Aspire Summer 19 Catalogue by Aspire Art

Modern & Contemporary Art

Modern & Contemporary Art, Evening Sale | Summer 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 3 November 2019 | 6 pm V IE W I N G

Friday 1 November 2019 | 10 am – 5 pm Saturday 2 November 2019 | 10 am – 5 pm Sunday 3 November 2019 | 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 SUMMER 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 | Summer 19

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

Thursday 31 October | 6 to 8 pm RSVP wendy@aspireart.net | +27 62 956 3881

PUB LI C P R E V I E W

All 107 lots will be on display & open to the public for viewing Friday 1 to Sunday 3 November | 10 am to 5 pm

KI DS WO R K S H O P : S AT U R D AY 2 N O V E M B E R

11 am to 12 pm

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

Sunday 3 November, 11 am

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

Sunday 3 November 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 2 0 Cape Town | AUTUMN 20 Contemporary Art February 2020 Consignments close end December 2019 Johannesburg | WINTER 20 Modern & Contemporary Art May 2020 Consignments close end March 2020

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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 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 xv Guide for Prospective Buyers xvii

Sale Lots 1 to 107 2–145 Terms and Conditions of Business 148 Artist Index 154 Catalogue Subscription Form 157

Details used in prelim pages from:

Written/Telephone Bidding Form 158

COVER

Lot 36 Peter Clarke Abandoned on the Dunes PAGE II

Lot 19 Dumile Feni Silence PAGE IV

Lot 67 David Goldblatt District Six PAGE VI

Lot 61 Pierre Vermeulen Untitled (Sweat Print #8) PAGE IX

Lot 10 George Pemba Donkey Cart PAGE X

Lot 56 Zander Blom Untitled 1.316 PAGE XII

Lot 41 William Kentridge Waterfall (from the Colonial Landscapes series) PAGE XIV

Lot 69 Pieter Hugo Mallam Galadima Ahmadu with Jamis, Abuja, Nigeria PAGE XVI

Lot 15 Noria Mabasa FIFA 2010

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

their works of art on auction.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

HOW IT WORKS

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

PORTION OF THE HAMMER PRICE ROYALTY RATE up to R100 000

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

R100 000.01 to R500 000

0.5%

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

Over R500 000

0.25%

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

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

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

• Royalties are capped at R5 000 per lot.

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

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

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

are restricted to South African taxpayers i.

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

• Aspire issues bi-annual royalty statements.

protestations from established UK auction houses and galleries, however in

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

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

with which Aspire will partner.

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

xvi

GUIDE FOR PRO SPECTIVE BUY E R S

The following information is designed to guide

reserve price agreed between Aspire and the seller

Recorded bids entered into the auctioneer’s

prospective bidders through the auction process

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

catalogue. The auctioneer will, in your absence, bid

and explains how to bid at auction with Aspire.

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

on your behalf, up to the maximum amount given

Our staff are happy to assist with any queries.

will not be sold. The reserve price will not exceed

by you. Should the bidding not reach your maximum

the low estimate.

bid, you will acquire the lot for one increment above

1. Identify your potential acquisition

the previous bid.

Aspire holds four auctions per annum, two in

4. Specialist assistance

Johannesburg and two in Cape Town. You can

Our specialists are available to discuss any lot in

6. Payments, collection and storage

subscribe to our printed catalogues to view all

further detail if you require additional information.

Payment must be made immediately after

works coming up in an auction or alternatively, our

Please do not hesitate to contact us.

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

e-catalogues are posted online approximately a

otherwise agreed with Aspire.

month prior to each sale; these are free downloads

5 Bidding with Aspire

and give a full overview of each auction. Keep an

Bidding may be done in three ways, depending

Once payment for the purchased lot is made and

eye on our website and social media platforms

on your preference and availability during the live

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

where we will provide regular updates regarding

auction.

tion. An Aspire representative will contact you the

sale information and when catalogues are available

New bidders to Aspire will need to supply us with

day after the auction to assist with logistics. If you

to view online. The auction preview is open to

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

are unable to collect the artwork within the allo-

the public.

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

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

2. The catalogue

You can physically bid during a live auction by

company will contact you with quotes for delivery

The catalogue includes all information regarding the

registering and bidding in the saleroom. You may

the day following the auction.

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

Aspire will store artworks purchased at the auc-

details, date, medium, dimensions, quantity of items

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

tion under Aspire’s insurance for a limited time only

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

sale.

(see our Terms and Conditions of Business). Storage

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

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

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

the condition of a prospective purchase. Condition

5.2. Telephone bid

Buyers premium

reports are not necessarily compiled by professional

An Aspire representative will phone you during

Buyers will be liable for payment of the purchase

conservators unless otherwise stated.

the live auction: a trained staff member will walk

price.

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

instruct the representative to bid on a lot on your

Aspire assigns a low and high estimate to every lot.

behalf. Don’t forget to send through your telephone

These estimates give our opinion of value, bearing

bids at least 24 hours before the commencement of

the following factors in mind: the sales precedent

the auction to ensure sufficient time for processing.

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

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

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

xvii

Modern & Contemporary Art

Lot 1

From 1976 to 1978 William Kentridge was a student at the

William Kentridge

Johannesburg Art Foundation under Bill Ainslie and taught

b.1955 South Africa

etching there during the following two years. It is during this

Games arcade, Carlton Centre, Johannesburg

period of studying and teaching such a demanding graphic

c.1978/79 etching signed and inscribed ‘A/P’ in pencil along the bottom margin sheet size: 34.5 x 34.5 cm

cross-hatching method to capture the lively scene, he creates an

technique that this rare, early etching was produced. Using the atmospheric space bristling with competitive intensity as men, hunched over the counter, battle to out-do each other. According to a note from the artist, this is “an early – 1978

R40 000 – 60 000

or 1979 – series of etchings based on drawings done in a games

PROVENANCE

arcade in Carlton Centre. Dropping coins and seeing if they

Acquired directly from the artist.

would knock other coins off a shelf to a slot the player could reach. There were no casinos in Johannesburg then”. The etching was bought directly from the artist by the current owner around 1990. Emma Bedford

Lot 2

William Kentridge b.1955 South Africa

Bath towel (from the Domestic Scenes series) 1980 etching signed, dated and numbered 18/30 in pencil along the bottom margin sheet size: 27 x 37.5 cm

R35 000 – 50 000

EXH IBITED

The Market Gallery, Johannesburg, William Kentridge: Domestic Scenes, 1981, another example from the edition exhibited. cf. Zeitz MOCAA, Cape Town, Why Should I Hesitate? Putting Drawings to Work, 25 August 2019 to 23 March 2020, other examples from the Domestic Scenes series exhibited. LITERATU RE

cf. Stewart, S. and Viljoen, B. L. (eds.). (2006). William Kentridge Prints. Johannesburg: David Krut, another example from the series illustrated on pp.28-29.

Lot 3

George Pemba South African 1912–2001

Braiding hair 1980 ink and watercolour over pencil on paper signed and dated bottom right 34.5 x 25.5 cm

R30 000 – 50 000

Lot 4

Mmakgabo Mmapula Mmankgato Helen Sebidi COB b.1943 South Africa

Bronkhorst Spruit Huts near Danelton Northern tvl; Constituting a Kraal, the Women Sleep Inside While the Men and Boys Sleep on the Verandahs (sic) oil on board signed bottom left; inscribed with the title on the reverse 31 x 51 cm

R60 000 – 90 000 EXHIBITED

The Javett Art Centre at the University of Pretoria, Living Legends, 17 to 30 October 2019.

Lot 5

Sam Nhlengethwa b.1955 South Africa

The Jazz Festival 2003 oil and collage on canvas signed and dated bottom right; inscribed with the artist’s name, the date and title on the reverse 45.5 x 60.5 cm

R40 000 – 60 000 EXHIBITED

Goodman Gallery, Johannesburg, Glimpses from the Fifties and Sixties, 19 February to 13 March 2004. PROVENANCE

Goodman Gallery, Johannesburg.

Lot 6

Blessing Ngobeni b.1985 South Africa

Balls in Battle 2019 acrylic and collage on unstretched canvas signed and dated bottom right 101.5 x 111 cm

R70 000 – 100 000

Lot 7

Bambo Sibiya b.1986 South Africa

Please Send the Shout Out 2018 acrylic, pastel and charcoal on unstretched canvas signed and dated bottom right 116 x 154 cm

R50 000 – 80 000

Lot 8

Mmakgabo Mmapula Mmangankato Helen Sebidi, known as

Mmakgabo Mmapula Mmankgato Helen Sebidi COB

Helen Sebidi, is an elder stateswoman of South African art, and an important figure among black modernist painters of the late 20th century. Born in 1943 in a rural area outside of

b.1943 South Africa

Tshwane, she committed herself to art practice and teaching

Lost Human Life

from the 1980s onward, becoming the first black woman

2007 oil on canvas signed and dated bottom left 110.5 x 94 cm

to win the prestigious Standard Bank Young Artist Award

R400 000 – 600 000

internationally. These include a national Order of Ikhamanga

in 1989. Numerous other awards have come her way, as she began, from that time, to be more widely exhibited locally and in 2004, and a Lifetime Achievement Award from the Arts and

EXHIBITED

Norval Foundation, Cape Town, Batlaping Ba Ra!, 1 September 2018 to 28 January 2019. The Javett Art Centre at the University of Pretoria, Living Legends, 17 to 30 October 2019. L IT E R AT U R E

Leeb-du Toit, J. (2009). MMakgabo Mmapula Mmankgato Helen Sebidi. Johannesburg: David Krut Publishers, illustrated in colour on p.91.

Culture Trust in 2011. She recently held a major retrospective of her work at the Norval Foundation in Cape Town. Sebidi’s upbringing in a rural area remains an important influence in her work. Her early focus in her painting on realist depictions of rural life among black South Africans not only honours her own family and traditions, but acts as an important medium through which connections to a vanishing, largely oral, rural culture and way of life can be maintained. Sebidi of course experienced this first hand in her childhood, dropping out of school early and being forced to move to the city to take domestic work to earn a living. Returning to her grandmother’s village to take care of her convinced Sebidi of the importance and spirituality of the rural way of life she came from. As in this piece, Sebidi’s art often demonstrates, in its depictions of imagined rural scenes and dreamlike African cosmologies, a way of seeing a pre-Christian and pre-colonial Africa. Despite the tragic scene being depicted, the work is notable for the matriarchal, or at least female, nature of its protagonists, with the implication of women’s spiritual and ritual power in this mythical African tableau. The work demonstrates Sebidi’s highly distinctive style, with the colour juxtapositions, symbolism and stippled, pointillist technique all very evident. James Sey

Lot 9

Richard Mudariki’s work serves as a reminder of the critical

Richard Mudariki

importance of art as a means to examine and critique society.

b.1985 Zimbabwe

Steeped in allegorical references to contemporary politics,

Pulling the Strings

particularly relating to the African continent and his native

2013 oil on canvas signed and dated; signed and dated on the reverse; inscribed with the artist’s name and the title on a Johans Borman Fine Art label on the reverse 100 x 100 cm

country of Zimbabwe, Mudariki skillfully and playfully uses

R100 000 – 150 000

retrospective exhibition Mutara Wenguva (Time Line) at the

elements of theatre to explore significantly more serious sociopolitical issues. The result is a witty satire which errs on the side of absurdity. Pulling the Strings featured in Mudariki’s mid-career Sanlam Art Gallery in 2017. An extensive catalogue of the

EXHIBITED

Sanlam Art Gallery, Cape Town & Johannesburg, Mutara Wenguva (Time Line), 22 September to 29 October 2017. Johans Borman Fine Art, Cape Town, Open Agenda, 8 to 29 March 2014. L IT E R AT U R E

Mudariki, R., Borman, J and Stanes, M. (2014). Open Agenda. Cape Town: Unpublished, illustrated in colour n.p.

artist’s work was published alongside the exhibition. Mudariki has exhibited widely both locally and internationally, and recently worked as the artist in residence at Zeitz MOCAA in Cape Town. Lisa Truter

Lot 10

George Pemba is one of the most important 20th century black

George Pemba

modernist artists in South Africa, approaching the status of a

South African 1912–2001

national treasure. He is one of the artists most typical of the

Donkey cart

under-represented generations of black artists neglected in the

1962 oil on canvas board signed and dated bottom left 36 x 45 cm

South African art establishment in the second half of the 20th

R150 000 – 250 000

a storied career as a full-time artist in the 1940s, he spent the

century who have come to critical and collector attention in the decades since. Born in the Eastern Cape, and commencing entirety of his long life in South Africa. His career is primarily marked by a post-expressionist social realist approach to subject matter. Indeed, unusually for a black artist, Pemba made working trips around the country to make observational studies of the everyday lives of South African black people. While his early watercolours of the 1940s especially are ranked among his most prized works, his shift, apparently due to the instigation of Gerard Sekoto, to the medium of oil in the later decades of the 20th century makes his oil paintings perhaps more recognisable now. This rural scene, of a donkey cart with an entourage in its wake, probably on its way to a local funeral or church service, bears all the hallmarks of Pemba’s keen sense of social observation. James Sey

Lot 11

Josephine Ghesa is one of the great success stories of the internationally renowned Ardmore

Josephine Ghesa

Ceramic Art Centre in the KwaZulu-Natal Midlands. Born in 1958 in Lesotho, she was raised by her

b.1958 Lesotho

grandmother, a traditional potter in the village of Thaba Tseka. Despite lacking a formal education

Beast and bird

when she arrived at Ardmore in 1990, an innate talent and exposure to traditional pottery techniques

painted ceramic on a wood base 62 x 50 x 25 cm

stood her in good stead, and she rapidly acquired knwoledge of technique in coiling and constructing

R20 000 – 30 000

forms from clay, which she finished with a variety of media. Her marriage of these new techniques with her own use of traditional myths and legends from the oral culture of her childhood made for the hugely appealing body of work she ended up producing. Within a very short time her work began to sell to South African galleries, and is now in various public and private collection here and internationally. Her quirky use of the mythical figures of her background are very evident in this beast with a bird on its back, a typical and utterly charming example of her oeuvre. Ghesa retired as an artist from Ardmore some time ago, and returned to the mountains of her home. James Sey

Lot 12

Gladys Mgudlandlu South African 1925–1979

Discipline oil on board 31 x 40.5 cm

R20 000 – 30 000 PROVENANCE

Strauss & Co., South African & International Art, Decorative Arts, Jewellery and Books, 22 February 2016, lot 193.

Lot 13

Mmakgabo Mmapula Mmankgato Helen Sebidi COB b.1943 South Africa

In the Cortyard Having Drink near Pietersburg (Tribe Bapedi) (sic); Sitting on the Woodblock near Jericho TVL., two 1985 oil on board each signed bottom left; each signed and inscribed with the title on the reverse 15 x 20 cm; 20 x 15 cm (2)

R20 000 – 30 000 EXHIBITED

The Javett Art Centre at the University of Pretoria, Living Legends, 17 to 30 October 2019.

Lot 14

Mmakgabo Mmapula Mmankgato Helen Sebidi COB b.1943 South Africa

The Okeni Scene near Pietersburg, I.V TVL; The Vellage Scene near P.P. Rust. N.TVL (sic), two 1985 oil on board each signed bottom left; each signed, dated, and inscribed with the title on the reverse 15 x 20 cm; 15 x 20 cm (2)

R20 000 – 30 000 EXHIBITED

The Javett Art Centre at the University of Pretoria, Living Legends, 17 to 30 October 2019.

Lot 15

In 2010, South Africa was the first ever African nation to host

Noria Mabasa

the FIFA World Cup. Hailed as Africa’s World Cup, it was the

b.1938 South Africa

most-watched event in history as billions of people worldwide

Fifa 2010

tuned in during the course of the tournament and more than

2009/10 carved wood signed 275 x 116 x 200 cm

300 000 foreign fans came to South Africa. It was a time of

R300 000 – 500 000

and economic promises of this momentous occasion.

much excitement and optimism. The country, and the entire continent, came alive with an awareness of the socio-cultural With her work FIFA 2010, Venda sculptor Noria Mabasa

EXHIBITED

L’Ancienne Résidence, Johannesburg, Celebrating 20 Artists, August 2011. L IT E R AT U R E

Scott, F. (2011). Celebrating 20 Artists exhibition catalogue. Johannesburg: Celebrate Living, illustrated in colour on pp.44-45.

commemorates the spirit of this prestigious sports event while paying homage to soccer as a major part of African culture – from the young children who kick a ball around the many informal settlements and rural villages to the professional players that have made their mark on the world scene. The totemic-like sculpture is beautifully carved from wood and stands an impressive 2.75 meters tall. The complex composition of ascending figures seems almost ceremonial in nature. Although Mabasa draws on Venda mythology and spirituality, she is also deeply attentive to current events in her immediate environment and especially to the “spectacle of media images”.1 She turns to photographs in newspapers and other sources for inspiration. These visuals are reminders that she construes in various ways; sometimes as movements flowing through time or as isolated moments removed from a specific place.2 Mabasa’s interpretations further include mapping her own personally constructed symbols onto the very multifaceted, and at times very emotional narratives contained in her work.3 In FIFA 2010, Mabasa’s message may be one of hope – one that conveys that people, apart from their segregated backgrounds, will stand united in the shared passion for a sport. Noria Mabasa came to prominence during the 1980s following her inclusion in the landmark exhibitions Tributaries in 1985 and The Neglected Tradition in 1988. Mabasa has since exhibited widely and her work is represented in various institutional, corporate and private collections locally and internationally. In 2002, she received the Order of the Grand Counsellor of the Baobab (Silver) from the South African Government. Marelize van Zyl

Klopper, S. (2017) The Artist as Agent: Noria Mabasa and the Book. De Arte 52:1. p. 105

Ibid p. 105

Ibid p. 106

Lot 16

Deborah Bell is well established as one of South Africa’s most celebrated and collectable

Deborah Bell

contemporary artists. While she has always worked across a range of different mediums, her

b.1957 South Africa

sculpture has attracted much attention recently. But perhaps her longest commitment has

Coeur Rage II

been to printmaking, having had a working relationship with the David Krut Print Workshop

2008–10 aquatint and drypoint etching signed, dated, numbered E.V.IV and inscribed with the title in pencil along the bottom margin sheet size: 120 x 221 cm

extending back almost two decades.

R100 000 – 150 000 EXHIBITED

David Krut Projects, Johannesburg, Deborah Bell: Collaborations, 20 March to 25 April 2009, another example from the edition exhibited. cf. David Krut Workshop, Cape Town, Deborah Bell: Uncovering Ancient Memory, 9 December 2017 to 28 February 2018, a similar example exhibited.

What brings her work together thematically is a sustained set of committed investigations into the nature of sprituality and mortality, the mythic and how it figures in human life and culture. To this end she has refined a sophisticated and yet simplified visual language and iconography. Importantly this derives from different cultures and philosophies in which rites of passage – in particular the passage from the human to the spiritual and the mortal to the immortal – play a central role. The characters undergoing those rites are often heroic female figures, emblematically the hunter goddess Diana, who journey between realms and worlds accompanied by a guide or intermediary. In this work, the female figure astride the lion is indubitably free but also on a journey. The inscription Bell includes in the work, from which the edition takes its name, puns in English on the word ‘Courage’, but also infers the idea of a burning heart, raging against the dying of the light. The lion on which the woman rides is part of her spiritual journey, leading her from world to world, into a higher spiritual realm, and which has its allies in other tropes in her work such as boats, chariots and horses. These powerful, totemic images, of which this is a stunning example, make up Bell’s attempt to create a present and imaginable spiritual world. James Sey

Lot 17

Diane Victor’s technical ability is a feature of her work that is often remarked on, as is her

Diane Victor

predilection for challenging subject matter. Given the centrality of the horse in art historical

b.1964 South Africa

terms, it is unsurprising that it should be a regular feature of Victor’s output, nor is it suprising

Baited (from the Four Horses series)

that she proclaims herself a horse enthusiast. In the original series of four etchings with

2009 etching and digital print signed, numbered 9/25 and inscribed with the title in pencil along the bottom edge sheet size: 99 x 194 cm

its own body a foetus-like human figure, folded in on itself. This presaging of unnatural inter-

additional digital printing, from which this work comes, three of the four horses carries within species birth offers an uncertain view of the future. Victor is no doubt referencing in this series Dürer’s famous Four Horsemen of the Apocalypse woodcut of 1497. The use of the horse as a cosmic figure, carrying within it a strange new future, is further elaborated by the fact that

R90 000 – 120 000

each horse makes a leap that seems to traverse entire human civilisations – the shadow cast

L IT E R AT U R E

by the horse in this work depicts a detailed aerial view of an entire historical landscape – a

Von Vegh, K. (2012). Diane Victor: Burning the Candle at Both Ends. Johannesburg: David Krut Publishing, illustrated on p.45. Froud, G. (2011). Diane Victor, in Design Art, No. 2, Vol. 2, another example from the edition illustrated on pp.62-63.

somewhat desolate and blasted scene of bare trees and humble habitation. James Sey

EXHIBITED

Smithsonian National Museum of African Art, Washington D.C. Group exhibition: Earth Matters. 22 April to 5 January 2013, another example from the same series exhibited. Goodman Gallery, Johannesburg. Diane Victor: Transcend. 15 April to 22 May 2010, another example from the edition exhibited.

Diane Victor in her studio producing the Four Horses series, image courtesy of Design Art.

Lot 18

Julian Motau’s story is tragically typical of many young black

Julian Motau

artists trying to express their talent in the apartheid era. In

South Africa 1948–1968

many ways it is more tragic since his death aged only 20 robbed

Apartheid slave wagon

South African art history of his mature work. Born in a rural

1966 charcoal on paper signed and dated bottom right 60.5 x 132 cm

village near Tzaneen in Limpopo province, Motau moved to

R200 000 – 300 000

about art practice, led him to discover art-world networks in the

Johannesburg in 1963, still a teenager, with almost no formal education. His burning desire to draw and paint, and to learn city. Through artist Judith Mason he met prominent gallerist

NO T E S

cf. A work of similar subject matter, History, by Dumile Feni, is in the collection of the Constitutional Court, Johannesburg. PROVENANCE

Private collection, Johannesburg, acquired in 2002.

Linda Givon, founder of the Goodman Gallery, who gave Motau his first one-person show in 1967, and remained close to the artist until his death. The artist’s frenetic expressionism and graphic energy has brought comparisons with Dumile Feni, an interesting counterpoint when both artists exhibited on the influential group show A Black Aesthetic at the Standard Bank Gallery earlier this year. Motau’s lack of development in technique and experience meant that he ranged widely in subject matter, though focused, in characteristically ‘angry young man’ style, on the consequences of apartheid poverty and degradation that he saw all around him. He often sketched from life in Alexandra township outside Johannesburg, where he lived. This singular work offers his kinetic vision of a slave wagon, pulled by dynamically sketched and tortured female figures that are probably also black women. The allegory of apartheid slavery is inescapable, and the work is utterly compelling in its compassion and sense of tragedy. It is no accident or surprise that one of Feni’s most complex and fêted works, History, which stands as a monument to anti-apartheid art as part of the

Dumile Feni, Memorial for Julian Motau, Photo: Dube, P.M. (2006). Dumile Feni Retrospective, Johannesburg: JAG, p.92.

Constitutional Court Art Collection, shares a visual metaphor with Motau’s earlier work . James Sey

Dumile Feni, History, 2003. Photo: Akona Kenqu

Lot 19

The increasing availability of the work by the late anti-

Dumile Feni

apartheid visual artist Dumile Feni into our public sphere is an

South African 1942–1991

invaluable privilege for our times. This bust, Silence (1978), is

Silence

an important piece demonstrating Dumile’s fascination with

1986 painted bronze signed, dated and numbered #1 bottom right 93 x 37 x 40 cm

faciality, and in general with the human body. The sculpture

R2 000 000 – 3 000 000

which are pervasive in his work. But the continuing vacillation

NO T E S

demands an intellectual reckoning with human vulnerability in the world. Its anthropomorphic focus speaks to issues of trauma, loss, anguish, dispossession and dehumanization between human and non-human in Feni’s work, in which the

This sculpture was cast in New York circa 1986. It is believed to be the first and only cast of an intended edition of three, repatriated from the USA between 1993–1995.

artist constantly registers an anthropomorphic representation

PROVENANCE

remained a prevalent anatomic site of registering the experience

Acquired directly from the artist in New York.

of the animal man — not as a duality or through a Darwinian frame but as species-beings — also simultaneously engenders alternative formal interpretations of the body. Faciality has of black alienation, with memorable and visceral aesthetic

Private collection, Johannesburg.

features such as the then prevalent motif of gaping mouths and

EXHIBITED

bulging eyes that largely prevailed in the 1960s. However, in

La Galleria, solo exhibition Statements, New York, 1987.

the years of Feni’s exile, first in London and then New York,

L IT E R AT U R E

Reproduced in the exhibition catalogue Statements, New York, 1987.

his representations of the face begin to shift from the excessive emotive articulations of pain, opting instead to interpret their faces with shut eyes and gagged lips. Even the titles of these later works, like Silence (a word that appears more than once in his series of busts) invoke this subdued, but no less evocative, demeanour. Although subdued, they contain very distinct visual characteristics — some old and some relatively new. For instance, the pointed breasts form part of older motif of erotic representations, whilst the sharp geometric quality can be considered a later aesthetic development. Silence therefore represents an interesting turn in Feni’s work in which geometric planes and technical facility become the defining features of his mature phase. Athi Mongezeleli Joja

Dumile Feni with Silence in his studio

Statements exhibition catalogue

Lot 20

Nandipha Mntambo b.1982 Swaziland

Resolution I 2016 colour lithograph signed, numbered 3/5 and inscribed with the title in pencil along the bottom margin sheet size: 70.5 x 100 cm From an edition of 5 + 2AP

R40 000 – 60 000 EXHIBITED

Stevenson, Johannesburg, SEX, 21 April to 2 June 2016, another example from the edition exhibited.

Lot 21

Diane Victor b.1964 South Africa

Bucking horse 2014 smoke ash on paper signed and dated bottom right 96.5 x 109 cm

R80 000 – 120 000

Lot 22

N O TES

Judith Mason

Lithographs contained herein: Valley of the kings; Maternal breast; Water into wine at sunset; Cornucopia; Mirror; Landscape for a dead tortoise; Moon garden; Iago’s heart; Birdcage and Fig

South African 1938–2016

Metaphors: Shrine 1978 ten individually framed colour lithographs in a hand-made and hand-painted wooden case each signed, dated, numbered 6/30 and inscribed with the respective titles in pencil bottom right case: 44 x 20.5 x 28 cm; image size each approximately: 24 x 22.5 cm

R35 000 – 50 000

LITERATU RE

cf. van Rensburg, W. (2008). Judith Mason: A Prospect of Icons. Johannesburg: Standard Bank Gallery, a comparable example titled Ballot Box, 1978, illustrated on p.114.

Lot 23

Mongezi Ncaphayi b.1983 South Africa

Wanderlust 2016 India ink and watercolour on cotton rag paper signed and dated bottom right 112 x 76 cm

R30 000 – 50 000 NO T E S

Mongezi Ncaphayi was honoured with 2013 ABSA L’Atelier Gerard Sekoto Award in 2013. PROVENANCE

SMAC Gallery, Stellenbosch. EXHIBITED

SMAC Gallery, Stellenbosch, SUMMER SHOW ’16, 24 November 2016 to 7 January 2017.

Lot 24

Blessing Ngobeni b.1985 South Africa

Standing figure 2019 acrylic and collage on unstretched canvas signed and dated bottom right 181 x 99 cm

R100 000 – 150 000

Lot 25

Steven Cohen b.1962 South Africa

Paul Kruger 2017 hand-coloured screenprint on fabric signed with the artist’s initials, dated and numbered 1/1 on the reverse 132 x 176 cm, unframed

R20 000 – 30 000

Lot 26

Walter Battiss South African 1906–1982

Reclining woman gouache on paper signed bottom left 24 x 19.5 cm

R35 000 – 50 000

Lot 27

Claude Bouscharain b.1922 South Africa

Two guitars oil on canvas signed bottom center 71 x 58 cm

R40 000 – 60 000

Lot 28

Karel Nel is unusual in the South African contemporary

Karel Nel

art landscape in that he has parallel careers in curation,

b.1955 South Africa

academia and the hard sciences which inform his own practice

The Voyager

throughout. On top of this, he is well known as a collector of

1993 charcoal, pastel, pigment and thread on pounded ficus ficus bark signed, dated, inscribed with the title and ‘Oceania’ bottom right 89.5 x 440 cm

African traditional and modern artefacts. While he trained in

R300 000 – 500 000

sculpture, his own major output is in drawing, often using a range of unusual materials upon which to make marks. His practice ranges widely over an anthropological interest in the cultures of Africa and Oceania in particular, coupled with his position as resident artist of the COSMOS team of scientists investigating the mapping of the universe. This work evokes exactly this complex relationship Nel has between the languages of art and science, although it was made some time before his COSMOS appointment, and in its scale, as well as its use of rare bark cloth made from the ficus ficus tree, it is a more abstract example of his work in depicting environments and atmospheres from his extensive travels. The interwoven discourses that make up Nel’s oeuvre are demonstrated in this compelling work, which evokes not only a physical set of journeys, but a spiritual one too, in search of a rich admixture of cultures and symbols. James Sey

Lot 29

Blessing Ngobeni b.1985 South Africa

Dignity for Sale 2017 acrylic and collage on canvas signed and dated bottom right 94.5 x 151 cm

R70 000 – 100 000

Lot 30

Michael Taylor b.1979 South Africa

Surprise Surprise 2012 charcoal on paper signed with the artist’s initials bottom right 150 x 150 cm

R60 000 – 80 000 PROVENANCE

WHATIFTHEWORLD, Cape Town. EXHIBITED

WHATIFTHEWORLD, Cape Town, Mumbo Jumbo, 1 November to 1 December 2012.

Gerda Scheepers is known internationally for her highly conceptual and emotionally engaging work. She studied at the Kunstakademie Düsseldorf under German conceptual artist Rosemarie Trockel (with whom she later collaborated)

Lot 31

and forged her early career in Germany before permanently

Gerda Scheepers

returning to South Africa in 2014.

b.1979 South Africa

Abstract Emotional (Storage) – black is one of the first

Abstract Emotional (Storage) – black

iterations in a series of ‘sculptural paintings’ titled Abstract

2013 acrylic on fabric and wood 150 x 86 x 24 cm

body. Scheepers’ choice of material is intended to elicit narrative

R90 000 – 120 000

a physical and psychological gesture. The work exists as a vessel

Emotional Storage which focusses on the idea of an abstract meaning. Here, she references a portable wardrobe to simulate for expressive content. Her choice of title is subjective, as she

EXHIBITED

blank projects in Johannesburg, Ithuba Arts Gallery, Johannesburg, 26 September – 19 October 2013 L IT E R AT U R E

Durand, O. (2016). Gerda Scheepers. Cape Town: blank projects, illustrated in colour pp.86-87.

cheekily alludes to the historicity of Abstract Expressionism. Scheepers’ method of radically extending the formal properties of a painting is what makes this work, and her practice in general, so impressive. She ‘dresses’ a wooden structure with fabric, on which she adds additional fabric cut-outs to create surface texture. Dry acrylic painted marks are arranged into minimal designs which indicate the artist’s very personal exploration of the work’s theme; the individual in relation to both the private and public domain. It is the ubiquitous presence of the body, in references to clothing, furniture and domesticity that is central to Scheepers’ interpretations of the tone and atmosphere of the modern every day.

Installation view of the artwork in blank projects in Johannesburg, 2013, Ithuba Arts Gallery in Johannesburg. Image Courtesy blank projects

Gerda Scheepers has exhibited widely at renowned centres and galleries including the Kunstverein Nürnberg, Stadtmuseum Düsseldorf and Sprüth Magers in Berlin, Cologne and London. Awards include the Art Cologne Preis für Junge Kunst and the Marianne-Defet-Malerei-Stipendium. Her most recent solo exhibition titled Rooms was shown at Mary Mary Gallery in Glasgow, earlier this year. Marelize van Zyl

Lot 32

In this cheerful painting with its bright sunshine yellow and

Robert Hodgins

fleshy pinks, Robert Hodgins challenges every assumption we

South African 1920–2010

may nurture about art. By placing the figure four-square in the

Nude

centre of the format with her large feet resting comfortably

2008 oil on canvas signed, dated, inscribed with the title and medium on the reverse 60 x 60 cm

on the frame, he questions accepted art conventions of the

R250 000 – 350 000

nude. Rather than being arrayed for visual delectation in an impossible pose, this woman sits comfortably with her legs spread defying the demure conventions of the classical nude. Neither is this, strictly speaking, a nude in that the woman wears underwear or more correctly, red underpants. Rather than being adorned in skimpy lingerie to show off her décolletage to perfection, her substantial breasts are proudly presented. Since John Berger’s ground-breaking series, Ways of Seeing was first screened on the BBC in 1972 and published as a book, his critique of Western cultural aesthetics has revolutionized the way we look at art. Berger raised pertinent questions around representations of the human body – and especially women’s bodies – at a time when issues around body politics were being explored and contested. Within the history of the nude, Hodgins’ Nude is a contemporary depiction of a naked woman rather than a classical nude, making this a vital work that questions accepted norms both in art as well as in sexual relations. Emma Bedford

Lot 33

“One of Preller’s most mature and original works certainly is

Alexis Preller

The Feast. Its origin, or rather the origin of its conception, is of

South African 1911–1975

The Feast (preparatory sketch)

his studio he had a very tall piece of wood, half round, and he

1939 pencil, pen, ink and watercolour on five sheets of paper signed and dated bottom centre 243 x 27.5 cm

a good deal – to decorate this piece with figures, some carved,

wanted for a long time – a period in which he had been carving some inlaid with metals, bronze, brass and silver. He had to abandon this scheme, but never lost sight of it. The vision matured within him during five years, and finally it took the

R150 000 – 250 000

shape of a painting. As he had visualised the beam in space, or

L IT E R AT U R E

against a skyline, he now proceeded to paint this procession of

cf. Berman, E. and Nel, K. (2009). Africa: The Sun and The Shadows. Johannesburg: Shelf Publishing, The Feast illustrated on p.49.

figures in the same manner: a narrow strip of teeming life cut by

cf. Berman, E. and Nel, K. (2009). Alexis Preller: Collected Images. Johannesburg: Shelf Publishing, a detail image of The Feast illustrated on p.37 & 75, comparable works illustrated p.34 & 70.

of people whom he saw going about, laden with food, fruit

cf. Bouman, A.C. (1948). Painters of South Africa. Cape Town: HAUM, The Feast illustrated on p.98.

Still Life with Chair, 1937, image courtesy Alexis Preller Collected Images

interest for a better understanding. The artist tells me that in

space, and not by the edges of the frame. It is not a particular ceremonial feast really; it is the “procession”, in composition, and fowls, as if for a feast. The title is appropriate in that those human beings, with their loads of everyday produce, seem to live in a sort of paradise of abundance.” Bouman, Dr. A.C. (circa1948). Painters of South Africa. Published: Cape Town, p.98.

The Feast, 1939/44, image courtesy Alexis Preller The Sun and the Shadows

The Kraal, 1948, image courtesy Alexis Preller Collected Images

Lot 34

Gerard Sekoto is undoubtedly one of the most important black

Gerard Sekoto

South African modernist artists of the mid to late-20th century.

South African 1913–1993

While his style is widely recognised as a pioneering form of

The Two Worlds

urban black social realism, it also demonstrates his commitment

1969 oil on canvas signed and dated bottom right 60 x 80 cm

to a dynamic and imaginative visual interpretation of his

R500 000 – 800 000

in District Six in Cape Town, and in Pretoria, before going

subject matter. Born in Mpumalanga, he subsequently lived in Sophiatown, into self-imposed exile in Paris in 1947. Sekoto’s travels around South Africa were tied up with his decision to become a fulltime artist. He relocated from his teaching position in what is now Limpopo to pursue his career by settling in the legendary Sophiatown, near Johannesburg, in 1938. While living there he met Joan Ginsberg of the prominent Gainsborough Gallery, as well as the artists Judith Gluckman and Alexis Preller, the latter also in the infancy of his career. As he met and mixed with an artistic community, and began to show his work, the obstacles to the artistic advancement of black artists set up by the colonial administration of the country at the time became more and more frustrating. With the advent of high apartheid with the ascent to power of the National party in the offing in 1948, Sekoto decided to seek exile in Paris in 1947. He earned a precarious living there, partly as a bar-room jazz pianist, but continued to paint. His life in Paris was enlivened by his involvement, through the 1950s, with various pan-African movements and personalities in Europe, and was punctuated by further travel, most influentially to Senegal in 1966-1967, where he was invited by the poet and statesman Leopold Senghor, and where part of his time was spent in the relatively remote village of Casamance. The current work is clearly an unusually composed reflection on the dichotomous life the artist was leading – from the rural idylls of his visit to Africa, and nostalgic imaginings of his own homeland in South Africa depicted on the left of the picture plane, to a distinctly white and urban reality – perhaps Paris, perhaps apartheid South Africa – on the right. Sekoto never did return to the land of his birth, and died in Paris in 1993. James Sey

Â© Gerard Sekoto Foundation/DALRO

Lot 35

This is one of Maud Sumner’s most striking portraits. The

Maud Sumner

woman sits confidently gazing directly at the artist, her features

South African 1902–1985

painted with an honesty and empathy that hints at the complex

Portrait of a woman with tiger lilies

emotions of the sitter. The bold patterning of the decorative

oil on canvas signed bottom left 77 x 50 cm

designs as much as arousing associations with the lively rhythms

R100 000 – 150 000

cloths wrapped diagonally across her breasts evoke African of a Miró. Strong contrasts in the exuberant orange tiger lilies that burst from the bouquet, and the golden oriole of her headscarf that serves almost as a halo, are set against intense blues in such a way that these complementary colours vibrate to animate the painting’s surface. Given its associations with the Virgin Mary, the abundance of blue elevates this woman, imbuing her with a glorious but calm spirituality. At Oxford University from 1922, Sumner studied English and French literature, obtaining her MA before relocating to Paris in 1929. Here she shared a home in the Rue Boulard with expatriate Spanish painter, Maria Blanchard, an address where artists who were pivotal to the development of pre-Second World War art including Matisse, Severini and Claudel, were regular visitors. The influence of French modernism is evident in this sympathetic portrait. Emma Bedford

Lot 36

In the late 1960s, when Peter Clarke painted this iconic work,

Peter Clarke

the spectre of political upheaval in the country loomed large.

South African 1929–2014

The Clarke family would soon be affected by the apartheid

Abandoned on the Dunes

policy of forced removal, and many of the paintings Clarke

1969 oil on board signed and dated July 1969 bottom right 28.5 x 36.5 cm

made around this time reflected not only a kind of existential

R800 000 – 1 200 000

uncertainty, but a sense of abandonment and longing amid the turmoil of everyday life in the South Africa of the time. The painting has also been called The Dunes and Picnic on the Dunes, but the ostensible trappings of a picnic – the

NO T E S

This work was given two titles by the Iziko South African National Gallery, The Dunes and Picnic on the Dunes. PROVENANCE

Purchased by Bernhard Herzberg (1909–2007), Cape Town, directly from the artist. Gifted to Herzberg’s daughter, Wendy Lopatin in 1969 on the occasion of her 21st birthday. Private collection, Johannesburg, acquired 2008. EXHIBITED

Cité Internationale Des Arts, Paris, Portrait de L’Afrique du Sud - George Hallett, Peter Clarke, Gerard Sekoto, 30 October to 27 November 2013. Graham’s Fine Art Gallery, Johannesburg, Imaging and Imagining: South African Art c.1896–2008, 16 July to 16 September 2009. L IT E R AT U R E

cf. Hobbs, P. and Rankin, E. (2011). Listening to Distant Thunder: The Art of Peter Clarke. Johannesburg: Fernwood Press, a similar work titled Listening to Distant Thunder illustrated in colour on the cover and p.118.

wicker basket with food and drink in it, and the vessel in the foreground – do little to dispel the beautifully realised sense of isolation and stillness captured in the work. The dominant figure in the picture, the mother, faces away from the viewer, her gaze drawn across the dunes and into the intense blues with which Clarke had depicted the sky. The figure of the sleeping child, on the left of the picture plane, is similarly ambivalent in her repose. She shelters in the lee of a wind-blasted tree, which is devoid of vegetation and rendered in the kind of angular, spiked, geometrically proto-cubist style which defined many of Clarke’s landscapes at this time. The whole scene, with its sense of a craggy, windswept air of desolation, has strong echoes of another work of the same period, Listening to Distant Thunder (1970). This work was used as the cover image and title inspiration for the authoritative monograph on the artist by Phillipa Hobbs and Elizabeth Rankin, Listening to Distant Thunder: The Art of Peter Clarke (2014), and its figures, mostly seen in profile, stare out across the dunes “with an austerity in their stylisation which….makes them seem intensely isolated… . With no signs of habitation or possessions, the figures seem utterly forsaken by society, a reading that no doubt prompted the alternative title the work acquired after it had left Clarke’s hands – Abandoned family.”1 This work, one of the finest Clarke oils to come to market, assumes a similar title and evokes a similar set of emotions – an elegy to a lost time and way of life. James Sey

Listening to Distant Thunder, 1969

1 Hobbs, P. & Rankin, E. (2014) Listening to Distant Thunder – The Art of Peter Clarke. Cape Town: Fernwood Press. p.119.

Â© The Estate of Peter Clarke/DALRO

Lot 37

Throughout his life, the boundaries of Walter Battiss’ creativity,

Walter Battiss

his unique approach to painting and the choice of his subject

South African 1906–1982

matter stretched as far as the distances he travelled. The

Village scene

1960s in particular was a decade of discovery for Battiss, as

1967 oil on canvas signed bottom left; signed, dated 1.12.1967 and inscribed ‘All happiness for Joy and Joe’ on the reverse 40.5 x 50.5 cm

he undertook many trips up the East Coast of Africa and to

R200 000 – 300 000

the Middle East, Southern Arabia, Greece and the island of Crete. During these voyages he made numerous pen and ink sketches of the places he visited. Many of these scenes were also translated into oil on canvas. Battiss was a subjective observer and he was interested in the various ways he could uniquely capture and visually interpret a particular place, its landscape, culture and spirit, and his own impressions thereof. This resulted in interesting shifts in his use of colour and the iconography of his work1. Village scene presents one such captivating and personal record by the artist. It is an exceptionally charming work in which the pictured rural setting is rendered with a sense of loose spontaneity, showing Battiss’ distinctive use of a pallet knife when liberally applying thick layers of paint in different colours and the creation of palimpsests by the addition of sgraffito-like drawings. The composition is crammed with stacked structures and some figures which add life to the scene. A rooster, amusingly positioned on the roof of a structure draws attention – a teasing reminder of the playful and good-humoured nature of the artist. The most striking aspect of this painting is the artist’s predominant use of blue. During his travels through the East Coast of Africa in 1964, Battiss was stunned by the clarity and distinctive nature of the blue African sky that he encountered in places like Zanzibar, Mombasa, Lamu and the Bajun Islands in particular. This was an important source of inspiration, and many of the paintings Battiss produced during this period can be recognized by the distinct presence of blue.2 Village scene forms part of this extensive body of work, considered today as the artist’s finest. Marelize van Zyl 1 Siebrits, W (ed). (2016). Walter Battiss: I Invented Myself. Johannesburg: Ampersand Foundation. p. 58 2 Ibid p. 60.

Lot 38

Erik Laubscher South African 1927–2013

Naby Ladismith

landscape artists. He is most renowned for his distinctive

1981 oil on canvas signed; signed, dated and inscribed with the title on the reverse 72 x 90.5 cm

abstract, and later expressive, renderings of the Western Cape

R200 000 – 300 000 PROVENANCE

countryside and Namibian desertscape. These works remain significant and continue to impress through their timeless appeal. In this work, painted in 1981, Laubscher returned to his signature hard-edge style of the 1960s to capture a mesmerizing

Johans Borman Fine Art

panoramic view of a valley near the town of Ladismith, located

EXHIBITED

in the western Klein Karoo. He presents a visually monumental

Johans Borman Fine Art, Cape Town, Allusions of Abstraction, 1 June to 12 July 2013. L IT E R AT U R E

Borman, J. (2013). Allusions of Abstraction. Cape Town: Johans Borman Fine Art, illustrated in colour on the cover and p.14, the work was also illustrated on the exhibition poster.

Erik Laubscher is one of South Africa’s leading 20th century

composition in which the elements of the cultivated land, and the surrounding Swartberge in the distant background, are translated into basic forms and textured planes of brilliantly bright and warm colours. It is a visually engaging work - an inimitable interpretation of the vastness and light of the area. Marelize van Zyl

Johans Borman Fine Art, Allusions of Abstraction exhibition poster.

Lot 39

Michael Taylor b.1979 South Africa

Good Old Mumbo Jumbo 2012 acrylic, wash and ink on paper signed with the artist’s initials bottom right 159 x 121.5 cm

R70 000 – 90 000

PRO VEN A N CE

WHATIFTHEWORLD, Cape Town. EXH IBITED

WHATIFTHEWORLD, Cape Town, Mumbo Jumbo, 1 November to 1 December 2012.

Lot 40

MJ Lourens b.1973 South Africa

Night shift IV / Nagskof IV 2015 acrylic on board signed and dated bottom left 70 x 91 cm

R40 000 – 60 000 E XH I B I T E D

Stephan Welz & Co., Cape Town, Werk die land: A Solo Exhibition by MJ Lourens, 26 March to 10 April 2015.

Lot 41

William Kentridge completed a series of drawings and

William Kentridge

monoprints entitled Colonial Landscapes in 1996. The series

b.1955 South Africa

Waterfall (from the Colonial Landscapes series)

reworks illustrations taken from an anthology entitled Africa and its Exploration as told by its Explorers (ca. 1891).1 The twovolume book collects accounts of expeditions from explorers including Richard Francis Burton and David Livingstone and

1996 colour monotype signed and dated in pencil bottom left sheet size: 75.5 x 101 cm

is illustrated with engravings depicting wildlife, ethnography

R500 000 – 700 000

inscribed through European eyes and theories of aesthetics,

NO T E S

and—significantly for Kentridge’s work—landscape. Disputing the ostensibly ‘natural’ depictions of the African continent, particularly the pastoral and the sublime, Kentridge exposes the

One from a series of four water landscape images, printed by Jack Shirreff and Andrew Smith, 107 Workshop, published by David Krut Fine Art, London.

systems that bring such representation to light.

L IT E R AT U R E

(1994). In this film, Kentridge drew the abandoned mining

cf. Tone, L. (ed.). (2013). William Kentridge Fortuna. London: Thames and Hudson, another work from the series illustrated on p.97.

sites of the East Rand where industrial decay and scenes of

cf. Law-Viljoen, B. (ed.). (2006). William Kentridge Prints. Johannesburg: David Krut Publishing, another work from the series illustrated on pp.56-57 where it is incorrectly stated that there are 3 monotypes in this series.

owned and transformed by industry, the drawings show the

Colonial Landscapes continues Kentridge’s interest in the genre, previously explored in the animated film Felix in Exile

violence—recalling the Soweto Uprising—are linked. Using red surveying pylons to mark the landscape as property, both East Rand as a ‘disaster zone’.2 Thus, Kentridge’s landscapes criticise the pastoral traditions common to South Africa in early 20th century painting and literature, which are foundational to developing a national identity but also conceal the contestation and violence that took place on the terrain. The use of red pastel appears throughout Kentridge’s work to mark things not manifestly visible on the surface of the image. Waterfall depicts an etching of Victoria Falls, but rather than the sublime depiction of the falls in Africa and its Exploration, Kentridge uses red pastel to show crosses, circles, and lines

Another monotype from the series.

which evoke reticules and measuring poles used in colonial expeditions and mapping projects. By making manifest the visual devices used to map and depict the terrain, Kentridge exposes the systems of vision and power that construct landscape, disrupting a purely aesthetic or natural appreciation of the scene. Andrew J. Hennlich 1 Park, M. (1891). Africa and its Exploration as told by its Explorers. London: Sampson Low & Marston. 2 Kentridge, W. (1999). William Kentridge. London: Phaidon, p.22.

Lot 42

Keith Joubert South African 1948–2013

Magadi 2002 oil on canvas signed and dated bottom right; inscribed with the title on the stretcher 106.5 x 190.5 cm

R70 000 – 100 000 PROVENANCE

Everard Read, Johannesburg.

Lot 43

Keith Alexander South African 1946–1998

Skeleton Coast, Namibia 1984 oil on canvas signed and dated bottom right 90 x 121 cm

R350 000 – 500 000

Lot 44

Gregoire Boonzaier South African 1909–2005

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

R100 000 – 200 000

Lot 45

Jan Ernst Abraham Volschenk South African 1853–1936

Karroo - Along the Brand River (sic) 1922 oil on canvas signed and dated bottom right; signed, dated and inscribed with the title on the reverse 21 x 36 cm

R35 000 – 50 000

Lot 46

Freida Lock South African 1902–1962

Farmyard oil on paper laid down on board signed bottom right 20 x 29 cm

R60 000 – 90 000

Lot 47

Maurice van Essche South African 1906–1977

Conversation oil on canvas signed bottom right 37.5 x 54.5 cm

R80 000 – 120 000

Lot 48

Hugo Naudé South African 1868–1941

Ceres oil on card signed with the artist’s initials bottom right 24 x 20 cm

R60 000 – 90 000

Lot 49

Hugo Naudé South African 1868–1941

Mountainous landscape oil on card signed bottom left 20 x 25 cm

R50 000 – 80 000

Lot 50

Hugo Naudé South African 1868–1941

Namaqualand in Spring oil on board signed bottom right 24 x 38.5 cm

R120 000 – 180 000

Lot 51

Not long after he spent time as an art lecturer at the College of Education in Heidelberg and

Jacobus Hendrik Pierneef

in Pretoria, JH Pierneef decided to pursue a career as a full-time artist. This decision was

South African 1886–1957

Teufelsbach Near Okahandja, S.W.A.

made in the early nineteen twenties, when the artist was aged 35. It was during this time that his life-long friend, the Stellenbosch academic, JFW Grosskopf, persuaded the artist to venture down to the Cape Province to acquaint himself with the lush and often rain-soaked scenery of the Cape. In 1921 Pierneef presented this

1923 oil on board signed and dated bottom right; printed with the title on a label on the reverse 30 x 45 cm

body of work at his first Cape exhibition and it was here that he met the South West African

R200 000 – 300 000

Namibian wilderness inspired and captured the imagination of Pierneef. He arrived in South

(Namibian) artist Hans Aschenborn (1888-1931), who had immigrated to that country in 1909. Aschenborn’s account of that country with its parched landscapes and the vastness of the West Africa for the first time in 1923, the first of many return visits to that country. This landscape was probably painted at sunrise during Pierneef’s very first visit and right from his first encounter with these desolate arid plains and outcrops he recognised the significance of capturing light to create dramatic contrast on the picture plane. By utilising a darkened foreground the artist accentuates the visual impact of the scene plus key compositional features such as the rather compacted mountain range of the Okahandja region as well as the feathery cloud formations. Eunice Basson

Lot 52

Walter Battiss South African 1906–1982

Abstract (from the Rock Art series) colour woodcut signed in pencil bottom right sheet size: 38.5 x 56.5 cm

R25 000 – 35 000 L IT E R AT U R E

cf. Skawran, K. and Macnamara, M. (eds.). (1985). Walter Battiss. Johannesburg: A.D. Donker, a similar example titled The Painter and the Rock, 1957 illustrated on p.48, plate 7.

Lot 53

Walter Battiss South African 1906–1982

Fruit and flowers oil on canvas signed top right 46.5 x 35.5 cm

R120 000 – 180 000

Lot 54

Featured in the artist’s Extract exhibition of 2001, Adderley Street, Cape Town is one of that show’s

Anton Karstel

eight modern-day and critically charged reinterpretations of 20th century South African cities. Inspired

b.1968 South Africa

by historic photographs taken of Cape Town, Johannesburg and Port Elizabeth, Anton Karstel wanted

Adderley Street, Cape Town

more than to simply pay homage to documentary photography of the time and decided to produce

2000 oil on canvas signed and dated bottom right 108 x 130 cm

bygone places on the one hand and, on the other, prompted a confrontation with the processes of the

R120 000 – 150 000

Karstel’s adept approach to paint on canvas in this series, in which old, flat photographs were re-

EXHIBITED

João Ferreira Fine Art, Cape Town, Extract, 7 to 31 March 2001.

large, contemporary works which oscillated between warmly hued and dream-like representations of visual documentation and memorialisation of spaces that, in a new socio-political milieu, have become remnants of history. animated through vibrant brushwork and the use of impasto, offers a uniquely contemporary update on the techniques of Impressionism and Pointillism. Garnering favourable attention throughout his career, Karstel has had a number of exhibitions – which include Anton Karstel 1995 – 2018, his most recent career retrospective held at the Pretoria Art Museum in 2018. Marc Smith

Lot 55

The imposing Union Buildings in Pretoria were designed by Sir Herbert Baker for the Union

Jacobus Hendrik Pierneef

Government of South Africa and were completed in 1913. In the same year Pierneef presented his first

South African 1886–1957

Meintjeskop and the Union Buildings 1919 ink and oil on canvas laid down on board signed and dated bottom right 14 x 24.5 cm

R150 000 – 200 000

solo exhibition in October in the capital city. This exhibition was a major success confirming Pierneef’s growing importance and popularity as an artist. During the building operations at Meintjeskop, the artist was a regular visitor to the site where he spent much time meticulously documenting the excavations and construction of this impressive sandstone structure and it is very likely that a selection of these drawings and watercolours might have featured at his first exhibition. For the inhabitants of this rapidly expanding town the Union Buildings must have been an all-encompassing feature against the now renowned koppie. It is well-known that Pierneef regularly set up his easel and art materials along the by-ways in and around the capital city capturing the scenery or distant views as can be seen in this little gem of a painting. Here the Union Buildings are seen from the Prinshof area of the town with the artist looking in an easterly direction across the scrub and undergrowth in the foreground. At this stage of his career, Pierneef was exploring different stylistic techniques as can be seen in these vigorous impasto layers of paint where short brush strokes create texture and a sense of urgency to capture the fleeting moment. Eunice Basson

Lot 56

In 2016, Zander Blom was included in Vitamin P3: New

Zander Blom

Perspectives in Painting, an anthology of contemporary painting

b.1982 South Africa

published by Phaidon. Blom’s inclusion, together with just

Untitled 1.316

more than 100 other outstanding international artists, not

2012 oil on Belgian linen signed and dated on the reverse 198 x 164 cm

only spotlighted him, but cemented his position as part of a

R180 000 – 240 000

new generation that is taking this historic medium in new and unexpected directions. The material qualities of paint and the process of ‘making’ is central to Blom’s work. It is the physicality of his paintings

L IT E R AT U R E

Blom, Z. (2013). Paintings Volume I 2010–2012. Cape Town: Stevenson, illustrated in colour on p.240.

that impacts their content and meaning. Untitled 1.316 is an impressive example of the artist’s demonstration of just what paint can do. Referencing the actions and techniques of Abstract Expressionism, Blom uses a palette knife to freely apply heavy daubs of oil paint on unprimed, raw linen canvas, which take on its own hue as the oil from the paint seeps through. He gives way to chance, allowing these oil halos their own formal space within the dynamic composition. This triple layering of material epitomizes Blom’s stylistic idiom; he creates surface tension as the paint pulls the linen, while the linen holds onto the paint and oil seeps into the canvas in a striking display that depicts their connection and separation at the same time. Here, Blom’s use of oil paint is evocative as he limits the colour range to black with small blots of white and primary blue – here and there – for visual effect. He refrains from a descriptive title for the work to defer subjective interpretation and meaning. Rather, this work stands as a testament to Blom’s artistic method and his process of investigation into the nature of oil paint. It is the materiality of this painting that elicits its true aesthetic value. Untitled 1.316 is a striking work – its vibrancy indicates the continuing cool allure of Blom’s painterly, expressionist abstraction. Marelize van Zyl

Lot 57

Newell Harry is an Australian artist, born to a South African

Newell Harry

mother and a Mauritian father. He deals consistently with his

b.1972 Australia

ancestral heritage, referencing the Cape Malay identity in many

Untitled (Heat/Hate/ Meat/Mate)

works from 2007 to 2019. Harry holds a MFA (2004) and BFA

2013 ink on Tongan Ngatu 269 × 100 cm From an edition of 2 + 1AP

Wales, Sydney. In 2015 he notably exhibited at the 56th Venice

R80 000 – 120 000 EXHIBITED

Roslyn Oxley9 Gallery, Sydney, The Like Button, 13 December 2018 to 19 January 2019, another example from the edition exhibited.

(2000) from the college of Fine Arts, University of New South Biennale, All the Worlds Futures, curated by Okwui Enwezor. He was awarded the Pernod Ricard Fellowship in 2018. In the cases of Untitled (Feet/Feat/Fete/Fate) and Untitled (Heat/Hate/Meat/Mate) Harry uses Ngatu, or Tapa, a Tongan cloth made by a labour-intensive process of pounding the inner bark of a Hiapo (Paper Mulberry tree) with a mallet. Once the bark is flattened, it is then bound together, using natural starches, to make large pieces of cloth. Groups of women then work to decorate the cloth with natural dyes and pigments. Once completed the cloth becomes a ‘gift-currency’, exchanged as commerce and given at pivotal moments in life like births, weddings and funerals. The geo-specific cultural value of these cloths interests Harry as much as the problematic question of authenticity caused by the impact of colonialism in the South-Pacific area. These

Lot 58

cloths become weighted in critical meaning when displayed in

Newell Harry

the context of the contemporary art world. The Tongan value

b.1972 Australia

Untitled (Feet/Feat/ Fete/Fate) 2013 ink on Tongan Ngatu 267 x 104 cm From an edition of 2 + 1AP

R80 000 – 120 000 EXHIBITED

Roslyn Oxley9 Gallery, Sydney, The Like Button, 13 December 2018 to 19 January 2019, another example from the edition exhibited.

becomes a conceptual element in an aesthetic judgement. In a deeper act of subversion, Harry prints series’ of words on the Ngatu. Some are in the form of anagrams, ‘double entendres’, and what he defines humorously as ‘dumbed-down poetry’. His words flow rhythmically, creating a fluidity of diverse references which, given more than a moment, reveal encoded complexities on the state of global culture and the resilience of the ‘local’. The success of Harry’s art practice is predicated by his witty and honest connection with the subject and the materiality with which his work is imbued. Joshua Stanley

Lot 59

Newell Harry b.1972 Australia

Untitled Gift Mat (White Whine Clean Shins) 2011 pandanus and dye 42 x 212 cm

R150 000 – 180 000 EXHIBITED

cf. Roslyn Oxley9 Gallery, Sydney, Views from the Couch, 2007, similar works exhibited.

Newell Harry, Untitled gift mat series, installation view, Untitled (12th Istanbul Biennial), 2011. Photo: Edge of Elsewhere

Lot 60

By 2014, William Kentridge had been drawing trees on

William Kentridge

dictionary sheets for some time. In 2012, he was invited to

b.1955 South Africa

deliver the Norton Lectures at Harvard University. He began

If You Have No Eye

preparing these in 2011, and wrote the first four lectures quite

2014 linocut printed on a selection of nonarchival dictionary pages, collaged and attached with archival tape to a backing sheet of Arches Cover White, 300gsm paper signed and numbered 4/24 in pencil along the bottom margin sheet size: 202 x 108 cm

quickly, but then found himself at a standstill. One morning,

R400 000 – 600 000 NO T E S

Printed by Jillian Ross.

while pondering the fifth and sixth lectures, Kentridge began to draw with ink. A morning of “productive procrastination” turned into a series of over 70 linocuts – The Universal Archive – created with the David Krut Workshop from 2011 to 2015. Taking a good brush and another which was used, with splayed bristles which made less precise marks, Kentridge began the series by drawing figures, coffee pots, a large vase with flowers, and other recurrent images in his oeuvre, including trees. The marks of the bad brush suggested to Kentridge ‘the plethora and the ordered randomness of leaves, or the feathery twigs at the end of a branch’, as he put it. The ink drawings were photocopy-transferred onto small

linoleum plates, just the size of a single dictionary page, and a team of carvers was gathered with a view to re-creating the drawings through relief printing. Copper engraving tools were used to carve in minute detail. The images were printed onto pages from three different 1950s dictionaries, all chosen for their slight difference in color and the flatness of their surface. Some images were printed on a single dictionary page, some two pages, later fifteen and thirty pages. In this climactic work of the series, If You Have No Eye, 67

linoleum plates were used to print onto 104 pages, which William Kentridge and the David Krut team at work on the print series

were then variously torn, cut and left whole. Each piece was then assembled and collaged, like a puzzle, onto another layer of dictionary sheets that serve as the background field. The dictionary paper and both glossy and matte inks helped the tree to find its form. The entire process – from preparing the linoleum, carving the plates, printing the pieces and assembly, to arriving at a final result; and then producing the full edition – took two years to complete. Jillian Ross

Lot 61

Elevating sweat and sanctifying it on a bed of gold, Pierre

Pierre Vermeulen

Vermeulen’s gilded work demonstrates why his skill as

b.1992 South Africa

a contemporary artist is so celebrated. Given his unique

Untitled (Sweat Print #8)

talent and approach to artmaking, Vermeulen’s work gained

2016 gold leaf imitate and sweat on iBond signed and dated on the reverse 150 x 170 cm

considerable attention soon after he obtained his BA in Fine Art

R50 000 – 70 000

international debut with a solo presentation at Artissima in

from the University of Stellenbosch in 2015. In 2017, he held his first solo exhibitions in Cape Town, whereafter he made his Turin, Italy in 2018. Of itself (2018) was the artist’s most recent solo exhibition at SMAC Gallery, Johannesburg. His works also feature in the permanent collection of the Zeitz MOCCA. Apart from the acquisitions made by the museum, it was Vermeulen’s Untitled (Sweat Print #1) that the private Zeitz Collection commissioned in 2016 as a site-specific work for Gordon House, London. In Untitled (Sweat Print #8), Vermeulen positions himself not only as the work’s maker, but inextricably embeds his essence within the work’s subtle spectrum of colours and range of gestures. Having used his sweat to oxidise the gold leaf imitate and capture the fleeting impressions of his body, the artist waited for an opportune moment to neutralise the surface and halt the process. In this way, the remnants of a transient process are rendered more profound. Marc Smith

Lot 62

Sipho Ndlovu b.1968 South Africa

Milking Sculpture 2013 oil on canvas signed and dated bottom right; inscribed with the title on the reverse 61.5 x 93 cm

R40 000 – 60 000

Lot 63

Sipho Ndlovu b.1968 South Africa

Bedroom 2012 oil on canvas signed and dated bottom left; inscribed with the title on the reverse 61.5 x 84 cm

R40 000 – 60 000

Lot 64

The present drawing relates to the exhibition at the

William Kentridge

Grahamstown Arts Festival in 1987 that William Kentridge

b.1955 South Africa

produced as the winner of the Standard Bank Young Artist

Untitled (Landscape with two figures)

Award. The exhibition launched at the Festival in June 1987 and subsequently toured the major centres around the country.

1987 charcoal and pastel on paper signed and dated bottom left 63 x 63 cm

different eighteenth-century artists, William Hogarth and

R800 000 – 1 200 000

Industry and Idleness that, in somewhat ironical terms, traced

PROVENANCE

the careers of two apprentices, one improbably bad and the

Gifted to the current owner by the artist in 1987 in appreciation for their design of the Standard Bank Young Artist Award 1987 – William Kentridge catalogue.

Kentridge’s exhibition was based on the work of two rather Antoine Watteau. He re-imagined Hogarth’s set of engravings

other impossibly good, ending respectively on the gallows and as Lord Mayor of London, to depict a world in which vice rather than virtue is rewarded and the whole social order is depraved. Kentridge’s other choice of Watteau as a model was more surprising because he was the artist, par excellence, of the fêtes galantes, those seemingly frivolous celebrations of aristocratic love-making set to music and dance in beautiful French parks. But Kentridge at this time was exploring his ambivalence to the tradition of European art history, enjoying its splendours on a personal level, but rejecting it as a model for his own practice in the conditions that prevailed in South Africa at that time. Thus his re-working of Watteau’s Embarkation from the Island of Cythera that formed the centre-piece of the exhibition overturned the principles of this “Art in a State of Grace”, as he called it, transforming the island paradise into a peri-urban wasteland. Kentridge’s point in this assault on art history, European and local, was to show that the lens through which South Africans had been habituated to view their landscape effectively concealed all of this country’s devastating history. It is not certain that the present landscape is a parody of any precise painting by Watteau or his school. But Kentridge might have derived a perverse pleasure in transposing a pair of lovers from the side of a delicate fountain in an eighteenth-century French park to immersion in a non-descript concrete farm dam. Other forms in the landscape work to break down what he understood as “the plague of the picturesque” – in other words, clichés of beauty in the conventional representation of landscape. These are human interventions of different sorts that connote a kind of social history in this imaginary place: worked fields, mine dumps, tyre tracks, lamp posts, pylons, abandoned car wheels, etc., all have their stories to tell – and all effectively deny the possibility of pure aesthetic pleasure without understanding the social reality of the South African landscape. Michael Godby

Lot 65

Alf Kumalo South African 1930–2012

Tea and Cake 1954, printed later hand printed gelatin silver print with a Bailey’s African Photo Archives artist’s label adhered to the reverse and a text label quoting the image caption and the literature reference below image size: 19.3 x 19 cm From an open edition

R12 000 – 18 000

N O TES

With a career as a photographer stretching from 1956 until shortly before his death in 2012, Alf Kumalo’s photographs of both historic moments and daily life in 20th century South Africa are counted among the defining images of their time. Kumalo worked for DRUM magazine in the 1950s and 60s, alongside other prominent names such as Bob Gosani, Peter Magubane and Jürgen Schadeberg, producing content that conveyed the depth and richness of the everyday experiences of black South Africans under apartheid. This photograph was first seen when it was published in DRUM magazine during that time, accompanied by the following text (as reproduced in the 1987 book and on the label on the reverse):

“TEA AND CAKE Dube, April 1954. When the ladies of Dube meet on Thursdays at each others’ homes, it’s chocolate cake and lemon meringue, biscuits and scones. They wear pretty dresses and talk about their men, the house and the kids. Just like their white counterparts in the more northerly, more suburban parts of suburbia, Johannesburg.” LI TERATURE

Mtshali, O., Sampson, A. and Schadeberg, J. (1987). The Finest Photos from the Old DRUM. Johannesburg: Bailey’s African Photo Archives and Penguin Books (dist.), another example from the edition illustrated on p.82.

Lot 66

George Hallett b.1942 South Africa

Dumile in his Studio, The Village, NY, ‘83 1983, printed 1999 hand printed gelatin silver print signed, dated and inscribed with the title in ink along the bottom margin image size: 36.5 x 55.5 From an open edition

R12 000 – 18 000

N O TES

Made a few years after his arrival in New York in 1979, this portrait of the iconoclastic Dumile Feni portrays the complexities of a life lived in voluntary exile in Europe and North America from 1968 until his premature death from heart failure in 1991. A hallmark of Hallett’s photographic practice, his numerous sensitive and insightful portraits of his exiled compatriots, each bear witness to the diaspora of important figures in 20th century South African arts and culture. EXH IBITED

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; Bo-Kaap 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. LI TERATURE

Mbusi Dube, P. (2005). Dumile Feni: Retrospective. Johannesburg: Johannesburg Art Gallery and Wits University Press, another example from the open edition reproduced on p.138, in the exhibition catalogue for Johannesburg Art Gallery, Johannesburg, 31 January to 10 April 2005.

Lot 67

This David Goldblatt print does not appear within his vast

David Goldblatt

archive of over 300,000 negatives bequeathed to Yale University

South African 1930–2018

in 2017. It was not included in the landmark exhibitions held

District Six

at Centre Pompidou (Paris) and the Museum of Contemporary

1966, printed later hand printed gelatin silver print signed, dated, inscribed with the title and ‘3/c667’ in pencil on the reverse image size: 46 x 31 cm unique, with no extant negative

Art Australia (Sydney) in recent years. And, you will not find

R150 000 – 250 000 PROVENANCE

Goodman Gallery, Johannesburg. L IT E R AT U R E

cf. Kent, R. (ed.). (2018). David Goldblatt: Photographs 1948-2018. Sydney: Museum of Contemporary Art Australia, a comparable work titled Children on the border between Fietas and Mayfair, Johannesburg c.1949 illustrated on p.47. cf. Kent, R. (ed.). (2018). David Goldblatt: Photographs 1948-2018. Sydney: Museum of Contemporary Art Australia, a comparable work titled In the Old Location, Randfontein 1948 illustrated on p.51. EXHIBITED

Goodman Gallery, Johannesburg, Mostly Unseen, 18 May to 8 June 2002, this example exhibited.

versions of the print in the permanent collection of any major museum. Very simply: it is a unique work within Goldblatt’s vast archive, an analogue gelatin silver print made by the photographer himself in his own darkroom. Within the contemporary market for collecting photographs, it is widely expected that a photograph will manifest in multiple nearly-identical prints. From numbered to open editions, to photo books and museum exhibitions, collectors and curators expect to find numerous prints of any particular image. In this instance, damage to the negative after this printing rendered it unfit for future use. Consequently, this is unique and incredibly rare: the only example of this image. Across his numerous bodies of work, David Goldblatt is especially celebrated for his vernacular pictures of everyday life. Dating to 1966, this work is stylistically similar to other Goldblatt street photographs from the earlier period of his career. And perhaps, most importantly, it was made in the same year that District Six was declared a whites-only region under the Group Areas Act on 11 February 1966. The resulting forced removals of District Six residents and the eventual demolition of its houses and buildings by the Apartheid regime would cast a long shadow that persists even into our contemporary understanding of Cape Town and its geography. But, on this particular day in 1966, that tragedy had not yet come to pass: the buildings still stand and the children

Children on the border between Fietas and Mayfair, Johannesburg c.1949

still play. We see only a youthful urban street scene: a singular, captured moment that has become a tribute to a vanished community. As with so many of Goldblatt’s images, this unique work sits lightly at the crossroads of history: looking toward inevitable change and consequence while capturing the ordinary, everyday moments of South African life.

In the Old Location, Randfontein 1948

100

Kathryn Del Boccio

101

Lot 68

David Goldblatt South African 1930–2018

An Elder of the Dutch Reformed Church walking home with his family after the Sunday service, Carnavon, Cape Province (Northern Cape), January 1968 1968, printed 2006 gelatin silver print signed and dated in pencil on the reverse From an open edition

R150 000 – 250 000 PROVENANCE

Another example from the edition is in the permanent collections of Fotomuseum Winterthur, Switzerland and the Pilara Foundation Collection, Pier 24 Photography, San Francisco. 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. Michael Stevenson, Cape Town, Some Afrikaners Revisited, 24 October to 25 November 2006, another example from the edition exhibited.

Figue 1, An Elder of the Dutch Reformed Church walking home with his family after the Sunday service, George, Western Cape, January 1968.

102

LITERATU RE

Kent, R. (ed.). (2018). David Goldblatt: Photographs 1948-2018. Sydney: Museum of Contemporary Art Australia, another example from the edition illustrated on p.92. Ziebinska-Lewandowska, K. (ed.). (2018). David Goldblatt: Structures of Dominion and Democracy. Göttingen: Steidl, another example from the edition illustrated on p.102, exhibition catalogue for David Goldblatt: Structures of Dominion and Democracy, Centre Pompidou, 21 February to 7 May 2018. Goldblatt, D. (2010). Kith, kin & khaya: South African photographs. Johannesburg: Goodman Gallery Editions, another example from the edition illustrated on p.71, exhibition catalogue for South African Photographs, The Jewish Museum, New York, 2 May to 19 September 2010 and Kith, kin & khaya: South African photographs, South African Jewish Museum, Cape Town, 31 October 2010 to 11 February 2011. Goldblatt, D. (2007). Some Afrikaners Revisited. Johannesburg: Umuzi-Random House, another example from the edition illustrated on pp.20 and 202. Goldblatt, D. (2001). Fifty-one Years. Barcelona: Museu d’Art Contemporani de Barcelona, another example from the edition illustrated on p.83, exhibition catalogue for David Goldblatt: Fiftyone Years, AXA Gallery, New York, 15 August to 16 October 2001; Museu d’Art Contemporani de Barcelona, February to May 2002; Palais des Beaux-Arts de Bruxelles, Brussels, June to September 2002; The Museum Africa, Johannesburg, 2003; The South African National Gallery, Cape Town, 2003. Goldblatt, D. (1975). Some Afrikaners Photographed. Cape Town: Murray Crawford, another example from the edition illustrated.

A highly controversial body of images at the time of its 1975 first edition photobook debut, the series Some Afrikaners Photographed was and remains an unflinching, dispassionate though not unsympathetic 20th century portrait of a South African community. During his lifetime, David Goldblatt maintained that the project was not intended as nor should it be considered a definitive or essentialised understanding of Afrikaner identity. Instead, “Goldblatt destabilises. He suggests porous definitions”.1 Though this image from the series stands alone as its own complete, autonomous work, Goldblatt’s oblique and openended strategies shift into focus when juxtaposing this image with another from the series (figure 1). “Here the mirroring of the two images—in the symmetrical posing of the figures, the formal presentation, the repeated father/mother/daughter family group—draws them as much as the caption does into an inescapable alignment and dialogue that is fraught by the fact that one family is white, the other is coloured. Both elders are worthies in the Dutch Reformed Church—though not without qualification. What Goldblatt’s caption does not mention is that the coloured elder would have been the Nederduitse Gereformeerde Sendingkerk, the made-for-nonwhites stepchild of the parent church. The coloured leader and his family would not have been allowed to attend services in the church of the white elder”.2 The strength of this work (and indeed Goldblatt’s larger practice) is the subtlety of his persuasion: decisive conclusions or final pronouncements are left to the discretion of the viewer. Kathryn Del Boccio 1 Krog, A. (2007). ‘…between the nose and the mouth. Perhaps more towards the eyes’ in Goldblatt, D. (2007). Some Afrikaners Revisited. Johannesburg: Umuzi-Random House, p.33. 2 Powell, I. (2007). The Anxiety of identity and Some Afrikaners. In Goldblatt, D. (2007). Some Afrikaners Revisited. Johannesburg: Umuzi-Random House, p.20.

103

Lot 69

“Ultimately, Hugo’s images offer an arresting argument for

Pieter Hugo

the untrustworthiness of photography, and at the same time

b.1976 South Africa

reveal the striking vitality that remains at the heart of the

Mallam Galadima Ahmadu with Jamis, Abuja, Nigeria

medium when a practitioner bravely dares to pose difficult

2005 archival pigment ink on cotton rag paper signed, numbered AP and inscribed ‘From the Hyena Men of Nigeria 2005 Series’ in pencil along the bottom margin image size: 80.5 x 80.5 cm from an edition of 5 + 1AP

or...the codependence between photographer and subject,

R200 000 – 300 000

forward for a medium that might otherwise perish in this new

EXHIBITED

Stevenson, Cape Town, Pieter Hugo ‘Gadawan Kura’ – The Hyena Men, 27 February to 25 March 2006, another example from the edition exhibited.

questions, rather than attempts to provide clear-cut answers. Whether they allude to the domination of man over nature or the submission of a photograph to the prejudices and preconceptions of its audience, these astonishing portraits complicate rather than alleviate our troubled relationship with photography, and in doing so poignantly offer a refreshing way century. As Hugo’s work insinuates, the burden of accuracy no longer weighs heavily on the shoulders of photographers; along with beauty, truth is also now firmly and finally in the eye of the beholder”.1

L IT E R AT U R E

Abiola, A. and Hugo, P. (2008). The Hyena and Other Men. Munich: Prestel Verlag, another example from the edition illustrated in colour, n.p.

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1 Aaron Schuman, Beholder in Demos, TJ. and Schuman, A. (2012). Peter Hugo: This Must be the Place. Munich: Prestel Verlag, p.223, exhibition catalogue for Pieter Hugo: This Must be the Place, the Hague Museum of Photography, The Hague, 3 March to 20 May 2012 and Musée de l’Elysée, Lausanne, 9 June to 2 September 2012.

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Lot 70

Mikhael Subotzky b.1981 South Africa

Samuel (Standing), Vaalkoppies (Beaufort West Rubbish Dump) 2006 lightjet C-print on Fuji Crystal Archive Paper image size: 82 x 100 cm number 7, from an edition of 9 + 2AP in which 1 is smashed

R100 000 – 150 000 NO T E S

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

practice continues to defy categorization, producing important works from the traditions of painting, printmaking, film installation, photography and the genre-defying Stickytape transfers. From this broad oeuvre, Subotzky’s early photographic series remain among his best-known works. Beaufort West catapulted Subotzky to international recognition with its exhibition at New York’s Museum of Modern Art in 2008-9. The series was also his first photobook, published to

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; the inaugural FOAM Paul Huf Award (for the series Beaufort West), 2007; Special Jurors’ Prize, Les Rencontres Africaines de la Photographie, Bamako, Mali, 2005.

coincide with the opening of the exhibition.

EXHIBITED

looking at something you have always known and yet have never

Saatchi Gallery, London, Out of Focus: Photography, 25 April to 22 July 2012, another example from the edition exhibited. Museum of Modern Art, New York, New Photography 2008: Josephine Meckseper and Mikhael Subotzky, 10 September 2008 to 12 January 2009, another example from the edition exhibited. 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. FOAM (Foto Museum Amsterdam), Amsterdam, 21 September to 11 November 2007 another example from the edition exhibited. L IT E R AT U R E

Ewing, W.A. (2012). Out of Focus: Photography, London: Saatchi Gallery and Booth-Clibborn Editions, another example from the edition illustrated on p.MSY.5, exhibition catalogue for Out of Focus: Photography, Saatchi Gallery, London, 25 April to 22 July 2012. Steinberg, J. and Subotzky, M. (2008). Beaufort West. London: Chris Boot Ltd, another example from the edition illustrated in colour on p.12.

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Working across a variety of mediums, Mikhael Subotzky’s

The series was shot in and around the Great Karoo desert town from which the series takes its name, then with a population of around 38 000. Beaufort West is a rural community with a sizable prison adjacent to its town centre. As South Africa continues to come to terms with the impact of high unemployment and ongoing flight to major cities, author Jonny Friedman paints the images from Beaufort West as a liminal space, saying: “...Subotzky’s photographs give you the sense that you are seen. It is not just that the Karoo landscape in his pictures is inhabited. It is that the landscape is so patently a backdrop to the imaginings of the people in the photographs. They are using it: to transport themselves, to elevate themselves, to re-describe themselves. In picturing them Subotzky does more than simply stitch the desert and the people back together. He takes us on a sometimes disquieting adventure, asking us to imagine how the desert is imagined by those who live there…Almost every photograph carries a suggestion of theatre, and almost every theatre uses the desert as its stage. The boy on the rubbish heap who has donned the Spider-Man mask he found in the trash... In each photograph the subjects transport themselves elsewhere: where, precisely, we are not sure”. 1 Kathryn Del Boccio 1 Steinberg, J. and Subotzky, M. (2008). Beaufort West. London: Chris Boot Ltd, p.75.

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Lot 71

Dan Finsel b.1982 America

The Space Between You and Me: You borrow her dress, she borrows your boyfriend 2012 gelatin silver print signed on the reverse; printed with the artist’s name, the date, title, medium, dimensions and edition number on a Richard Telles Fine Art gallery label on the reverse sheet size: 176.5 x 125.5 cm number 3, from an edition of 3 + 1AP

R220 000 – 250 000 NO T E S

Since his MFA graduation from the prestigious California Institute of the Arts in 2009, Los Angeles-based Dan Finsel has become internationally known for his highly conceptual work. Never confined to a single medium, Finsel’s exhibitions and series expertly draw upon traditions old and new, from sculpture and painting to assemblage, video installation and photography in a broad exploration of the interface between psychology and social conditioning, performance and memory. Dan Finsel’s work has recently been on exhibition at DESTE Foundation, Athens, 2016; Gagosian Gallery, Athens 2014; Whitechapel Gallery, London, 2012, Ballroom Marfa, Texas, 2012 and the Hammer Museum biennial, University of California, Los Angeles, 2012. His work is included in the Dakis Joannou Collection. Finsel was honoured in 2016 with the Los Angeles Artadia Award. EXHIBITED

Richard Telles, Los Angeles, Formwandler, June 23 to July 28 2012, another example from the edition exhibited.

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Lot 72

On a road trip between Cape Town and Mozambique, a chance

Daniel Naudé

encounter in the desert plains of the Karoo saw Daniel Naudé

b.1984 South Africa

confronted by a feral Africanis dog. The moment left a deep

Africanis 20. Petrusville, Northern Cape, 19 April 2010

impression on the artist and provided the impetus for his Animal

2010 chromogenic print image size: 59.5 x 59.5 cm

Egyptians. The crossbred Africanis species signifies, in the eyes of

R30 000 – 50 000

amidst a complex landscape. Drawing inspiration from the work

Farm series. In Africanis 17 and Africanis 20, the artist foregrounds a breed whose ancestors are captured in the hieroglyphics of the Naudé, an odd reflection of South Africa’s culture and identity of British artist-explorer Samuel Daniell (1775–1811), who set off

NO T E S

Accompanied by a certificate of authenticity.

across the South African landscape and captured the fauna and flora as he went, Naudé undertook a similar journey between 2007

EXHIBITED

and 2011. Along the way, he photographed not only more Africani,

Stevenson, Cape Town, Animal Farm, 20 January to 26 February 2011, another example from the edition exhibited.

but various animals with strong ties to humans as he explored the relationship between man, animal and landscape, culminating in a series of 50 photographs. Marc Smith

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Lot 73

Daniel Naudé b.1984 South Africa

Africanis 17. Danielskuil, Northern Cape, 25 February 2010 2010 chromogenic print image size: 59.5 x 59.5 cm

R30 000 – 50 000 NO T E S

Accompanied by a certificate of authenticity. EXHIBITED

Everard Read, Cape Town, Daniel Naude: a Decade of Seeing, 4 December 2018 to 10 January 2019, another example from the edition exhibited. Stevenson, Cape Town, Animal Farm, 20 January to 26 February 2011, another example from the edition exhibited.

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Lot 74

Justin Dingwall b.1983 South Africa

Grazia; Sheer; White (from the Albus series), three 2013 Giclée print on 100% cotton Rag paper sheet size: 83.5 x 60.5 cm each From editions of 10 + 2AP (3)

R60 000 – 80 000

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N O TES

Dingwall was honoured with the SA Taxi Foundation Art Award, 2015; Sasol New Signatures, 2014; IPA – int’l photography awards, 2013. EXH IBITED

ArtCo Gallery, Aachen, Albus: Justin Dingwall, 27 November 2016 to 13 January 2017, other examples from the Albus series exhibited. Barnard Gallery, Cape Town, Albus, 23 August to 11 October 2016, other examples from the editions of Sheer and White Veil exhibited.

M.I.A. Gallery, Seattle, 30 January to 28 February 2014, other examples from the Albus series exhibited. Rooke and Van Wyk Gallery, Johannesburg, Albus, 18 February to 31 March 2014, other examples from the editions exhibited. LI TERATURE

Dingwall, J. (2016). Albus: Justin Dingwall. Aachen: ArtCo Publishing, other examples from the Albus series illustrated throughout.

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MOVING INT O T HE AF R IC AN AR T M AR K E T Aspire has a firm and stated commitment to expanding its expertise and its reach beyond South Africa’s borders into the rest of Africa. This is not only because we wish to see the local art market grow and diversify into different countries, but also because we feel that art from the rest of the continent could be making a contribution to how the South African market is made up and what serious collectors should be paying attention to. It’s often remarked upon that Africa is the ‘last frontier’ art market, with the International Monetary Fund pointing out that six of the ten fastest-growing global economies are in Africa. ArtPrice and other sources also point out that there has been a spike in presence and museum shows for modern and contemporary African artists in the European and US markets. And yet, internal to the African continent itself, there remains a lingering reputation that the African market represents risky business. Organic growth is slow, with not many new African collectors buying work in their domestic markets. Coupled with this is the long-standing tendency for African collectors to buy directly from artists. Another stumbling block to growth in African markets across the continent, apart from African work moving to major US and European markets to be bought by collectors there, is the tendency to consider African Art as one phenomenon or market – this in a continent with 54 countries and over a billion people. More positively, African markets are demonstrating exciting growth trajectories elsewhere, with a rise in museums, new and prestigious art schools, a growing number of high net worth individuals and rapid urbanisation. Global attention is also growing, with the aforentioned rise in dedicated museum shows for African art happening alongside a jump in the number of Art Fairs showcasing art from the continent. In our first foray into presenting some dedicated auction lots from the rest of the African continent, we have focused on presenting work from Nigeria.The global market for Nigerian art was long dominated by the likes of Ben Enwonwu, who developed in the early 20th century, much like many black South African modernists, a distinctive response to European modernist influences. Since then, Nigerian art styles have diversified considerably, with both Igbo and Yoruba traditions feeding into new stylistic innovations. Aspire is proud to present a group of auction lots from Nigeria, and two from Ghana, as we embark on expanding and diversifying our market approach and collector base. James Sey

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Lot 75

Gbenga Offo b.1957 Nigeria

Praying figures 2012 oil and charcoal on canvas signed and dated bottom right 90 x 90 cm

R40 000 – 60 000

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Lot 76

Yomi Momoh b.1964 Nigeria

Bathers II 2018 oil on canvas signed and dated bottom right 112.5 x 117 cm

R20 000 – 30 000

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Lot 77

Titus Agbara 20th Century Nigeria

Figures in a street 2008 oil on canvas signed and dated bottom left 58 x 48.5 cm

R40 000 – 60 000

Lot 78

Olumide Oresegun b.1981 Nigeria

Makoko floating village, Lagos 2011 oil on canvas signed and dated bottom right 75.5 x 103 cm

R20 000 – 30 000

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Lot 79

Jefferson Jonahan b.1970 Nigeria

Third Mainland Bridge, Lagos 2010 oil pastel on paper signed and dated bottom left 46 x 63 cm

R12 000 – 16 000

Lot 80

Stanley Dudu 20th Century Nigeria

Lagos traffic 2013 oil and pastel on paper signed and dated bottom right 55.5 x 75 cm

R15 000 – 20 000

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Lot 81

Ato Delaquis b.1945 Ghana

Inner City Market Rust acrylic on canvas signed; signed, inscribed with the title and medium on the reverse 82 x 122 cm

R50 000 – 80 000

120

Lot 82

Ebenezer Akinola b.1964 Nigeria

Woman with red headscarf 2010 oil on canvas signed and dated bottom right 89 x 83 cm

R25 000 – 35 000

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Lot 83

Uche Edochie b.1975 Nigeria

Untitled 2008 acrylic on canvas signed and dated bottom centre 121 x 90 cm

R50 000 – 80 000

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Lot 84

Hamid Ibrahim b.1963 Nigeria

Hands 2016 acrylic on canvas signed and dated bottom left 96 x 111 cm

R20 000 – 30 000

Lot 85

Wiz Kudowor b.1957 Ghana

Life’s Custodian 2002 acrylic on canvas signed bottom right; signed, dated, inscribed with the title, medium and dimensions on the reverse 89 x 89 cm

R35 000 – 50 000

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Lot 86

William Kentridge and Gerhard Marx b.1955 South Africa; b.1976 South Africa

Fire Walker Deluxe Edition 2011 A limited edition copy of Fire Walker: William Kentridge and Gerhard Marx edited by Oliver Barstow and Bronwyn Law-Viljoen, signed and dated 2011. Accompanied by a William Kentridge Goldmann’s South African Mining and Finance linocut with chine collé and hand colouring, signed, numbered 19/40 in pencil and embossed with the Artist Proof Studio chop mark, and a Gerhard Marx print Foot Map, signed, dated, numbered 19/40 and inscribed with the title in pencil, cut into six parts. All housed in a limited edition wooden slip case with laser-cut steel Fire Walker inset. slip case: 45 x 32 x 5 cm

R30 000 – 50 000

Lot 87

Johan van Heerden b.1930 South Africa

Abstract head polished and brushed steel signed with the artist’s initials bottom left 133 x 77 x 60 cm

R40 000 – 60 000

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Lot 88

Adriana Bustos is an Argentinian multimedia artist focused on the

Adriana Bustos

intersectionality of art with human science disciplines in her practice. Educated

b.1965 Argentina

Triptofano 2012 graphite on canvas inscribed with the title 87.5 x 113 cm

R150 000 – 180 000 EXHIBITED

Ignacio Liprandi Arte Contemporáneo, Buenos Aires, Recursos, 2011.

in fine art and psychology in Cordoba, she has held exhibitions all over South America and internationally, and has work in many private and public collections in South America and Europe. Her work often reflects the ways in which knowledge is constructed in social life, in such a way that it becomes a matter not only of ideology, but of everyday observation. Her interest in human science disciplines partly dictates the forms her work takes, ranging from drawing to photography and video, but also informed by archival research and the implications of producing knowledge. The current work comes from her exhibition Resources, which examined the ways in which the ancient trade routes of the drug trade shape much of South American society. Alongside filmic work, Bustos presented these compelling drawings of the cellular structures of various hallucinogenic drugs, and this one of tryptophan, an amino acid involved in the breakdown of protein in the body and active in producing the physical effects of narcotics. James Sey

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Lot 89

Mohau Modisakeng was born in Soweto in 1986 and lives

Mohau Modisakeng

and works in Cape Town, South Africa. He completed his

b.1986 South Africa

undergraduate degree at the Michaelis School of Fine Art, Cape

Untitled Hieroglyph

Town in 2009 and was awarded the Merrill Lynch Scholarship.

2012 enamel paint on wood 233 x 215 x 19 cm

He worked towards his Masters degree at the same institution,

R300 000 – 400 000

graduating in 2014. In 2016, Modisakeng was awarded the Standard Bank Young Artist Award for Visual Art, one of the foremost art awards in Africa. He was also also awarded the SASOL New Signatures Award, Pretoria, South Africa for 2011. Modisakeng’s practice is based largely on explorations of political and social violence acted out on the black body, in film, photographs and performative installation work. While much of the work he does is not directly representative of such ideological violence, the histories of violence in the colonial and apartheid instances are never far from the surface. These include, for example, the investigation of displacement, slavery and forced migration that comprised his filmed performance at the South African Pavilion of the 2017 Venice Biennale, Passages. This work, from 2012, the year of his Master’s exhibition, chimes well with these themes, but is an unusual example in its materiality. This hieroglyphic grid of symbolic weaponry, comprising an Okapi knife, a spear and knobkerrie, an axe and an AK47, seems to suggest a set of figures cancelling out each weapon in modified prohibitions. The darker side of the equation is that these are all characteristically South African weapons of anti-apartheid struggle, violent crime or gangsterism. The overdetermination of each object’s symbolic meaning in South African life provides the work with its gravitas and poignancy. James Sey

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Untitled Hieroglyph on display

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Lot 90

Rowan Smith graduated from the Michaelis School of Fine Art

Rowan Smith

in 2007, winning the Michaelis Prize for top graduate. In 2012

b.1983 South Africa

Untitled (from the How Meaning Changes Over Time Through the Degradation of Speakers / Ayesaba Amagwala (Dubula Ibunu) Version installation) 2013 handmade paper pulp each signed and dated bottom right 243 x 200 cm, combined (18)

R140 000 – 180 000 L IT E R AT U R E

Smith, R. (2014). Rowan Smith. Cape Town: WHATIFTHEWORLD, installation illustrated in colour on p.46.

he completed an MFA at the California Institute of the Arts (CalArts), where he was awarded the prestigious Joan Mitchell MFA Grant. The prominent publication, Art South Africa, regarded as the continent’s leading arts publication, hailed Smith as one of the country’s ‘Bright Young Things’. In a review of Smith’s 2018 exhibition Dead Centre at Whatiftheworld Gallery, Art Throb staff writer and prominent local art critic Tim Liebbrandt explains: “Rowan Smith’s work takes the form of a multidisciplinary semiotic investigation into the ways in which cultural signs and signifiers can be read as artefacts… Crucially, the physical materiality of the works is as important to his investigation as the concepts informing them; the two work in tandem in order to extrapolate the themes inherent to the artwork.”1 Smith’s work has been included in various prestigious exhibitions locally and internationally, including Cape to Tehran at Gallery MOMO, Cape Town, 2018; Broken English at Tyburn Gallery, London, 2015; Green Flower Street at the Istanbul Biennial, 2013; Come on You Fuckers (in collaboration with Ingrid Lee) at The Wulf in Los Angeles, 2012; Ampersand at the Daimler Contemporary, Berlin 2010 and Objects of Revolution at Dominique Fiat Gallery, Paris, 2009. 1 https://www.whatiftheworld.com/exhibition/dead-centre/, accessed 7 October 2018

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131

two views of lot 91

Lot 91

Rowan Smith b.1983 South Africa

Untitled (Razor Wire) 2013 cane and maple wood veneer 110 x 66 x 69 cm

R60 000 – 90 000 EXHIBITED

cf. Tyburn Gallery, London, Broken English, 18 September to 28 October 2015, a similar example exhibited. L IT E R AT U R E

cf. Smith, R. (2014). Rowan Smith. Cape Town: WHATIFTHEWORLD, a similar example illustrated in colour on p.54.

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Lot 92

Nelson Makamo b.1982 South Africa

feel the city breathing charcoal and pastel on paper signed and inscribed with the title along the bottom edge 103.5 x 73 cm

R50 000 – 70 000

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Lot 93

Nelson Makamo b.1982 South Africa

Selfie 2013 colour monotype with watercolour signed, dated, numbered 1/1 and inscribed with the title along the bottom edge sheet size: 98 x 69 cm

R70 000 – 100 000

Lot 94

Nelson Makamo b.1982 South Africa

Child with glasses 2014 colour monotype with pastel and collage signed and dated bottom right sheet size: 80 x 115 cm

R70 000 – 100 000 NO T E S

Acquired directly from the artist.

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Lot 95

Norman Catherine b.1949 South Africa

Headman 2012 bronze signed, dated, numbered and inscribed with the Baudicca Castings foundry mark along the base 87 x 18 x 18 cm number 12, from an edition of 12

R60 000 – 90 000 NO T E S

Accompanied by a certificate of authenticity from the Whitehouse Gallery, Johannesburg, November 2012. EXHIBITED

Circa Gallery, Johannesburg, Norman Catherine Incognito, 1 August to 5 October 2013, another example from the edition exhibited and illustrated in the exhibition catalogue on pp.32 and 36.

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two views of lot 95

Lot 96

Norman Catherine b.1949 South Africa

Detox oil on canvas signed bottom right 45.5 x 60.5 cm

R70 000 – 90 000

Lot 97

Norman Catherine b.1949 South Africa

Beast and man oil on canvas signed top left 30 x 40.5 cm

R40 000 – 60 000

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Lot 98

Johannes Segogela b.1936 South Africa

2010 Fifa World Cup, South Africa vs Italy carved and painted wood sizes variable, heights approximately: 26 cm each

R50 000 – 80 000

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Lot 99

Johannes Segogela b.1936 South Africa

Boxing match 2000 string and carved and painted wood signed and dated on the underside 39 x 29 x 31.5 cm

R10 000 – 15 000

Lot 100

Johannes Segogela b.1936 South Africa

Soccer match with Nelson Mandela, FW de Klerk, cameraman and medic 1996 carved and painted wood, thread and wire signed and dated on the underside of the cameraman figure 39 x 43 x 49.5 cm

R30 000 – 40 000 NO T E S

This lot accompanied by: five original pen and ink Nelson Mandela comics and a Nelson Mandela caricature by Tony Grogan; a set of six hand-painted, glazed ceramic Nelson Mandela commemorative plates by Alfred Mthombeni and a Jane Makhubele, Happy Birthday Mandela, embroidery

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Lot 101

Maggie Laubser South African 1886–1973

Red Pipe 1958 oil on board signed bottom left; signed, dated, inscribed with the title and ‘Strand’ on the reverse 46 x 35 cm

Maggie Laubser’s career coincides with, and illustrates well,

R250 000 – 350 000

the conservative and colonial nature of the South African

PROVENANCE

art world in the early and middle parts of the 20th century.

Dr J.J Barnard, Pretoria. Rand Afrikaanse Universeteit, neg. 1283.

Most privileged white artists would, like her, have taken a

EXHIBITED

to the concepts, techniques and themes of Western art. In

Egon Guenther, Johannesburg, 1963, catalogue no. 28. L IT E R AT U R E

Marais, D. and Delmont, E. (1994) Maggie Laubser: her paintings, drawings and graphics. Johannesburg and Cape Town: Perskor Publishers, illustrated on p.345, catalogue number 1498 where the title Composition of Head with Pipe is used.

European trip to expand their art education and be exposed Laubser’s case, these were her exposure to portraiture in London and, later, to Expressionism in Germany in the 1920s. These influences led her to a certain type of stylistic innovation which caused a very negative reaction in a South African art world more used to conventional realism in its artists. Laubser’s subsequent withdrawal to the countryside and a simpler farming life, despite her continued involvement in the ‘official’ art world, would give rise to some of her best work as an expressionist pastoralist, in many still lifes, portraits and innovative landcapes. Portraiture was indeed a well-established aspect of Laubser’s practice, along with the many land- and seascapes she painted throughout her life. Though she drew her subjects mostly from farmworkers and local people, this assured work from the 1950s, while still exhibiting her command of colour techniques and brushwork, also offers an unusual subject – an elegant, modern, liberated, pipe smoking woman.

Maggie Laubser, Portrait of a Woman with Branches

Maggie Laubser, Portrait of a Woman

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James Sey

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Lot 102

Ruth Prowse South African 1883–1967

Woman Crossing the River, South Africa oil on panel signed with the artist’s monogram bottom right; signed and inscribed with the title on the reverse 25 x 35 cm

R50 000 – 80 000

Lot 103

Ruth Prowse South African 1883–1967

Mending the roof oil on panel signed with the artist’s monogram bottom right 22 x 27 cm

R40 000 – 60 000

142

Lot 104

Frans Oerder South African 1867–1944

Woodcutters oil on board signed bottom left 29 x 48 cm

R80 000 – 120 000

143

Lot 105

Brett Murray b.1961 South Africa

Utopia Perspex assemblage in wooden panel signed on the reverse 64.5 x 64.5 cm

R20 000 – 30 000

Lot 106

Beezy Bailey b.1962 South Africa

Banana head 1993 oil on canvas signed and dated bottom right 81 x 77 cm

R40 000 – 60 000

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Lot 107

Johan van Heerden b.1930 South Africa

Abstract form painted cast resin on a steel base signed bottom portion 107 x 37 x 38 cm

R18 000 – 24 000

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T E RMS AND CONDITIO NS OF B US INE S S AND R UL E S OF AUC T IO N THIS AGREEMENT COMPLIES WITH THE PROVISIONS OF SECTION 45 OF THE CONSUMER PROTECTION ACT 68 OF 2008

1. DEFINITIONS 1.1. The following terms shall have the meanings assigned to them hereunder and cognate expressions shall have corresponding meanings: 1.1.1. “Act” means the Consumer Protection Act No. 68 of 2008 (“CPA”) as read with the Regulations promulgated thereunder in the Government Gazette No. 34180 on 1 April 2011; 1.1.2. ‘Artistic work’ means: 1.1.2.1. any drawing, picture, painting, collage, sculpture, ceramic, print, engraving, lithograph, screen print, etching, monotype, photograph, digitally printed photograph, video, DVD, digital artwork, installation, artist’s book, tapestry, artist designed carpet, performative artwork and any medium recognised as such in the future; 1.1.2.2. any work of craftsmanship and/or artwork which does not fall under 1.1.2.1 as set out in the Copyright Act No. 78 of 1978. 1.1.3. “Aspire” means Aspire Art Auctions (Pty) Ltd (Registration No. 2016/074025/07) incorporated under the laws of South Africa with Principal place of business at: Illovo Edge, Building 3, Ground Floor, 5 Harries Road, Illovo, 2196 and 2nd Floor New Media House, 19 Bree Street, Cape Town; 1.1.4. “Auction” means any sale whereby a Lot is put up for sale by public auction and auctioned off by Ruarc Peffers on behalf of Aspire or such other auctioneer employed by Aspire from time to time; 1.1.5. “Auctioneer” means Ruarc Peffers or such other representative of Aspire conducting the Auction who warrant these Rules of Auction comply with the Act; 1.1.6. “Bidder” means any person who makes an offer to buy a particular Lot and includes the Buyer of any such Lot. A bid shall be made by a person registered to bid and in possession of an Aspire issued and numbered bidders paddle raising that paddle or indicating a bid in any way meant to be understood that way by the Auctioneer; 1.1.7. “Buyer” means any Bidder who makes a bid or offer for a Lot which has been offered for sale (whether by Private Treaty, Auction or otherwise) and which bid or offer has, subject to a reserve price, been accepted by Aspire and/or the Seller; 1.1.8. “Business day” means any day other than a Saturday, Sunday, or any other official public holiday in South Africa; 1.1.9. “Buyer’s premium” means the commission payable by the Buyer to Aspire on the sale of a Lot at a rate of: 1.1.9.1. 12% (twelve per cent) calculated on the full Hammer price for purchases above R20,000 (twenty thousand rand), plus VAT payable on that amount; 1.1.9.2. 15% (fifteen per cent) calculated on the full Hammer price for purchases below R20,000 (twenty thousand rand) plus VAT payable on that amount; 1.1.10. “Catalogue” means any brochure, price-list, condition report or any other publication (in whatever medium, including electronic), published by Aspire for the purpose of or in connection with any Auction; 1.1.11. “Forgery” means any imitation of any artistic work made with the intention of misrepresenting the authorship, origin, date, age, period, culture, and/or source of any Lot; 1.1.12. “Hammer price” means the bid or offer made by the Buyer for any Lot that is knocked down by the Auctioneer at a sale of that Lot; 1.1.13. “Lot” means any item or items to be offered for sale as a unit and identified as such by Aspire for sale by way of Auction or by Private Treaty. Each Lot is, unless indicated to the contrary, regarded to be the subject of a separate transaction; 1.1.14. “Parties” means the Bidder, the Buyer, the Seller and Aspire; 1.1.15. “Prime rate” means the publicly quoted base rate of interest (percent, per annum compounded monthly in arrear and calculated on a 365 (three hundred and sixty-five) day year, irrespective of whether or not

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the year is a leap year) from time to time published by Nedbank Limited, or its successor-in-title, as being its prime overdraft rate plus three comma five percent, as certified by any manager of such bank, whose appointment, authority and designation need not be proved; 1.1.16. “Privacy Policy” means the privacy policy of Aspire attached hereto marked Annexure A; 1.1.17. “Private Treaty” means the sale of any Lot at a previously agreed upon price between the Buyer and the Seller represented by Aspire (that is, not by way of Auction); 1.1.18. “Purchase price” means the Hammer price plus the Buyer’s premium. In case of any Lot being “daggered”, VAT shall be calculated on the sum of the full Hammer price plus the Buyer’s premium. Buyer’s risk in all respects shall apply from the knock down of the Auctioneer’s hammer (and acceptance of the bid [or offer in the case of Private Treaty] if applicable). The Purchase price does not include any transport, or insurance that may be required by the Buyer; 1.1.19. “Recoverable expenses” includes all fees, taxes (including VAT) and any other costs or expenses incurred by Aspire for restoration, conservation, framing, glass replacement and transport of any Lot from a Seller’s premises to Aspire’s premises or for any other reason whatsoever, as agreed between Aspire and the Seller; 1.1.20. “Reserve” means the minimum Hammer price (if any) at which a Lot may be sold at an Auction as agreed (whether in writing or otherwise) and in confidence between the Seller of that Lot and Aspire. All lots are sold subject to a reserve price unless announced otherwise; 1.1.21. “Sale” means the sale of any Lot (whether by way of Auction, Private Treaty or otherwise) and ‘sell’ and ‘sold’ shall have a corresponding meaning; 1.1.22. “Sale proceeds” means the amount due and payable to the Seller for the sale of the relevant Lot, made up of the Hammer price less the applicable Seller’s commission and all Recoverable expenses; 1.1.23. “Seller” means the person named as the Seller of any Lot, being the person that offers the Lot for sale; 1.1.24. “Seller’s commission” means the commission payable by the Seller to Aspire on the sale of a Lot which is payable at a rate of: 1.1.24.1. 12% (twelve per cent) calculated on the full Hammer price for purchases above R20,000 (twenty thousand rand) plus VAT payable on that amount (if any); 1.1.24.2. 15% (fifteen per cent) calculated on the full hammer price for purchases below R20,000 (twenty thousand rand) plus VAT payable on that amount; 1.1.25. “South Africa” means the Republic of South Africa; 1.1.26. “Terms of Business” means the terms and conditions of business and the Rules of Auction as set out in this document; 1.1.27. “VAT” means value added tax levied in terms of the Value Added Tax Act, 1991 as amended from time to time and includes any similar tax which may be enforced in place of VAT from time to time.

2. INTRODUCTION 2.1. Aspire carries on the business of fine art Auctioneers and consultants on the Lots provided by the Sellers. As fine art Auctioneers, Aspire generally acts in the capacity of agent for the Seller. 2.2. Set out in this document are the terms and conditions governing the contractual relationship between Aspire and prospective Bidders, Buyers and Sellers. This document must be read together with: 2.2.1. sale room notices published by Aspire pertaining to the condition, description and/or authenticity of a Lot; and 2.2.2. any announcement made by Aspire and/or the Auctioneer prior to or on the proposed day of sale of any Lot,

provided that no changes to the terms set out in a Property Receipt Form shall be made without the prior agreement of Aspire and the Seller.

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

4. GENERAL TERMS OF BUSINESS 4.1. Every bid made shall constitute an offer. Acceptance of the highest bid made, subject to confirmation by the Seller, shall be indicated by the knock down of the hammer or, in the case of sale by Private Treaty, the acceptance of the offer by Aspire or the Seller. In the event that the highest bid does not meet the reserve, it will remain open for acceptance by the Auctioneer or the Seller and for no less than 48 hours after the Auction was concluded. 4.2. In bidding for any Lots, all Bidders confirm that they have not been induced into making any bid or offer by any representative of the Seller and/or Aspire. 4.3. It is the sole responsibility of all prospective Buyers to inspect and satisfy themselves prior to the Auction or Private Treaty as to the condition of the Lot and satisfy themselves accordingly that the Lot matches any description given to them (whether in a Catalogue or otherwise). 4.4. All descriptions and/or illustrations set out in a Catalogue exist as guidance for the prospective Bidder and do not contain conclusive information as to the colour, pattern, precise characteristics or the damage to a particular Lot to be sold by way of Auction or Private Treaty. 4.5. Neither Aspire nor any of its servants, employees, agents and/or the Auctioneer shall be liable, whether directly or indirectly, for any errors, omissions, incorrect and/or inadequate descriptions or defects or lack of authenticity or lack of ownership or genuineness in any goods Auctioned and sold which are not caused by the wilful or fraudulent conduct of any such person. 4.6. Aspire shall not be held responsible for any incorrect, inaccurate or defective description of the goods listed for sale in the Catalogue or in any condition report, publication, letter, or electronic transmission or to the attribution, origin, date, age, condition and description of the goods sold, and shall not be responsible for any loss, damage, consequential damages and/or patrimonial loss of any kind or nature whatsoever and howsoever arising. 4.7. No warranty, representation or promise on any aspect of any Lot (save for those expressly provided for by the Seller in terms of paragraph 16), whether express, implied or tacit is given by Aspire, its servants, its agents, or its employees, or the Auctioneer or the Seller and accordingly nothing shall be binding or legally enforceable in this regard. 4.8. Any Lot which proves to be a Forgery (which will only be the case if an expert appointed by Aspire for such purposes confirms this in writing) may be returned by the Buyer (as his sole remedy hereunder or at law) to Aspire within 7 (seven) days from the date of Auction or Private Treaty (as the case may be), in the same condition in which it was at the time of the Auction or accompanied by a statement of defects, the number of the Lot, and the date of the Auction or Private Treaty at which it was purchased. If Aspire is satisfied that the item is a Forgery and that the Buyer has and is able to transfer a good and marketable title to the Lot, free from any third-party claims, the sale will be set aside and any amount paid in respect of the Lot and still in the possession of Aspire will be refunded, subject to the express condition that the Buyer will have no rights or claims against Aspire (whether under these Terms of Business, at law or otherwise) if: 4.8.1. the description in the Catalogue at the date of the sale was in accordance with the then generally accepted opinion of scholars and experts or fairly indicated that

there was conflict of such opinion; or 4.8.2. the only method of establishing at the date of publication of the Catalogue that the Lot was a Forgery was by means of a scientific process not generally accepted for use until after publication of the Catalogue, or by a process which was unreasonably expensive or impractical. 4.9. Buyer’s claiming (whether in contract, delict or otherwise) under paragraph 4.8 will be limited to the amount paid for a particular Lot and will not extend to any loss or damage of whatsoever nature suffered, or expense incurred by him/her including but not limited to claims for damages, loss of profit, injury to reputation, mental anguish and suffering etc; 4.10. The benefit of paragraph 4.8 will not be assignable and will rest solely and exclusively with the Buyer who, for the purpose of this condition, will be the only person to whom the original invoice is made out by Aspire in respect of the Lot sold. 4.11. Aspire reserves its right, to refuse admission to any person to its premises or any other premises at which an Auction is to be conducted. Any defaulting bidder or buyer shall be refused access to any event or auction conducted by Aspire and shall remain barred until their default has been cured to the satisfaction of Aspire. 4.12. Any information pertaining to Bidders and Sellers which has been lawfully obtained for the purposes of the Auction and the implementation of any resultant sale shall be kept for purposes of client administration, marketing and as otherwise required by law. The Bidder and the Seller agree to the retention, processing of their personal information and the disclosure of such information to third parties (but only in connection with the sale of any works such as logistics and insurance) for the aforementioned purpose. The Seller’s identity will not be disclosed for purposes other than what is reasonably required for client administration or as required by law. Please see the Privacy Policy for more information on this. 4.13. Aspire has, during the course of any Auction, the sole and absolute discretion, without having to give any reasons therefore, to refuse any bid, withdraw or reoffer Lots for Auction (including after the knock down of the hammer), cancel any sale if the Auctioneer and/or Aspire believes that there may be an error or dispute of any nature whatsoever, and shall have the rights, as it deems fit, to divide any Lot, to combine any two or more Lots or to put up any Lot for Auction again. 4.14. For any notice required to be given in connection with these Terms of Business and Rules of Auction: 4.14.1. Aspire will first attempt to make contact by telephone, followed by email, should there be no response, then contact will be attempted by registered post. Any notice that effects the details of the sale of a Lot will be agreed to between Aspire and the Seller prior to the sale of said Lot. If, for any reason whatsoever, Aspire is unable to make contact with a Seller, the relevant Lot will be withdrawn from the sale; 4.14.2. if given by Aspire, shall be delivered by hand, sent by registered post or by email to the address provided to Aspire by the relevant addressee as being the domicilium citandi et executandi of that addressee. Notice shall be deemed to have been received by the person who is required to receive such notice: 4.14.2.1. on the date of delivery, if delivered by hand or email; 4.14.2.2. on the fourth (4th) day from the date of posting, including the date of posting if posted by prepaid registered post from within South Africa, which postage shall be deemed to have been sent on receipt of the post office proof of posting. 4.14.3. if given to Aspire, such written notification must be given to Aspire at its email address as published by Aspire from time to time, whether on any brochure, catalogue or its website. 4.15. The Seller submits to the non-exclusive jurisdiction of the South African courts. Each Auction and Private Treaty shall be governed in accordance with the laws of South Africa.

4.16. In the event that any provision of these Terms of Business is found by a court of competent jurisdiction to be unenforceable and of no effect, the remaining provisions of these Terms and Conditions shall not be affected by that determination and shall remain binding and of full force and effect. 4.17. The Buyer and/or Seller, as the case may be, hereby pledge(s) the goods either sold and/or bought as security to Aspire for all amounts which are owing to Aspire. 4.18. Should any Party delay or not exercise their rights it shall not constitute a waiver of such rights or power. If a Party exercises their right or power, it shall not preclude such party from exercising any other right or power which they may have. 4.19. No variation, alteration, consensual termination, representation, condition, term or warranty, relaxation or waiver or release by Aspire, or estoppel against Aspire, or the suspension by Aspire, in respect of these Terms of Business, or any part thereof, shall be of any force or effect unless reduced to writing and signed by Aspire and the Buyer. 4.20. These Terms of Business and Rules of Auction constitute the entire agreement between the Parties. 4.21. The Buyer shall be responsible for the payment of the Seller’s and Aspire’s legal costs, calculated on the scale as between attorney and own client incurred by the Seller and Aspire in enforcing any of its rights or those of its principal whether such rights are exercised by way of legal proceedings or otherwise. 4.22. No Party shall be in breach of contract or liable for any loss of profit or special damages or damage suffered as a result of a force majeure or any other event which falls outside of the Parties’ reasonable control. Notice must be given to all Parties if such an event occurs in order to enable the defaulting Party to remedy their performance. The occurrence of the aforementioned events will not excuse a Party from paying any outstanding amounts owed to any of the other Parties.

5. TERMS RELATING TO THE BUYERS 5.1. Any Buyer and/or Bidders must register his/her identity with Aspire before the commencement of an Auction in accordance with Chapter 1 (one) of the regulations in terms of the Financial Intelligence Centre Act, 2011, which requires the establishment and verification of identity published in Notice No. R. 1595 in Gazette No. 24176 of 20 December 2002. The documents required will include Identity Document or Passport and Proof of Residence. 5.2. Upon registration by the Bidder, the Bidder must acknowledge that they are aware of and agree to be bound by these Terms of Business. All Bidders shall be personally liable for their bids and offers made during any Auction and shall be jointly and severally liable with their principals if acting as agent. 5.3. Any person acting on behalf of a Bidder or Buyer may be required to produce evidence of his/her authority to so act and in a manner that is satisfactory to Aspire in its discretion. 5.4 A Lot shall be sold to the highest bidder (regardless of the perceived or actual value of the Lot) but subject to the reserve or the consent of the Seller if the reserve has not been met. 5.5 No bid may be made for an amount which is lower than the fixed value set by the Auctioneer and any bid may be withdrawn prior to the hammer being struck down. It is the Auctioneer’s discretion to accept or reject a bid that is lower than the standardised incremental amount set by the Auctioneer. The Auctioneer may refuse any bid which does not exceed the previous bid by at least 5% (five per cent) or any such percentage which in the opinion of the Auctioneer is required. 5.6 Any dispute which should arise regarding the validity of the bid, the identity of the Bidder or between more than one Bidder, shall be resolved at the sole discretion of the Auctioneer. 5.7 Each Bidder is deemed to be acting in their capacity as principal unless Aspire has acknowledged otherwise in

writing prior to the commencement of the Auction and the Bidder bidding for another shall be required to produce a letter authorising the Bidder to represent him and the Identity Documents of both persons. 5.8. All Bidders are encouraged to attend any Auction where a Lot is to be sold by Auction. Aspire will endeavour to execute any absentee, written bids and/or telephone bids, provided they are, in Aspire’s absolute discretion, received in sufficient time and in legible form as required under these Terms of Business. 5.9 Any bids placed by telephone before an Auction are accepted at the sender’s risk and must, if requested by Aspire, be confirmed in writing to Aspire before the commencement of the Auction. Any person who wishes to bid by telephone during the course of an Auction must make arrangements with Aspire at least 24 (twenty-four) hours before the commencement of the Auction. Aspire shall not be held liable for any communication breakdown or any losses arising thereof. The Buyer consents that any bidding may be recorded at the discretion of Aspire and consents to these Terms of Business. 5.10.The Buyer must make payment in full and collect the purchased Lot immediately after completion of the Auction and no later than 48 (forty-eight) hours after completion of the Auction. On hand over of the Lot to the Buyer (or his representative), the full risk and title (subject to payment in full having been made first) over that Lot shall pass to the Buyer, who shall henceforth be responsible for any loss of and/or damage to and/or decrease in value of any Lots purchased at the Auction or at a Private Treaty sale. Any Lot not collected immediately after the Auction will remain insured for 48 (forty-eight) hours after completion of the Auction. The Seller must be paid in full and the funds cleared before the Lot is handed over to the Buyer. 5.11. If the Buyer has not made payment within 1 (one) week of the Auction Aspire reserves the right to cancel the Sale and to claim damages from the Buyer including but not limited to the Buyers and Sellers premium, storage and insurance costs and the costs of conducting the auction which are estimated at one million rand per auction. 5.12. The collection of any Lot by a third party on behalf of a Buyer must be agreed with Aspire not later than the close of business on the day following the relevant Auction.

6. EXCLUSION OF LIABILITY TO BUYERS OR SELLERS

6.1. No Buyer or Seller shall be entitled to cede, delegate and/or assign all or any of their rights, obligations and/ or interests to any third party without the prior written consent of Aspire in terms of these Terms of Business. 6.2. The Buyer accepts that neither Aspire nor the Seller: 6.2.1. shall be liable for any omissions, errors or misrepresentations in any information (whether written or otherwise and whether provided in a Catalogue or otherwise) provided to Bidders, or for any acts and/ or omissions in connection with the conduct of any Auction or for any matter relating to the sale of any Lot, including when caused by the negligence of the Seller, Aspire, their respective employees and/ or agents; 6.2.2. gives any guarantee or warranty to Bidders other than those expressly set out in these Terms of Business and any implied conditions, guarantees and warranties are excluded; and 6.2.3. without prejudice to any other provision of these general Terms of Business, any claim against Aspire and/or the seller of a Lot by a Bidder shall be limited to the Hammer price of the relevant Lot. Neither Aspire nor the Seller shall be liable for any loss of profit, indirect or consequential losses. 6.3. A purchased Lot shall be at the Buyer’s risk in all respects from the knock down of the Auctioneer’s hammer (and acceptance of the bid if applicable), whether or not payment has been made, and neither Aspire nor the Seller shall thereafter be liable for, and the Buyer indemnifies Aspire against, any loss or damage of any kind, including as a result of the negligence of Aspire and/or its employees or agents.

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6.4. All Buyers are advised to arrange for their own insurance cover for purchased Lots unless agreed otherwise in writing. 6.5. Aspire does not accept any responsibility for any Lots damaged by insect infestation, changes in atmospheric conditions or other conditions outside its control (including damage arising as a result of reasonable wear and tear). Aspire will be responsible for the replacement or repair costs for any frame and glass breakages resulting from the wilful or negligent conduct of any of Aspire’s servants and agents.

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 of any lot, up to but not equal to or more than the Reserve, where applicable. 7.4. A contract shall be concluded between the Buyer and Seller once the Auctioneer knocks down the hammer and this shall be the Hammer price accepted by the Auctioneer (after the determination of any dispute that may exist and subject to the Seller’s consent if the reserve price was not achieved). The benefits flowing from this agreement constitute a stipulatio alteri for the benefit of Aspire, which benefits Aspire hereby accepts. Aspire shall not be liable for any breach of the agreement by either the Seller or the Buyer.

8. IMPORT, EXPORT, COPYRIGHT

RESTRICTIONS, LICENSES AND QUALITY OF THE GOODS SOLD

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

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

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

11. PAYMENT AND COLLECTION 11.1. The Buyer acknowledges that Aspire acting in its capacity as agent for the Seller of a particular Lot: 11.1.1. That a Buyer’s premium shall be payable to Aspire on the sale of each Lot; 11.1.2. VAT may be payable on the full Hammer price and the Buyer’s premium, if the Seller is a registered VAT vendor; 11.1.3. Aspire shall also be entitled to a Seller’s commission and/or any other agreed fees for that Lot. 11.2. Upon the knock down of the hammer and acceptance of the price by the Auctioneer (subject to any reserve), the Buyer shall, before delivery of the Lot, pay Aspire the Purchase price immediately after the Lot is sold and should Aspire require, the Buyer shall provide it with their necessary registration details, proof of identity and any further information which Aspire may require. 11.3. All foreign Buyers are required to make arrangement with their banks prior to the Auction date regarding Forex funds as Aspire will only accept payment in South African Rands. Any expenses incurred thereof shall be at the cost of the Buyer. 11.4. The Buyer shall make payment in full to Aspire for all amounts due and payable to Aspire (including the Purchase price of each Lot bought by that Buyer) on completion of the sale but within 48 hours of the date of sale (or on such other date as Aspire and the Buyer may agree upon in writing) in cash, electronic funds transfer (“EFT”), or such other payment method as Aspire may be willing to accept. Any cheque and/or credit card payments must be arranged with Aspire prior to commencement of the Auction. All credit card purchases are to be settled in full on the date of sale and shall be subject to an administrative merchant fee of 5% of the hammer price plus Buyers Premium plus any vat on such amounts. 11.5. Ownership of a Lot shall not pass to the buyer thereof until Aspire has received settlement of the Purchase price of the respective Lot in full and the funds have cleared. Aspire shall not be obliged to release a Lot to the Buyer prior to receipt in full payment thereof. However, should Aspire agree to release a Lot to the Buyer prior to payment of the full Purchase price, ownership of such Lot shall not pass to the Buyer but shall remain strictly and unconditionally reserved for the Seller, nor shall the Buyer’s obligations to pay the Purchase price be impacted, until such receipt by Aspire of the full Purchase price in cleared funds.

11.6. The refusal of any approval, licence, consent, permit or clearance as required by law shall not affect the Buyer’s obligation to pay for the Lot and any Buyers Premium. 11.7. Any payments made by a Buyer to Aspire may be applied by Aspire towards any amounts owing by the Buyer to Aspire on any account whatsoever and without regard to any directions of the Buyer or his agent. The Buyer shall be and remain responsible for any removal, storage, or other charges for any Lot and must at his own expense ensure that the Lot purchased is immediately removed after the Auction but not until payment of the total amount due to Aspire. All risk of loss or damage to the purchased Lot shall be borne by the Buyer from the moment when the Lot is handed over to the Buyer. Neither Aspire nor its servants or agents shall accordingly be responsible for any loss or damage of any kind, whether caused by negligence or otherwise, from date of the sale of the Lot, whilst the Lot is in their possession or control. 11.8. All packaging and handling of Lots is at the Buyer’s risk and expense, will have to be attended to by the Buyer, and Aspire shall not be liable for any acts or omissions of any packers or shippers. 11.9. If the sale of any Lot is rescinded, set aside or cancelled by a lawful action of the Buyer, and Aspire has accounted to the Seller for the sale proceeds, the Seller shall immediately refund the full sale proceeds to Aspire, who will in turn refund the Purchase price to the Buyer. If there is no sale, there is no commission payable save and except if the sale is cancelled as a result of a breach of either Seller or Buyer. However, if there are Recoverable expenses which have been incurred by Aspire, then the Seller will remain liable to pay these expenses to Aspire. 11.10. Any Lot which has been paid for in full but remains uncollected after 30 (thirty) days of the Auction, following written notice to the Buyer, the Lot then becomes the property of Aspire. Aspire may then resell this property at the best price it can obtain from a willing and able Buyer. If Aspire resells this property it may deduct any expenses incurred in keeping this property from the proceeds of sale after having deducted its commission. Any shortfall arising from the resale shall be at the cost of the Buyer. 11.11. No credit shall be granted to the Buyer without prior written consent from Aspire. Ownership of the Lot shall not pass until such time as the full Purchase price is paid along with any VAT thereon and any other necessary amounts including but not limited to Buyers Premium.

12. OWNERSHIP 12.1. Until such time that the total Purchase price and any Buyers Premium plus vat has been paid and hand over has taken place, ownership of the purchased goods shall vest with the Seller. 12.2. The collection of the goods/Lots shall be done by the Buyer at their own cost immediately after the Auction has taken place, unless otherwise agreed upon in writing between the Buyer and Aspire. The Buyer shall ensure that any third parties attending to collection for the Buyer have been properly authorised in writing to attend to such collections. 12.3. Aspire shall not provide any assistance of any nature whatsoever to the Buyer in removing the goods from the premises of Aspire upon the completion of the Auction. However, should Aspire choose to assist with the removal then any Aspire employee or servant shall be deemed to be agents of the Buyer and Aspire shall not be liable for any damage incurred as a result of removing the goods from the premises.

13. BREACH BY THE BUYER 13.1. In the event that the Buyer breaches any provision of these Terms of Business, fails to make payment of the full Purchase price, Buyers Premium or fails to collect the goods bought as provided for in these Terms of Business, Aspire in exercising its discretion and as agent for the

Seller will, without any prejudice to any other rights it may have in law, be entitled to exercise one or more of the following remedies set out below. Aspire may: 13.1.1. institute proceedings against the Buyer for any nonpayment and/or any damages incurred as a result of the breach of contract; 13.1.2. cancel the sale of that Lot or any other Lots sold to the defaulting Buyer at the same time or at any other Auction; 13.1.3. resell the Lot or do any such thing that would cause it to be resold by Auction or Private Treaty sale; 13.1.4. remove, store and insure the goods at the sole expense of the defaulting Buyer and if such goods are stored either at Aspire’s premises or any other place as Aspire may require such goods to be stored at, the Buyer shall be responsible for all charges associated therewith; 13.1.5. retain any Lot sold to the same Buyer at the same time, or at any other Auction and only allow the Buyer to take delivery of such goods after all amounts due, owing and payable have been paid by the Buyer to Aspire in terms of these Terms of Business, including interest, storage charges and any other charges; 13.1.6. reject any bid made by or on behalf of the defaulting Buyer at any future Auction; 13.1.7. exercise a right of retention over the goods sold and not to release such goods to the Buyer until such time as full payment has been made to Aspire in accordance with these Terms of Business. For such purpose and in so far as ownership of the Lots may have passed to Aspire, the Buyer hereby pledges such goods to Aspire as security for Aspire’s claim. 13.1.8. charge a reasonable rental fee for each day that the item is stored by Aspire from the date of Auction until the time of collection. 13.1.9. charge interest at a rate of the prime rate plus 3% (three per cent) per month on any outstanding amounts from the date of Auction. 13.1.10. charge the Buyer the full costs of conducting the auction which is estimated at one million rand with a breakdown available on request. 13.2. In the event that Aspire resells any Lot at a subsequent Auction as a result of Aspire exercising their remedy referred to in paragraph 13.1.3 above, the Buyer shall be liable for any loss (if any), should the Lot be resold at an amount lower than the amount for which the Buyer purchased it. The loss shall be calculated as the difference between the resale price and the original price. Aspire shall be entitled to earn commission on any subsequent sale of the same work irrespective of how many times it is sold by them.

14. TERMS RELATING TO THE SELLER 14.1. As per the Seller’s irrevocable instruction, Aspire is instructed to sell at an Auction all objects submitted for sale by the Seller and accepted by Aspire and to sell the same to the relevant Buyer of the Lot of which those objects form part, provided that the bid or offer accepted from that Buyer is equal to or higher than the Reserve (if any) on that Lot (subject always to paragraph 14.4), all on the basis set out in these Terms of Business. 14.2. The Seller also irrevocably consents to Aspire’s ability to bid for any Lot of which any of those objects form part as agent for one or more intending Buyers. 14.3. Aspire is authorised to retain any objects not sold on Auction for a period of 14 (fourteen) days after the Auction for the possible sale of such objects by Aspire by way of Private Treaty or otherwise pursuant to paragraph 14.4. 14.4. Aspire is authorised to offer for sale either by Private Treaty or otherwise, without further instruction or notification to the Seller, within 14 (fourteen) days after the Auction, all or any remaining objects submitted for sale by the Seller and received and accepted by Aspire in accordance with paragraph 14.1, which objects were not sold on Auction. The bid accepted on these items must not be less than the amount that the Seller would have received, had that Lot been sold on Auction at the Reserve (if any) on that Lot taking into account the deduction of the applicable Seller’s commission and

Recoverable expenses for which the Seller is liable. 14.5. Both Aspire and the Auctioneer each have the right, to offer an object referred to above for sale under a Lot, to refuse any bid or offer, to divide any Lot, to combine two or more Lots with the prior approval of the relevant Seller(s), to withdraw any Lot from an Auction, to determine the description of Lots (whether in any Catalogue or otherwise), to store accepted objects at the Auction premises or any other location as he/she may deem fit and whether or not to seek the opinion of experts. 14.6. Aspire shall not be under any obligation to disclose the name of the Buyer to the Seller, save for the circumstances contemplated elsewhere in these Terms of Business or otherwise required by law

15. ESTIMATION OF SELLING PRICE AND DESCRIPTION OF GOODS

15.1. Any estimation given by Aspire is an opinion and cannot be relied on as a true reflection of what the final Hammer price will be on the date of the sale and as such is never guaranteed. Aspire has the right to change any estimations at any point in time in agreement with the Seller recorded on the relevant Property Receipt Form. 15.2. The Seller hereby agrees that Aspire may fully rely on any description of the goods or Lots provided to them by the Seller or his agent. 15.3. Aspire shall not be held liable for any error, misstatement or omission in the description of the goods/Lots whether in the Catalogue or otherwise unless such error, misstatement, omission is a direct result of the intentional, misleading and deceptive conduct of Aspire’s employees and/or agents.

16. WARRANTIES AND INDEMNITIES PROVIDED FOR BY THE SELLER

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

17. COMMISSION Subject to the Terms of Business set out in paragraph 17.3 17.1. Any applicable Seller’s commission in respect of each Lot (comprising one or more objects) shall be payable to Aspire by the Seller. 17.2. Any applicable Buyer’s premium in respect of each Lot (comprising one or more objects) shall be payable to Aspire by the Buyer; 17.3. Notwithstanding the authority provided for by the Seller to Aspire to deduct any of the Seller’s commission and any Recoverable expenses (as agreed to by the Seller) for which the Seller is liable from the Hammer price, the

Seller shall still be liable for the payment of the Seller’s commission and any Recoverable expenses. 17.4. Notwithstanding the authority provided for by the Buyer to Aspire to deduct any of the Buyer’s premium and any Recoverable expenses (as agreed to by the Seller) for which the Buyer is liable from the Hammer price, the Buyer shall still be liable for the payment of the Buyer’s premium and any Recoverable expenses. 17.5. Aspire reserves the right to deduct and retain the Seller’s commission prior to the sale proceeds being handed over to the Seller, from the amount paid by the Buyer upon receipt of the full Purchase price, or any part thereof. 17.6. Aspire reserves the right to deduct and retain the Buyer’s premium prior to the Purchase price being handed over to the Seller from the Purchase price paid by the Buyer.

18. RESERVES 18.1. All Lots are to be sold with a Reserve, unless otherwise agreed upon between Aspire and Seller in writing prior to the date of Auction. Any changes to a Reserve will require the prior consent of Aspire and the Seller. The Seller acknowledges that unless a reserve is set, Aspire shall not be entitled to bid on behalf of the Seller to protect the integrity of the value of any work being auctioned. 18.2. Where the Auctioneer is of the opinion that the Seller or any person acting as agent of the Seller, has made a bid on the Lot and above a Reserve that existed on such Lot, they may knock down the Lot to the Seller. The Seller will then be required to pay all expenses which the Buyer is liable for and any expenses which the Seller is liable for along with the Seller’s commission to Aspire. 18.3. In the event that a Reserve exists on a particular Lot, Aspire may sell such Lot at a Hammer price below the Reserve, on the condition that the Seller receives the amount they would have been entitled to, had the sale been concluded at the Reserve. Aspire reserves the right to adjust the Seller’s commission accordingly in order to allow the Seller to receive the amount payable had the Lot been sold at the Reserve. 18.4. Where a Reserve on a Lot does not exist, Aspire shall not be liable for the difference between the Purchase price and the estimated selling range.

19. INSURANCE 19.1. Aspire undertakes to insure all objects to be sold as part of any Lot, at its own expense, unless otherwise agreed to in writing, or otherwise, between the Seller and Aspire. Aspire may, at its discretion, insure any property which is placed under their control for any other purpose for the duration of the time that such property remains on their premises, under their control or in any storage facility elected by them. 19.2. In the event that Aspire is instructed to not insure any property, the Seller shall bear the cost and risk at all times. The Seller also agrees to: 19.2.1. indemnify Aspire for any claims brought against Aspire and/or the Seller for any damage or loss to the Lot, however it may arise. Aspire shall be reimbursed by the Seller for any costs incurred as a result thereof; and 19.2.2. notify the insurer of the existence of the indemnities set out herein. 19.3. The Seller is obliged to collect their unsold property within 30 calendar days after the Auction. Should any property not be collected within this time Aspire reserves the right to discontinue the insurance cover.

20. PAYMENT IN RESPECT OF THE SALE PROCEEDS

The proceeds of sale shall be paid as follows: 20.1. Aspire shall make payment to the Seller not later than 20 (twenty) working days after the date of the Auction provided that full cleared payment of the Purchase price for said Lot has been received from the Buyer by Aspire. 20.2. If the Buyer fails to pay the full Purchase price within the allocated time set out in paragraph 11.2, Aspire shall

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

21. WITHDRAWAL FEES Written notice must be given to Aspire 7 (seven) days prior to the Auction, where a Seller decides to withdraw a Lot from Auction. Aspire reserves the right to convert any Seller’s commission and Buyer’s premium payable on this Lot, as well as any Recoverable expenses, photography costs, advertising and marketing costs, or any other expenses incurred on a Lot, into withdrawal fees. The amount of this withdrawal fee shall be determined based on the mid-estimate of the selling price of the objects comprising the Lot along with any VAT and expenses incurred thereon given by Aspire.

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

23. LOTS WHICH HAVE NOT BEEN SOLD 23.1. Subject to paragraph 14.4 above, upon the receipt of notice from Aspire of any unsold Lots, the Seller agrees to collect any such Lots no later than the 30th (thirtieth) day after receipt of such notice. The Seller must make further arrangement to either have the Lot resold or collect it and pay all agreed Recoverable expenses for which they are liable. 23.2. The Seller shall be liable for all costs, whether it be for storage, transport or otherwise as a result of their failure to collect the Lot. 23.3. If after 3 (three) months of notice being sent to the Seller, Aspire will proceed to sell the Lot by Private Treaty or public Auction on the terms and conditions that they deem fit, without Reserve and Aspire shall be able to deduct from the Hammer price all amounts owing to them including (but not limited to) any storage or transport expenses, any reduced commission from the Auction as well as any other reasonable expenses before the balance is paid over to the Seller. If Aspire is unable to locate the Seller, Aspire shall open a bank account in which Aspire will hold on behalf of the Seller the amount due to the Seller. 23.4. Aspire reserves the right to charge commission on the Purchase price and any expenses incurred in respect of any unsold Lots.

24. AMENDMENT OF THESE TERMS AND CONDITIONS

24.1. Aspire may, at any time and from time to time, in its sole discretion, amend, cancel or rescind any provision of these Terms of Business by publication of any such

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

ANNEXURE A – PRIVACY POLICY PRIVACY POLICY AND THE PROTECTION OF PERSONAL INFORMATION ACT NO. 4 OF 2013 Terms defined in the Terms of Business shall bear the same meaning when used in this Privacy Policy.

1. INFORMATION ASPIRE MAY COLLECT AND PROCESS

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

2. ONLINE INFORMATION PROCESSED BY ASPIRE

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

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

4. AMENDMENTS TO THE PRIVACY POLICY

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

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

RIGHT (DETAIL)

Lot 7 Lucky Sibiya Please Send the Shout Out

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ARTIST INDEX Agbara, T 77

Ibrahim, H 84

Ndlovu, S 62; 63

Akinola, E 82

Jonahan, J 79

Nel, K 28

Alexander, K 43

Joubert, K 42

Ngobeni, B 6; 24; 29

Bailey, B 106

Karstel, A 54

Nhlengethwa, S 5

Battiss, W 26; 37; 52; 53

Kentridge, W 1; 2; 41; 60; 64

Oerder, F 104

Bell, D 16

Kentridge, W and Marx, G 86

Offo, G 75

Blom, Z 56

Kudowor, W 85

Oresegun, O 78

Boonzaier, G 44

Kumalo, A 65

Pemba, G 3; 10

Bouscharain, C 27

Laubscher, E 38

Pierneef, JH 51; 55

Bustos, A 88

Laubser, M 101

Preller, A 33

Catherine, N 95; 96; 97

Lock, F 46

Prowse, R 102; 103

Clarke, P 36

Lourens, MJ 40

Scheepers, G 31

Cohen, S 25

Mabasa, N 15

Sebidi, MMMH 4; 8; 12; 14

Delaquis, A 81

Makamo, N 92; 93; 94

Segogela, J 98; 99; 100

Dingwall, J 74

Mason, J 22

Sekoto, G 34

Dudu, S 80

Mgudlandlu, G 12

Sibiya, B 7

Edochie, U 83

Mntambo, N 20

Smith, R 90; 91

Feni, D 19

Modisakeng, M 89

Subotzky, M 70

Finsel, D 71

Momoh, Y 76

Sumner, M 35

Ghesa, J 11

Motau, J 18

Taylor, M 30; 39

Goldblatt, D 67; 68

Mudariki, R 9

Van Essche, M 47

Hallett, G 66

Murray, B 105

van Heerden, J 87; 107

Harry, N 57; 58; 59

Naudé, D 72; 73

Vermeulen, P 61

Hodgins, R 32

Naudé, H 48; 49; 50

Victor, D 17; 21

Hugo, P 69

Ncaphayi, M 23

Volschenk, JEA 45

ACKN OWL EDG EMENTS R E S E A R C H AND A U T H ORSHIP

Eunice Basson Michael Godby Andrew J. Hennlich Athi Mongezeleli Joja

DETAIL ON PAGE 146–147

Lot 60 William Kentridge If You Have No Eye PHOTOGRAPHY

Nina Lieska | Repro Pictures PRINTING

Typo, Johannesburg

154

DETAIL ON PAGE 156

Lot 54 Anton Karstel Adderley Street, Cape Town RIGHT (DETAIL)

Lot 23 Mongezi Ncaphayi Wanderlust

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Johannesburg Auction Catalogues | 2 catalogues per annum R600 for hand deliveries in South Africa R1000 for deliveries outside of South Africa

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Johannesburg and Cape Town Auction Catalogues | 4 catalogues per annum R1000 for hand deliveries in South Africa R1900 for deliveries outside of South Africa Subscriptions are for a one-year period. Send the completed form to wendy@aspireart.net

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157

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

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

L OT S –

Please print clearly

LOT NUMBER

LOT DESCRIPTION

MAXIMUM | EMERGENCY BID (HAMMER PRICE)

SALE DATE: 3 November 2019 | 6 pm SALE CODE: AAA | Summer 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 ID N U M B E R B ILL I N G N A M E BI DDI NG I NCREMENTS

AD D R E S S

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

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

R1 000 increments

R20 000–R30 000

R2 000 increments

R30 000–R50 000

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

R50 000–R100 000

R5 000 increments

R100 000–R200 000

R10 000 increments

R200 000–R300 000

R20 000 increments

R300 000–R500 000

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

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

R500 000–R1 000 000 R50 000 increments

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

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

Payment method: EFT

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

Credit Card

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

158

R10 000–R20 000

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

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

SI GNATURE