenson.

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Lot 128

Floating in a Mediterranean sky blue, a huge solitary head both

Alexis Preller

fills the format and imposes itself on the viewer’s consciousness.

South African 1911–1975

The presence is archaic in its allusions to the great pharaonic

Gold Angel (Arêté)

heads at Abu Simbel with their shapely, pointed beards,

1970

sensuous lips, and almond-shaped eyes: the quintessential image

intaglio fibreglass resin, lacquer and gold leaf signed and dated 1970/5 91 x 106 cm

of the God-King.

R4 000 000 – 6 000 000

Preller knew and owned examples of such Yoruba work.

Also, the almond-shaped eye and the ritual scarification on the cheekbone links directly to Yoruba sculptures from Nigeria. Alexis Preller’s Gold Angel (Arêté) is unambiguously a

PROVENANCE

Everard Read Gallery, Johannesburg. L IT E R AT U R E

Berman, E. and Nel, K. (2010). Alexis Preller: Africa, the Sun and Shadows. Johannesburg: Shelf, illustrated on p.285

symbol of light: the warm radiance of the burnished gold leaf counterpoints the lapis blue detailing reminiscent of the great death mask of Tutankhamun. This ancient quality notwithstanding, the work is curiously timeless in a futureoriented way. Massive and emblematic, this disembodied – somehow metaphysical – presence glances at the viewer from the corner of its eye, taking note, as it seems to glide by. This work is executed in Preller’s innovative intaglio method: the image appears at a distance to be in high relief but is in fact produced as a negative, a concave form, cast in fibreglass resin. The cast is then meticulously painted to create the illusion of a convex rendering of the form. In the finished work, the eye is constantly challenged by an ambivalent reading of surface and image, making the work even more enigmatic and ungraspable. The 1969 Lidchi Gallery exhibition at which Preller first showed his intaglio works marks a return to early experimentation with painting into plaster moulds, the precursor to the intaglio technique. Richard Cutler’s photograph of an early exhibition of September 1948, at Preller’s studio, Ygdrasil, shows a small head with remarkably similar characteristics to the much later Gold Angel (Arêté). As so often with Preller, a number of related versions exist. This work, Gold Angel (Arêté) of 1970 and Angel King (1975) are direct fibreglass casts from a single clay original. Gold Angel (Arêté) thus forms part of the genesis of Preller’s interpretation and re-interpretations of this particular theme and image-prototype. In retrospect, the idiosyncratic nature of his technique reflects Preller’s lifelong interest in space and light, form and colour. And the beauty of these works reflects a singularity of vision that embraces the significance and visual languages across time and cultures. Karel Nel

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Lot 129

German-born South African sculptor Peter Schütz is well-

Peter Schütz

known for his beautifully observed and crafted figures in his

South African 1942–2008

preferred medium of finely-grained and organic jelutong wood.

Saint Martin de Porres

This religious figurine takes its place among a group of works

jelutong, oil paint and found object 96 x 40 x 19 cm

made in the final decade or so of his life. The choice of subject

R70 000 – 100 000

is the patron saint, among other things, of the racially mixed

is most apposite here – the 16th century Saint Martin de Porres and of racial harmony. The artist’s gently ironic nod to postapartheid non-racialism is clear. It is a fine example of his focus on the power of ritual and the noumenal, or spiritual, world. Schütz was notably interested in the intertwining of myth, religion and cultural icons in European and African traditions, often in his later work. The hybrid character of this saintly figure is clear, despite its almost Catholic beatificism. It radiates, in its regal and deified bearing, an iconic spirituality, but it has a clear African evangelical presence common in Schütz’s acute characterisations. In his fascination with the ritual and particularity of religious figuration, Schütz’s work subtly restores dignity, respect and a typically understated touch of irony to this ritualised and fascinating historical character. The drama and pageantry of the Saint is beautifully observed, replete with pomp, ceremony and sensuality. Schütz depicts him in full regalia, bearing various icons and the trappings of his beatification. The dignity and aura of the figure are the artist’s trademarks in depictions of religious characters. This is a fine example of the subject matter. James Sey

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Lot 130

Sydney Kumalo’s Man on Bull is a bronze sculpture by one of

Sydney Kumalo

the leading creatives to emerge from the seminal Polly Street Art

South African 1935–1988

Man on Bull bronze on a wooden base numbered 9/9, stamped with the artist’s name and ‘Posthumous Cast 2013 FRV’ 46 x 42 x 36.5 cm including base

R350 000 – 500 000

Centre. He enrolled at the historic art school in 1953. The sculpture uses a recurrent motif and trope in the late artist’s work. There is a stone sculpture of the same name dated 1977, and works like Mythological Rider (1970), which recently fetched a world record price for the artist, of R1 932 560, at Aspire’s November 2017 auction in Johannesburg, are variations on the theme.

PROVENANCE

Goodman Gallery, Johannesburg. Notes: Cast posthumously by Fonderia Renzo Vignali, Pretoria, for the Goodman Gallery, Johannesburg.

The force of Kumalo’s work derives in part from his mix of old and new cultures in Southern African life. Growing up in the vibrant urban experience of Sophiatown, Johannesburg, and thanks to the forced removal which demolished the area, his family moved to Diepkloof in Soweto. Kumalo was raised with a deep awareness and pride in his family’s Zulu traditions. This all means Kumalo could draw on multiple cultural pools to enrich his art. This convergence of the value systems of various worlds explains the tendency of Kumalo and his generation of African artists to negotiate the values and strictures of their African heritage against the possibilities of their modern realities. This is an imperative felt even by South African artists of European descent like Cecil Skotnes, who was working at Polly Street Art Centre too. In this piece, Kumalo’s choice to depict a figure and bull registers notions of the centrality of the bovine in the African sense of identity and ideas of providence; what American anthropologist Melville Herskovits calls the African Cattle complex. Kumalo’s man and bull are morphed into one anthropomorphic form through the trick of abstraction – a modernist visual language. It is almost impossible to see where the man begins, and where the bull begins. Abstraction allows Kumalo to turn his image into a shorthand for a complex economy of intercultural meaning. Percy Mabandu

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Lot 131

From around 1960, Peter Clarke began experimenting with

Peter Clarke

stylisation in his work, flirting with the facetted forms of

South African 1929–2014

Cubism, although avoiding the palettes of Picasso and Braque

Bathers

who had favoured a restricted range of earth colours. The

1967

Bathers is particularly reminiscent of the light-filled paintings

watercolour and gouache on paper signed and dated 11.1.1967; inscribed with the title and medium on the reverse 54 x 44 cm

of Lionel Feininger, probably Clarke’s favourite Cubist, where

R250 000 – 350 000

delicate tones and fluidity of water-based paint evoking the

crystalline facets create an effect reminiscent of stained glass windows. Clarke’s painting shares a similar luminosity, the transparency of the water. Broken into angular shapes of pale blues and greys, the painting mimics the refraction of light through water, a few shards of a warmer hue suggesting beach sand. The sea merges into the sky, sharing the same cool tones, and making it hard to identify the horizon line. The continuous surface flattens space, and distance is defined only by the tiny scale of a far-off figure. Two bathers occupy the scene, the nearer one bending over, perhaps to view his own reflection like a Narcissus, while the distant figure has arms raised in a pose dating back to bathers of antiquity, Venus lifting her arms to wring out her hair. But Clarke is not creating some imagined Golden Age: this is drawn from his own experience. He often portrayed naked boys on the beach that recalled the carefree days of his childhood. But here he set himself a testing exercise in composition, unifying the facetted forms. The linear contours of the predominantly horizontal planes of the water are balanced by the verticals of a jetty. Even the foreground youth is angular, his back bent flat to parallel the lines of the water, his limbs echoing the wooden uprights. Clarke’s confident skill makes the carefully thoughtout forms seem effortless, creating a harmonious vision of translucent light and limpid colour. Elizabeth Rankin

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Lot 132

Robert Hodgins’ Night of the Awards was the title work of the

Robert Hodgins

artist’s fifth exhibition at the Goodman Gallery, Johannesburg,

South African 1920–2010

in 1998. He was already the firm favourite of the Gallery’s

Night of the Awards, triptych

owner, Linda Givon, who was soon to call him South Africa’s

1997/8

her ‘Superstar Matinee Idol’. Buoyed by his success, Hodgins

oil on canvas each panel signed, dated, inscribed with the title and order of display on the reverse; inscribed ‘Just as “Mr. W.H.” was the “onlie begetter” of Shakespeare’s sonnets, so Mr Kendall Geer is the “onlie begetter” of This triptych. He declares in public “Hodgins will never no a painting as big as “The Triple Gates of Hell at the Joubert Park Gallery”. He challenges. I accept. This is the result. With affection for K.G., Robert Hodgins, May 98.’ [sic] on a label on the reverse 198 x 444 cm (3)

became increasingly ambitious in his work. Responding to a

R2 000 000 – 3 000 000 L IT E R AT U R E

Atkinson, B., Becker, R., Powell, I., Geers, K. and Godby, M. (eds.). (2002). Robert Hodgins. Cape Town: Tafelberg Publishers, colour illustration on p.66.

‘King of the Canvas’ and, tellingly for the subject of this work,

challenge by his friend Kendell Geers, as the inscription on the back records, Night of the Awards, at almost four and a half metres across, is probably the biggest painting he ever made – suitable, one might think, for the boardrooms whose suited and cigar-smoking denizens he so liked to pillory. Moreover, his new confidence encouraged extraordinary audacity in the rendering of the principles of figurative art – form, space, narrative, character and expression. At the same time, however, Hodgins always expressed surprise at his success and doubt that he actually ‘belonged’. These contradictions are apparent in Night of the Awards and several other works of this time. The subject seems to be drawn from some awards ceremony, probably one witnessed on television. On a loosely-defined stage-like space, three figures are presented to the audience/spectator, with the one on the right apparently speaking and the other two listening self-consciously to his address. These three figures constitute a tour de force of painting. On one level, the theatrical rhetoric of the occasion is fully realised in their forms; but, on another, the artist effectively challenges every aspect of their physical presence: contours, planes, scale and spatial position shift; the figures – and, for the central image, the face – seem to multiply and move through space like some condensed Muybridge photogravure; and uncertainty – physical and existential – unsettles the image. Night of the Awards is a spectacular disquisition on the nature of success, celebrity and fame – for Hodgins himself, and for his audience, the viewer. Michael Godby

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Lot 133

Simon Stone b.1952 South Africa

Thesen Island Knysna 1998 oil on canvas signed and dated 66 x 84 cm

R120 000 – 160 000 EXHIBITED

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

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Lot 134

Simon Stone b.1952 South Africa

Marble Slab with Blue Background 1999 oil on board signed and dated 45 x 60 cm

R80 000 – 120 000 EXHIBITED

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

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Lot 135

Unearthed V was one of the seven coiled sculptures Deborah

Deborah Bell

Bell first exhibited at the Goodman Gallery in Johannesburg

b.1957 South Africa

in 2001. All surmounted by headdresses weighed down by a

Unearthed V

complex array of human and animal forms, Bell enlivened

bronze signed and numbered 3/4 236 x 60 x 59 cm

these robustly monumental figures through gesture and pose:

R500 000 â&#x20AC;&#x201C; 800 000

elbows bent, hands gesticulating, they align their legs and necks to balance the large projections above their heads. At once reminiscent of ancient Chinese terracotta warriors and the awkwardly animated figures found in Egyptian tomb paintings, the Unearthed sculptures suggest a process of excavation, an unearthing of forms and symbols that have been reconfigured and reframed for a new audience. Although, according to Bell, it was as if the Unearthed figures built themselves, using the artist as their medium, the symbolism of the massive headdress towering above the figure in Unearthed V is extraordinarily coherent, drawing on different sub-Saharan and ancient Egyptian sources to evoke the idea of physical and spiritual security as inseparable. Uraeus, the cobra associated with Egyptian gods and pharaohs, rises protectively above the forehead of the figure. To reinforce this evocation of alert defence, Bell perched a horned ram above the snake, thereby invoking the powers associated with the Yoruba deity, Shango, who presides over this panoply of symbols with a double-headed battle-axe protruding from his head. In Yoruba mythology, Shango slays his enemies with ease through his control over the power of lightning. Flanked by hieroglyphic ideographs symbolic of life, the headdress looming at the apex of Unearthed V suggests an optimistic celebration of the ability to overcome adversity. Ultimately, though, Bellâ&#x20AC;&#x2122;s work is far more than the sum of its parts. Majestically self-assured, the figure in Unearthed V seems to embrace the artistâ&#x20AC;&#x2122;s polyphonic celebration of entangled meanings with a remarkable sense of dignity. Sandra Klopper

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Lot 136

William Kentridge b.1955 South Africa

Medusa 2001 lithograph with chine collé framed in a wooden table and displayed with a mirror polished steel cylinder signed, numbered XVIII/XX and embossed with The Artists’ Press and Mark Attwood chop marks 89 x 89 x 89 cm including steel cylinder (2)

R80 000 – 120 000

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Lot 137

Judith Mason South African 1938–2016

Mindscapes, triptych 1978 oil and gold leaf on canvas signed and dated 74.5 x 54.5 cm each (3)

R80 000 – 100 000

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Lot 138

Uzukile the Elder (2013) is an embroidery from Athi-Patra

Athi-Patra Ruga

Ruga’s garish tableau The Future White Women of Azania

b.1984 South Africa

Saga, which plays on the idea of a utopian post-apartheid

Uzukile the Elder

fantasy space. Interestingly, Ruga’s figures don’t appear racially

2013

white but voguishly black, affluent, sometimes anonymous and

wool, thread, artificial flowers and spray paint on tapestry canvas 200 x 190 cm

R320 000 – 380 000 EXHIBITED

Fondation Louis Vuitton, Paris, Art/ Afrique, Being There: South Africa – A Contemporary Art Scene, 26 April to 4 September 2017. WHATIFTHEWORLD, Cape Town, The Future White Women of Azania Saga, 27 November 2013 to 1 January 2014. L IT E R AT U R E

Athi-Patra Ruga: The Future White Women of Azania. (2014). Cape Town: WHATIFTHEWORLD, colour illustration on p.110.

ambiguous characters immersed in colour, and running around the jungle. Whilst feared by many as a mythology of racial hatred, Azania (land of the black) arguably represents a society of radical equality and multiplicities. In Uzukile the Elder this utopian desire is more palpable, and sometimes mischievously so. With a less theatrical palette, its dominant blackness (made of fake black roses) isn’t without character nor is it simply a flat or negative space where blotches of colour rule. It’s a dynamic, living and fully charged textured topography. Employing different mediums and symbolisms, from artificial flowers, wool, thread and so on, this self-portrait of an androgynous figure first appears to invite us to imagine black sexuality in Azania, differently. Secondly, if we pay closer attention to the figure, to its cast out hands and a halo-like ball around the head – it subtly repeats a religious iconography. Is this the black Christ? What is implied in this harmonious tension between religious symbolism (Christianity is central to black nationalist thought) and sexual freedom? Thus, it would be easy to cast aspersions on this conciliatory gesture as a type of sacrilege, as it might be simplistic to think of Azania as a restoration of racial categories. But is it also possible to read Uzukile the Elder as a piece suggestive of biblical, innocuous or perhaps even prurient curiosities? Athi-Patra Ruga, in a unique way, forces us to differently repeat imaginaries of the past and enjoins us to think of how they constantly queer the future. Athi Mongezeleli Joja

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Lot 139

William Kentridge’s prints of irises show his skill as a

William Kentridge

draughtsman to the very highest degree. This print, taken from

b.1955 South Africa

a single plate that would be used along with others to create a

Dutch Iris

composite image is, in some ways, a ‘showpiece’, demonstrating

aquatint and drypoint etching signed and numbered Proof 3/3 in pencil in the margin sheet size: 120 x 91 cm

the artist’s ability to deftly define line and form within the

R400 000 – 600 000

the flower speak of movement and a rejection of status in the

rectangular structure of the image plane. The seemingly coincidental and ancillary lines that surround classical still life, while the delicate but massive forms that make

NO T E S

This is one of three proofs of this line etching plate printed separately. The three were intended to be retained as a suite to reflect the constituents and complexity of the Iris print. The work was created by Kentridge in collaboration with Jack Shirreff, 107 Workshop, Wiltshire, 1992.

up the plant propel the viewer into the core subject matter. The work has an obvious link to the iris painting of Vincent van Gogh, but Kentridge, unlike Van Gogh, tends to see them as singular entities, removed from their ground and thus presented more as a token or gift, much as a cut flower might be. Traditionally symbolic of faith, hope, wisdom and admiration, the iris, in its exquisite beauty, stands alone as an object of contemplation. I would suggest that the subject matter, with its seeming simplicity (but as the artist demonstrates here, also complex linear composition) is one that Kentridge sees as a drawing challenge. In another context he has written: We need the terrain of the half-solved, the half-solvable riddle, the distance between knowing and not knowing, and being aware of our own limits of understanding, the limits of our memory, but prodding the memory nonetheless. (Kentridge 2014: 18) This game with the self shows one way of addressing the riddle, a magisterial one, that demonstrates facility which, like the unexpected gift of a blossom, can literally take one’s breath away. Andrew Lamprecht Kentridge, William. 2014. Six Drawing Lessons: The Charles Eliot Norton Lectures, Cambridge, Massachusetts: Harvard University Press.

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Lot 140

Born in Vrededorp, and partly educated at the legendary Polly

Ezrom Legae

Street studio, Legae was closely associated with the Amadlozi

South African 1938–1999

Group, where his mentors and peers were Cecil Skotnes and

Torso

Edoardo Villa, amongst others. He worked in a wide range of

bronze on a wooden base signed and numbered 5/6 59 x 14 x 15 cm excluding base

media, but is well remembered for his sculpture. His standing

R300 000 – 500 000

as an artist on his own terms, and not simply as an antiapartheid protest artist working at a time when it was almost incumbent on artists to show their opposition to apartheid, is indicated by the tributes paid to him on his death. The last respects paid by legendary retired gallerist Linda Givon, founder of the Goodman Gallery, are indicative: ‘Thirty years of working together through the heaviest time in a country shattered by the cruelest and most devastating destruction, a nation’s deconstruction and reconstruction. You taught me how to look across the wall at the people who were so desperately subjected to unspeakable horror. Your sensitivity as a human being as well as an artist touched my heart and my soul. Your courage in a time when nobody dared to speak out in 1979 with your homage to Steve Biko and in 1980 with Freedom is Dead. Your sculpture of burnt flesh and necklaced people, tortured but always lyrical with a sense of poetry and deep sensitivity. It was fitting that you were chosen to present our great President Nelson Mandela with a bronze sculpture on his stepping down as head of the ANC. You have enriched my life and those of many others.’ While a far cry from that vein of activism in his sculptural work, in this fine piece, Legae has produced a figure study which, while abstracted, speaks typically to both Western and African art-making styles. The implicit energy and elongation of this torso creates a pleasing dynamism and elegance. Edward Tsumele

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Lot 141

Besides the beauty, Mohau Modisakeng’s body of work is

Mohau Modisakeng

generative. It has a certain simplicity and graciousness that is

b.1986 South Africa

Untitled (Frame XVI) 2013 Inkjet print on Epson Ultrasmooth dibonded aluminium composite From an edition of 3 + 2 APs 200 x 150 cm

R150 000 – 200 000

demanding. We must look and look endlessly. But what do we see or find in this reflective exercise, if not always the moving shadow? Or an anonymity that is seized, if not constantly under siege? Besides the chromatic analogy that his photographs immediately share with a critique of race, there’s an existential materiality that inheres in his images. There is a captivity immanent to the photographic craft and that of the larger socio-cultural issues that such photographs still attempt to

L IT E R AT U R E

cf. Mulder, G. (ed.). (2016). Mohau Modisakeng. Cape Town: WHATIFTHEWORLD, another example from the edition illustrated on p.34.

document. How do you represent that which isn’t only banned by the agent of representation itself, which is to say light, but also whose emergence displaces that agent? Modisakeng’s images animate a development of abstractions that works against the dominant assumptions of the photographic medium. This untitled piece shows a figure in a long black robe and horse blinkers, standing still. His head is tilted up, staring left. His fedora hat hangs as if to the edge, about to fall. A consuming background of white nothingness provides a sense of spatial depth. There’s an overwhelmingly abstract aura that strains against the evidentiary claims of photography. ‘Who and what is recorded?’ we ask ourselves. The figure stands in the middle of the frame as if it’s an absence or a hole in the whiteness. The paradox of seeing nothing! This evanescent presence of the black figure is almost generic in Modisakeng’s body of work. But it appears for its beauty and never for the ugliness it portrays. Blackness is too imperceptible to see. The appearance of blackness in forms or language can only be through a mask. It’s as if to see blackness is to go colour-blind. Athi Mongezeleli Joja

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143

Lot 142

Lot 143

Michael Taylor

b.1979 South Africa

Mr May (Philip)

Mr April (John)

2014 acrylic and pencil on board 60 x 40 cm

R40 000 – 60 000

EXHIBITED

EXHI BI TED

WHATIFTHEWORLD, Cape Town, I Was Born Yesterday, 3 September to 3 October 2014.

144

WHATIFTHEWORLD, Cape Town, I Was Born Yesterday, 3 September to 3 October 2014.

Lot 144

Pablo Picasso Spanish 1881–1973

Visage aux traits en X (R. 557) 1969 Terre de faïence plaque partially glazed in colours numbered 23/100, inscribed ‘J 136B’ and stamped with the Empreinte Originale de Picasso and Madoura stamps on the reverse 16.5 x 16.5 cm

R40 000 – 60 000 PROVENANCE

Goodman Gallery, Johannesburg.

145

Lot 145

If language indeed reflects society, then today’s cultural speech

Athi-Patra Ruga

does more than just sampling and playing with dissonance.

b.1984 South Africa

If anything, it truthfully reflects the immanent reliance on

The Night of the Long Knives III

paradox that is peculiar to this unique age. Athi-Patra Ruga’s

2014

name from the famous Nazi purge of the 1930s without any

archival ink-jet print on Photorag Baryta mounted on Dibond From an edition of 5 150 x 190 cm

trace of a figuration of a massacre. As part of the Future White

R150 000 – 200 000

present work reminds us of the invented and invested fear of

EXHIBITED

WHATIFTHEWORLD, Cape Town, The Future White Women of Azania Saga, 27 November 2013 to 1 January 2014. NO T E S

Another example from this edition is in the permanent collection of the Zeitz Museum of Contemporary Art Africa (MOCAA), Cape Town.

The Night of the Long Knives photographic series takes its

Women of Azania Saga, a project that invokes the muchdreaded notion of Azania but as a myth, in similar vein this the swart gevaar associated with Azania. However, looking at the work, these invocations seem farfetched beyond their merely titular stature. Night of the Long Knives is more like a bouquet than a primal scene of death. So, what do you do with this discordance and its purpose? What happens if we think of this titular reference through slang, how slang indiscriminately uses language and its references against or away from their original meanings? That is, think of slaying not as intention to harm but to excel? The sartorial trope in Ruga’s oeuvre enables these speculations. That is how things vacillate between appearances and disappearances. Between the Edenic worlds it conjures and the carnage it references, Night of the Long Knives interestingly blurs reality and myth. Or rather, can we say, infers a reciprocal interdependence? Both enchanting and disheartening, Night of the Long Knives evokes a bitter-sweet reading of history and grandeur, myth and fact. A place of opacity as it is also a site of complications, of beauty and colour as it is also uninhabitable and deathly. Athi Mongezeleli Joja

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Lot 146

William Kentridge b.1955 South Africa

Studio Portrait 2004 screenprint in colours on Arches paper signed and numbered Line Test X in red conté in the margin sheet size: 99.5 x 69.5 cm

R60 000 – 90 000 NO T E S

Published by K20, Düsseldorf.

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Lot 147

William Kentridge b.1955 South Africa

Dancer Twice 1997 lithograph with hand colouring by the artist in watercolour, pastel and charcoal signed, dated October 1997 and numbered XLVI in pencil in the margin image size: 69 x 102.5 cm

R250 000 â&#x20AC;&#x201C; 350 000

149

Lot 148

When Deborah Bell first decided to produce large sculptures in

Deborah Bell

clay, she coiled her figures much like coiling pots, working from

b.1957 South Africa

the feet upwards. Because of the weight of the clay, she had to

Sentinel VI

stop for the figures to harden once she got to knee-height, in

2004

some repeating this process several times before completing a

bronze signed, dated and numbered 5/AP 247 x 28 x 22 cm

R800 000 – 1 200 000

work. First exhibited in 2001, Bell later said of these works: ‘There was no going back and altering what had been done, nor was there any sense of what was still coming. These personages slowly revealed themselves … it was as if they built themselves, using me as the medium to make them.’ Having completed this ‘Unearthed’ series, Bell accepted an invitation for a group of artists to work at a brick factory in preparation for an exhibition. Although she went there thinking that she would continue making coiled sculptures, she was mesmerised by the sight of a solid line of clay being pushed through a pug mill: ‘I saw the potential for something quite different.’ Inspired by the idea of honouring the physical constants that govern the universe, this experience encouraged the artist to carve away at the hard clay, eventually revealing nine distinctively dressed and coiffed ‘Sentinel’ figures. Raised on tall plinths, their surfaces scoured and scrubbed as though marked by the passage of time, Bell’s Sentinels attest to a deep familiarity with African and other sculptural traditions in which iconic figures silently guard the thresholds between secular and sacred spaces. Initially conceptualised through diluted, transparent washes painted onto large sheets of paper, Bell’s figures assume a graceful monumentality once carved, bringing to mind the elongated sculptures on the portals at Chartres Cathedral and the soapstone birds from Great Zimbabwe. Eyes closed, they radiate a calm stillness, like selfcontained, sentient beings from another realm. Sandra Klopper Smith, Heidi 2009 ‘A Divine Spark: Interview with Deborah Bell. SA Artist on Inspiration and Influences’, SuperConsciousness Magazine, February.

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Lot 149

Deborah Bell b.1957 South Africa

Sentinel VI 2004 watercolour, charcoal, pastel and chine collĂŠ on paper signed and dated 198.5 x 63 cm

R300 000 â&#x20AC;&#x201C; 500 000 152

Lot 150

Lot 151

Diane Victor

b.1964 South Africa

Let Sleeping Angles Lie [sic]

The Collector

1992

charcoal and pastel on paper signed; signed, dated and inscribed with the title on the reverse 140.5 x 70.5 cm

charcoal and pastel on paper signed, dated and inscribed with the title on the reverse 108.5 x 68.5 cm

1990

R50 000 â&#x20AC;&#x201C; 80 000

153

Lot 152

Wim Botha works across different media, but is primarily

Wim Botha

a sculptor. He is highly respected in the field, having been

b.1974 South Africa

Prism 1 2011

the recipient of many prestigious awards in his career so far, including the Standard Bank Young Artist and Tollman awards. He also exhibits widely, both in South Africa and in Europe. His

bronze on a wooden base Unique bronze: 65 x 83 x 52 cm; wooden base: 110 x 73.5 x 37.5 cm; total height: 175 cm

sculptural work is marked by his ability to bend his materials

R300 000 – 500 000

incorporating everything from polystyrene to compacted and

to the depiction of highly charged kinesis. In doing so, he ranges beyond conventional media such as bronze and wood, carved books in order to provide his work with the necessary

EXHIBITED

Stevenson, Johannesburg, FNB Joburg Art Fair, Johannesburg, 23 to 25 September 2011.

conceptual underpinning and energy. This pair of bronze busts, from 2011, are the first in the Prism series, a range of sculptures brought together by a similar evocation of dynamism and temporality. The title of the series

Lot 153

alludes to Botha’s use of other artistic media in the conceptual

Wim Botha

armature of his sculptures – in particular painting, where

b.1974 South Africa

colour and light stand in for the dimension of time and the

Prism 2

depiction of movement. represent a kind of template for later work. Their balancing

R300 000 – 500 000

which they capture motion and temporality in the traditional

EXHIBITED

Stevenson, Johannesburg, FNB Joburg Art Fair, Johannesburg, 23 to 25 September 2011.

154

These busts, at the beginning of the series of this title, thus

bronze on a wooden base Unique bronze: 64 x 52 x 48 cm; wooden base: 110 x 73 x 42 cm; total height: 174 cm

between abstraction and figuration, and the compelling way in medium of bronze, provides an important pointer to much of the artist’s subsequent work. James Sey

Lot 152 – Prism I

Lot 153 – Prism II

155

156

157

Lot 154

The initial idea behind this project was to make a series of

Willem Boshoff

etchings to record the number of days spent in jail by the eight

b.1951 South Africa

political prisoners who were sentenced to life imprisonment at

Prison Hacks – Mandela Panel

the close of the Rivonia trial in June 1964. Most were released

2003

assistants to calculate the exact number of days each of them

white marble 150 x 100 x 3 cm; estimated weight 120 kg

spent behind bars, taking leap years into account. It emerged

R350 000 – 500 000

only during 1989–1990. The artist appointed a number of

from the research that seven years of prison is considered by the inmates to be a very long time, which feels never-ending, almost

EXHIBITED

like an eternity. The prisoners speak of it as a neves, which the

cf. Standard Bank Gallery, Johannesburg, Willem Boshoff: Word Forms and Language Shapes: 1975–2007, 25 September 2007 to 1 December 2007.

Oxford Dictionary defines as an extended period of prison

L IT E R AT U R E

important idea, Boshoff felt that simpIy translating that concept

Siebrits, W. (2007). Willem Boshoff: Word Forms and Language Shapes: 1975–2007. Johannesburg: Standard Bank Gallery, pp.88–89. NO T E S

This is one of only two works from this series made in white marble.

sentence. (When written backwards, neves spells the word ‘seven’.) Realising that the measurement of time was a very into a series of prints would not do it justice, so decided to make the works in granite. The first panels made were those for Nelson Mandela, Walter Sisulu and Ahmed Kathrada. The title Prison Hacks has more than one meaning: a hack is a term for a person hired to do dull routine work, but also means a line that you draw through something. Each prisoner counts the days of his or her sentence already served by scoring a vertical hack through each day. After six days a diagonal is scored across the verticals to close a week of days. This is done on a wall, in a private place, perhaps in a cell or toilet. Once the artist received a commission to make all seven panels, he altered the title of the work to Prison Sentences. The word ‘sentence’ refers to the term a prisoner serves, but it also denotes a grammatical whole with a full stop, an ending. Naming the whole series Prison Sentences alludes to the second meaning, the idea that one would expect a sentence to end. Each individual panel, still called the Prison Hacks, evokes a sense of abstraction, a meditative quality arising from the whole process of counting days and passing time. Granite is thus apposite, since it is the material used to build memorials. [from an interview with the artist by Warren Siebrits]

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Lot 155

Moffat Takadiwa b.1983 Zimbabwe

The Voice of America 2016 TV/Radio capacitors 193.5 x 99 x 8 cm

R120 000 – 180 000 EXHIBITED

WHATIFTHEWORLD, Johannesburg, FNB Joburg Art Fair, Johannesburg, 9 to 11 September 2016.

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161

Lot 156

Cameron Platter b.1978 South Africa

Casino Sex colour pencil on paper 151 x 237 cm

R80 000 â&#x20AC;&#x201C; 120 000 PROVENANCE

WHATIFTHEWORLD, Cape Town.

162

Lot 157

Bridget Riley b.1931 Britain

Edge of Light 1981â&#x20AC;&#x201C;2003 colour screenprint signed, dated, numbered 57/85 and inscribed with the title sheet size: 105.5 x 90 cm

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

Conceived in 1981 and published in 2003 by the artist.

163

Lot 158

This massive canvas by Conrad Botes is a very striking

Conrad Botes

combination of elements typical of this ‘post-pop’ artist.

b.1969 South Africa

Origin 2011 acrylic on canvas signed with the artist’s initials and dated 200 x 352 cm

R80 000 – 120 000

Famous, with collaborator Anton Kannemeyer, for his founding role in the creation of the counter-cultural Bitterkomix series of comics and postcards, Botes has more recently established himself as an artist in his own right. Working across different media, he brings the same irreverence and black humour to most of his work that he first developed in the comics. Origin shows the forensic attention to detail in the background landscape that would be shown in a later series of lithographs in 2014. The landscape is peopled by a small army of comic-type characters acting out various narratives, all of which have human depredation in common: here two men bury a third alive, fights happen, military training and the disciplining of prisoners are carried out. Above all of these violent and depraved tableaux, a huge, malevolent figure (a selfportrait) squats menacingly, as if about to defecate. The implication, given the work’s title, that the origin of the world is ultimately petty and abject is unmistakable. Botes’ dark vision focuses on the evil and violence we visit on each other, in a universe that seems uncaring, presided over by a god-like figure who seems far from benevolent. While it has the acidic colours and comic sensibility of its pop-art idiom, the strength of the artist’s imagination produces a work reminiscent of Hieronymous Bosch in its gravitas and power to disturb. James Sey

164

Image courtesy of the artist and Stevenson Gallery

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166

167

Lot 159

Sanell Aggenbach is known for her muted palettes, coolly

Sanell Aggenbach

elliptical conceptual approach and for the interplay between

b.1975 South Africa

macrohistorical narratives and intimate life in her practice.

Eddie Schwarz

Whatever the subject, her work is always anchored by feeling.

2013

First shown in her solo exhibition Familia Obscura, 2013,

oil on canvas signed, dated and inscribed with the title on the reverse 166 x 209 cm

Eddie Schwarz is Aggenbach at her best. Equal parts humorous

R150 000 – 200 000

utilizes Aggenbach’s signature soft focus, its subject as much

and haunting, the painting is a far from exacting reproduction of reality, despite its photographic source material. The work an absence as a presence, like something half remembered. The

EXHIBITED

Brundyn+, Cape Town, Sanell Aggenbach: Familia Obscura, 7 November to 30 November 2013. L IT E R AT U R E

Blackman, M. (2013). Sanell Aggenbach: Familia Obscura. Cape Town: Brundyn+, p.10, colour illustration on pp.48–49.

rabbit gazes out of the image with soulful eyes. This elusive, dream-like quality is carried through many of the artist’s pieces. Situated in the gap between partial representation and imperfect reality, Aggenbach’s images are a monument to the failure of memory as much as its archive. Her unstable surfaces are treacherous. One is reminded of opening an album of family photographs only to discover that, stored in some damp cupboard, they have faded and decayed. Memory betrays us, as Aggenbach well knows; like flesh, it will eventually let everyone down. But therein lies the power of the work. Luc Tuymans once announced, ‘I don’t want to make portraits on a psychological level. I take all the ideas out of individuality and just leave the shell, the body.’ Aggenbach takes away the body in all its substance and certainty. She just leaves the heart. Anna Stielau

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169

Lot 160

‘This is abstraction, real abstraction. The dirty messy kind

Zander Blom

that shapes itself into an unexplainable planar logic as your

b.1982 South Africa

eye moves faster than your body ever could up, down and

Untitled 1.96

around the canvas. Blom locks his viewers into what Lawrence

2011

Alloway once proposed as abstraction’s ‘drama of creativity’.’

oil on linen signed and dated on the reverse 105 x 75 cm

R80 000 – 120 000 L IT E R AT U R E

Sophie Perryer (ed.) (2013). Paintings: Volume I 2010–2012: Zander Blom, Cape Town: Stevenson. Illustrated in colour on p.212.

(Martin, 10) Courtney J Martin’s words open up a portal into Zander Blom’s practice – his decade-long dialectical incursion to set painterly abstraction free from its place in Modernism. This painting, Untitled (1.96), encapsulates some of the key tropes and textures in his compositional grammar. There’s the dynamism and physicality of his mark-making, the weight and presence of the heavily applied paint and the limited palette of red, white, black and grey – a shout out to the brut hues of Malevich and Mondrian. Then there’s the way the paint seeps into the raw heft of the linen canvas, leaving an indeterminate shadow around the chaotic edges of the form. The presence of paint and oil is offset within the frame by the faint graphite lines that recall Blom’s interrogation of the studio environment as a zone of infinite possibility. If paint and oil are organic traces of the human expressive urge in motion, the geometric lines introduce an architectonic tension that references the rationality, grids, plots and controlled calibrations coded into certain strains of Modernism. Each of these elements are native to Blom’s abstract idiom. What gives this painting its particular power is the centrality, cohesion and explosiveness of the central form. Read in relation to the artist’s strictly non-figurative experiments in painting – his fierce interest in the non-imagistic shapes of dots, dabs, pulls, blurs and splotches – this shape teeters on the charged edge of the figurative, signalling toward the pulsing ultra-pop symbol of the heart. In this sense, it might be seen to have more in common with his drawings and to pre-figure his painterly shift away from abstraction in Paintings and Posters (2017). Alexandra Dodd Paintings Volume I: 2010–2012 – Zander Blom, a catalogue raisonné of paintings by Blom between 2010–2012, as cited below. Martin, Courtney J. (2013) ‘Modernism’s Fantasy: Zander Blom’s painting till now.’ Paintings Volume I: 2010–2012 – Zander Blom, Cape Town: Stevenson.

170

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Lot 161

Pieter Hugo b.1976 South Africa

Animal handler with Ajasco, Lagos, Nigeria, 2007 (From the ‘Gadawana Kura’ – The Hyena Men Series II) 2007 C-Print, printed in New York, mounted on aluminium in a white box frame edition number 2/5 sheet size: 172.7 x 172.7 cm

R150 000 – 250 000

172

LITERATU RE

Hugo, P. (intro) and Abiola, A. (essay). (2007). The Hyena and Other Men. Munich: Prestel, another example from the edition illustrated in colour, unpaginated. N O TES

Accompanied by a certificate of authenticity from Stevenson gallery.

Lot 162

Mohau Modisakeng b.1986 South Africa

Inzilo 2013 Inkjet print on Epson Ultrasmooth dibonded aluminium composite 115 x 150 cm

R120 000 â&#x20AC;&#x201C; 160 000 L IT E R AT U R E

cf. Mulder, G. (ed.). (2016). Mohau Modisakeng. Cape Town: WHATIFTHEWORLD, another example from the edition illustrated on pp.76â&#x20AC;&#x201C;77.

173

174

Lot 163

Lot 164

Georgina Gratrix

b.1982 Mexico

Mr Big Stuff

Cockatoo

2014

oil on board signed and dated on the reverse 61 x 50.5 cm

oil on board signed and dated on the reverse 40.5 x 30 cm

R40 000 – 50 000

R30 000 – 40 000

PROVENANCE

EXHI BI TED

SMAC Gallery, Cape Town.

SMAC Gallery, Johannesburg, FNB Joburg Art Fair, Johannesburg, 22 to 24 August 2014.

Lot 165

Kate Gottgens b.1965 South Africa

Swimming Pool, Maputo 1978 2012 oil on canvas signed on the reverse 84 x 120 cm

R50 000 – 70 000 EXHIBITED

SMAC Gallery, Johannesburg, FNB Joburg Art Fair, Johannesburg, 7 to 9 September 2013. L IT E R AT U R E

Van Zyl, M. (ed.). (2015). Kate Gottgens: Paintings 2007– 2015. SMAC Art Publishing: Stellenbosch, colour illustration on p.64.

175

Lot 166

Diane Victor b.1964 South Africa

Honest Politician 2006 etching signed, numbered AP 1/1 and inscribed with the title in pencil sheet size: 200 x 100 cm

R60 000 â&#x20AC;&#x201C; 80 000

176

Lot 167

Marlene Dumas b.1953 South Africa

Fog of War 2006 digital prints on wove paper each signed, dated, numbered 72/80 and inscribed with the respective title in pencil sheet size: 45 x 35 cm each

R200 000 â&#x20AC;&#x201C; 300 000 L IT E R AT U R E

Bedford, E. and Dumas, M. (2007). Marlene Dumas: Intimate Relations. Johannesburg: Jacana Media and Roma Publications, another example from the portfolio illustrated on p.49. NO T E S

A set of 4 prints with prefacing poem, in the original portfolio cover.

177

178

AUT HOR BIO GRAPH IES

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. Liz Delmont taught Art History at Wits for 23 years until 2005 when she left to pursue independent research in heritage, museums and public art as well as run her guesthouse in Johannesburg. Dr Alexandra Dodd is an independent writer and editor who works across a range of modes and media, from magazines and journals to websites and digital archives. She has written texts for several art books. Prof Sandra Klopper is most recently former Deputy Vice-Chancellor of UCT. Amongst extensive research and publishing, Klopper was previously the Head of Visual Arts as well as Vice Dean of the Arts at Stellenbosch University and Dean of Humanities at the University of Pretoria. 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. Andrew Lamprecht is an art historian based at the University of Cape Town who has written and curated extensively on the subject of contemporary and historical South African art. Percy Mabandu is an award-winning journalist who works at the intersection of visual arts, jazz and political economy. He works across print and broadcast. He has written for the Mail & Guardian, City Press, Sunday Times, Radio 702 and Power FM to name a few.

AC K NOW L ED G EM EN TS

Athi Mongezeleli Joja is an art critic and theorist. He is also a member of the artist collective, Gugulective. Prof Karel Nel was an Associate Professor in the Division of Visual Arts at the Wits School of Arts. Nel is a respected artist, writer, collector, arts advisor and curator. 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). 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. Anna Stielau is a Master of Arts in Fine Art graduate from UCT, a double gold medal winner in the National Arts Journalism awards, and has contributed to South Africa’s top arts publications. She is now a PhD student living in New York. Edward Tsumele is an award winning arts journalist who has contributed to mainstream publications in South Africa and abroad for the past 20 years and his journalism has appeared in Sowetan, The Sunday Independent, Business Day and Sunday World where he currently contributes regularly to the arts pages. He is the editor and founder of CityLife Arts. He also writes for www. Contemporaryand.com (Germany) and New African (UK). 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.

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

RES E AR C H AND AUT HOR S HI P

Emma Bedford Liz Delmont Alexandra Dodd Sandra Klopper Micheal Godby Athi Mongezeleli Joja Andrew Lamprecht Percy Mabandu Elza Miles Karel Nel Elizabeth Rankin James Sey Anna Stielau Edward Tsumele 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 Additional Photography | Shavan Rahim P R I NT I NG

Typo, Johannesburg

Elza Miles is an artist, curator, art critic and art historian. She has published extensively on South African art and artists.

PAGE 178

Lot 109 Jean Welz Head of a Poet (detail)

179

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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 156 Cameron Platter Casino Sex (detail)

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

1. DEFINITIONS 1.1. The following terms shall have the meanings assigned to them hereunder and cognate expressions shall have corresponding meanings: 1.1.1. ‘Artistic work’ means: 1.1.1.1. any drawing, picture, painting, collage, sculpture, ceramic, print, engraving, lithograph, screen print, etching, monotype, photograph, digitally printed photograph, video, DVD, digital artwork, installation, artist’s book, tapestry, artist designed carpet, performative artwork; 1.1.1.2. any work of craftsmanship and/or artwork which does not fall under 1.1.1.1 as set out in the Copyright Act No. 78 of 1978. 1.1.2. ‘Aspire’ means Lixotone Proprietary Limited t/a Aspire Art Auctions (Registration No. 2016/074025/07) incorporated under the laws of South Africa; 1.1.3. ‘Auction’ means any sale whereby a Lot is put up for sale by any Auction by Aspire; 1.1.4. ‘Auctioneer’ means the representative of Aspire conducting the Auction; 1.1.5. ‘Bidder’ means any person who makes an offer to buy a particular Lot (whether by Private Treaty, Auction or otherwise) and includes the Buyer of any such Lot; 1.1.6. ‘Buyer’ means any Bidder who makes a bid or offer for a Lot which has been offered for sale (whether by Private Treaty, Auction or otherwise) and which bid or offer has been accepted by Aspire; 1.1.7. ‘Business day’ means any day other than a Saturday, Sunday, or any other official public holiday in South Africa; 1.1.8. ‘Buyer’s premium’ means the commission payable by the Buyer to Aspire on the sale of a Lot at a rate of: 1.1.8.1. 12% (twelve per cent) calculated on the amount of the Hammer price in excess of R20, 000 (twenty thousand rand), plus any VAT payable on that amount; 1.1.8.2. 15% (fifteen per cent) calculated on the amount of the Hammer price not exceeding R20, 000 (twenty thousand rand) plus any VAT payable on that amount; 1.1.9. ‘Catalogue’ means any brochure, price-list, condition report or any other publication (in whatever medium, including electronic), published by Aspire for the purpose of or in connection with any Auction; 1.1.10. ‘CPA’ means the Consumer Protection Act 68 of 2008 as amended from time to time; 1.1.11. ‘Forgery’ means any imitation made with the intention of misrepresenting the authorship, origin, date, age, period, culture, and/or source of any Lot; 1.1.12. ‘Hammer price’ means the bid or offer made by the Buyer for any Lot that is finally accepted by the Auctioneer at a sale of that Lot; 1.1.13. ‘Lot’ means any item or items to be offered for sale as a unit and identified as such by Aspire for sale by way of Auction or by Private Treaty. Each Lot is, unless indicated to the contrary, regarded to be the subject of a separate transaction; 1.1.14. ‘Parties’ means the Bidder, the Buyer, the Seller and Aspire; 1.1.15. ‘Prime rate’ means the publicly quoted base rate of interest (percent, per annum compounded monthly in arrear and calculated on a 365 (three hundred and sixty-five) day year, irrespective of whether or not the year is a leap year) from time to time published by Nedbank Limited, or its successor-in-title, as being its prime overdraft rate, as certified by any manager of such bank, whose appointment, authority and designation need not be proved; 1.1.16. ‘Privacy Policy’ means the privacy policy of Aspire attached hereto marked Annexure A; 1.1.17. ‘Private Treaty’ means the sale of any Lot at a previously agreed upon price between the Buyer and the Seller (that is, not by way of Auction); 1.1.18. ‘Purchase price’ means the Hammer price plus the Buyer’s premium. In case of any Lot being ‘daggered’, VAT shall be calculated on the sum of the full Hammer

Lot 131 Peter Clarke Bathers (detail)

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. T ERMS RELATING TO THE BUYERS 5.1. Any Buyer and/or Bidders must register his/her identity with Aspire before the commencement of an Auction in accordance with Chapter 1 (one) of the regulations in terms of the Financial Intelligence Centre Act, 2011, which requires the establishment and verification of identity published in Notice No. R. 1595 in Gazette No. 24176 of 20 December 2002. 5.2. Upon registration by the Bidder, the Bidder must acknowledge that they are aware of and agree to be bound by these Terms of Business. All Bidders shall be personally liable for their bids and offers made during any Auction and shall be jointly and severally liable with their principals if acting as agent. 5.3. Any person acting on behalf of a Bidder or Buyer may be required to produce evidence of his/her authority to so act satisfactory to Aspire in its discretion. 5.4 A Lot shall be sold to the highest bidder (regardless of the real value of the Lot). Any sale that requires a reserve shall be sold to the highest bidder either on or in excess of the Reserve. 5.5 No bid may be made for an amount which is lower than the fixed value set by the Auctioneer and any bid may be withdrawn prior to the hammer being struck down. It is the Auctioneer’s discretion to accept or reject a bid that is lower than the standardised incremental amount set by the Auctioneer. The Auctioneer may refuse any bid which does not exceed the previous bid by at least 5% (five per cent) or any such percentage which in the opinion of the Auctioneer is required. 5.6 Any dispute which should arise regarding the validity of the bid, the identity of the Bidder or between more than one Bidder, shall be resolved at the sole discretion of the Auctioneer. 5.7 E ach Bidder is deemed to be acting in their capacity as principal unless Aspire has acknowledged otherwise in writing prior to the commencement of the Auction. 5.8. All Bidders are encouraged to attend any Auction where a Lot is to be sold by Auction. Aspire will endeavour to execute any absentee, written bids and/or telephone bids, provided they are, in Aspire’s absolute discretion, received in sufficient time and in legible form as required under these Terms of Business. 5.9 A ny bids placed by telephone before an Auction are accepted at the sender’s risk and must, if requested by Aspire, be confirmed in writing to Aspire before the commencement of the Auction. Any person who wishes to bid by telephone during the course of an Auction must make arrangements with Aspire at least 24 (twenty-four) hours before the commencement of the Auction. Aspire shall not be held liable for any communication breakdown or any losses arising thereof. The Buyer consents that any bidding may be recorded at the discretion of Aspire and consents to these Terms of Business. 5.10. The Buyer must make payment in full and collect the purchased Lot immediately after completion of the Auction. 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. The collection of any Lot by a third party on behalf of a Buyer must be agreed with Aspire not later than the close of business on the day following the relevant Auction.

6. E XCLUSION OF LIABILITY TO BUYERS OR SELLERS

6.1. No Buyer or Seller shall be entitled to cede, delegate and/or assign all or any of their rights, obligations and/ or interests to any third party without the prior written consent of Aspire in terms of these Terms of Business. 6.2. The Buyer accepts that neither Aspire nor the Seller: 6.2.1. shall be liable for any omissions, errors or misrepresentations in any information (whether written or otherwise and whether provided in a Catalogue or otherwise) provided to Bidders, or for any acts omissions in connection with the conduct of any Auction or for any matter relating to the sale of any Lot, including when caused by the negligence of the Seller, Aspire, their respective employees and/ or agents; 6.2.2. gives any guarantee or warranty to Bidders other than those expressly set out in these Terms of Business and any implied conditions, guarantees and warranties are excluded; and 6.2.3. without prejudice to any other provision of these general Terms of Business, any claim against Aspire and/or the seller of a Lot by a Bidder shall be limited to the Hammer price of the relevant Lot. Neither Aspire nor the Seller shall be liable for any indirect or consequential losses. 6.3. A purchased Lot shall be at the Buyer’s risk in all respects from the knock down of the Auctioneer’s hammer, whether or not payment has been made, and neither Aspire nor the Seller shall thereafter be liable for, and the Buyer indemnifies Aspire against, any loss or damage of any kind, including as a result of the negligence of Aspire and/or its employees or agents. 6.4. All Buyers are advised to arrange for their own insurance cover for purchased Lots effective from the day after the date of sale for the purposes of protecting their interests as Aspire cannot warrant that the Seller has insured its interests in the Lot or that Aspire’s insurance cover will extend to all risks. 6.5. Aspire does not accept any responsibility for any Lots damaged by insect infestation, changes in atmospheric conditions or other conditions outside its control (including damage arising as a result of reasonable wear and tear). Aspire will be responsible for the replacement or repair costs for any frame and glass breakages resulting from the wilful or negligent conduct of any of Aspire’s servants and agents.

7. G ENERAL CONDUCT OF THE AUCTION 7.1. The Auctioneer remains in control of the Auction and has the absolute discretion to either withdraw or reoffer any Lots for sale, to accept and refuse bids and/or to reopen the bidding on any Lots should he/she believe there may be a dispute of whatever nature (including without limitation a dispute about the validity of any bid, or whether a bid has been made, and whether between two or more bidders or between the Auctioneer and any one or more bidders) or error of whatever nature, and may further take such other action as he/she deems necessary or appropriate. The Auctioneer shall commence and advance the bidding or offers for any Lot in such increments as he/she considers appropriate. 7.2. The Auction is to take place at the stipulated time and no delay shall be permitted to benefit a specific person who is not present but should be present at the Auction. 7.3. The Auctioneer shall be entitled to bid on behalf of the Seller up to one increment below the Reserve, where applicable. 7.4. A contract shall be concluded between the Buyer and

Seller once the Auctioneer knocks down the hammer and this shall be the Hammer price accepted by the Auctioneer (after the determination of any dispute that may exist). Aspire is not a party to the contract of sale and shall not be liable for any breach of that contract by either the Seller or the Buyer.

8. I MPORT, EXPORT, COPYRIGHT

RESTRICTIONS, LICENSES AND QUALITY OF THE GOODS SOLD

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

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

10. R ESCISSION OF SALE If, within 7 (seven) days after the relevant Auction or Private Treaty sale, the Buyer makes a claim to rescind the sale due to Forgery and Aspire is satisfied that the claim is justified, Aspire reserves the right to rescind the sale and refund the Buyer any amounts paid to Aspire in respect of that sale and the Seller authorises Aspire to do so.

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

11.1.1. Buyer’s premium shall be payable to Aspire on the sale of each Lot; 11.1.2. VAT may be payable on the full Hammer price and the Buyer’s premium, if the Seller is a registered VAT vendor; 11.1.3. Aspire may also be entitled to a Seller’s commission and/or any other agreed fees for that Lot. 11.2. Upon the knock down of the hammer and acceptance of the price by the Auctioneer, the Buyer shall, against delivery of the Lot, pay Aspire the Purchase price immediately after the Lot is sold and should Aspire require, the Buyer shall provide it with their necessary registration details, proof of identity and any further information which Aspire may require. 11.3. All foreign Buyers are required to make arrangement with their banks prior to the Auction date regarding Forex funds as Aspire will only accept payment in South African Rands. Any expenses incurred thereof shall be at the cost of the Buyer. 11.4. Unless otherwise agreed by the Parties, the Buyer shall make payment in full to Aspire for all amounts due and payable to Aspire (including the Purchase price of each Lot bought by that Buyer) on the date of sale (or on such other date as Aspire and the Buyer may agree upon in writing) in cash, electronic funds transfer (‘EFT’), or such other payment method as Aspire may be willing to accept. Any cheque and/or credit card payments must be arranged with Aspire prior to commencement of the Auction. All credit card purchases are to be settled in full on the date of sale. 11.5. Ownership of a Lot shall not pass to the buyer thereof until Aspire has received settlement of the Purchase price of the respective Lot in full and the funds have cleared. Aspire shall not be obliged to release a Lot to the Buyer prior to receipt in full payment thereof. However, should Aspire agree to release a Lot to the Buyer prior to payment of the full Purchase price, ownership of such Lot shall not pass to the Buyer, nor shall the Buyer’s obligations to pay the Purchase price be impacted, until such receipt by Aspire of the full Purchase price in cleared funds. 11.6. The refusal of any approval, licence, consent, permit or clearance as required by law shall not affect the Buyer’s obligation to pay for the Lot. 11.7. Any payments made by a Buyer to Aspire may be applied by Aspire towards any amounts owing by the Buyer to Aspire on any account whatsoever and without regard to any directions of the Buyer or his agent. The Buyer shall be and remain responsible for any removal, storage, or other charges for any Lot and must at his own expense ensure that the Lot purchased is immediately removed after the Auction but not until payment of the total amount due to Aspire. All risk of loss or damage to the purchased Lot shall be borne by the Buyer from the moment when the Lot is handed over to the Buyer. Neither Aspire nor its servants or agents shall accordingly be responsible for any loss or damage of any kind, whether caused by negligence or otherwise, from date of the sale of the Lot, whilst the Lot is in their possession or control. 11.8. All packaging and handling of Lots is at the Buyer’s risk and expense, will have to be attended to by the Buyer, and Aspire shall not be liable for any acts or omissions of any packers or shippers. 11.9. If the sale of any Lot is rescinded, set aside or cancelled by a lawful action of the Buyer, and Aspire has accounted to the Seller for the sale proceeds, the Seller shall immediately refund the full sale proceeds to Aspire, who will in turn refund the Purchase price to the Buyer. If there is no sale, there is no commission payable. However, if there are Recoverable expenses which have been incurred by Aspire, then the Seller will remain liable to pay these expenses to Aspire. 11.10. Any Lot which has been paid for in full but remains uncollected after 30 (thirty) days of the Auction, following written notice to the Buyer, the Lot then becomes the property of Aspire. Aspire may then resell this property at the best price it can obtain from a willing

and able Buyer. If Aspire resells this property it may deduct any expenses incurred in keeping this property from the proceeds of sale after having deducted its commission. Any shortfall arising from the resale shall be at the cost of the Buyer. 11.11. No credit shall be granted to the Buyer without prior consent from Aspire. Aspire shall exercise its discretion when granting credit to the Buyer, including the terms and conditions applicable to any such credit. Ownership of the Lot shall not pass until such time as the full Purchase price is paid along with any VAT thereon and any other necessary amounts. Should any requests for credit be proposed by a potential Buyer on a specific Lot, these terms will be relayed to the Seller and only accepted if agreed by the Seller and Aspire. If credit is granted by Aspire without agreement from the Seller, that is an arrangement between the Buyer and Aspire, and the risk for this credit falls to Aspire and not the Seller.

12. O WNERSHIP 12.1. Until such time that the total Purchase price and hand over has taken place, ownership of the purchased goods shall vest with the principal. Payment of the Purchase price includes the payment of any Buyer’s premium to which Aspire is entitled along with VAT or any other amount required by these Terms of Business. 12.2. The collection of the goods/Lots shall be done by the Buyer at their own cost immediately after the Auction has taken place, unless otherwise agreed upon in writing between the Buyer and Aspire. 12.3. Aspire shall not provide any assistance of any nature whatsoever to the Buyer in removing the goods from the premises of Aspire upon the completion of the Auction. However, should Aspire choose to assist with the removal then any Aspire employee or servant shall be deemed to be agents of the Buyer and Aspire shall not be liable for any damage incurred as a result of removing the goods from the premises.

13. B REACH BY THE BUYER 13.1. In the event that the Buyer breaches any provision of these Terms of Business, fails to make payment of the full Purchase price or fails to collect the goods bought as provided for in these Terms of Business, Aspire in exercising its discretion and as agent for the Seller will, without any prejudice to any other rights it may have in law, be entitled to exercise one or more of the following remedies set out below. Aspire may: 13.1.1. institute proceedings against the Buyer for the non-payment of and/or or any damages incurred as a result of the breach of contract; 13.1.2. cancel the sale of that Lot or any other Lots sold to the defaulting Buyer at the same time or at any other Auction; 13.1.3. resell the Lot or do any such thing that would cause it to be resold by Auction or Private Treaty sale; 13.1.4. remove, store and insure the goods at the sole expense of the defaulting Buyer and if such goods are stored either at Aspire’s premises or any other place as Aspire may require such goods to be stored at, the Buyer shall be responsible for all charges associated therewith; 13.1.5. retain any Lot sold to the same Buyer at the same time, or at any other Auction and only allow the Buyer to take delivery of such goods after all amounts due, owing and payable have been paid by the Buyer to Aspire in terms of these Terms of Business, including interest, storage charges and any other charges; 13.1.6. reject any bid made by or on behalf of the defaulting Buyer at any future Auction; 13.1.7. exercise a right of retention over the goods sold and not to release such goods to the Buyer until such time as full payment has been made to Aspire in accordance with these Terms of Business. For such purpose and in so far as ownership of the Lots may

185

have passed to Aspire, the Buyer hereby pledges such goods to Aspire as security for Aspire’s claim. 13.1.8. charge a reasonable rental fee for each day that the item is stored by Aspire from the date of Auction until the time of collection. 13.1.9. charge interest at a rate of the prime rate plus 3% (three per cent) per month on any outstanding amounts from the date of Auction. 13.2. In the event that Aspire resells any Lot at a subsequent Auction as a result of Aspire exercising their remedy referred to in paragraph 13.1.3 above, the Buyer shall be liable for any loss (if any), should the Lot be resold at an amount lower than the amount for which the Buyer purchased it. The loss shall be calculated as the difference between the resale price and the original price

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

15. E STIMATION OF SELLING PRICE AND DESCRIPTION OF GOODS

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

186

16. W ARRANTIES AND INDEMNITIES PROVIDED FOR BY THE SELLER

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

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

18. R ESERVES 18.1. All Lots are to be sold without a Reserve, unless otherwise agreed upon between Aspire and Seller in writing prior to the date of Auction. In the event that a Reserve for a Lot exists, the Lot will be offered for sale subject to this Reserve. Any changes to a Reserve will require the prior consent of Aspire and the Seller. 18.2. Where the Auctioneer is of the opinion that the Seller or any person acting as agent of the Seller, has made a bid on the Lot and a Reserve existed on such Lot, they may knock down the Lot to the Seller. The Seller will then be required to pay all expenses which the Buyer is liable for and any expenses which the Seller is liable for along with the Seller’s commission to Aspire. 18.3. In the event that a Reserve exists on a particular Lot, Aspire may sell such Lot at a Hammer price below the Reserve, on the condition that the Seller receives the

amount they would have been entitled to, had the sale been done at the Reserve. Aspire reserves the right to adjust the Seller’s commission accordingly in order to allow the Seller to receive the amount payable had the Lot been sold at the Reserve. 18.4. Where a Reserve on a Lot does not exist, Aspire shall not be liable for the difference between the Purchase price and the estimated selling range.

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

20. P AYMENT IN RESPECT OF THE SALE PROCEEDS

The proceeds of sale shall be paid as follows: 20.1. Aspire shall make payment to the Seller not later than 21 (twenty-one) days after the date of the Auction provided that full payment of the Purchase price for said Lot has been received from the Buyer by Aspire. 20.2. If the Buyer fails to pay the full Purchase price within the allocated time set out in paragraph 11.2, Aspire shall notify the Seller in writing and request instruction on how to proceed. Aspire may at its discretion, decide to assist the Seller with the recovery of any outstanding amount from the Buyer. 20.3. The Seller hereby authorises Aspire to proceed: 20.3.1. to agree to the terms of payment on any outstanding amount; 20.3.2. t o remove, store and insure the Lot which has been sold; 20.3.3. to settle any claim by or against the Buyer on such terms as Aspire deems fit and do all such things necessary to collect from the Buyer any outstanding amounts due to the Seller; 20.3.4. to rescind the sale and refund these amounts to the Buyer; 20.3.5. where Aspire pays the Sale proceeds to the Seller prior to receipt of the full Purchase price then ownership shall pass to Aspire; 20.3.6. to obtain a refund from the Seller where the sale of a Lot has been set aside, or cancelled by the Buyer in terms of paragraph 10 above and Aspire has paid the sale proceeds to the Seller. In such instance, the Seller shall be required to refund the full sale proceeds to Aspire, who will then in turn refund the Buyer. Aspire will then make the Lot available for collection to the Seller; and 20.3.7. that any annulment, rescission, cancellation or nullification of the sale in terms of paragraph 10 above shall not extinguish the Seller’s obligation to pay the commission to Aspire and/or to reimburse any expenses incurred by Aspire in respect of this.

21. W ITHDRAWAL FEES Written notice must be given to Aspire 24 (twenty-four) hours prior to the Auctions, where a Seller decides to withdraw a Lot from Auction. Aspire reserves the right to convert any Seller’s commission or Buyer’s premium payable on this Lot into withdrawal fees. The amount of this withdrawal fee

shall be determined based on the mid-estimate of the selling price of the objects comprising the Lot along with any VAT and expenses incurred thereon given by Aspire.

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

23. L OTS WHICH HAVE NOT BEEN SOLD 23.1. S ubject to paragraph 14.4 above, upon the receipt of notice from Aspire of any unsold Lots, the Seller agrees to collect any such Lots no later than the 15th (fifteenth) day after receipt of such notice. The Seller must make further arrangement to either have the Lot resold or collect it and pay all agreed Recoverable expenses for which they are liable. 23.2. T he Seller shall be liable for all costs, whether it be for storage, transport or otherwise as a result of their failure to collect the Lot. 23.3. I f after 6 (six) months of notice being sent to the Seller, Aspire will proceed to sell the Lot by Private Treaty or public Auction on the terms and conditions that they deem fit, without Reserve and Aspire shall be able to deduct from the Hammer price all amounts owing to them including (but not limited to) any storage or transport expenses, any reduced commission from the Auction as well as any other reasonable expenses before the balance is paid over to the Seller. If Aspire is unable to locate the Seller, Aspire shall open a bank account in which Aspire will hold on behalf of the Seller the amount due to the Seller. 23.4. A spire reserves the right to charge commission on the Purchase price and any expenses incurred in respect of any unsold Lots.

24. A MENDMENT OF THESE TERMS AND CONDITIONS

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

1. I NFORMATION ASPIRE MAY COLLECT

3. S TORAGE OF PERSONAL

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.

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.

AND PROCESS

2. O NLINE INFORMATION PROCESSED BY ASPIRE

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

INFORMATION

4. A MENDMENTS TO THE PRIVACY POLICY

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

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

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ARTIST INDEX

188

Aggenbach, S 159

Ginsburg, J 77

Paladino, M 2

Bakker, K 40, 122

Goldblatt, D 74

Picasso, P 144

Battiss, W 1, 21, 22, 23, 24

Goodman, RG 6, 7

Pierneef, JH 92, 93

Bell, D 76, 135, 148, 149

Gottgens, K 165

Pinker, S 126, 127

Bester, W 85

Gratrix, G 163, 164

Platter, C 156

Bhengu, G 98

Halter, D 70

Podlashuc, M 46

Blom, Z 160

Higgs, C 49, 50

Preller, A 105, 115, 128

Boonzaier, G 96, 106, 117

Hipper, M 79, 83

Riley, B 157

Boshoff, A 112, 113

Hlungwani, P 59

Rose-Innes, A 108

Boshoff, W 154

Hodgins, R 17, 26, 27, 65, 66, 69, 132

Ruga, A 138

Botes, C 158

Hugo, P 72, 73, 161

Schütz, P 129

Botha, A 61

Jensma, W 13

Segogela, J 51

Botha, D 11

Kannemeyer, A 62, 63

Serneels, C 35

Botha, W 152, 153

Kentridge, W 67, 68, 136, 139, 146, 147

Siopis, P 81

Bouscharain, C 124

Kibel, W 42

Skotnes, C 43

Bradshaw, B 54

Koloane, D 86

Slingsby, R 58

Caldecott, S 95, 100

Kumalo, S 114, 130

Smit, L 75

Catherine, N 25, 87

Lace, B 71

Spilhaus, N 101

Cattaneo, G 14

Laubscher, E 102, 123

Stone, S 133, 134

Chiurai, K 78

Laubser, M 116, 118

Sumner, M 103, 111

Cilliers-Barnard, B 41

Legae, E 140

Takadiwa, M 155

Claerhout, F 55, 56, 57

Lewis, R 52, 53

Taylor, A 80

Clarke, P 3, 4, 5, 104, 131

Louw, J 44

Taylor, M 125, 142, 143

Coetzee, C 28, 29, 30, 121

Mahlangu, S 84

Theys, C 34

Dixon, L 33

Mason, J 48, 137

Van der Merwe, C 15, 16

Du Toit, P 91

Mauve, A 37

Van Heerden, P 10, 32

Dumas, M 82, 167

McCaw, T 31, 99

Van Wouw, A 36

During, D 38

Meintjes, J 45

Vári, M 60

Dzama, M 64

Modisakeng, M 141, 162

Victor, D 150, 151, 166

Erasmus, N 47

Mzimba, V 88, 89, 90

Volschenk, JEA 8, 9, 94

Everard Haden, L 97

Naudé, H 12, 107, 119

Vorster, G 39

Everard Haden, R 120

Nel, H 18, 19, 20

Welz, J 109, 110

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

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189

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

SALE TITLE: Historic, Modern & Contemporary Art

L OT S –

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

LOT NUMBER LOT DESCRIPTION

Please print clearly MAXIMUM | EMERGENCY BID (HAMMER PRICE)

SALE DATE: 25 March 2018 | 3 pm and 5 pm SALE CODE: AAA | Summer 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 AD D R E S S

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

Bidding generally starts below the low estimate and increases in increments of approximately 10% of the total amount. The auctioneer decides on the increments, and the amount at which bidding starts. The auctioneer may vary increments during the course of the auction at his/her own discretion. R10 000–R20 000

R1 000 increments

R20 000–R30 000

R2 000 increments

R30 000–R50 000

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

R50 000–R100 000

R5 000 increments

R100 000–R200 000

R10 000 increments

R200 000–R300 000

R20 000 increments

R300 000–R500 000

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

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

R500 000–R1 000 000 R50 000 increments

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

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

Payment method: EFT Credit Card

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

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

190

BI DDI NG I NCREMENTS

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

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

SI GNATURE