Aspire Winter 2019 Catalogue by Aspire Art

Modern & Contemporary Art, with a special section of Photographs

Modern & Contemporary Art, with a special section of Photographs Evening Sale | Winter 19 Public auction hosted by Aspire Art Auctions

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

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

Sunday 2 June | 6 pm P UB LI C PR EV I EW

Thursday 30 May | 10 am – 5 pm Friday 31 May | 10 am – 5 pm Saturday 1 June | 10 am – 5 pm Sunday 2 June | 10 am – 5 pm 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 WINTER 19 C ON D I TI O N S O F S A LE

The auction is subject to: Rules of Auction, Important Notices, Conditions of Business and Reserves 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 S AL E C O N TA C TS

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Auction Week | Winter 19

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

Wednesday 29 May | 6 – 8:30 pm RSVP Kathryn Del Boccio | kathryn@aspireart.net | +27 79 791 6037

PUB LI C P R E V I E W

Thursday 30 May – Sunday 2 June | 10 am – 5 pm All 97 Lots will be on display and open to the public for viewing

AAA A R T TA LK S

Saturday 1 June 10:00 – 10:45 am William Kentridge: Drawing and Films. A talk by Emma Bedford followed by a film screening: William Kentridge 4 Films 11:00 am – 12:15 pm The Last Preller: The life, legacy and final painting of Alexis Preller. A talk by Ruarc Peffers followed by a film screening: SABC Men of Merit featuring Alexis Preller, 1976 12:30 – 1:30 pm The Rise and Rise of Collectable Photographs. A panel discussion moderated by James Sey (speakers: John Fleetwood; Makgati Molebatsi; Kathryn Del Boccio)

AAA S P E C I A LI S T S WA LK A B O U T

Sunday 2 June at 11 am

W I N T E R 19 P U B LI C A U C T I O N

Sunday 2 June at 6 pm

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ad ia Ro Rivon

Fricker Road

From the M1

Aspire Art Auctions Offices

Harries

Road

Chaplin

UPCOM IN G L IVE A UCTIONS IN 2 0 1 9 Inviting consignments for our upcoming auctions For art valuations contact our specialists Cape Town | SPRING 19 Modern & Contemporary Art 1 September 2019 Consignments close 19 July 2019 Johannesburg | SUMMER 19 Modern & Contemporary Art 3 November 2019 Consignments close 13 September 2019

viii

Road

oad

GIBS Business School

Oxford R

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

Fricker R

Continue to the next set of traffic lights and turn left into Melville Road. Continue past another set of traffic lights and GIBS will be on your right.

Melville

From Jan Smuts Avenue, turn east into Bompas Road.

Road

From Jan Smuts Avenue

CON TE N T S

Auction Information iii Auction Week | Winter 19 v Glossary of Cataloguing Terms and Practice vii Auction Venue – Gordon Institute of Business Science viii Aspire Specialists and Staff xiii Aspire’s Artist’s Resale Rights xxv Guide for Prospective Buyers xvii

Sale Lots 1 to 97 2–141 Author Biographies and Acknowledgements 142 Details used in prelim pages from: COVER

Lot 54 Alexis Preller Christ Head PAGE II

Lot 20 Dumile Feni Head PAGE IV

Lot 59 David Goldblatt The last of the bigger rocks has just been dropped into a kibble. Now, with shovels, the team “lashes” (loads) the small stuff into the kibble.

Terms and Conditions of Business 144 Artist Index 150 Catalogue Subscription Form 153 Written/Telephone Bidding Form 154

PAGE VI

Lot 31 William Kentridge Untitled (Woman and café) PAGE IX

Lot 36 Jacobus Hendrik Pierneef Limpopo Valley PAGE X

Lot 29 Diane Victor Stadium (from the Disasters of Peace series) PAGE XII

Lot 53 Wim Botha Untitled (Nebula 5 with Bywoner) PAGE XIV

Lot 60 Pieter Hugo Mallam Mantari Lamal with Mainasara, Abuja Nigeria 2005 PAGE XVI

Lot 21 Gerard Sekoto Lady in Red PAGE XVIII

Lot 52 Edoardo Villa Confrontation, maquette

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

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

Jacqui Carney 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 Art Specialist | Client Liaison Johannesburg kathryn@aspireart.net +27 79 791 6037

Alexia Walker Business Consultant Johannesburg alexia@aspireart.net +27 82 414 8541

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

Candice Osenat-Boutet European Business Development Johannesburg candice@aspireart.net +33 6 73 66 4726

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

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

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

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

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

RavĂŠlle Pillay Intern Johannesburg ravelle@aspireart.net +27 11 243 5243

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

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

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

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xiv

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

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

South Africa seem particularly magnified in the sector. In the absence of

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

legislation or a government mandated collecting agency, Aspire voluntarily

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

covers the cost of the ARR percentage fee. Aspire is perfectly placed to usher

on auction.

in a new era, as the newest South African art auction house, with the longest

The implementation of the Artist Resale Rights (ARR) initiative is an investment back into the industry, acknowledging the value of authorship and ensuring support for artists. The inequality of artists only profiting from the

combined secondary art market experience in the country and a particular focus on top-quality fine art. To date, Aspire has earned royalties for 100 living South African artists

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

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

over time, in relation to the growing success of the artist. The resale royalties

R600 000 in royalties. Aspire’s effort to improve the sustainability of the art

endeavour to return some of that value to the artist.

industry in the country was recently recognised at national level when the

Aspire’s vision places art, sustainability, and the development of the industry at its core. The sustainability of the practitioners and the

company won the Business Arts South Africa award for Best Strategic Project in 2017 for the ARR initiative.

professionals that have made this market what it is today forms the heart of this pioneering initiative. Whilst upholding the significance of established artists, Aspire is building a market for the future.

PORTION OF THE SALE PRICE

ROYALTIES

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

From 0 to R50,000

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

From R50,000.01 to R200,000

international trend.

From R200,000.01 to R350,000

From R350,000.01 to R500,000

0.5%

Exceeding R500,000.01

0.25%

Across the world, artists, associations and collecting societies have

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 followed up by World Intellectual Property Organisation research in 2017, which corroborated that the payment of royalties on works at auction has no discernible impact on prices. South Africa is one of a group of countries that have no existing legislation to govern the implementation of an ARR scheme. This group currently includes the USA, Canada, China, Japan, and Switzerland. The legislation in South Africa has been tabled, but the law is still in draft discussion form. Aspire was the only representative from the secondary market to submit representations to government on the public hearings for the draft legislation, and to appear before the parliamentary committee in 2017 to put forward the case for a national ARR. The company has followed this representation with educational presentations to artist’s groups hosted by collecting agency DALRO, and to an artist’s collective in Soweto, to spread the word among the artistic community that the ARR initiative does exist in the auction market. With little opportunity for funding in the arts, the profound social inequalities of

xvi

GUIDE FOR PRO SPECTIVE BUY E R S

The following information is designed to guide

reserve price agreed between Aspire and the seller

Recorded bids entered into the auctioneer’s

prospective bidders through the auction process

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

catalogue. The auctioneer will, in your absence, bid

and explains how to bid at auction with Aspire.

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

on your behalf, up to the maximum amount given

Our staff are happy to assist with any queries.

will not be sold. The reserve price will not exceed

by you. Should the bidding not reach your maximum

the low estimate.

bid, you will acquire the lot for one increment above

1. Identify your potential acquisition

the previous bid.

Aspire holds four auctions per annum, two in

4. Specialist assistance

Johannesburg and two in Cape Town. You can

Our specialists are available to discuss any lot in

6. Payments, collection and storage

subscribe to our printed catalogues to view all

further detail if you require additional information.

Payment must be made immediately after

works coming up in an auction or alternatively, our

Please do not hesitate to contact us.

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

e-catalogues are posted online approximately a

otherwise agreed with Aspire.

month prior to each sale; these are free downloads

5 Bidding with Aspire

and give a full overview of each auction. Keep an

Bidding may be done in three ways, depending

Once payment for the purchased lot is made and

eye on our website and social media platforms

on your preference and availability during the live

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

where we will provide regular updates regarding

auction.

tion. An Aspire representative will contact you the

sale information and when catalogues are available

New bidders to Aspire will need to supply us with

day after the auction to assist with logistics. If you

to view online. The auction preview is open to

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

are unable to collect the artwork within the allo-

the public.

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

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

2. The catalogue

You can physically bid during a live auction by

company will contact you with quotes for delivery

The catalogue includes all information regarding the

registering and bidding in the saleroom. You may

the day following the auction.

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

Aspire will store artworks purchased at the auc-

details, date, medium, dimensions, quantity of items

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

tion under Aspire’s insurance for a limited time only

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

sale.

(see our Terms and Conditions of Business). Storage

included in the catalogue, but may be requested by emailing conditionreports@aspireart.net. However, as we are not qualified conservators, we advise that you view the lot in person to satisfy yourself as to

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

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

the condition of a prospective purchase. Condition

5.2. Telephone bid

Buyers premium

reports are not necessarily compiled by professional

An Aspire representative will phone you during

Buyers will be liable for payment of the purchase

conservators unless otherwise stated.

the live auction: a trained staff member will walk

price.

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

instruct the representative to bid on a lot on your

Aspire assigns a low and high estimate to every lot.

behalf. Don’t forget to send through your telephone

These estimates give our opinion of value, bearing

bids at least 24 hours before the commencement of

the following factors in mind: the sales precedent

the auction to ensure sufficient time for processing.

of each artist, the subject matter, the importance of the work within the artist’s oeuvre, the condition of the work and assimilates the accumulative totality of all of these factors. Each lot has a confidential

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

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

xvii

Modern & Contemporary Art, with a special section of Photographs

Lot 1

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

Untitled watercolour on paper signed mid-left 32.5 x 44 cm

R35 000 â&#x20AC;&#x201C; 50 000 L IT E R AT U R E

Skawran, K. and McNamara, M. (ed.) (1985). Walter Battiss. Johannesburg: A.D Donker, illustrated in colour on p.191.

Lot 2

Pat Mautloa b.1952 South Africa

Portrait 2005 oil and collage on canvas signed and dated bottom right 91 x 75 cm

R30 000 â&#x20AC;&#x201C; 50 000

Lot 3

David Koloane, as much as any South African artist, can be

David Koloane

considered a national treasure. A tireless champion of black

b.1938 South Africa

art and artists in the country throughout his long career, he

Johannesburg

will be honoured with a national retrospective later in the

2009 oil on canvas signed and dated bottom right 83 x 142 cm

year, which will include the current work at auction and will

R80 000 – 120 000 PROVENANCE

be accompanied by a catalogue in which the work will also be illustrated. Koloane, unusually for the local art world, is renowned as much for his role as mentor, critic and teacher as he is for his

Acquired directly from the artist.

extensive visual output. If for nothing else, his instrumental

NO T E S

involvement in founding the Bag Factory Artist’s studios in

This painting has been requested as a loan for the Johannesburg portion of the upcoming 2019 David Koloane national retrospective, which will be held at the Iziko South African National Gallery, the Johannesburg Art Gallery and the Wits Art Museum. It will be reproduced in the accompanying exhibition catalogue.

Fordsburg – for decades a stalwart Johannesburg art institution – should cement his legacy. As he has often reflected himself, Koloane sees his work as a chronicle of black urban life, both during and after apartheid. Vibrant and full of detail, Koloane’s cityscapes in various mediums are among his most characteristic subjects. Born in the township of Alexandra in 1938, he has seen his hometown of Johannesburg go through many changes in his lifetime. This view of the city emphasises the industrial and commercial character of Jozi. Advertising hoardings dominate the upper plane, along with the belching smoke of the cooling towers of a huge factory in the background – perhaps Orlando or Kelvin power stations. A used car, flattened in its perspective, pollutes the atmosphere in the right foreground. In the left foreground, an often-used metaphor in Koloane’s work reoccurs; a pack of scavenging dogs, emblematic of forces of greed, oppression and the hard life of the city, forages on the ground. In this work, the artist’s muted palette and bold, almost graphic expressionism perfectly capture the grimy underbelly of the big city with the implicit oppression of its apartheid history never far from the surface. James Sey

Lot 4

Benon Lutaaya was born in 1985 in Kampala, Uganda and lived

Benon Lutaaya

on the streets from the age of ten. This hardship instilled in him

Ugandan 1985–2019

an empathy and understanding of the fragility of life and the

Extended figure

vulnerability of the spirit, but also of its resilience and tenacity,

2018 charcoal, oil and collage on canvas signed and dated bottom right 153 x 125 cm

all of which is reflected in his work.

R150 000 – 250 000

career as an artist. From there his art practice grew rapidly.

Lutaaya moved to Johannesburg in 2011 where he completed a residency at the Bag Factory Artist’s Studios and began his He was the recipient of multiple awards, including the Citizen Influencer Award, in recognition of his merit as a social influencer and humanitarian. He donated over a million rand to different charities in South Africa and founded The Project Space, a cultural institution focused on creating new spaces in the art world for young African artists and cultural entrepreneurs, especially women. Lutaaya commented that the use of collage as medium – found paper and discarded materials – was in equal parts context, lack of resources and artistic intuition. He had an innate creative resourcefulness stemming from his early life, creating figures out of layers of torn paper, paint and fabrics. His dominant subjects were children and androgynous African figures, and always concerned the human condition. Extended figure (2018) is rendered in Lutaaya’s typical style – torn paper fragments and oil paint comprise a figure ascending from the centre of an ambiguous space of darkened, patched canvas. The assembled face with closed eyes, in a state of catharsis, further echoes Lutaaya’s views on the human spirit and its resolve. Lutaaya did not express peace, nor did he portray suffering. Rather, he celebrated overcoming hardship, and the difficulties that surround us – poverty, greed and violence. He showed that, despite these troubles, there exists an inherent strength in the many different people on the African continent, a place constantly tested by the insidious actions of power. Lutaaya depicted his inherent belief in the goodness of human nature, and the potential of human action. His recent passing is a sad loss to the art community, but his legacy of positivity and humanity survives in his art. Joshua Stanley

Lot 5

Young, Johannesburg-based artist Nelson Makamo hit global

Nelson Makamo

headlines earlier this year. Filmmaker Ava DuVernay, guest

b.1982 South Africa

editor of Time Magazine’s 25 February 2019 ‘Optimists’ issue,

Girl seated on a television

selected one of his timeless depictions of children, an oil on

2014 oil, pastel and charcoal on paper signed and dated bottom left 160 x 121 cm

canvas titled Visions of a limitless future, as the cover image for

R160 000 – 200 000

collecting spotlight. With a bright talent visible from his early

NO T E S

Nelson Makamo was the recipient of a Vanguard Award from the Harvard University African Students’ Association during their Africa Week celebrations, held at Harvard’s campus in Boston, USA, in May 2019.

the magazine. The breakthrough catapulted Makamo into the global years in rural Limpopo, and having already grown to be a highly popular artist since his debut show in Johannesburg in 2005, he has shown on several international and local solo exhibitions in the course of a still-developing career. His work is remarkable too for its presence in several celebrity collections, including DuVernay, musician Annie Lennox, fashion guru Giorgio Armani, and of course he has attracted the attention of global media heavyweight Oprah Winfrey. Given this track record, he is poised to move to the next level in terms of value and collectability. Makamo’s signature subject is children, but a wide variety of human subjects interest him. His work is also notable for its skill with many different mediums, ranging from charcoal to acrylic to oils, and extending to printmaking. Makamo’s most formal education in art was his years spent at the Artist Proof

Lot 6

Nelson Makamo b.1982 South Africa

Sleeping child 2018 unique screenprint with hand-colouring signed, dated and numbered E/V 2/3 in pencil along the bottom margin sheet size: 74 x 100 cm

R50 000 – 80 000

Studios in Johannesburg, learning this particular discipline, before branching out into the various works on canvas and paper that comprise his most recognisable work today. His interests as an artist revolve around human identity and the human condition: the repeated device of bespectacled children and adults, evident in the works on auction, reflects a concern with the vision people have for the future, and for a better society. Notable too is his concern with how people interact with technology, seen in the ambiguously amusing Girl seated on a television (2014). James Sey

Lot 7

Bambo Sibiya b.1986 South Africa

The Watchers III 2017 oil and charcoal on canvas signed bottom right and inscribed with the title 147 x 241 cm

R70 000 â&#x20AC;&#x201C; 100 000

Lot 8

Kay Hassan’s work is instantly recognisable. An integral part

Kay Hassan

of Johannesburg’s artistic fabric since the 1980s, he was also an

b.1956 South Africa

influential long-term inhabitant of Fordsburg’s well-known Bag

Portrait

Factory Studios, and has exhibited widely and internationally,

1999/2000

including at the second Johannesburg Biennale in 1997 and the

paper construction twice signed and dated bottom right and left 110 x 105 cm

Venice Biennale in 2015.

R160 000 – 240 000

auction is a fine example, take ubiquitous ‘township’ advertising

L IT E R AT U R E

cf. DaimlerChrysler. (2000). Kay Hassan. Germany: Hatje Cantz, similar works from the series illustrated throughout.

Hassan’s work is fascinating for its implicit socio-political critique. His ‘paper constructions’, of which the work on imagery and recontextualise it in a fine art idiom. This approach to the ‘defamiliarising’ of everyday objects also extended to Hassan’s installation work of the same period. Johannesburg by Day (1999–2000) illustrates perfectly the artist’s method of an almost situationist dérive around the city, deploying everyday objects to comment on the daily lives of its working class black citizens. This particular paper construction was made around the time that Hassan became the first recipient of the prestigious DaimlerChrysler Award for South African Contemporary Art in 2000. It is a powerful example of Hassan’s approach to these works. Comprised of recycled advertising billboard imagery, they are reconstituted, layered and constructed in such a way as to seduce the viewer with their painterliness, despite being composed of found materials. The recontextualising of the advertising images demonstrates Hassan’s ability to transform the mundane into the visually powerful and aesthetically pleasing. At the same time it implies a wry commentary on the extent to which the working classes of the townships are deprived of such aesthetic experiences in their lives. Taking these mundane commercial materials and turning them into beautiful painterly constructions makes Hassan’s work as powerful as that of many other artists who profess to be explicitly politically engaged. James Sey

Lot 9

Sam Nhlengethwa b.1955 South Africa

Miriam Makeba 2002 oil, fabric and collage on paper signed and dated bottom right 150 x 94 cm

R100 000 â&#x20AC;&#x201C; 150 000

Lot 10

Sam Nhlengethwa b.1955 South Africa

Singer 1994 oil and collage on paper signed and dated bottom right 64.5 x 62 cm

R80 000 – 120 000 NO T E S

This work was produced the same year in which the artist was presented with the Standard Bank Young Artist Award.

Lot 11

Robert Hodgins South African 1920–2010

Man Sprawling 2002 monotype signed and inscribed with the title in pencil along the bottom margin sheet size: 53 x 68.5 cm

R30 000 – 50 000

Lot 12

Diederick During South African 1917–1991

Basutho rider oil on board signed bottom left 49 x 56 cm

R30 000 – 50 000

Lot 13

Pranas Domsaitis South African 1880–1965

Stamping maize oil on card signed bottom right 39 x 46 cm

R30 000 – 50 000

Lot 14

Lot 15

Jackson Hlungwani

South African 1923–2010

Figure with bird

Bearded figure

carved wood 71 x 24 x 20 cm

carved wood 55 x 19 x 20 cm

R20 000 – 30 000

R30 000 – 50 000

Lot 16

Lot 17

Nat Mokgosi

Jackson Hlungwani

b.1946 South Africa

South African 1923–2010

Man and beast

Figure with necktie

1976 charcoal and pastel on paper signed and dated bottom right 56.5 x 40 cm

carved wood 163 x 19 x 9 cm

R20 000 – 30 000

R25 000 – 35 000

Lot 18

Ezrom Legae South African 1938–1999

Untitled (from the Chicken series) 1970 charcoal on paper signed and dated bottom right 23 x 46.5 cm

R20 000 – 30 000

Lot 19

Nat Mokgosi b.1946 South Africa

Adam Kissing Eve 1979 charcoal and pastel on paper twice signed and dated in the left portion; inscribed with the title on the reverse 61 x 50 cm

R35 000 – 40 000 EXHI BI TED

Standard Bank Gallery, Johannesburg, A Black Aesthetic: A view of South African Artists, 1970–1990, a similar example exhibited and illustrated in the catalouge on p.vi and p.44.

Lot 20

The late Dumile Feni is indisputably one of South Africa’s

Dumile Feni

most gifted and celebrated visual artists. From the onset,

South African 1942–1991

his work retains a powerful streak that combines visceral

Head

intensity and craftsmanship. Forced into exile in 1968 by the

circa 1980 bronze stamped with the Tallix Art Foundry mark 50 x 33 x 26 cm

Apartheid regime – never to return home alive again – Feni

R800 000 – 1 000 000

even today haunts us not withstanding an alleged change

PROVENANCE

Private Collection, Cape Town. Gallery MOMO, Cape Town. Dumile Feni Family Trust, Johannesburg. EXHIBITED

Gallery MOMO, Cape Town, Dumile Feni: Beyond the Line, 22 October to 28 November 2015. NO T E S

This sculpture was cast by the Tallix Art Foundry in New York between c.1981– 1987, thereafter it was repatriated from the USA.

placed an emphasis (by gradually mastering his line work) on the deranged and displaced interiority of his subjects, that in our society. Despite prevailing attempts at the time to trivialize him or the circumstances that somewhat restrained his creativity, Feni not only came to masterfully handle various mediums (sculpture, drawing, and even film) with precocious determination but also refused to be derailed from depicting, often quite disturbingly (which is also to say beautifully), prevailing (if mundane) social ills that tormented his surroundings. It’s the dissonance between the beauty and the terror that pervade the aesthetic and affective qualities of his work, that we see emerging in this sculpture quite forcefully. From the discordant intimacy between softness and hardness, to the jarring angular lines cutting through, or juxtaposed against rotund shapes, the work has an architectural quality. It repeats, but with a unique caveat, the repertoire of Feni’s oeuvre of elongated faces, and indeed his fascination with faciality, characteristic of his head sculptures. If the Other’s face makes demands on us, summons us to bear our own witness, then Feni’s heads have been a form of such a solicitation; a face-toface with or accounting for the existential travails of an othered reality. What we see here is ostensibly a physical deformity but is also a wounded spirit; a kind of social leprosy that our faces bare in the historical instance. Dumile Feni here, once more, is swinging. Athi Mongezeleli Joja

TWO VIEWS OF LOT 20

Lot 21

Gerard Sekoto has cemented his reputation as one of South

Gerard Sekoto

Africa’s most important black artists of the twentieth century.

South African 1913–1993

His work is always piercingly observational – not simply

Lady in Red

in the sense of a well-observed social realism or a slavishly

circa 1940 oil on board signed bottom left; printed with the artist’s name, the date and title on a label on the reverse 41 x 29.5 cm

representational style. His skill emerges in the dynamism with

R800 000 – 1 200 000

which he realises his subjects. In South Africa Sekoto has become increasingly influential for his position, along with George Pemba, as an early Black Modernist, documenting the black experience in the different societies in which he lived. His early work in South Africa, before his 1947 voluntary exile to Paris, was characterised by portraits, figure studies and the painting of urban scenes which brought vividly to life black society in the first decades of racial segregation, which would become high apartheid shortly after his exile. His potential as a painterly chronicler of the South African black experience was recognised immediately by critics and by his peers. John Koenakeefe Mohl, a friend and fellow artist, actively tried to dissuade Sekoto from leaving the country, seeing the value in Sekoto painting ‘our people, our life, our way of living, not speaking in the spirit of apartheid or submission’.1 This lambently beautiful figure study dates circa 1940, a year after Sekoto’s first Johannesburg exhibition as part of a group show at the well-known Gainsborough Gallery. A brilliant example of his early work, it demonstrates his grasp of colour, composition and characterisation. The humanity and quiet vitality of his subject shine through, proving the validity of Mohl’s pleas to Sekoto. The contrast between the woman’s red top, her blue headscarf and the consummately realised backlighting all make her face come vividly to life. James Sey 1 Gerard Sekoto Foundation website: http://gerardsekotofoundation.com/artistoverview.htm. Accessed 3 May 2019.

Â© Gerard Sekoto Foundation | DALRO

Lot 22

Belgian-born Maurice van Essche’s legacy is highly regarded,

Maurice van Essche

not only for the distinctive paintings he produced within a local

South African 1906–1977

milieu, but also for his academic work and contributions to the

Portrait of a woman

development and promotion of art locally and abroad. Soon

oil on board signed top left 46 x 26.5 cm

after arriving in Cape Town in 1940, he became a prominent

R70 000 – 100 000

figure in the arts – joining the New Group and teaching at the Wits Tech Art School. He founded the Continental School of Art in Cape Town, was a member of the International Art Club and formed part of the country’s début at the Venice Biennale in 1950. He subsequently lectured at the Michaelis School of Fine Art, University of Cape Town and in 1962 became a Professor. Van Essche came to Africa in 1939 on a year-long scholarship from the Belgian Government to undertake a commissioned painting expedition to the Congo, a sojourn the artist found deeply inspiring. For many years, Van Essche continued to produce work centred around Congo inspired themes, which formed a large part of his creative output. Congolese women (Lot 27) is a fine example of these studies. The work depicts a group of three women, dressed in apearantly ‘traditional’ attire, making their way through a dry landscape setting accompanied by a male figure. Van Essche’s rendering of the scene is more formal than exotic. The figures are simplified, yet beautifully elegant. Their stark white dress is immediately striking as it stands out from the warm hues of the background. Here, the artist clearly concentrates on the elements of grace, giving the slender figures a sense of rhythmical movement. The human subject also served van Essche’s thematic interests. The many figure studies he painted, each distinct in their

Lot 23

personal character, attest to his humanistic approach. He had

Maurice van Essche

a deep understanding and appreciation for Modern European

South African 1906–1977

painting, which cemented his stylistic methodology. As an artist,

Pregnant woman

he was primarily interested in formal analysis, however, his use

1969 oil on board signed and dated top right 59.5 x 40 cm

of geometrical conventions, dark outlines and solid planes of

R100 000 – 150 000

example. Both works are highly sophisticated in their emotional

EXHIBITED

Petit Palais, Geneva, 10 Artistes Contemporains, 28 November 1969 to 11 January 1970.

colours did not forego the human qualities of his sitters as in Portrait of a Woman (Lot 22) and Pregnant Woman (Lot 23), for subtlety, showing a compassionate sensitivity and intimacy in their portrayal. Marelize van Zyl

Lot 24

George Pemba South African 1912–2001

Mother and Child 1980 oil on board signed and dated bottom left; engraved with the artist’s name and the title on a plaque on the frame 61.5 x 46 cm

R250 000 – 350 000

PRO VEN A N CE

Everard Read, Johannesburg. LITERATU RE

Proud, H. & Feinberg, B. (1996) George Milwa Mnyaluza Pemba. Retrospective Exhibition Catalogue. Cape Town: Mayibuye Books and South African National Gallery, illustrated on p.100.

Lot 25

As Pierneef was gradually establishing himself as an artist and

Jacobus Hendrik Pierneef

painter in his early years in Pretoria, he was introduced to a group of artists from whom he learnt all about the potential

South African 1886–1957

merits of a variety of artistic mediums. An early friend and

Landscape with rolling hills

mentor was George Smithard (1873–1919), thirteen years his

1924 casein on paper laid down on card signed and dated bottom left 31.5 x 52 cm

His godfather, Anton van Wouw (1862–1945), was a driving

R400 000 – 600 000

concentrate on cultivating a rigorous and inventive artistic style

senior, who taught Pierneef woodcut and etching techniques. force in his life and developing career but it was a family friend, Frans Oerder (1867–1944), who encouraged Pierneef to that would capture the distinct qualities of the rugged plains and mountainous regions of this country. In time Pierneef readily grasped what these artists, with their Dutch training, were grappling with as they were accustomed to the generally more forgiving and overcast scenery of the European landscapes. This artistic approach was far removed from the unsettled and ever-changing weather of South Africa, with its dramatic cloud formations, the searing sun and its impact on the tonal colour variants within this landscape. Whilst experimenting with and working in different mediums such as casein, Pierneef soon understood how the harsh sunlight was inclined to neutralise, or even eliminate the more delicate hues within the rough undergrowth of the land, thereby creating broader segments of stronger and more pronounced colour on the picture plane as depicted in this superb painting which was executed in 1924. It is known that as a youngster, whilst in exile with his family in Europe during the Anglo-Boer War, Pierneef frequented the art museums where he studied the work of the French Impressionists amongst others, noting their views on the influence of sunlight on objects within a landscape. This early work also confirms the artist’s eagerness to engage with complicated compositional features within the South African landscape, set amongst an omnipresent light source and painted in casein, a fast drying, durable and notoriously difficult to wield medium, using vigorous brush strokes to capture the very moment. Eunice Basson

Lot 26

Maggie Laubser South African 1886–1973

Meidjie met Skape oil on board signed bottom left; inscribed with the artist’s name, the title and medium on a label on the reverse 48.5 x 38.5 cm

R300 000 – 500 000

Lot 27

Maurice van Essche South African 1906–1977

Congolese women oil on canvas signed bottom left 33 x 41 cm

R120 000 – 180 000

Lot 28

Peter Clarke’s artistic output is significant, and his legacy a very

Peter Clarke

important one in South African arts and culture. One of his

South African 1929–2014

greatest accomplishments was his ability to produce great art

Atlantic Sunset

in a range of different mediums – not only in his painting and

1972 oil on board signed and dated 30.12.1972 bottom right 45 x 57 cm

drawing, but in collage and in poetry. He occupied a central

R250 000 – 400 000

position in anti-apartheid cultural movements, but it is to his credit that his work was never defined by that agenda. His keen observational sense and his deep connections to his physical environment emerge strongly in all his art – his seminal early landscapes of Tesselaarsdal in the Overberg being a case in point. One of the strongest emotional ties he had as an artist was to the ocean. Growing up in Simon’s Town on the eastern side of the Cape Peninsula, and eventually working in the docks there, Clarke was strongly drawn to the magnificence of the

Photograph of sunset at Kommetjie, image supplied.

seascapes of the Atlantic Ocean. Clarke and his family would often visit the nearby coastal town of Kommetjie, famous for its pristine beach and stunning vistas. It was on one of these trips that Clarke produced this important work. Its precise dating – 30 December 1972 – puts it during the year-end holidays when Clarke would have had the time to properly appreciate the seascapes in front of him. It is also significant that it is an ambitious, relatively large scale work in acrylic – a medium relatively rare in his oeuvre. The idyllic scene of the sun setting over two tranquil fishermen out on the Atlantic Ocean is one that Clarke is clearly painting from his memories of the unspoilt and beautiful stretch of coastline. The painting stands out through his care and verve with his colour palette in his realisation of the deep and radiant sunset over the majestic Atlantic. There is an air of lasting peacefulness and tranquillity about the work. It is as if, on the cusp of a new year, Clarke is bidding the past a fond farewell. The painting is a wonderful example of Clarke’s larger-scale landscapes, and has never before come to the market. Unusually, and entirely coincidentally, the auction is taking place on what would have been Peter Clarke’s 90th birthday. James Sey 1 Rankin, E. and Hobbs, P. (2014) Listening to Distant Thunder: The art of Peter Clarke. Cape Town: Fernwood Press. p. 122. 2 Ibid. p.131.

Â© The Estate of Peter Clarke | DALRO

Lot 29

Diane Victor is renowned for the technical quality of her

Diane Victor

drawing: intricate, intense, detailed and nuanced, she is able to

b.1964 South Africa

convey drama, emotion and complex narrative structure simply

Stadium (from the Disasters of Peace series)

through her incredible technique.

2007 charcoal on paper signed bottom right 140 x 194 cm

difficult topics without fear, often taking a strong stance

R150 000 – 250 000

the series Disasters of Peace, commenced in 2001, is a brilliant

Her subject matter is rarely unchallenging. She tackles on socio-political and gender issues in artwork that is confrontational yet subtle and beautifully realised. Her work in case in point. The title of the series is a clear allusion to Goya’s Disasters of War series of prints from the early nineteenth century. The Spanish court artist expressed his revulsion for the trauma and debasement caused by the regional wars with France in explicit political works that weren’t publically displayed until after his death. In a similarly agitprop vein, Victor takes aim in her own group of drawings at the iniquities of contemporary South Africa. The Disasters of Peace series is notable for its monumentalism; Victor eschews her usual meticulously observed and penetrating character studies in favour of depictions of edifices and large-scale architecture which reveal something about the dark heart of South African public life. This drawing depicts the 2001 Ellis Park stadium disaster, where 43 football fans were crushed to death at a Soweto derby football match between Kaizer Chiefs and Orlando Pirates – the worst such disaster in South African football history. Victor imagines the scene as an apocalyptic collapse of the stadium itself, making this a companion piece for a drawing in the same series depicting the collapse of the bleakly iconic Voortrekker Monument. The dark subject matter is overshadowed, however, by the artist’s immense talent. The drama of the collapsing building, seen from an aerial vantage point that takes in a familiar Johannesburg skyline and the area surrounding the world-famous stadium, is meticulously and seductively rendered at a scale perhaps only Diane Victor, of all South African artists, could convincingly achieve. James Sey

Lot 30

If the aim behind early collage art was to undercut the rules

Sam Nhlengethwa

that defined a normative modern picture plane and its attendant

b.1955 South Africa

market valuations, for artists like Romare Bearden and later

Glimpses of the Fifties and Sixties (a suite of 30 photo collages)

Sam Nhlengethwa, the medium also offered a complementary

2002/3 photo collages on paper each signed and dated approximately 23 x 35 cm each (30)

inclination towards history, its fragility, and indeed temporal

R500 000 – 800 000 EXHIBITED

55th Biennale Arte, Venice, Italy, The South African Pavilion, 1 June to 24 November 2013. Gallery 1600, Atlanta, United States of America, Sam Nhlengethwa: Life, Jazz and Lots of Other Things, 21 July to 17 October 2014.

form that paralleled the fractured, if heterogeneous, reality of black social life. Nhlengethwa’s work has an unrelenting archaism; in the face of an always lurking amnesia. This isn’t to reduce his work to a sort of visual ledger, but to consider its archival proclivities, in which history is simultaneously memorialized, reconstructed, and sublimated. Here, historicizing and the collage medium aren’t just complementary forms of perceiving, but of fashioning a visual schema that is always already self-consciously open, fallible, and patched. Glimpses of the Fifties and Sixties (2003) presents a series of mixed media works – inflected by his iconic collage touch – which reconstruct the urban worlds of the first two decades

SCAD Museum of Art, Savannah, United States of America, Sam Nhlengethwa: Life, Jazz and Lots of Other Things, 18 February to 29 June 2014.

of Apartheid South Africa. These thirty pieces define the

National Arts Festival, Grahamstown, 2013.

not in isolation from each other. They depict congested urban

L IT E R AT U R E

urban social reality via their depiction of an everyday life in which the spectacular and the mundane occur in tandem and street life, decrepit household interiors, recreational spaces,

Maart, B. (ed.). (2013). Grahamstown: National Arts Festival. Imaginary Fact: Contemporary South African Art and the Archive, all 30 works in this lot illustrated on pp.114–127.

routinised police profiling, and so on; in no particular order.

Smith, K. (2006). Sam Nhlengethwa. Johannesburg: Goodman Gallery, all 30 works in this lot illustrated in colour.

of urbanity quite considerably. What one writer misdiagnosed

The sheer over-presence of black figures in the cities, despite apartheid’s interdictory logic informed by a historical ban on black visibility in public spaces, reconstructs apartheid’s sense in Nhlengethwa’s art as ‘spin-doctoring grotesquerie’1, is in

NO T E S

fact an expression of this disinclination towards characterising

The exhibition ran in parallel in Savannah with a major exhibition by revered AfricanAmerican artist Romare Bearden.

history through a straightforward, if not unspectacular, narrative discourse. Nhlengethwa’s sneak-peek into these decades engineers a complicated and indeed fraught time and space negotiated by differently positioned bodies, forcing us to imagine apartheid urban life, once more, against the grain, which is to say, not benignly or unproblematically. Athi Mongezeleli Joja 1 Jamal, A. (2017). Sam Nhlengethwa: Tribute, in In The World: Essays on Contemporary South African Art. Milano: Skira, p.232.

Lot 31

As William Kentridge’s brother, Matthew, attests in his

William Kentridge

absorbing recent monograph, ‘the Soho projects produced a

b.1955 South Africa

scattering of drawings – extraordinary artworks in their own

Untitled (Woman and café)

right – which do not make it into the final film’.1 Untitled (Woman and café) is one such extraordinary drawing. Produced

1992 charcoal and pastel on paper signed and dated bottom left 75 x 105 cm

in 1992, it follows directly after Kentridge’s first four films

R2 800 000 – 3 800 000

and Growing Old (1991), explores the competition between

chronicling property developer and Randlord, Soho Eckstein’s exploits and exploitations. The fourth film, Sobriety, Obesity Soho and Felix Teitlebaum for the affections of Mrs Eckstein. While Felix indulges his obsession, Soho comes to realise that he has to forego his empire to win back the love of his life. In this delightful drawing of the object of both men’s desire, Kentridge depicts Mrs Eckstein dancing naked in the throes of sensual pleasure. Water, often used by the artist to express sexual desire and fulfilment, is indicated here in the startling blue and turquoise marks that streak along the beach. Colour, so rare in a Kentridge drawing, signals an important shift as Matthew Kentridge suggests. ‘The moments of transcendence occur when water begins to flow – the landscape

Façade Empire Theatre, Muizenberg, 2019.

stops being spiky and arid, and calcified beliefs and emotions soften and evolve into something which allows for ambiguity and doubt’.2 Given the year of its creation – 1992 with South Africa on the cusp of a bright new future – might we read into the refreshing blue water here something inspirational, perhaps a suggestion of hope? ‘Drawing for me is about fluidity’ said Kentridge in an interview with Carolyn Christov-Bakargiev; ‘drawing is a testing of ideas; a slow-motion version of thought. … [T]he uncertain and imprecise way of constructing a drawing is sometimes a model of how to construct meaning’.3 The café to the right echoes the architectural lines of the Empire Theatre, designed by architect William Hood Grant and opened in 1941. Its elegant Art Deco façade is still visible today on the beachfront, a reminder of a bygone era in Muizenberg where the Kentridge family spent many a happy holiday. Emma Bedford 1 Kentridge, M. (2015). The Soho Chronicles: 10 Films by William Kentridge, London New York Calcutta: Seagull Books, p.77. 2 Ibid. p.41. 3 Interview: Carolyn Christov-Bakargiev in conversation with William Kentridge in Cameron, D., Christov-Bakargiev, C. and Coetzee, J. M. (1999). William Kentridge. New York: Phaidon Press Inc, p.8.

Lot 32

Phillemon Hlungwani b.1975 South Africa

Rural village, triptych 2008 charcoal on paper signed and dated bottom right 105 x 225 cm combined

R90 000 â&#x20AC;&#x201C; 120 000

Lot 33

Jacobus Hendrik Pierneef South African 1886–1957

Afrikaanse Kuns–en–Kultuurdag, Bloemfontein (Nilant 130) 1921 linocut signed and dated in pencil along the bottom margin image size: 15 x 10 cm

R25 000 – 40 000

PRO VEN A N CE

Commissioned on the occasion of the 1929 Afrikaanse Taal, Kultuur Konferensie, 18–19 December 1929.

Lot 34

Edith King South African 1871–1962

Landscape with Cosmos (View from Bonnefoi Home) circa 1956 watercolour on paper inscribed with the artist’s name, the date, title and ‘Authenticated by Leonora Everard Haden’ on the reverse 66 x 50 cm

R20 000 – 30 000

Lot 35

Edith King South African 1871–1962

Indigenous Tree Near Sea watercolour on paper signed bottom right; inscribed with the artist’s name, the title and ‘Authenticated by L. Everard Haden’ on the reverse 57 x 43 cm

R20 000 – 30 000

Lot 36

Over and above a variety of wide-ranging official commissions

Jacobus Hendrik Pierneef

that the artist received during his career, JH Pierneef’s enduring interest throughout his life was capturing and depicting the

South African 1886–1957

African veld in all its splendour – a fact unmistakably illustrated

Limpopo Valley

in this painting. The sheer majestic rock formations and

oil on board signed with the artist’s studio stamp bottom right; printed with the artist’s name and the title on a label on the frame 40.5 x 55.5 cm

multifaceted ruggedness of this Bushveld scene, in a region

R2 000 000 – 3 000 000

imposing panoramic expanse of the Limpopo valley, possibly in

where Pierneef often set up camp, constantly challenged his creative eye. This work demonstrates the artist’s quintessential compositional balance and simplification of forms in the the vicinity of Pontdrift. The viewer is presented here with the artist’s perceptive use of selected compositional elements such as the granite and sandstone outcrops, cloud formations and scattered acacia trees creating a balanced and harmonious composition. Moreover, with his discerning colour sensibility, Pierneef truly understood the enduring effects of the sweltering midday sun, almost subtly whitewashing his palette to imitate the effect of the intense light and create a canvas of this significance. In early 1952 Pierneef was commissioned by the City Council of the capital city Pretoria to undertake a large painting to commemorate the city’s centenary in 1955. However, due to various commitments plus a looming retrospective exhibition which was organised for March 1953 in Potchefstroom, this commission was only completed in July 1954. Soon after, an exhausted Pierneef and his wife left the city on a four month vacation with friends to the Seychelles. In early 1955 with ever more pressing social engagements, Pierneef and four other artists took part in a film made by the South African Tourist Corporation (Satour) entitled South Africa: a portrait in colour, but soon after this project it became clear that the artist’s health was gradually fading. He withdrew more and more, leaving the city for painting trips to the Pontdrift region of the Limpopo valley, a landscape which he loved, where he could rest and paint at leisure in an environment in which he was comfortable and content. In all likelihood, the work at auction was produced during one of these trips. In June 1956, he again spent some time at Pontdrift where he made preliminary drawings for paintings he was commissioned to do for the 1957 Satour desk calendar. In July 1957, the artist undertook his last trip to the Pontdrift region. He passed away in Pretoria on 4 October 1957. Eunice Basson

Lot 37

Known for his compassion, admired for his skill and revered for

Cecil Skotnes

his talent, Cecil Skotnes’ works continue to capture the creative

South African 1926–2009

imagination of viewers and are appreciated both locally and

Still life with fruit and bottles

abroad. Unsurprisingly, it was a work by Skotnes which became

acrylic on board signed bottom right 70 x 89 cm

Encyclopedia Britannica.1

R200 000 – 300 000

the first by a South African artist to be reproduced in the Skotnes is best known for his woodcuts, carved and incised panels and for his skill as a printmaker.2 His still lifes, such as this work, are seen more seldom, although he painted them throughout his career. His first professional exhibition in 1955, held at Whippman’s Gallery, Johannesburg, featured still life paintings and landscapes.3 Subsequent years saw Skotnes engage with more graphic media until his move to the Cape in 1979 marked his return to painting, with a large body of his oil paintings exhibited in 1981.4 In this work, Skotnes’ awareness of the spatial planes and compositions possible in various media is evident. Illustrating a more painterly rather than graphic approach by the artist, the objects and colours appear animated. Skotnes’ flattening of the foreground and background allows for the bottles and fruits to appear as if delicately balanced between sliding off the picture or retreating from the viewer. Bringing to mind the colours more closely associated with his African-inspired woodcuts and panels, the warmth of the painting, the poise of its composition and its more unconventional realism conjoin as if to celebrate a humble scene, but one that is no less picturesque. Marc Smith 1 Berman, E. (1975). The story of South African Painting. Cape Town: A.A. Balkema, p.224. 2 Proud, H. (2006). ‘Cecil Skotnes’. In Proud, H. (ed.), ReVisions: Expanding the Narrative of South African Art. South Africa: SA History Online and UNISA Press, p.160. 3 Harmsen, F. (1996). ‘Chapter 1: Artist Resolute’. In Harmsen, F. (ed.), Cecil Skotnes. Cape Town: South African Breweries, p.61. 4 Berman, E. (1983). Art & Artists of South Africa. Cape Town: A.A. Balkema, p.424.

Â© The Estate of Cecil Skotnes | DALRO

Lot 38

Pieter van der Westhuizen South African 1931â&#x20AC;&#x201C;2008

Interior with table and chair 2005 oil on canvas signed and dated top left 60 x 75 cm

R80 000 â&#x20AC;&#x201C; 120 000

Lot 39

David Brown South African 1951–2016

Wall piece 2005 wood, fabric, copper wire, found photographs and found object assemblage signed with the artist’s initials and dated bottom right 145 x 147 x 34 cm

R40 000 – 60 000

Lot 40

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

Ou Stal met Sinkheining 1980 oil on canvas signed and dated bottom right; signed and inscribed with the title on the reverse 41 x 51 cm

R120 000 â&#x20AC;&#x201C; 180 000

Lot 41

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

Twee Bome & Voorstedelike Huisies, Kaapse Vlakte 1980 oil on canvas signed and dated bottom left; signed and inscribed with the title on the reverse 41 x 56 cm

R140 000 â&#x20AC;&#x201C; 180 000

Lot 42

Maggie Laubser was born and raised on her parents’ wheat

Maggie Laubser

farm Bloublommetjieskloof in the Malmesbury district, Western

South African 1886–1973

Cape. Although her education and career would see her travel to

Wild Flowers

many places, life as a young farm-girl in the late 1800s and the

1958 oil on board signed bottom left; signed, dated, inscribed with the title and ‘Strand’ on a label on the reverse 55.5 x 45.5 cm

affinity for nature she gained then, would remain the primary

R800 000 – 1 200 000

impetus for the individual style and perspective which earned Laubser recognition as one of South Africa’s foremost artists. After attending the prestigious Slade School of Art in London, Laubser moved to Berlin in 1920 – just as German Expressionism was reaching its peak. Here, Der Blaue Reiter movement’s longing for unity with nature resonated greatly with Laubser. The expressionistic use of vivid colours and repetition of curved line and form in Franz Marc’s seminal work Blue Horses (1911) for example, has a notable likeness to much of the work Laubser created upon her return to South Africa.

Franz Marc Blue Horses.

In Meidjie met Skape (Lot 26) , Laubser uses complementary hues of red and green, and blue and orange to depict the female harvester in unity with her surroundings. The curvature of the clouds in the background is echoed in the slopes of the hills and again in the round of the sheep’s backs as they graze. At a time when the rest of the world was in the grip of industrialisation, Laubser dignifies and celebrates the woman working in harmony with the land. In 1947, Laubser moved to Strand, a coastal town in the Helderberg area, where she lived in her cottage Altyd Lig. In her later years, Laubser’s vivid colours became pastel hues, and familiar landscapes instead became imagined still lifes and scenes integrating living beings with nature. As a child on Bloublommetjieskloof, one of Laubser’s favourite chores was feeding the ducks and geese,1 it comes as no surprise therefore that the artist’s depictions of these birds have become some of her best-known works. Even in her seventies, when Laubser created Wild Flowers (1958), she continued to hark back and pay homage to the pastoral childhood that brought her such joy. At the time of her passing in 1973, hanging on the wall of her living room at Altyd Lig was a reproduction of Blue Horses.2 Lisa Truter 1 Berman, E. (1983) Art & Artists of South Africa. Cape Town: AA Balkema, p.252. 2 Van Rooyen, J. (1974) Maggie Laubser. Cape Town: Struik Publishers, p.22.

Â© The Estate of Maggie Laubser | DALRO

Lot 43

In a passage in their 2014 monograph on Peter Clarke1,

Peter Clarke

Elizabeth Rankin and Philippa Hobbs write eloquently about

South African 1929–2014

Every night she worries (that something terrible has happened) because he persists in coming home late 1999 pen and ink, acrylic, fabric and collage on paper signed bottom right and inscribed with the title; signed, inscribed with the title, medium and artist’s address on the reverse 64.5 x 48.5 cm

R140 000 – 180 000 EXHIBITED

‘In She worries because he comes home late every night (1999) two figures occupy the same building but seem isolated, separated from each other by the architecture of the house. […] The gulf between the two figures is also established through their opposing means of representation for, while one is a simple white form in the doorway, the other is a photocopy of a photograph of an artist Clarke had met in Baltimore in 1976. The starting point for the work is the way she appeared in the original photograph, as if waiting for something to happen. The woman looks anxiously out of the window [says Clarke] because her husband is late again, that is if he is coming. It is

Rivington Place, London, Wind Blowing on the Cape Flats, 15 January to 9 March 2013.

related to people whose husbands work out of town. It is also

Iziko South African National Gallery, Cape Town, Listening to Distant Thunder: The Art of Peter Clarke, 20 October 2011 to 19 February 2012.

come home. His body was found a few days later.

Standard Bank Art Gallery, Johannesburg, Listening to Distant Thunder: The Art of Peter Clarke, 4 May to 2 July 2011.

posts with shaped heads, commonly placed at the homes of the

L IT E R AT U R E

1 Hobbs, P. and Rankin, E. (2014). Listening to Distant Thunder: The Art of Peter Clarke. Cape Town: Fernwood Press, p.182

Hobbs, P. and Rankin, E. (2011). Listening to Distant Thunder: The Art of Peter Clarke, Johannesburg: Standard Bank of South Africa, illustrated in colour on p.182.

this work:

related to my cousin who lived in Heideveld and who did not The figure that accompanies her lonely presence is reminiscent of the elongated plank-like vigango commemorative deceased by Giryama traditionalists in East Africa.’

Â© The Estate of Peter Clarke | DALRO

Lot 44

Gregoire Boonzaier South African 1909–2005

Cottage and winter trees 1992 oil on artist’s board signed and dated bottom left 29 x 39 cm

R70 000 – 100 000

Lot 45

Gregoire Boonzaier South African 1909–2005

Huisies en Stroompie Kaapse Vlakte 1985 oil on canvas signed and inscribed with the title in Afrikaans and English on the reverse 32.5 x 36 cm

R60 000 – 90 000

Lot 46

Hugo Naudé South African 1868–1941

View of Hermanus 1912 oil on canvas signed and dated bottom right 40 x 60 cm

R250 000 – 350 000 PROVENANCE

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

Lot 47

Still life painting was a genre favoured by Erik Laubscher from

Erik Laubscher

the beginning of his artistic career in 1947. For him, it presented

South African 1927–2013

a means to explore, at once, all the essential elements of art.

Still Life with Turquoise Plate

The international Modern Abstract movements, particularly the

1964 oil on canvas signed bottom right; signed, dated and inscribed with the title on the reverse 48.5 x 53.5 cm

School, greatly influenced Laubscher to continuously explore

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

Fransen, H. (2009). Erik Laubscher: A Life in Art. Stellenbosch: SMAC Art Gallery, illustrated in colour on p.118.

avant-garde contributions of the École de Paris and New York new ways of seeing. The numerous still lifes he produced throughout his career came to reflect his personal stylistic developments and achievements. By the 1960s, hard-edge abstraction became the distinctive feature of Laubscher’s more mature signature style. Still Life with Turquoise Plate (1964) is an exceptional painting from this period, showing the artist’s innovative studies in geometric and spatial organisation. Laubscher painted this still life in 1964, the same year he presented his critically acclaimed solo exhibition at the Strand Galleries in Cape Town. Of this body of work, critic Neville Dubow commented on Laubscher’s ‘ability to handle strident colour’ and ‘his incisive feeling for form’.1 As subject matter, Laubscher chose three modest, readily available objects from his immediate surroundings (both the jug and the blue plate are well-liked objects which reappear in various other still lifes from the time) and arranged them in a formal construction on a plain surface, set against a nondescript background. He renders these objects into bold, flat outlines filled with complementary and warm colours, accented by areas of texture. He also simplified perspective, allowing one to observe closely how the various shapes of colour connect. The compositional relationship between all these pictorial elements is of importance in this painting. For Laubscher, this was a primary method of taking the ‘art of painting’ away from a purely representational function and directing it more towards abstraction. It is this balance between ‘form for it’s own sake’ and the artist’s enduring interest in the reality from which it was derived, that embodies the true character of Laubscher’s abstract expression. Still Life with Turquoise Plate is a visually strong and composed work, powerful in its seriousness, and complicated in its simplicity. Marelize van Zyl 1 Fransen, H. (2009). Erik Laubscher: A Life in Art. Stellenbosch: SMAC Art Publishing, p.92.

Lot 48

Gavin Younge b.1947 South Africa

Steinkopf III 1986 bronze stamped with the artist’s name, dated and numbered 1/5 54 x 37 x 29 cm

R40 000 – 60 000

Lot 49

Walter Battiss South African 1906–1982

It depends on how you were brought up watercolour on black paper signed and inscribed with the title bottom right 34 x 45 cm

R35 000 – 50 000

TWO VIEWS OF LOT 48

Johannesburg – Second Greatest City after Paris Time stamp: 02:24

Monument Time stamp: 09:20

Mine Time stamp: NA

Monument Time stamp: 09:56

Sobriety, Obesity and Growing Old Time stamp: 24:03

Sobriety, Obesity and Growing Old Time stamp: 18:39

Lot 50

William Kentridge b.1955 South Africa

4 Films issued in 1993 colour screenprint and VHS cassette screenprint signed; VHS dated 03/01/93 and printed with the title screenprint from an edition of 25 screenprint sheet size: 19.5 x 25.5 cm

R100 000 – 150 000 NO T E S

VHS tape with 25:32 minute VHS NTSC DUB film, sound component and silkscreen cover 1. Johannesburg – 2nd Greatest City after Paris, 1989 (8 mins, 2 secs) 2. Monument, 1990 (3 mins, 11 secs) 3. Mine, 1991 (5 mins, 49 secs) 4. Sobriety, Obesity and Growing Old, 1991 (8 mins, 15 secs)

Lot 51

After commencing his career as a full-time artist in 1988,

Joachim Schönfeldt

Joachim Schönfeldt was chosen as one of the artists for the

b.1958 South Africa

first South African pavilion at the Venice Biennale in 1993,

Saw (Adaye)

the country’s first participation since the days of apartheid

1992 carved and painted wood sculpture signed and dated; dome signed, dated and inscribed with the series title sculpture: 180 x 85 x 61 cm; dome: 57 x 202 (diameter) cm

isolationism. This piece, titled Saw, was created in 1992 as

R250 000 – 300 000 EXHIBITED

part of Schönfeldt’s on-going series of various works produced under the title Curios and Authentic Works of Art1, which has since included other sculptures, drawings and prints investigating questions of authenticity in relation to the production of African arts and crafts. Constructed out of eucalyptus wood, the central sculpture,

45th Venice Biennale, In Croce del Sud (Southern Cross), 13 June to 10 October 1993.

a three-headed cow, is a recurring figure within Schönfeldt’s

Everard Read Contemporary, Johannesburg, The New Patron, 1993.

mythological figure. The cow sits within a kind of echo

Warren Siebrits Modern and Contemporary, Johannesburg, Joburg Art Fair, 3 to 5 April 2009.

reflecting them back to the sculpture beneath. This mimics the

L IT E R AT U R E

Bell-Roberts, B. (ed.) (2009). Art South Africa. Vol. 7, Issue 3, illustrated on p.7. Joannais, J. (1994). Un Art Contemporain d’Afrique du Sud. Paris: Editions Plume, illustrated on p.61.

work, which reflects an attempt to create a uniquely African chamber, catching the sounds made beneath the dome and visual conversation between the central figure and the figures above it, attached to the edges of the dome. The inscriptions on the inside of the dome give a clue to the conversation that these figures might be having and offer some substance to Schönfeldt’s approach to the interaction between the marginalised African continent and Europe within the context of his participation in the 1993 Venice Biennale. The inscriptions make reference to what Schönfeldt refers to as ‘I veri mercanti di Venezia’, the ‘true merchants of Venice’ – African traders whose long history of interaction with the Italian merchant state extends back over centuries and has long been erased from official histories of the city. A further inscription salutes these merchants using the derogatory Italian slang phrase ‘Vu Cumpra’, a term initially derived from African merchants’ mispronunciation of the phrase ‘Vuio comprare?’ meaning ‘Want to buy?’, and now used as a slang term for hawkers in general. A third inscription celebrates Venice’s ‘Fratelli Africani’, or ‘African brothers’ and ties the piece together as a celebration of the long history of interaction between the continent and Africa, which also asks those who interact with it to reconsider and embrace this history – a sentiment particularly poignant in this era of refugee migrations and exclusions. 1 Interview with the artist April 2019

Tymon Smith

Image courtesy of Warren Siebrits Modern and Contemporary Photograph by Bob Cnoops

Lot 52

Edoardo Villa South African 1915–2011

Confrontation, maquette

The immense steel sculpture Confrontation (1978) is among Edoardo Villa’s best and most important works. Almost four metres high, the work marks a major conceptual departure in the sculptor’s approach in the late seventies. Angular, cut steel,

1978 painted steel stamped with the artist’s name, dated and inscribed with the title on a plaque on the base 106 x 105 x 49.5 cm

vertical forms and sharp planes replaced both the organic,

R600 000 – 900 000

Villa’s major statements after the national trauma of the

L IT E R AT U R E

Nel, K., Burroughs, E. and Von Maltitz, A. (2005). Villa at 90: His Work, Life and Influence. Johannesburg: Jonathan Ball, illustrated on p.72 beside the sculpture for which it is the maquette. NO T E S

The sculpture is the maquette for the larger version included in the Rand Merchant Bank Collection.

sensual curvature of his earlier figural works, as well as the playfulness of his painted sculpture. It is no accident that Confrontation appears as one of Soweto uprising of 1976. While never an explicitly political artist, he did make several works that alluded to sociopolitical circumstances. The Prisoner series in the early 1980s is an example of this, but Confrontation is perhaps his most magisterial comment on the racial conflict and dangerous anger of the high apartheid era, emblematised by 1976. Villa allowed the monumental, outdoor sculpture to rust, emphasizing the ideas of conflict and decay as the grouped figures took on different shades of red-brown and oranges. It has been suggested that the full-scale work is not best served by its current ownership in a corporate collection, that it should be a more prominently public work on view to remind South Africans of the history that the country overcame. The maquette is an accurate version of the finished larger

Villa’s Kew sculpture garden with Confrontation in the foreground and it’s maquette on the far left.

work in every detail barring, obviously, its scale, but also that it is painted black. Both factors enable the viewer to better understand the inherent tensions among the grouped vertical figures; the harsh cuts and planes inclining aggressively towards each other or off at acute, dismissive angles. The drama of the larger finished work is maintained in this version, its allegorical significance undiminished. The maquette presents a rare opportunity for collectors to own a manageably-sized piece of Villa’s legacy and to own a key reference to one of his most important conceptual and political sculptures. James Sey

Lot 53

Wim Botha is an award-winning multimedia artist, and

Wim Botha

is a previous recipient of both the Standard Bank Young

b.1974 South Africa

Artist Award and the Tollman Award. His sculptural work

Untitled (Nebula 5 with Bywoner)

is particularly prized, and is exhibited internationally. His

2014 Carrara marble on a wooden base 174 x 48 x 30.5 cm including base

years, using different materials in different iterations. Some of

R400 000 – 600 000 PROVENANCE

Stevenson, Cape Town. EXHIBITED

Stevenson, Cape Town, CHROMA, 27 November 2014 to 17 January 2015. L IT E R AT U R E

Stevenson. (2014). CHROMA. Unpublished, illustrated in colour on pp.40–43.

Nebula series of sculptures manifests itself over a number of the Nebula figures, usually busts on customised plinths, are carved, evocatively, from the compressed pages of old copies of the Encyclopedia Britannica, once the authoritative repository of knowledge and now a signifier of outmoded thinking and dead media. Others are carved from humble pine wood or polystyrene, elevating the commonplace materials with the classical sculptural form. In this particular iteration of the series the material is white Carrara marble, the time-honoured Tuscan variety beloved of sculptors from the Classical period to the Romantics. Botha plays with the weighted historical expectations of his material in this piece, fashioning a figure caught expressively between serene realist representation and a misshapen, gouged parasitic figure, perhaps the ‘bywoner’ of the title. The fragmented, ‘exploded’ bust is reminiscent of the tortured characters in a Francis Bacon painting, a lineage that Botha also draws on for the energy it brings to his sculptural work. The dynamism of other sculptural work by Botha is clear – the earlier Prism series of bronzes (2011), for example, brings a sense of high drama to the depiction of temporality and motion. This example from the Nebula series is a work of more deliberate intent – the skill with which the recognisable human bust is finished contrasts radically with the scored and rough-hewn shapes that emerge from behind and around its head. The choice of ‘bywoner’ (the Afrikaans word for a white tenant farmer working on someone else’s farm) conjures up a parasitical relationship, dramatised by the contrasting degree of finish and refinement in the two separate but conjoined parts of the sculpture’s head. James Sey

Lot 54

Alexis Preller continues to have a significant presence in the

Alexis Preller

local auction market and has become a more rareified and

South African 1911–1975

selective signature for international collectors. Values in an

Christ Head

established virtuous collecting cycle for his work in the South

oil on canvas 153 x 123 cm

African market, buoyed by the appearance in 2009 of Berman and Nel’s magisterial biographical monograph,1 have remained

R4 000 000 – 6 000 000

constantly high for the right works in the decade or so since his

PROVENANCE

paintings first breached the one million Rand mark. Since then,

Purchased from Volks Auctioneers, Pretoria in 1977.

top-quality examples from across his oeuvre began to find their

L IT E R AT U R E

cf. Berman, E. and Nel, K. (2009). Alexis Preller: Collected Images. Johannesburg: Shelf Publishing, a similar work illustrated and analysed on pp.81 & 122–123.

way to market as owners became keen to capitalise on the rise in value. The uniqueness of his oeuvre is only fully appreciated today, after much of his finest work has come to auction. What can, with hindsight, be identified as the final phase in his career is marked by being somewhat more cosmic and esoteric, often in work that is more gestural and textured. A group of these paintings, using Preller’s visioning of the biblical figure of Adam, appears regularly in his later years, and the Christ Head figure, as in this work, is by this late phase an established lineage in his iconography. But the painting is by no means only

Still from SABC Men of Merit featuring Alexis Preller, 1976.

about the three-quarter profile figure in its centre. Some exhaustive art historical forensic work has established the painting as the last one Preller worked on before his death in 1975. The uncharacteristically large piece is shown in situ in the final sequence of the SABC documentary on Preller from the 1970s. In their biographical catalogue, Berman and Nel mention another work, Marathon II (1975), as being the very last Continued on page 88

Continued from page 86

finished work the artist touched before his death, immediately prior to its shipping to Johannesburg’s Goodman Gallery for his final exhibition.2 As he was still working on Christ Head, as depicted in the final scenes of the SABC Men of Merit film in 1976, in the artist’s studio with an oil rag draped over it, this makes Christ Head conclusively his final work. Further infrared analysis of the painting by researchers at the University of Pretoria has very recently established that Preller had applied the layer of white oil paint surrounding the Christ head deliberately, over an undercoat, and had been in the process of finishing the overpainting of the work which explains its lack of signature. The scientific process exposed the paint layer below, comprised of yellow, green and turquoise hues echoing the forms and shades seen above the figure’s eyes. The fact that the white area surrounding the head was applied in oil paint, rather than a primer, indicates that this was intentionally a top-layer application which was meant to be visible to the viewer. Perhaps this was intended to mimic Preller’s three-dimensional intaglio paintings, except as an inverted two-dimensional version. Other prognoses indicate that the white paint was intended as a base for a lighter halo-like form to ensconce the head. What Preller’s exact intention was will forever remain unclear, a fact that only adds to the mystery and enigma associated with this distinctive and extraordinary artwork. Christ Head is therefore by definition a unique painting – and by definition never before seen anywhere in the art collecting market. James Sey and Ruarc Peffers 1 Berman, E. and Nel, K. (2010). Alexis Preller: Africa, the Sun and Shadows. Johannesburg: Pan MacMillan/Shelf. 2 Ibid. p.322.

SOUT H AFRICA N PH OTO GRAP HY Having only been invented in 1839, photography, in terms of its

in exile. What stands out about the image making from this period

curatorial, art historical and market value, lags behind other more

is the extent to which photographers were so often able to take the

traditional mediums such as painting and sculpture. Which in certain

medium beyond simple truths, shaping point-of-view, focus, frame,

respects is ironic, given photography’s dramatic impact on the

crop, tone and texture into something with a much greater visual

form and content of modern art – from the mid-nineteenth century

complexity. This is where a photographic tradition and culture that

onwards – that the international artworld now values so highly. While

is not only particularly South African, but also now internationally

MoMA in New York began collecting photography in 1933, and by

recognised and renowned, began to emerge and take shape. Today,

1940 had established a photography department, the Tate Modern in

South African photography holds an especially unique position on

London only appointed its first photography curator in 2011. Between

the global art stage.

them these two institutions now hold photo-based works by a number

With a meaning and identity so rooted in anti-apartheid struggle,

of contemporary South African artists and photographers, including

South African photography could have so easily faltered after 1994.

Roger Ballen, Candice Breitz, Adam Broomberg (with Oliver

But for a number of reasons it recalibrated and segued off this anti-

Chanarin), David Goldblatt, Santu Mofokeng, Zwelethu Mthethwa,

apartheid foundation. While some of this refocus looked back into

Zanele Muholi, Jo Ractliffe, Robin Rhode, Berni Searle, Mikhael

the archival past with different kinds of hindsight, other instances

Subotzky, Guy Tillim, and Sue Williamson.

have come to sit on the very edge of how we understand the present.

While not indicative of a wider South African photographic

The representational qualities and opportunities that are a given in

practice, both historical and contemporary, this group of

photography – largely by virtue of its mechanical reproduction –

photographers and artists nonetheless reflect the range of

have in turn given artists an uncanny freedom to make conceptual

approaches to a medium that has had a complicated relationship

plays with the medium. It’s often what draws artists in and out of

to what is real, and by implication, what is true. This quality

photography, to explore the medium without necessarily being or

has oftentimes been a burden – on the one hand, exploited for

even identifying themselves as photographers.

the purposes of power and control, and on the other hand, a

It was an example of this last kind of photograph that was

straightjacket from which both artists and photographers first tried,

headlined earlier this year when a work by Athi-Patra Ruga became

and then eventually succeeded in freeing themselves.

the first South African photograph to break, by some margin, the

Dehumanising uses of the medium abound in the early history of

R1m barrier at a local auction when the hammer fell at R1.5m. The

South African photography. During the colonial era, photography

sale builds on a recent world record price at auction for Guy Tillim,

was regularly used in the service of ‘science’ to peddle racial

and South African records for Pieter Hugo and Mikhael Subotzky,

stereotypes. And then during apartheid, portrait photography was

indicating the collecting potential in the photography market.

a pivotal component of how the pass book regulated the movement

The visual and intellectual complexity of the medium, as well as

of people. But photography also became involved in another kind

consistent gallery, museum, curatorial and art historical validation,

of reality – variously exposing, opposing and resisting apartheid,

shows the potential of photography as a medium that is integral to

and in a range of registers, from the immediacy and directness of

new directions in contemporary South African art.

photojournalism to the poetics of more measured interpretations. It was mostly photography taken here, but also elsewhere, and often

Rory Bester

LEFT (DETAIL)

Lot 59 David Goldblatt Boiler House Supervisor, City Deep, Johannesburg. 1966.

Lot 55

Zanele Muholi b.1972 South Africa

Sasa, Bleecker, New York, 2016 (from the Somnyama Ngonyama series) 2016 archival pigment ink on Baryta fibre paper number 39, from an edition of 60 image size: 42 x 56 cm

R35 000 – 45 000 PROVENANCE

Produced as part of the Editions for ArtThrob.

N O TES

Accompanied by a certificate of authenticity signed by the artist. Zanele Muholi is among the most important living photographers. Muholi’s work has been universally praised for its technical eloquence and composition, and its re-framing and re-definition of the black queer and trans visual narrative within South Africa and globally. Zanele Muholi’s recent honours include: France’s Chevalier de l’Ordre des Arts et des Lettres, 2018; The International Centre of Photography, New York, Infinity Award for Documentary and Photojournalism, 2016; shortlisted for the Deutsche Börse Photography Prize, London, 2015 for the publication Faces and Phases 2006–14 (Steidl/The Walther Collection); Fondation Blachère award, Les Rencontres de Bamako, Mali, 2009.

Lot 56

Cindy Sherman b.1954 United States

Untitled, 1975 1975, printed 2004 c-type print signed, dated 1975/04 and numbered 194/225 in pencil on the reverse sheet size: 25 x 20.5 cm

R50 000 – 70 000 PROVENANCE

Acquired from a private dealer, New York. EXHIBITED

Brooklyn Museum, New York, Burning Down the House: Building a Feminist Art Collection, 31 October 2008 to 5 April 2009, another example from the edition exhibited. NO T E S

Another example from the edition is included in the permanent collection of the Brooklyn Museum, New York. Cindy Sherman is one of the most influential contemporary artists of our time. In her decades-long investigation into the relationship between media, culture and personal identity, her work has become a tool for understanding the singular ability of photography to obliquely question the values of society. Among her earliest professional projects, Cindy Sherman’s Untitled Film Stills (1977–80) offer an acute awareness of art historical and photographic traditions of self-portraiture, though her images of herself in altered identities are not art-historically considered to be strictly self-portraits but rather investigations of female-gendered stereotypes. Throughout that seminal body of images, Sherman masterfully transforms her own appearance, casting herself in the starring role of a range of traditionally and stereotypically 20th century female film noir tropes. This work predates Untitled Film Stills and is an earlier exploration of self-portraiture made when she was studying art at the State University College at Buffalo, New York (1972–6). Sherman references in this work the early 20th century French artist and thinker Claude Cahun, who is best known for her provocative gender-fluid photographic self-portraits. The resulting photograph alludes masterfully to Cahun’s rich oeuvre, while forging a new path within the tradition of self-portraiture. Highlights of Sherman’s exhibition history include solo shows at the Serpentine Gallery, London; Museum of Modern Art, New York ; Kunsthalle Basel and Jeu du Paume, Paris, among many others.

Lot 57

Mikhael Subotzky b.1981 South Africa

Members of the African Christian Church pray on a hillside above Yeoville and Hillbrow in Johannesburg (from the Ponte City series) 2005 archival pigment ink on 308gm Hahnemühle PhotoRag signed and dated in pencil; stamped ‘this is a P.P.’ in ink in the bottom margin from an edition of 7 + 1 AP sheet size: 55.5 x 247 cm

R60 000 – 80 000

N O TES

Subotzky’s recent honours include: Deutsche Börse Photography Prize (for the book Ponte City, in collaboration with Patrick Waterhouse), London, 2015; Standard Bank Young Artist of the Year for Visual Art, Grahamstown, 2012; Discovery Award, Rencontres de la Photographie, Arles, 2011; The International Centre of Photography Infinity Award, New York, 2008; accepted as youngest full member of Magnum Photos, 2008; Special Jurors’ Prize, Les Rencontres Africaines de la Photographie, Bamako, Mali, 2005.

Lot 58

David Goldblatt South African 1930–2018

Boiler House Supervisor, City Deep, Johannesburg. 1966 1966, printed later gelatin silver print signed and dated in pencil on the reverse number 2, from an edition of 10 image size: 40 x 40 cm

R150 000 – 250 000 PROVENANCE

Goodman Gallery, Johannesburg. Other examples from the edition are included in the Homestead Collection, and are on long term loan to the Norval Foundation, Cape Town. EXHIBITED

celebrated historic series, On the Mines. Both images were

Norval Foundation, Cape Town, David Goldblatt: On the Mines, 13 February to 11 August 2019, another example from the edition exhibited.

included in the last exhibition that David Goldblatt actively

Museum of Contemporary Art Australia, Sydney, David Goldblatt: Photographs 1948–2018, 18 October 2018 to 3 March 2019, another example from the edition exhibited.

Town this year, the exhibition comprises eighty photographs

Goodman Gallery, Johannesburg, David Goldblatt: On the Mines, 25 October to 21 December 2012, another example from the edition exhibited.

Different selections from the collection appeared first in 1968,

L IT E R AT U R E

essay by Goldblatt’s lifelong friend, Nobel laureate Nadine

Kent, R. (ed.) (2018). David Goldblatt: Photographs 1948–2018. Sydney: Museum of Contemporary Art Australia, another example from the edition illustrated on p.126.

helped conceptualise before his death in 2018. Staged in its entirety for the first time at the Norval Foundation in Cape of the inner workings, the surrounding communities, and the people, both black and white, which drove South Africa’s Witwatersrand gold mining industry in the 1960s and 1970s. and the first edition of a book documenting the collection appeared through Struik publishers in 1973, with a seminal Gordimer.1 The book including Gordimer’s essay was updated in 2012 for a European audience through Steidl publishers.2 Goldblatt’s aim was to document the various facets of life on

Goldblatt, D. and Vladislavic, I. (2010). TJ: Johannesburg Photographs 1948–2010. Rome: Contrasto, another example from the edition illustrated on p.52.

the Witwatersrand mines at the time, but his work goes far

Goldblatt, D. and Gordimer, N. (1973). On the Mines. Cape Town: Struik Press, another example from the edition illustrated plate 43.

character study of the boilerhouse supervisor should be

Goldblatt, D. and Gordimer, N. (2012). On the Mines. Göttingen: Steidl, another example from the edition illustrated on p.96 and 137 – titles for Lots 59 and 60 are taken from this authoritative edition.

Continued on page 98

NO T E S

Accompanied by a certificate of authenticity from Goodman Gallery, Johannesburg.

These photographs are two of the finest examples from the

beyond journalistic photodocumentation. Of the two editioned prints on offer in this auction, the familiar to collectors of Goldblatt’s later work. The centrality

Lot 59

David Goldblatt South African 1930–2018

The last of the bigger rocks has just been dropped into a kibble. Now, with shovels, the team “lashes” (loads) the small stuff into the kibble. 1969, printed later gelatin silver print signed and dated 1969/70 in pencil on the reverse number 5, from an edition of 10 image size: 49.5 x 30 cm

R150 000 – 250 000 PROVENANCE

Goodman Gallery, Johannesburg. EXHIBITED

Norval Foundation, Cape Town, David Goldblatt: On the Mines, 13 February to 11 August 2019, another example from the edition exhibited. A4 Arts Foundation, Cape Town, Picture Theory: An interaction with the work of David Goldblatt, 25 October 2018 to 7 February 2019, another example from the edition exhibited. Museum of Contemporary Art Australia, Sydney, David Goldblatt: Photographs 1948–2018, 18 October 2018 to 3 March 2019, another example from the edition exhibited. Centre Pompidou, Paris, David Goldblatt: Structures of Dominion and Democracy, 21 February to 13 May 2018, another example from the edition exhibited. Goodman Gallery, Johannesburg, David Goldblatt: On the Mines, 25 October to 21 December 2012, another example from the edition exhibited. L IT E R AT U R E

Kent, R. (ed.) (2018). David Goldblatt: Photographs 1948–2018. Sydney: Museum of Contemporary Art Australia, another example from the edition illustrated on p.108. Ziebinska–Lewandowska, K. (ed.). (2018). David Goldblatt: Structures of Dominion and Democracy. Göttingen: Steidl, another example from the edition illustrated on p.61. Goldblatt, D. and Gordimer, N. (2012). On the Mines. Göttingen: Steidl, another example from the edition illustrated on p.113. Goldblatt, D. and Gordimer, N. (1973). On the Mines. Cape Town: Struik Press, another example from the edition illustrated on dust jacket cover and plate 37.

Continued from page 96

of its subject is offset by the monumentalism of the surrounding environment, giving a sense of the scale of the machinery required by an industry extracting minerals far beneath unfathomable weights of rock and landscape. It is in that sense a landscape image, despite being ostensibly an interior shot and a figure study. The subject’s diffident gaze out of the frame marks perhaps both his reluctance to be in the frame at all, but also Goldblatt’s skill in composition; the sideways gaze allowing the viewer to observe more clearly both subject and background. The other image, of the team of black underground miners shovelling small rocks into the ‘kibble’, is nothing short of astonishing. All of Goldblatt’s life experience growing up on a West Rand mine comes to bear in a powerfully haunting image that recalls the unforgettable scenes of the underground workers filing in unison into the maw of the great machine Moloch in Fritz Lang’s classic Expressionist film Metropolis (1927). James Sey 1 Goldblatt, D and Gordimer, N. (1973). On the Mines. Pretoria: Struik, p.137. 2 Goldblatt, D and Gordimer, N. (2012). On the Mines. Göttingen: Steidl Verlag, p.113.

N O TES

Accompanied by a certificate of Authenticity from Goodman Gallery, Johannesburg. Other examples from the edition are included in the Homestead Collection, and are on long term loan to the Norval Foundation, Cape Town.

Lot 60

Few contemporary photographic series are as widely

Pieter Hugo

recognisable as the works from Pieter Hugo’s ‘Gadawan Kura’–

b.1976 South Africa

The Hyena and Other Men I and II. Of all the photographs

Mallam Mantari Lamal with Mainasara, Abuja Nigeria 2005

from this famous series, this is perhaps the best-known and

2005 archival pigment ink on 100% cotton rag paper signed, dated, numbered 1/5 and inscribed with the title in pencil along the bottom margin sheet size: 112 x 110 cm

R400 000 – 600 000 PROVENANCE

Prestel book The Hyena and Other Men, first published in 2007. Since it first burst into public imagination with a debut at Michael Stevenson, Cape Town in 2005, we have been captivated by and sought to understand the seemingly impossible relationship between man and beast evidenced in these images. The history of the series has taken on a mythology nearly as legendary as the images themselves: Hugo first learned of the itinerant performers from an online cell phone image snapped

Michael Stevenson Contemporary, Cape Town.

from a car window, that mislabeled the animal handlers as

EXHIBITED

who wrote the essay for the book of the series, worked to clarify

FOAM Fotografiemuseum Amsterdam, Amsterdam, The Hyena & Other Men, 5 September to 2 November 2008, another example from the edition exhibited. Les Rencontres D’Arles Photography, Arles, 13 July to 14 September 2008, another example from the edition exhibited. Yossi Milo Gallery, New York, The Hyena and Other Men, 29 November 2007 to 10 January 2008, another example from the edition exhibited. Michael Stevenson, Cape Town, Pieter Hugo ‘Gadawan Kura’ – The Hyena Men series 1, 2005, another example from the edition exhibited. L IT E R AT U R E

Abiola, A. and Hugo, P. (2007). The Hyena and Other Men. Munich: Prestel, an example of this image illustrated in colour on the cover and within, unpaginated. NO T E S

Accompanied by a copy of Hugo, P. and Abiola, A. (1999). The Hyena and Other Men. Hugo’s honours for this and other series include: shortlisted, Deutsche Börse Photography Prize, 2012 (Permanent Error); shortlisted, Prix Pictet, 2008 (Permanent Error); Seydou Keïta Award, Rencontres de Bamako African Photography Biennial, Mali, 2011; Discovery award, Rencontres d’Arles, 2008 (Hyena Men); Standard Bank Young Artist for Visual Art, Grahamstown, 2008; FOAM KLM Paul Huf Award, Amsterdam, 2008; first prize, Portrait section, World Press Photo, Amsterdam, 2005 (Hyena Men).

100

most regarded, as it was selected as the cover image for the

‘debt-collectors’. Local Nigerian journalist Adetokunbo Abiola, the identities and locations of the troupe, which is part of the Hausa community. Hugo travelled to Nigeria in both 2005 and 2007 and was faced with the seemingly impossible task of locating the itinerant group which operates on the geographic and legal peripheries of Nigeria’s major cities, within a vast country of nearly 200 million people. After initially planning to photograph the public spectacle of the performance, Hugo’s focus rather became more personal, more intimate: the most compelling story was the seemingly contradictory connection between the animals and their handlers, of which Hugo says: ‘[it] was more interesting than all the fireworks of the performance. There was something very strange going on between the guys and the hyenas, bordering on sadomasochism. These animals had been taken out of the wild as pups. They couldn’t return. They were entirely dependent on these guys for food. And these men were dependent on the animals for their livelihoods. They needed each other, but it wasn’t an easy symbiosis’.1 While much has been written about the Hyena Men series, the images themselves resist easy interpretation. They offer instead a window into a delicate and complicated balance of power between man and beast. Kathryn Del Boccio 1 Pieter Hugo interviewed by Edward Siddons (2018). ‘Pieter Hugo’s best photograph: the hyena men of Nigeria’, The Guardian, 19 July Available at: https://https://www.theguardian.com/artanddesign/2018/jul/19/pieter-hugobest-photograph. Accessed 26 April 2019.

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Lot 61

Guy Tillim b.1962 South Africa

Departure folio c.1994–2003, printed later archival pigment ink on 308gm Hahnemühle PhotoRag signed and inscribed pp in pencil along the bottom margin from an edition of 12 sheet size: 42 x 59.6 cm each, 1 framed, 39 unframed (40)

R500 000 – 800 000 EXHIBITED

Daimler Contemporary, Berlin, Guy Tillim: Daimler Award for South African Photography 2004, 17 June to 22 August 2018, various examples from the folio exhibited. Michael Stevenson Contemporary, Cape Town, Leopold and Mobutu, 12 May to 19 June 2004, another example exhibited, Goma residents salute Laurent Kabila after his army takes the city, 1997. Michael Stevenson Contemporary, Cape Town, Departure, 17 June to 19 July 2003, various examples from the folio exhibited. Bell-Roberts Gallery, Cape Town, Departure, 18 June to 12July 2003, various examples from the folio exhibited. Higashikawa Photo Festival, Japan, Departure, June 2003, at which Tillim was honoured with the Higashikawa Overseas Photographer Award, various examples from the folio exhibited.

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LITERATURE

Leers, D., Tillim, G. and Walter, A. (2015). O Futuro Certo. Göttingen: Steidl and the Walther Collection, various examples from the folio illustrated. cf. DaimlerChrysler South Africa (ed.) (2004). Guy Tillim: DaimlerChrysler Award for South African Photography. Pretoria, Stuttgart, Berlin: DaimlerChrysler South Africa, various examples from the folio illustrated. Hochschild, A. and Tillim, G. (2004). Leopold and Mobutu. Paris: Filigranes Éditions, another example of Goma residents salute Laurent Kabila after his army takes the city, 1997, illustrated on the cover. Tillim, G. (2003). Departure. Cape Town: Michael Stevenson Contemporary & Bell-Roberts Publishing, other examples of each print illustrated in the folio. N O TE S

Including: Guyana, 1997; Kabul Zoo, Afghanistan, 1995; Dust storm, Kuito, Angola, 2000; Unity day celebrations, Bujumbura, Burundi, 2002; Fans arrive for UN personnel during the UN–sponsored election, Quelimane, Mozambique, 1994; A boy holds up his schoolbook, covered with a photograph of Dutch soccer player, at the mission school in Kornieliuskondre, (former Dutch colony of Suriname), 1997; Don Bosco, centre for abandoned children, Goma, Democratic Republic of Congo, 2002; Kuito, Angola, 2000; A boy climbs through a hole in the roof of the former Education Administration building, Kuito, Angola, 2000; Late UNITA leader Jonas Savimbi’s former residence, inhabited by displaced people, Kuito, Angola, 2000; Revolutionary United Front soldier, Koidu, Sierra Leone, June 2000; A civilian takes cover from a Taliban artillery bombardment, Kabul, Afghanistan 1995; Ethiopian dead, after a battle near Adi–Quala, Eritrea,

Eritrea/Ethiopia war, May 2000; Civil Defence Force militia (Kamajoors) near Koidu, Sierra Leone, 2001; Goma residents salute Laurent Kabila in Democratic Republic of Congo (then Zaire) after his rebel army’s capture of the town from the Mobutu government, 1997; MPLA (Movement Popular de Liberation de Angola) army helicopter, Kuito, Angola, 2000; World Food Program grain stores, Kuito, Angola, 2000; Bella Vista, Luanda, Angola, 2001; Luanda, Angola, 2001; Displaced people in a shelter they have built near Keren, Eritrea, during the Eritrea/ Ethiopia war, May 2000; On the road between Mazar–i– Sharif and Kabul, Afghanistan, 1996; Former Bishop of Kuito’s residence, inhabited by displaced people, Kuito, Angola, 2000; The evening television news during the Eritrea / Ethiopia war, on the rooftop of the Keren Hotel, Eritrea, May 2000; Mai–mai militia camp near Ben, Democratic Republic of Congo, 2002; Ancient graves, Mount of Olives, Jerusalem, 2001; An amputee’s grave, Kuito, Angola, 2000; Asylum for psychiatric patients, Luanda, Angola, 1994; Logging, Guyana, 1997; Tete, Mozambique, 2002; Luanda, Angola, 2001; NGO party, Kuito, Angola; Traders, having boarded a Congo River steamer, the Colonel Kokolo, on its way to Kinshasa from Kisangani, jump off the bridge to join their colleagues for the paddle back upstream to their villages, Congo, (then Zaire), 1996; Springlands, Guyana, 1997; Children bathe in the Coppername River, Guyana, 1997; Near Matatiele, South Africa, 1990; Queens Mercy, South Africa, 1991; Queens Mercy, South Africa, 1988; Weimaraner puppies in training for demining operations Ambriz, Angola, 2000; The active volcano, Mt Nyiragongo, and the devastation caused by the eruption in Goma, Democratic Republic of Congo, 2002

Tillim wrote the following introduction to his 2003 book Departure,1

making a statement about injustice. The world’s press set the tone

which was prefaced by the words of French poet Arthur Rimbaud:

and timbre of the reportage it would receive, and I for one was

Departure Enough seen. The vision was encountered under all skies. Enough had. Noises of cities, in the evening, and in the sunshine, and always. Enough known. The pauses of life – O sounds and visions! Departure into a new affection and new noise! Arthur Rimbaud, Les Illuminations

bought by it. Perhaps that is why I now look for ways to glimpse other worlds which I attempt to enter for a while. But one cannot live them all, and usually I am left with a keen sense of my own dislocation. Of course, there is always this: to change what is ugly and brutal into something sublime and redemptive. So I have photographs I like for reasons I have come to distrust. I learned my trade as a photojournalist but feelings of impotence in the face of others’ despair led me to look away, as if catching only obliquely their reflected light. These are photographs

‘These moments are elusive, alluring for being so. My brand of

of disparate locations, but their justification for ending up in

idealism that had its roots in the time I started photographing in

one collection, their basis for comparison, is of another nature:

South Africa during the apartheid years of the 1980s has dimmed.

disquiet, introspection, wonder.’

There was right and wrong, it seemed clear to me which side I stood. One would forego, what I might now call subtlety, for the sake of

1 Tillim, G. (2003). Departure. Cape Town: Michael Stevenson Contemporary & Bell-Roberts Publishing. n.p.

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105

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Lot 62

Athi–Patra Ruga b.1984 South Africa

The Death of Beiruth #1 and #2 2009 lightjet print on Fujicolor Crystal Archive Paper Beiruth #1 numbered 1/5; Beiruth #2 numbered 2/5 sheet size: 107 x 74 cm each (2)

R70 000 – 90 000 EXHIBITED

WHATIFTHEWORLD, Cape Town, … mr floating signifier and the deadboyz, 5 to 29 August 2009. L IT E R AT U R E

WHATIFTHEWORLD. (2013). Athi-Patra

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Ruga: The Works 2006 – 2013. Cape Town: WHATIFTHEWORLD, other examples from the edition illustrated in colour on p.114. N O TES

Athi-Patra Ruga’s awards include: The Seydou Keita Prize (Grand Prize) of Les Rencontres de Bamako, 2017. His work is held in the permanent collections of: Zeitz MOCCA, Museion – Museum of Modern and Contemporary Art, Bolzano, Italy and the Iziko South African National Gallery. Each accompanied by a signed, dated and numbered certificate of authenticity signed by the artist

Lot 63

Stephen Inggs b.1955 South Africa

Beach 2018 archival pigment print signed and numbered 1/5 in pencil along the bottom margin image size: 72 x 72 cm

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

The sellerâ&#x20AC;&#x2122;s proceeds from this lot will go to the Siyakhula Michaelis bursary fund.

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Lot 64

Siwa Mgoboza b.1993 South Africa

Les Êtres D’Africadia V Libertina La Reina 2015 inkjet print on Epson Hot Press Natural Paper number 1, from an edition of 5 180 x 144 cm

R50 000 – 70 000 NO T E S

The seller’s proceeds from this lot will go to the Siyakhula Michaelis bursary fund.

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Lot 65

EXH IB I TED

Manuel Alvarez Bravo

Gallerie Agathe Gaillard, Paris, Songes Mexicains de Manuel Álvarez Bravo et Colette Urbajtel, 2018.

Mexican 1902–2002

N O TE S

Maguey y pared dentada (Maguey and jagged wall)

Another example of this print is in the permanent collection of the J. Paul Getty Museum, Los Angeles and Centro Fotográfico Alvarez Bravo, Oaxaca City, Mexico.

1976, printed later gelatin silver print signed in pencil on the reverse sheet size: 20 x 25.5 cm

Mexican artist Manuel Alvarez Bravo is regarded as among the most important photographers of the 20th century when, ‘between the two wars, he was one of the inventors of the modern vocabulary of photography’, according to former Museum of Modern Art, New York, curator Susan Kismaric in the press release for the seminal 1997 Alvarez Bravo retrospective she curated for the museum. A Mexico City native, Alvarez Bravo was artistically

R15 000 – 20 000 PROVENANCE

Acquired from a private dealer, London.

and intellectually collaborative with many Mexican and international avant–garde artists for whom that city was an important centre for thought exchange. His broad circle included Diego Rivera, Frida Khalo, Edward Weston, André Breton, Paul Strand, Henri Cartier-Bresson and Walker Evans. Though made later in his career, this carefully composed, extreme close up of a scarred indigenous succulent, juxtaposed with a humble plastered wall, belies Alvarez Bravo’s modernist sensibilities and the experiments with abstraction and surrealism characteristic of his practice. Alvarez Bravo was recognised with numerous honours: Guggenheim Fellowship, 1975; Lifetime Achievement Award from the College Art Association, 1996; and The International Centre of Photography, New York, Master of Photography Infinity award, 1987.

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Lot 66

Mohau Modisakeng b.1986 South Africa

Untitled (Frame XI) 2012 inkjet print on Epson Ultrasmooth from an edition of 3 + 2 AP image size: 200 x 150 cm

R120 000 – 180 000 PROVENANCE

Brundyn + Gonsalves, Cape Town. L IT E R AT U R E

Mokoena, H., Simbao, R. and Jamal, A. (2016). Mohau Modisakeng. Cape Town: WHATIFTHEWORLD, illustrated on p.35. NO T E S

Mohau Modisakeng’s recent awards include: Standard Bank Young Artist Award for Visual Arts, 2016. His work represented South Africa as half of a two-person exhibition at the 57th Venice Biennale in 2017, and is included in the permanent collections of the Johannesburg Art Gallery, Iziko South African National Gallery, Cape Town and Zeitz MOCCA. Modisakeng’s work has been exhibited at: PEREFORMA 17, New York; Dak’Art Biennale, Dakar; Iziko South African National Gallery and Zeitz MOCCA.

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Lot 67

Guy Tillim b.1962 South Africa

Mai mai militia in training near Beni, eastern DRC, for immediate deployment with the APC (Armée Populaire du Congo), the army of the RCD-KISML, Dec 2002 2002, printed later archival pigment ink on 308gm Hahnemühle PhotoRag signed, dated, inscribed with the title and PP in pencil along the bottom margin from an edition of 5 sheet size: 84.8 x 58.5 cm

R 40 000 – 60 000 PROVENANCE

Another example from the edition is included in the permanent collection of the Museum of Modern Art, New York. EXHIBITED

Haunch of Venison, Zürich, Guy Tillim, 18 April to 24 May 2018, another example from the edition illustrated. Michael Stevenson Contemporary, Cape Town, Soldiers, 17 June to 19 July 2003, another example from the edition exhibited. L IT E R AT U R E

Leers, D., Tillim, G. and Walter, A. (2015). Guy Tillim: O Futuro Certo. Götttingen: Steidl and the Walther Collection. DaimlerChrysler South Africa (ed.) (2004). Guy Tillim: DaimlerChrysler Award for South African Photography. Pretoria, Stuttgart, Berlin: DaimlerChrysler South Africa, another example from the edition illustrated on pp.58–59.

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Lot 68

George Hallett b.1942 South Africa

Gerard Sekoto, Paris, 1986 1986, printed 2008 hand printed gelatin silver print from an edition of 10 signed, dated, numbered 1/10, inscribed with the title and ‘Printed by George Hallett 2008’ on the reverse number 1 sheet size: 40 x 50 cm

R12 000 – 18 000 EXHIBITED

Iziko South African National Gallery, Cape Town, George Hallett: A Nomad’s Harvest, 5 March to 9 July 2014. NO T E S

A major figure in later 20th century South African photography, George Hallett’s career has spanned over half a century, beginning with his work as a street photographer in District Six. After years of exile in the United States and Europe, Hallett returned to South Africa where he has continued to influence and mentor younger generations of artists and writers. This intimate portrait of Gerard Sekoto is an exemplary example of Hallett’s craft: soulful engagement with the sitter, careful formal composition and masterful hand printing in his own darkroom. Hallett’s selected exhibitions include: Bo-Kaap Museum, Cape Town (1999); Künstforum der Sozialdemokratie, Bonn, Germany (1988); Howard University, Washington D.C. (1983): Anne Frank Huis, Amsterdam (1972). His work is included in the permanent collections of: the Anne Frank Foundation, Amsterdam; Birmingham Central Library, Birmingham, United Kingdom. Schomburg Centre for Research in Black Culture, New York Public Library; Iziko South African National Gallery, Cape Town; BoKaap Museum, Cape Town; District Six Museum, Cape Town; Rhodes University, Grahamstown; Mayibuye Centre, University of the Western Cape; Bensusan Museum of Photography, the Market Theatre Complex, Johannesburg.

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Lot 69

Jürgen Schadeberg b.1931 Germany

Nelson Mandela during the Treason Trial, Pretoria 1958 1958, printed 2008 hand printed gelatin silver print signed, dated, numbered I.E. 13/18 and inscribed with the title in ink along the bottom margin; signed, dated, numbered I.E. 13/18, inscibed with the title, ‘handprinted by J.S. 2008’ and stamped with the artist’s copyright on the reverse image size: 33.5 x 21.5 cm

R25 000 – 35 000 PROVENANCE

Acquired directly from the artist. NO T E S

Born in Berlin in 1931, Schadeberg emigrated to South Africa and spent much of the 1950s in Johannesburg, where he worked as Chief Photographer, Picture Editor and Art Director at the influential Drum Magazine. A major documentarian of the seminal events and figures of the South African 20th century, his iconic photographs have been exhibited globally and published extensively, including his Iziko South African National gallery retrospective in 1996. Other examples of this print are held in the permanent collections of: the University of Cape Town and The International Centre of Photography, New York.

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Lot 70

Constance Stuart Larrabee British 1914–2000

Early Ndebele linaga and three untitled prints (from the Ndebele series) c.1937–1947, printer later gelatin silver print stamped with the artist’s copyright and studio stamps on the reverse from an open edition

R20 000 – 30 000 PROVENANCE

Acquired from the artist on the occasion of her visit to Johannesburg in 1983 for the opening of her solo exhibition at the Natalie Knight Gallery, Johannesburg Upon her death in 2000, the artist’s entire extant archive of over 9,000 negatives and 3,000 prints was entrusted to various institutions connected to the Smithsonian Institution, Washington, D.C., in which can be found either a negative or print of every image from her Ndebele series.

24 January to 8 May 1955, followed by an eight year global tour throughout Africa, the Middle East, the Americas, South and Southeast Asia and Europe. The exhibition is permanently archived and displayed in Clervaux Castle, Luxembourg and contains two Larrabee prints, one of which is another example from the Ndebele series. American Museum of Natural History, New York, Tribal Women of South Africa, 1953, other examples from the Ndebele series exhibited.

EXHIBITED

Yale Centre for British Art: New Haven, Connecticut, Constance Stuart Larrabee: Time Exposure, 9 September to 12 November 1995, other examples from the Ndebele series exhibited. Corcoran Gallery of Art, Washington, D.C. Constance Stuart Larrabee: Tribal Photographs, 7 April to 3 June 1984, other examples from the Ndebele series exhibited. Natalie Knight Gallery, Johannesburg, Ndebele Images, 1983, other examples from the Ndebele series exhibited. Pretoria: Association of Arts, Pretoria; Stellenbosch: Art Gallery, University of Stellenbosch; Johannesburg: the Market Theatre Foundation, Constance Stuart Larrabee Celebration, 1983, other examples from the Ndebele series exhibited. Johannesburg Art Gallery, Johannesburg, Constance Stuart Larrabee, opening 13 March 1979, other examples from the Ndebele series exhibited. Museum of Modern Art, New York, The Family of Man (curated by Edward Steichen),

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LITERATU RE

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

comparable examples from the Ndebele series illustrated throughout. Knight, N. and Priebatsch, S. (1983). Ndebele Images. Johannesburg: Studio Press, one comparable example from the Ndebele series illustrated on p.27. NOTES

Accompanied by the books: Knight, N. and Priebatsch, S. (1983). Ndebele Images. Johannesburg: Studio Press and Knight, N. (2017) The Big Picture. Johannesburg: Batya Bricker, Early Ndebele linaga illustrated on p.25. A personal friend of her Pretoria contemporary Alexis Preller, Constance Stuart Larrabee’s vast oeuvre includes images made throughout South Africa, Europe and North America. As South Africa’s first female war photographer, she worked alongside painter Terrance McCaw in Italy, documenting the desolation of WWII. Pre-dating WWII, and among her earliest personal projects, her image of Ndebele communities in the Pretoria area reflect the compositional sensibilities of her Bauhaus-influenced training in Germany. Up until her death in 2000, Larrabee was resistant to post-Apartheid readings of her work. She remained committed to a belief that these images were simply intimate portraits of everyday life and culture, saying in an interview with the Yale Centre for British Art in 1995: ‘I had great respect for [the Ndebele] people, and it was a privilege to take the photographs.’ Wilcox, S. (1995). Constance Stuart Larrabee: Time Exposure. New Haven, Connecticut: Yale Centre for British Art and Herlin Press, p.15.

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Lot 71

Mikhael Subotzky b.1981 South Africa

Donkey Cart, Vaalkoppies (Beaufort West Rubbish Dump) (from the Beaufort West series) 2006 lightjet C–print on Fuji Crystal Archive Paper number 5, from an edition of 9 image size: 128.7 x 105.5 cm

R100 000 – 150 000

P R OV E NC E Goodman Gallery, Johannesburg. EXH IBITED

Museum of Modern Art, New York, New Photography 2008: Josephine Meckseper and Mikhael Subotzky, 10 September 2008 to 12 January 2009, another example from the edition exhibited. Studio La Citta, Verona, Beaufort West, December 2007 another example from the edition exhibited. Goodman Gallery, Cape Town, Beaufort West, October 2007, another example from the edition exhibited. LITERATU RE

Steinberg, J. and Subotzky, M. (2008). Beaufort West. London: Chris Boot Ltd, another example from the edition

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illustrated in colour on p.15. NOTES

Accompanied by a certificate of authenticity from Goodman Gallery, Johannesburg. Subotzky’s recent honours include: Deutsche Börse Photography Prize (for the book Ponte City, in collaboration with Patrick Waterhouse), London, 2015; Standard Bank Young Artist of the Year for Visual Art, Grahamstown, 2012; Discovery Award, Rencontres de la Photographie, Arles, 2011; The International Centre of Photography Infinity Award, New York, 2008;accepted as youngest full member of Magnum Photos, 2008; Special Jurors’ Prize, Les Recontres Africaines de la Photographie, Bamako, Mali, 2005.

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Lot 72

Yayoi Kusama b.1929 Japan

Pumpkins (red and yellow) 2013 painted cast resin, each contained in the original paper covered boxes each printed with the artistâ&#x20AC;&#x2122;s signature on the underside from an open edition 10.2 x 8.9 x 8.9 cm each (2)

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

Published by Benesse Holdings, Inc., Naoshima, Japan.

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TWO VIEWS OF LOT 72

Lot 73

Donald Sultan b.1951 United States

Wallflower, Black on Yellow 2018 highâ&#x20AC;&#x201C;gloss colour screenprint signed and numbered 9/12 in pencil along the bottom margin sheet size: 68 x 174 cm

R40 000 â&#x20AC;&#x201C; 50 000

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Lot 74

Gillian Ayres British 1930â&#x20AC;&#x201C;2018

Turkish Blue and Amber Green that in the Channel Stray, triptych unique hand-coloured etching and carborundum signed and numbered 3/35 in pencil along the bottom sheet size: 180 x 276 cm combined

R300 000 â&#x20AC;&#x201C; 400 000 NO T E S

Published by Jack Shirreff, Wiltshire, UK, 1997.

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Lot 75

Russell Young b.1959 Britain

Brigitte Bardot colour screenprint signed and numbered 12/15 in pencil bottom right image size: 65 x 51 cm

R30 000 â&#x20AC;&#x201C; 40 000

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Lot 76

Nelson Makamo b.1982 South Africa

Walking Through Time 2011 monotype with hand-colouring signed, dated and inscribed with the title centre bottom right sheet size: 100 x 68 cm

R50 000 â&#x20AC;&#x201C; 70 000

Lot 77

Esther Mahlangu b.1935 South Africa

Ndebele homestead 2005 acrylic on canvas signed and dated bottom left 60 x 80 cm

R25 000 â&#x20AC;&#x201C; 40 000

125

Lot 78

Blessing Ngobeni b.1985 South Africa

Stary Guest (sic) 2018 oil and collage on paper signed and dated bottom right 156 x 130.5 cm

R80 000 â&#x20AC;&#x201C; 120 000

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Lot 79

Anton Karstel b.1968 South Africa

Concentric circles 1992 oil on canvas signed and dated bottom right 184.5 x 184.5 cm

R60 000 â&#x20AC;&#x201C; 90 000

128

Lot 80

Marcus Neustetter b.1976 South Africa

View from a cave oil on canvas signed bottom right 83 x 107.5 cm

R15 000 â&#x20AC;&#x201C; 20 000

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Lot 81

Diane Victor b.1964 South Africa

Romulus and Remus (from the Birth of a Nation series) 2009 charcoal and pencil on paper signed bottom left 43.5 x 50.5 cm

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

Goodman Gallery, Johannesburg. EXHIBITED

Goodman Gallery, Johannesburg, Transcend, 15 April to 22 May 2010.

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Lot 82

Deborah Bell b.1957 South Africa

The Shadow of the Lion 2008 unique etching and aquatint with handcolouring signed, dated December 2008, numbered E.V. III and inscribed with the title in pencil along the bottom margin sheet size: 107 x 146.5

R80 000 â&#x20AC;&#x201C; 120 000

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Lot 83

Deborah Bell b.1957 South Africa

Self Salve 2002 linocut signed, dated, inscribed with the title and p/p in pencil along the bottom margin sheet size: 261 x 103 cm

R60 000 â&#x20AC;&#x201C; 90 000

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Lot 84

Diane Victor b.1964 South Africa

Let Sleeping Crocs Lie 2010 etching and embossing signed, numbered 3/20 and inscribed with the title in pencil along the bottom margin sheet size: 80 x 120 cm

R70 000 â&#x20AC;&#x201C; 100 000

Lot 85

William Kentridge b.1955 South Africa

Responsible Hedonism (from the Industry and Idleness series) 1986 etching signed and numbered 2/30 in pencil along the bottom margin; printed with the title in the plate plate size: 28 x 32 cm

R 25 000 â&#x20AC;&#x201C; 35 000 PROVENANCE

Goodman Gallery, Johannesburg. EXHIBITED

This series was exhibited at: South African National Gallery, Cape Town, William Kentridge, 7 December 2002 to 23 March 2003. Los Angeles County Museum of Art, Los Angeles, William Kentridge, 21 July to 6 October 2002. Contemporary Arts Museum, Houston, William Kentridge, 1 March to 5 May 2002. Museum of Contemporary Art, Chicago, William Kentridge, 20 October 2001 to 20 January 2002.

William Kentridge, 28 February to 13 May 2001.

New Museum of Contemporary Art, New York, William Kentridge, 3 June to 16 September 2001.

Cassirer Fine Art, Johannesburg, Hogarth in Johannesburg: Robert Hodgins, William Kentridge, Deborah Bell, August 1987.

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.,

LITERATU RE

Stuart, S. (2006). William Kentridge Prints.

Johannesburg: David Krut Publishing, another example from the edition illustrated on p.31. Benezra, N., Cameron, D. and Boris, S. (2001). William Kentridge. New York, NY: Harry N. Abrams, another example from this edition illustrated on pp.76.

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Lot 86

Sidney Goldblatt South African 1919–1979

Figures and horses 1958 oil on board signed and dated bottom left 61 x 91 cm

R40 000 – 60 000

Lot 87

Sidney Goldblatt South African 1919–1979

Cityscape oil on board signed bottom right 61 x 91 cm

R30 000 – 40 000

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Lot 88

Alexander Rose-Innes South African 1915–1996

Interior with coal stove oil on board signed bottom left 57 x 45.5 cm

R60 000 – 90 000

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Lot 89

Conrad Theys b.1940 South Africa

Quivertrees/Kokerbome Aandskemering 1989 oil on canvas signed and dated bottom right; inscribed with the title on the reverse 41 x 36 cm

R50 000 â&#x20AC;&#x201C; 70 000

Lot 90

Leonora Everard Haden b.1937 South Africa

Valley Giants Castle 1997 oil on canvas signed bottom right; signed, dated and inscribed with the title twice on the reverse 87 x 113 cm

R40 000 â&#x20AC;&#x201C; 60 000

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Lot 91

Fred Schimmel South African 1928–2009

Abstract 1997 oil on paper signed and dated bottom right 83 x 63.5 cm

R30 000 – 50 000

Lot 92

Kate Gottgens b.1965 South Africa

Prescience 2015 oil on canvas signed on the reverse; inscribed with the title and date on a SMAC Gallery label on the reverse 40 x 50 cm

R25 000 – 35 000 PROVENANCE

SMAC Gallery, Stellenbosch. EXHIBITED

SMAC Gallery, Stellenbosch, Infinite Loop, 1 August to 19 September 2015.

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Lot 93

Blessing Ngobeni b.1985 South Africa

Figures 2012 oil, acrylic and collage on corrugated cardboard signed and dated bottom right 105 x 212 cm

R70 000 â&#x20AC;&#x201C; 100 000

138

Lot 94

Lucky Sibiya South African 1942–1999

Fertility carved, incised and painted wood panel signed bottom left 75 x 122 cm

R100 000 – 150 000

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Lot 95

Theresa-Anne Mackintosh b.1968 South Africa

Tina enamel on fibreglass from an edition of 15 152 x 55 x 50 cm

R40 000 – 60 000 EXHIBITED

KZNSA (KwaZulu-Natal Society of Arts), Durban, Jackie the Kid, 24 August to 12 September 2004. Image Supplied

Lot 96

Sam Nhlengethwa b.1955 South Africa

Homage to George Pemba 1994 oil and collage on paper signed and dated bottom right 49 x 68 cm

R35 000 – 50 000

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Lot 97

Matthew Hindley b.1974 South Africa

The Grace of the Witch oil on canvas inscribed with the artist’s name and the title on an iArt gallery label on the reverse 200 x 300 cm

R70 000 – 100 000 EXHIBITED

Iziko South African National Gallery, Cape Town, Our Lady, 2016. iArt Gallery, Cape Town, The Mechanics and Mysteries of Perception, 11 June to 15 July 2010.

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AUT HOR BIO GRAPH IES Dr Eunice Basson is an art historian and a former senior lecturer in Art History at the University of Pretoria and Unisa. She was also joint editor of the art history journal, de arte, and a former art advisor for ABSA Bank. Rory Bester is Associate Professor of art history and Deputy Head of School at the Wits School of Arts. He co-curated Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life. 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. She curated and commissioned the Fresh series of residencies and publications including Moshekwa Langa, Senzeni Marasela, Robin Rhode, Tracey Rose, Berni Searle and Usha Seejarim from 2000 to 2003 and co-authored Marlene Dumas: Intimate Relations with the artist in 2007. Kathryn Del Boccio is an Art Specialist and leads the Client Liaison team at Aspire Art Auctions. She has worked in fine art for over a decade: in London as Assistant Curator at one of the world’s largest privately-held photographs collections and as Director of the KrasznaKrausz Foundation, which awards the UK’s longest-standing prizes for photobooks; and in Johannesburg as Head of VIP Relations for FNB JoburgArtFair. She holds a Master of Letters in History of Art and Connoisseurship from Christie’s Education, London. Athi Mongezeleli Joja is an art critic and theorist. He is also a member of the artist collective, Gugulective. Dr Johan Myburg is an independent writer, former arts editor at a daily newspaper, and arts critic who has published widely on South African art. Ruarc Peffers is Managing Director, Senior Art Specialist, auctioneer and one of the founders of Aspire Art Auctions. He holds a Fine Art degree from the University of Cape Town, and an Msc in History, Curating and criticism from the University of Edinburgh. His professional experience encompasses roles in the gallery market, the Art NGO field, and in the auction industry. Hayden Proud, born and educated in Zimbabwe, is a graduate of the Courtauld Institute of Art in London, UNISA and the University of Cape Town. Formerly a lecturer in Art History, he is now curator of the historical collections at

AC K NOW L ED G EM EN TS Iziko Museums of South Africa, and lectures in curatorial studies at UCT’s Centre for Curating the Archive. He has published a wide range of essays, catalogues and books, including Revisions: Expanding the Narrative of South African Art. 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. Marc Smith is a Cataloguer at Aspire Art Auctions. He graduated in 2016 with an Honours in Curatorship from the University of Cape Town’s Centre for Curating the Archive (CCA), graduating as one of the class’ top two students and complementing his prior qualifications in media and distinctions in art historical studies. Subsequently, he was selected to participate in a curatorial internship programme at the Israel Museum in Jerusalem where he furthered his knowledge of museology and donor development. Having worked with local and international institutions, he was part of the team tasked with opening Norval Foundation. Tymon Smith was the literary editor of the Sunday Times for 6 years. He has since written on the arts, music, film and television for the paper as well as ArtThrob, adjective and The Lake Magazine. Smith was the recipient of a 2016 silver arts journalist award for features writing and also works as a scriptwriter, researcher and story editor for the television industry. Joshua Stanley is a Cataloguer for Aspire Art Auctions. He graduated from Michaelis School of Fine Art in 2016, majoring in sculpture under the guidance of Jane Alexander. He has previously assisted artists and art projects such as the Keiskamma Art project.

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

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

Eunice Basson Rory Bester Emma Bedford Kathryn Del Boccio Athi Mongezeleli Joja Johan Myburg Ruarc Peffers Hayden Proud James Sey Marc Smith Tymon Smith Joshua Stanley Lisa Truter 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 Matthew Bradley Anthea Pokroy P R I NT I NG

Typo, Johannesburg

Lisa Truter is a Cataloguer at Aspire Art Auctions. She graduated in 2016 with an Honours in Curatorship from the University of Cape Town’s Centre for Curating the Archive (CCA). Her research is centered on curatorial intervention. She has worked on various projects for the Iziko South African National Gallery and other local galleries. 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.

DETAIL ON PAGE 143

Lot 8 Kay Hassan Portrait

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

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

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price and the Buyer’s premium. The Purchase price does not include insurance or transport costs. The relevant Lot will remain insured at Aspire’s expense for a period of 24 hours after the fall of the Auctioneer’s hammer. After the relevant Lot has been collected by the Buyer (or any other person on behalf of the Buyer), the responsibility for, and costs of, insurance for the Lot shall pass to the Buyer. Following the completion of the Auction, the Purchase price does not include any transport, or insurance that may be required by the Buyer; 1.1.19. ‘Recoverable expenses’ includes all fees, taxes (including VAT) and any other costs or expenses incurred by Aspire for restoration, conservation, framing, glass replacement and transport of any Lot from a Seller’s premises to Aspire’s premises or for any other reason whatsoever, as agreed between Aspire and the Seller; 1.1.20. ‘Reserve’ means the minimum Hammer price (if any) at which a Lot may be sold at an Auction as agreed (whether in writing or otherwise) and in confidence between the Seller of that Lot and Aspire; 1.1.21. ‘Sale’ means the sale of any Lot (whether by way of Auction, Private Treaty or otherwise) and ‘sell’ and ‘sold’ shall have a corresponding meaning; 1.1.22. ‘Sale proceeds’ means the amount due and payable to the Seller for the sale of the relevant Lot, made up of the Hammer price less the applicable Seller’s commission and all Recoverable expenses; 1.1.23. ‘Seller’ means the person named as the Seller of any Lot, being the person that offers the Lot for sale; 1.1.24. ‘Seller’s commission’ means the commission payable by the Seller to Aspire on the sale of a Lot which is payable at a rate of: 1.1.24.1. 12% (twelve per cent) calculated on the amount of the Hammer price in excess of R20, 000 (twenty thousand rand) plus any VAT payable on that amount (if any); 1.1.24.2. 15% (fifteen per cent) calculated on the amount of the Hammer price not exceeding R 20, 000 (twenty thousand rand) plus any VAT payable on that amount; 1.1.25. ‘South Africa’ means the Republic of South Africa; 1.1.26. ‘Terms of Business’ means the terms and conditions of business set out in this document; 1.1.27. ‘VAT’ means value added tax levied in terms of the Value Added Tax Act, 1991 as amended from time to time and includes any similar tax which may be enforced in place of VAT from time to time.

2. INTRODUCTION 2.1. Aspire carries on the business of fine art Auctioneers and consultants on the Lots provided by the Sellers. As fine art Auctioneers, Aspire generally acts in the capacity of agent for the Seller. 2.2. Set out in this document are the terms and conditions governing the contractual relationship between Aspire and prospective Bidders, Buyers and Sellers. This document must be read together with: 2.2.1. sale room notices published by Aspire pertaining to the condition, description and/or authenticity of a Lot; and 2.2.2. any announcement made by Aspire and/or the Auctioneer prior to or on the proposed day of sale of any Lot, provided that no changes to the terms set out in a Property Receipt Form shall be made without the prior agreement of Aspire and the Seller.

3. LEGISLATIVE FRAMEWORK Every Auction is to be governed by section 45 of the CPA and the rules of Auction (the ‘Rules’) as promulgated by the Minister of Trade and Industry under the Regulations dated 23 April 2010 in Government Gazette No. 33818 on 1 April 2011 (‘Regulations’) and any further amendments and/or variations to these Rules and Regulations.

4. GENERAL TERMS OF BUSINESS 4.1. Every bid shall constitute an offer which will lay open for acceptance by the Auctioneer. Acceptance of the highest bid made shall be indicated by the knock down of the hammer or, in the case of sale by Private Treaty, the acceptance of the offer by Aspire. 4.2. In bidding for any Lots, all Bidders confirm that they have not been induced into making any bid or offer by any representative of the Seller and/or Aspire. 4.3. It is the sole responsibility of all prospective Buyers to inspect and satisfy themselves prior to the Auction or Private Treaty as to the condition of the Lot and satisfy themselves accordingly that the Lot matches any description given to them (whether in a Catalogue or otherwise). 4.4. All descriptions and/or illustrations set out in a Catalogue exist as guidance for the prospective Bidder and do not contain conclusive information as to the colour, pattern, precise characteristics or the damage to a particular Lot to be sold by way of Auction or Private Treaty. 4.5. Neither Aspire nor any of its servants, employees, agents and/or the Auctioneer shall be liable, whether directly or indirectly, for any errors, omissions, incorrect and/or inadequate descriptions or defects or lack of authenticity or lack of ownership or genuineness in any goods Auctioned and sold which are not caused by the wilful or fraudulent conduct of any such person. 4.6. Aspire shall not be held responsible for any incorrect, inaccurate or defective description of the goods listed for sale in the Catalogue or in any condition report, publication, letter, or electronic transmission or to the attribution, origin, date, age, condition and description of the goods sold, and shall not be responsible for any loss, damage, consequential damages and/or patrimonial loss of any kind or nature whatsoever and howsoever arising. 4.7. No warranty on any aspect of any Lot (save for those expressly provided for by the Seller in terms of paragraph ), 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 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 will not be assignable and will rest solely and exclusively with the Buyer who, for the purpose of this condition, will be the only person to whom the original invoice is made out by Aspire in respect of the Lot sold.

4.11. Aspire reserves its right, to refuse admission to any person to its premises or any other premises at which an Auction is to be conducted. 4.12. Any information pertaining to Bidders and Sellers which has been lawfully obtained for the purposes of the Auction and the implementation of any resultant sale shall be kept for purposes of client administration, marketing and as otherwise required by law. The Bidder and the Seller agree to the processing of their personal information and the disclosure of such information to third parties for the aforementioned purpose. The Seller’s identity will not be disclosed for purposes other than what is reasonably required for client administration or as required by law. Please see the Privacy Policy for more information on this. 4.13. Aspire has the sole and absolute discretion, without having to give any reasons therefore, to refuse any bid, withdraw or reoffer Lots for Auction (including after the knock down of the hammer), cancel any sale if the Auctioneer and/or Aspire believes that there may be an error or dispute of any nature whatsoever, and shall have the rights, as it deems fit, to divide any Lot, to combine any two or more Lots or to put up any Lot for Auction again. 4.14. For any notice required to be given in connection with these Terms of Business: 4.14.1. Aspire will first attempt to make contact by telephone, followed by email, should there be no response, then contact will be attempted by registered post. Any notice that affects the details of the sale of a Lot will be agreed to between Aspire and the Seller prior to the sale of said Lot. If, for any reason whatsoever, Aspire is unable to make contact with a Seller, the relevant Lot will be withdrawn from the sale; 4.14.2. if given by Aspire, shall be delivered by hand, sent by registered post or by email to the address provided to Aspire by the relevant addressee as being the domicilium citandi et executandi of that addressee. Notice shall be deemed to have been received by the person who is required to receive such notice: 4.14.2.1. on the date of delivery, if delivered by hand or email; 4.14.2.2. on the fourth (4th) day from the date of posting, including the date of posting if posted by prepaid registered post from within South Africa, which postage shall be deemed to have been sent on receipt of the post office proof of posting. 4.14.3. if given to Aspire, such written notification must be given to Aspire at its email address as published by Aspire from time to time, whether on any brochure, catalogue or its website. 4.15. The Seller submits to the non-exclusive jurisdiction of the South African courts. Each Auction and Private Treaty shall be governed in accordance with the laws of South Africa. 4.16. In the event that any provision of these Terms of Business is found by a court of competent jurisdiction to be unenforceable and of no effect, the remaining provisions of these Terms and Conditions shall not be affected by that determination and shall remain of full force and effect. 4.17. The Buyer and/or Seller, as the case may be, hereby pledges the goods either sold and/or bought as security to Aspire for all amounts which are owing to it. 4.18. Should either Party delay or not exercise their rights it shall not constitute a waiver of such rights or power. If a Party exercises their right or power, it shall not preclude such party from exercising any other right or power which they may have. 4.19. No variation, alteration, consensual termination, representation, condition, term or warranty, relaxation or waiver or release by Aspire, or estoppel against Aspire, or the suspension by Aspire, in respect of these Terms of Business, or any part thereof, shall be of any force or effect unless reduced to writing and signed by Aspire and the Buyer. 4.20. These Terms of Business constitute the entire agreement between the Parties.

4.21. The Buyer shall be responsible for the payment of Aspire’s legal costs, calculated on the scale as between attorney and client incurred by Aspire in enforcing any of its rights or those of its principal whether such rights are exercised by way of legal proceedings or otherwise. 4.22. No Party shall be in breach of contract or liable for any loss of profit or special damages or damage suffered as a result of a force majeure or any other event which falls outside of the Parties’ reasonable control. Notice must be given to all Parties if such an event occurs in order to enable the defaulting Party to remedy their performance. The occurrence of the aforementioned events will not excuse a Party from paying any outstanding amounts owed to any of the other Parties.

5. TERMS RELATING TO THE BUYERS 5.1. Any Buyer and/or Bidders must register his/her identity with Aspire before the commencement of an Auction in accordance with Chapter 1 (one) of the regulations in terms of the Financial Intelligence Centre Act, 2011, which requires the establishment and verification of identity published in Notice No. R. 1595 in Gazette No. 24176 of 20 December 2002. 5.2. Upon registration by the Bidder, the Bidder must acknowledge that they are aware of and agree to be bound by these Terms of Business. All Bidders shall be personally liable for their bids and offers made during any Auction and shall be jointly and severally liable with their principals if acting as agent. 5.3. Any person acting on behalf of a Bidder or Buyer may be required to produce evidence of his/her authority to so act satisfactory to Aspire in its discretion. 5.4 A Lot shall be sold to the highest bidder (regardless of the real value of the Lot). Any sale that requires a reserve shall be sold to the highest bidder either on or in excess of the Reserve. 5.5 No bid may be made for an amount which is lower than the fixed value set by the Auctioneer and any bid may be withdrawn prior to the hammer being struck down. It is the Auctioneer’s discretion to accept or reject a bid that is lower than the standardised incremental amount set by the Auctioneer. The Auctioneer may refuse any bid which does not exceed the previous bid by at least 5% (five per cent) or any such percentage which in the opinion of the Auctioneer is required. 5.6 Any dispute which should arise regarding the validity of the bid, the identity of the Bidder or between more than one Bidder, shall be resolved at the sole discretion of the Auctioneer. 5.7 Each Bidder is deemed to be acting in their capacity as principal unless Aspire has acknowledged otherwise in writing prior to the commencement of the Auction. 5.8. All Bidders are encouraged to attend any Auction where a Lot is to be sold by Auction. Aspire will endeavour to execute any absentee, written bids and/or telephone bids, provided they are, in Aspire’s absolute discretion, received in sufficient time and in legible form as required under these Terms of Business. 5.9 Any bids placed by telephone before an Auction are accepted at the sender’s risk and must, if requested by Aspire, be confirmed in writing to Aspire before the commencement of the Auction. Any person who wishes to bid by telephone during the course of an Auction must make arrangements with Aspire at least 24 (twenty-four) hours before the commencement of the Auction. Aspire shall not be held liable for any communication breakdown or any losses arising thereof. The Buyer consents that any bidding may be recorded at the discretion of Aspire and consents to these Terms of Business. 5.10.The Buyer must make payment in full and collect the purchased Lot immediately after completion of the Auction and no later than 48 (forty-eight) hours after completion of the Auction. Following hand over of the Lot to the Buyer (or his representative), the full risk and title over that Lot shall pass to the Buyer, who shall henceforth be responsible for any loss of and/or damage to and/or decrease in value of any Lots purchased at the Auction or

at a Private Treaty sale. Any Lot not collected immediately after the Auction will remain insured for 24 (twenty-four) hours after completion of the Auction. The Seller must be paid in full and the funds cleared before the Lot is handed over to the Buyer. 5.11. If the Seller has not made payment within 1 (one) week of the Auction Aspire reserves the right to cancel the Sale.

6. EXCLUSION OF LIABILITY TO BUYERS OR SELLERS

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

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

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

8. IMPORT, EXPORT, COPYRIGHT

RESTRICTIONS, LICENSES AND QUALITY OF THE GOODS SOLD

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

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

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

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

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

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

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

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

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 above, the Buyer shall be liable for any loss (if any), should the Lot be resold at an amount lower than the amount for which the Buyer purchased it. The loss shall be calculated as the difference between the resale price and the original price

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

15. ESTIMATION OF SELLING PRICE AND DESCRIPTION OF GOODS

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

16. WARRANTIES AND INDEMNITIES PROVIDED FOR BY THE SELLER

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

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

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

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

19. INSURANCE 19.1. Aspire undertakes to insure all objects to be sold as part of any Lot, at its own expense, unless otherwise agreed to in writing, or otherwise, between the Seller and Aspire. Aspire may, at its discretion, insure any property which is placed under their control for any other purpose for the duration of the time that such property remains on their premises, under their control or in any storage facility elected by them. 19.2. In the event that Aspire is instructed to not insure any property, the Seller shall bear the cost and risk at all times. The Seller also agrees to: 19.2.1. indemnify Aspire for any claims brought against Aspire and/or the Seller for any damage or loss to the Lot, however it may arise. Aspire shall be reimbursed by the Seller for any costs incurred as a result thereof; and 19.2.2. notify the insurer of the existence of the indemnities set out herein. 19.3. The Seller is obliged to collect their property within 1 (one) calendar month after the Auction. Should any property not be collected within this time Aspire reserves the right to discontinue the insurance cover.

20. PAYMENT IN RESPECT OF THE SALE PROCEEDS

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

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

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prior to the Auctions, where a Seller decides to withdraw a Lot from Auction. Aspire reserves the right to convert any Seller’s commission or Buyer’s premium payable on this Lot into withdrawal fees. The amount of this withdrawal fee shall be determined based on the mid-estimate of the selling price of the objects comprising the Lot along with any VAT and expenses incurred thereon given by Aspire.

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

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

24. AMENDMENT OF THESE TERMS AND CONDITIONS

24.1. Aspire may, at any time and from time to time, in its sole discretion, amend, cancel or rescind any provision of these Terms of Business by publication of any such amended Terms of Business (whether on its website or by any other means whatsoever). 24.2. No amendment in terms of paragraph 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. 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).

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1. INFORMATION ASPIRE MAY COLLECT AND PROCESS

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

2. ONLINE INFORMATION PROCESSED BY ASPIRE

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

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

3. STORAGE OF PERSONAL INFORMATION

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

4. AMENDMENTS TO THE PRIVACY POLICY

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

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

DETAIL ON PAGE 149

Lot 26 Maggie Laubser Meidjie met Skape

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ARTIST INDEX

Alvarez Bravo, M 65

Karstel, A 79

Pierneef, JH 25, 33, 36

Ayres, G 74

Kentridge, W 31, 50, 85

Preller, A 54

Battiss, W 1, 49

King, E 34, 35

Rose-Innes, A 88

Bell, D 82, 83

Koloane, D 3

Ruga, A 62

Boonzaier, G 40, 41, 44, 45

Kusama, Y 72

Schadeberg, J 69

Botha, W 53

Larrabee, CS 70

Schimmel, F 91

Brown, D 39

Laubscher, E 47

Schönfeldt, J 51

Clarke, P 28, 43

Laubser, M 26, 42

Sekoto, G 21

Domsaitis, P 13

Legae, E 18

Sherman, C 56

During, D 12

Lutaaya, B 4

Sibiya, B 7

Everard Haden, L 90

Mackintosh, T 95

Sibiya, L 94

Feni, D 20

Mahlangu, E 77

Skotnes, C 37

Goldblatt, D 58,59

Makamo, N 5, 6, 76

Subotzky, M 57, 71

Goldblatt, S 86, 87

Mautloa, P 2

Sultan, D 73

Gottgens, K 92

Mgoboza, S 64

Theys, C 89

Hallett, G 68

Modisakeng, M 66

Tillim, G 61, 67

Hassan, K 8

Mokgosi, N 16, 19

Van der Westhuizen, P 38

Hindley, M 97

Muholi, Z 55

Van Essche, M 22, 23, 27

Hlungwani, J 14, 15, 17

Naudé, H 46

Victor, D 29, 81, 84

Hlungwani, P 32

Neustetter, M 80

Villa, E 52

Hodgins, R 11

Ngobeni, B 78,93

Young, R 75

Hugo, P 60

Nhlengethwa, S 9, 10, 30, 96

Younge, G 48

Inggs, S 63

Pemba, G 24

DETAIL ON PAGE 151

Lot 30 Sam Nhlengethwa Glimpses of the Fifties and Sixties (a suite of 30 photo collages)

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151

Marlene Dumas Love Lost 1973/4 sold for R7 283 200

SPRING AUCTION Cape Town | 1 September 2019 Modern & Contemporary Art SELL WITH US. CONSIGN NOW. 152

ENQUIRIES & ART VALUATIONS JOHANNESBURG +27 11 243 5243 | enquiries@aspireart.net CAPE TOWN +27 21 418 0765 | ct@aspireart.net www.aspireart.net

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153

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: Modern & Contemporary Art SALE VENUE: Gordon Institute of Business Science | Ilovo

L OT S –

Please print clearly

LOT NUMBER

LOT DESCRIPTION

MAXIMUM | EMERGENCY BID (HAMMER PRICE)

SALE DATE: 2 June 2019 | 6 pm SALE CODE: AAA | Winter 19 Telephone bid

Absentee/Commission/Written bid

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

Please send completed forms to bids@aspireart.net Enquiries: +27 11 243 5243 | +27 71 675 2991 B ILL I N G N A M E ID N U M B E R BI DDI NG I NCREMENTS

AD D R E S S

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

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

R1 000 increments

R20 000–R30 000

R2 000 increments

R30 000–R50 000

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

R50 000–R100 000

R5 000 increments

R100 000–R200 000

R10 000 increments

R200 000–R300 000

R20 000 increments

R300 000–R500 000

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

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

R500 000–R1 000 000 R50 000 increments

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

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

Payment method: EFT

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

Credit Card

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

154

R10 000–R20 000

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

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

SI GNATURE