Autumn 2019 Catalogue by Aspire Art

Historic, Modern & Contemporary Art

Historic, Modern & Contemporary Art Evening Sale | Autumn 19

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

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

Sunday 3 March 2019 | 6 pm V IE W I N G

Thursday 28 February 2019 | 10 am – 5 pm Friday 1 March 2019 | 10 am – 5 pm Saturday 2 March 2019 | 10 am – 5 pm Sunday 3 March 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 AUTUMN 19 C ON D I TI O N S O F S A LE

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

+27 21 418 0765 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 | Autumn 19

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

Wednesday 27 February | 5 to 8 pm RSVP kathryn@aspireart.net | +27 79 791 6037

PUB LI C P R E V I E W

All 131 lots will be on display & open to the public for viewing Thursday 28 February to Sunday 3 March | 10 am to 5 pm

AAA A R T TA LK S : S AT U R D AY 2 M A R C H

11 am to 12 pm Skotnes – Across Generations: Pippa and John Skotnes in conversation with Mary-Jane Darroll 12 to 1 pm Value Reconsidered: The rise of Alexis Preller in the secondary art market by Ruarc Peffers 1 to 2 pm Break 2 to 3 pm Love, Sex and Art: Emma Bedford discusses Marlene Dumas’ art and writings 3 to 4:30 pm Screening of film In Conversation: Kentridge & Dumas. Directed by Catherine Meyburgh RSVP kathryn@aspireart.net | +27 79 791 6037 Sunday 3 March 11 am | Aspire Art Specialists Walkabout

AUT U M N 19 P U B LI C A U C T I O N

Sunday 3 March at 6 pm

With special thanks to

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

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

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GPS coordinates are: 33°54”28.41”S |18°25”01.01”E2 Map and Street View can be found here: https://www.avenuecapetown.com/contact

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

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

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Two Oceans Aquarium

One & Only Cape Town

Cape Town | SPRING 19 Historic, Modern & Contemporary Art 1 September 2019 Consignments close 19 July 2019

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Avenue

Johannesburg | WINTER 19 Historic, Modern & Contemporary Art 2 June 2019 Consignments close 19 April 2019

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

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

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CON TE N T S

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

Sale Lots 1 to 131 2–143 Author Biographies and Acknowledgements 145 Guide for Prospective Buyers 146 Terms and Conditions of Business 149 Details used in prelim pages from:

Artist Index 155

COVER

Lot 66 Marlene Dumas Love Lost

Catalogue Subscription Form 156

FOLD-OUT

Lot 50 Alexis Preller Congo Figures

Written/Telephone Bidding Form 160

PAGE II

Lot 39 Stanley Pinker Somewhere in Cloud Kuku Land PAGE IV

Lot 15 Jacobus Hendrik Pierneef Acacia trees PAGE VI

Lot 41 Cecil Skotnes Head PAGE IX

Lot 21 William Kentridge Victoria Falls (from the Colonial Landscapes series) PAGE X

Lot 22 Christo Coetzee Kleidoscope 1 (sic) PAGE XII

Lot 23 Alexis Preller Tower – Zimbabwe Ruins PAGE XIV

Lot 67 Moshekwa Langa the cyclone that never abates PAGE XVI

Lot 71 Robert Hodgins A Bad Day on the Dow: An Apoplectic Painting

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

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

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

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

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

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

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

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

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

Louise Prinsloo Financial Officer Johannesburg accounts@aspireart.net +27 79 890 9012

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

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

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

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

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

xiii

xiv

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

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

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

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

legislation or a government mandated collecting agency, Aspire voluntarily

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

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

on auction.

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

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

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

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

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

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

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

endeavour to return some of that value to the artist.

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

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

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

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

PORTION OF THE SALE PRICE

ROYALTIES

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

From 0 to R50,000

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

From R50,000.01 to R200,000

international trend.

From R200,000.01 to R350,000

From R350,000.01 to R500,000

0.5%

Exceeding R500,000.01

0.25%

Across the world, artists, associations and collecting societies have

The droit de suite (French for ‘right to follow’) was first proposed in Europe around 1893 to alleviate the plight of the ‘struggling artist’. Although not yet universal, ARR has been implemented in different forms in over 70 countries including France, Australia, and Russia. The European Union standardised its legislation in 2001, with the payment mandated to official collecting agencies, or paid directly to the artist. The EU directive was met with loud protestations from established UK auction houses and galleries. However, in 2011 and in 2012, the European Commission and UK Parliament reported that the resale right does not impact the art market negatively. This report was followed up by World Intellectual Property Organisation research in 2017, which corroborated that the payment of royalties on works at auction has no discernible impact on prices. South Africa is one of a group of countries that have no existing legislation to govern the implementation of an ARR scheme. This group currently includes the USA, Canada, China, Japan, and Switzerland. The legislation in South Africa has been tabled, but the law is still in draft discussion form. Aspire was the only representative from the secondary market to submit representations to government on the public hearings for the draft legislation, and to appear before the parliamentary committee in 2017 to put forward the case for a national ARR. The company has followed this representation with educational presentations to artist’s groups hosted by collecting agency DALRO, and to an artist’s collective in Soweto, to spread the word among the artistic community that the ARR initiative does exist in the auction market. With little opportunity for funding in the arts, the profound social inequalities of

Historic, Modern & Contemporary Art

Lot 1

Peter Clarke South African 1929–2014

Boy with Fish 1967 pen, ink, crayon, watercolour and gouache on paper signed and dated 11.1.1967; signed, inscribed with the title and ‘Simon’s Town C.P.’ on the reverse 35 x 29.5 cm

R90 000 – 120 000

Lot 2

Peter Clarke South African 1929–2014

Homage to Battiss 2007 ink, pencil and collage on paper signed, dated 1.1.2007 and inscribed with the artist’s monogram twice 50 x 35 cm

R30 000 – 50 000 © The Estate of Peter Clarke | DALRO

Lot 3

Edoardo Villa South African 1915–2011

Figure 1980 bronze on a steel base signed and dated 33.5 x 7.5 x 7.5 cm

R35 000 – 50 000 L IT E R AT U R E

Engel. E. (ed.). (1980). Edoardo Villa Sculpture. Pretoria: United Book Distributors, another example from the edition illustrated on p.196, plate 68.

Lot 4

Kate Gottgens b.1965 South Africa

Birds 2002 oil on canvas signed 100.5 x 90.5 cm

R50 000 â&#x20AC;&#x201C; 80 000

Lot 5

Peter Clarke South African 1929–2014

Landscape with Wheeling Birds 1962 gouache and oil pastel on paper signed and dated; inscribed with the title in another hand on the reverse 37 x 49.5 cm

R200 000 – 400 000 PROVENANCE

Gifted to the current owner by the artist.

Lot 6

Marlene Dumas b.1953 South Africa

Underage

LITERATU RE

1996 lithograph on wove paper signed, dated, inscribed with the title and ‘Voorbeeld voor Bern Members’ in pencil sheet size: 35.5 x 28 cm

Dumas, M. and Bedford, E. (ed.). (2008). Marlene Dumas: Intimate Relations. Cape Town: Jacana Media and Amsterdam: Roma, another example from the edition illustrated on p.41.

R20 000 – 30 000

N O TES

PROVENANCE

Gifted to the current owner by the artist. EXHIBITED

South African National Gallery, Cape Town, Marlene Dumas: Intimate Relations, 1 June 2007 to 13 January 2008, another example from the edition exhibited.

This image was used as one of the faces that forms part of the tapestry, The Benefit of the Doubt, which Dumas designed in 1998 for Charles Vandenhove’s Palace of Justice in the Dutch town of Den Bosch. An identical set of tapestries was donated by the artist to Constitutional Court in 2004.

Lot 7

Penny Siopis b.1953 South Africa

Bound 2007 ink, oil and glue on paper inscribed with the artist’s name, the date and title on a Michael Stevenson label on the reverse 21 x 14.5 cm

R18 000 – 24 000 EXHIBITED

Michael Stevenson, Cape Town, Lasso, 20 September to 20 October 2007.

Lot 8

Penny Siopis b.1953 South Africa

Julia as a Little Girl 2007 ink, oil and glue on paper inscribed with the title 23 x 24.5 cm

R20 000 – 30 000 PROVENANCE

Art Extra, Johannesburg.

Lot 9

Deborah Bell b.1957 South Africa

Mace I bronze 235 x 16 x 12 cm

R250 000 â&#x20AC;&#x201C; 350 000

Deborah Bell is one of South Africaâ&#x20AC;&#x2122;s most important contemporary artists. In her early career she collaborated with William Kentridge and Robert Hodgins, but her own work has subsequently developed into very different territories. Well known for her atmospheric and mystical sculptural work, her totemic bronzes, such as Mace I, often signify a means of passage from one realm of existence and belief to another, more spiritual plane of existence. Often focused on regal or sacred figures from an imaginary realm, and drawing on the iconography of Egypt, ancient Assyria, the Middle East and others, her sculptures embody imaginary rituals. This mace totem is an elegant staff of office, indicating the elevated status of its absent bearer, perhaps a member of a royal family of a long-forgotten dynasty. James Sey

Lot 10

Gerard Sekoto South African 1913–1993

Women in a field gouache on paper signed 30 x 47 cm

R100 000 – 150 000

Lot 11

Jean Welz South African 1900–1975

Pensive figure 1959 oil on canvas signed and dated 64.5 x 89.5 cm

R80 000 – 120 000

Lot 12

Irma Stern South African 1894–1966

Washerwoman 1952 pencil and watercolour on paper signed and dated 36.5 x 25.5 cm

R60 000 – 80 000 © The Irma Stern Trust | DALRO

Lot 13

‘An artist delights in life’,1 Walter Battiss once said. For him

Walter Battiss

there was no separation between life and art, and in his own

South African 1906–1982

work he often conveyed a sense of excitement and a real joy

Sunbathers

for the pleasures that life could offer. Battiss was a subjective

oil on canvas signed 56 x 63.5 cm

observer and he was primarlily concerned with the various ways

R400 000 – 600 000 PROVENANCE

The Monty Sack collection, Johannesburg. EXHIBITED

Goodman Gallery, Johannesburg, Battiss … & Company, 30 June to 6 August 2011.

of uniquely capturing and interpreting a particular place and his impression thereof. ‘The yellow rock-shelter, the red earth, the green sky, the red cloud, the black water – these pull me’,2 he often explained. Battiss captivated many with his conceptual creativity – he was an artist ahead of his time, but it was his peculiar sense of humour that brought a certain playfulness to his work. Sunbathers and Surfers are two delightful paintings that immediately suggest the artist’s enjoyment in their subjects, as well as in the expressive and experimental art of painting. The sheer pleasure Battiss had in handling the material is clear in both works, as they both display the artist’s idiosyncratic use of impasto, colour and form. The two paintings are not dated. However, stylistically they both fit within the large body of work Battiss produced during the 1970s, which saw the artist often referencing the notion of the island – or island life – as a primary theme to celebrate life, the body and sensuality in his work. The influence of islands on Battiss’ creative thinking started when he travelled extensively through the Greek Islands during the late 1960s. Afterwards he visited the Seychelles twice in 1972. He was enchanted by the unspoilt nature and particularly by the simple and leisurely life on the island. After a lengthy tour through the Pacific Islands in 1976, Battiss frequently revisited many distant places such as Fiji, Samoa, the Hawaiian Islands, and also Tonga and Niue. Between 1978 and 1979, he also travelled to Tahiti and the remote Marquesas Islands. Continued on page 14

Continued from page 12

Lot 14

Sunbathers instantly dazzles the eye with its radiant, warm

Walter Battiss

colours. The surface is rendered in various layers of thick paint,

South African 1906–1982

mostly with a palette knife. Here, Battiss toys with abstraction,

Surfers

keeping the background simple and in two flat colour planes,

oil on canvas signed 47 x 57.5 cm

merely to create a horizon for this beach setting. Off centre in

R400 000 – 600 000

linear sgraffito drawings of four nude female figures, skittishly

the foreground on separate patches of varying colours, the in various reclining poses, completes the scene of seaside frolics under a hot yellow and orange sun. In Surfers, Battiss captured in a remarkably quick, immediate and direct manner the very essence of this vibrant scene. This work is a wonderful example of Battiss’ ability to control a multiplicity of detail to keep the viewer engaged. He kept colours fresh. Gradients of tropical blues and cool greens add dimension and volume to the background, making the sky and sea indistinguishable. At first glance there appears to be a lot of detail in the foreground, but a closer look shows that this is only suggested through the artist’s confident and lively brushwork and incised drawings on layers of thick paint. It is a charming view; a seagull on a lamp post attentively watches over the group of surfers about to catch some waves. For Battiss, it is yet another trope to convey pleasure, fun and a lust for life.

Marelize van Zyl 1 Scully, L. (1963). Walter Battiss. University of Pretoria: Unpublished thesis. P.18. 2 Ibid. P.3.

Lot 15

During the early 1920s, as JH Pierneef became more settled in

Jacobus Hendrik Pierneef

his initial career as an art lecturer at the Pretoria and Heidelberg

South African 1886–1957

resulted in exhibitions in Pretoria and the Cape Province. These

Acacia trees

early successes led to Pierneef’s decision in 1923, at the age of

casein on paper laid down on card signed 26 x 34 cm

37, to become a fulltime artist, a decision which was encouraged

R600 000 – 900 000

gained more confidence in his stylistic development, Frans

Colleges of Education, a steadily growing interest in his work

by his godfather Anton van Wouw (1862–1945). As Pierneef Oerder (1867-1944), amongst others, instructed him in various painterly techniques and mediums such as casein whilst an early friendship with George Smithard (1873–1919) introduced the artist to the finer skills of etching and linocut. Pierneef was known to pack his easel and art materials and to travel and roam along the gravel roads on the outskirts of the capital city and further afield towards the bushveld to the north of Pretoria into what is known today as the Limpopo Province. It was during these journeys, whilst grappling with the blanching effects of the sweltering sun on the African landscape, that the artist explored certain stylistic techniques and painterly mediums such as casein, with its subtle qualities. Casein is derived from milk casein, a milk protein. It is a fast-drying, water-soluble medium and can be used for underpainting and generally dries to a velvety matte finish. This exquisite casein painting depicts the Springbok Flats or plains of the Limpopo Province. By placing the umbrella thorn trees in the immediate foreground of the composition, underpinned by the low blue horizon line in the distance, the artist emphasizes the immensity of these vast plains. The infinite expanse above the landscape is skillfully layered with accumulating cloud formations, accentuating the dramatic division between veld and sky. An almost identical thorn tree is depicted in a linocut entitled Doringboom in landskap/Thorn tree in landscape (No 89) in the book on Pierneef by Nilant,1 which confirms the location in this painting as the Springbok Flats of Limpopo. Eunice Basson 1 Nilant, F.E.G. (1974). Die Hout- en Linosneë van J.H. Pierneef. Kaapstad: AA Balkema. P.124.

Lot 16

Walter Battiss South African 1906–1982

Old man with his dog 1928 pen and ink on paper laid down on card signed and dated 18 x 22.5 cm

R20 000 – 30 000

Lot 17

Jacobus Hendrik Pierneef South African 1886–1957

Hartbeesfontein (sic) 1927 watercolour and pencil on paper signed, dated and inscribed with the title in pencil 28 x 44.5 cm

R30 000 – 40 000

Lot 18

Paul du Toit South African 1922–1986

Forest trees oil on canvas laid down on board signed 40 x 65 cm

R50 000 – 70 000

Lot 19

Alexander Rose-Innes South African 1915–1996

Autumn trees oil on canvas signed 51 x 41 cm

R60 000 – 90 000

Lot 20

Jake Aikman’s large-scale painting Veiled Distances presents

Jake Aikman

an impression of an ethereal reality and an immediate, almost

b.1978 Britain

palpable sense of mystery. Like the Romantic painters of

Veiled Distances

the early nineteenth century, Aikman subjects the viewer to

2014 oil on canvas signed and dated on the reverse 150 x 210 cm

the overwhelming magnitude of nature: its peaceful beauty,

R200 000 – 300 000

not essentially dramatic, but more contemplative, as it evokes a

silence and powerful unpredictability. The impressive view of a remote seascape with an outcrop of land in the distance is feeling of the Sublime.

EXHIBITED

SMAC Gallery, Cape Town Art Fair, Cape Town, 28 February to 2 March 2014.

Aikman painted Veiled Distances in early 2014 to present at the Cape Town Art Fair. This compelling work followed on from a new series of paintings he produced for his 2013 solo exhibition At the Quiet Limit, in which he first introduced views of landforms in his iconic seascapes. Aikman derives the imagery for his paintings from photographs and film stills drawn from popular media and his personal archives, particularly from his travels to remote locales including Nicaragua, Indonesia and Southern Africa. He extracts and dislocates these images from their primary origin, translating their realism into atmospheric and sensory scenes that simultaneously captivate and, despite their tranquil and serene ‘veil’, offer a challenge. The location depicted in Veiled Distances is non-specific, geographically indistinct and cannot be physically encountered. ‘It is not a direct reflection of reality or painted from first-hand experience, but is experience deferred, or experience by proxy, or simply experience imagined’1. The ominous scene does not present a definitive narrative; instead the viewer is kept in suspense. The absence of human presence is intentional while the restricted colour palette adds emotional effect. The subtle variations of tone and green hues ultimately imbue the painting with a seductive grace. By revealing as little as possible, Aikman encourages the viewer to explore this scene personally, privately and on one’s own terms – ‘to ponder the truth of the encounter with the work and the feelings it elicits’2. Marelize van Zyl 1 Teale, J. (2013). At the Quiet Limit in Van Zyl, M (ed.), 2013. Jake Aikman. At the Quiet Limit. Stellenbosch: SMAC Art Publishing. P.10. 2 Ibid.

Lot 21

William Kentridge’s landscape works are unmistakable. They

William Kentridge

are a significant and persistent visual motif of his entire oeuvre,

b.1955 South Africa

forming an essential part of his thematic drawings: as evocative

Victoria Falls (from the Colonial Landscapes series)

standalone accompaniments to his large-scale performance

1996 charcoal, pastel and conté on paper signed and dated 55.5 x 74.5 cm

landscape art, many commentators have remarked on his clear

R2 500 000 – 3 000 000

tributes or falling into the tradition of such works, Kentridge’s

L IT E R AT U R E

landscapes are much more overtly contested and mutable

pieces and animated films, and as the conceptual underpinning to many other works. In terms of these drawings as works of visual and ironic references to monumentalist landscape artists of the eighteenth and nineteenth centuries. Far from being

cf. Tone, L. (ed.). (2013). William Kentridge: Fortuna. London: Thames & Hudson Ltd., illustrated on pp. 94–96.

terrains.

cf. Sittenfeld, M. (ed.). (2001). William Kentridge. New York City: The Museum of Contemporary Art, illustrated on pp.106–107.

examples of scenes that we might consider ‘historical erasure’.

The ‘colonial landscape’ drawings are particularly fine In Kentridge’s recent international stagings of his large scale performance The Head and the Load, and the associated exhibition Kaboom! at the Goodman Gallery, Johannesburg, the importance of landscape drawing is clear. Far from being the background to or context of a scene or tableau, the landscape is a central character and employed to great narrative effect: alternating between evoking precise locations or entirely stripped of specifics, crafted to fit a globalised narrative of the First World War and Africa’s place in it. In the same way, the earlier colonial landscape drawings render implicit critiques of the struggle over the representation of territory in the colonial era. Indeed, the attempt to represent land in a particular way lies at the heart of the ideology of the colonial enterprise. With this important landscape drawing, Kentridge’s characteristic subversion lies in the mutability of the chosen scene. The swift river and tumbling waterfall, with its heavy black rocks resisting the unceasing flow of water, is destined for human interference and erasure. A process of ownership and control will be exerted over this seemingly immanent and sublime piece of nature. The drawing is beautifully elegiac. Its mid-range perspective and the compelling central composition of the rocks suspended almost magically in the midst of the foaming white water attract the eye. Allegorical and subtle, the work is a particularly strong instance of Kentridge’s landscape drawing. James Sey

Lot 22

The symbol of the circle or the orb-like form entered Christo

Christo Coetzee

Coetzee’s paintings in the late 1950s in the shape of found

South African 1929–2000

objects such as ping-pong balls, bicycle wheels and coins, and

Kleidoscope 1 (sic)

remained with Coetzee throughout his career. When these

1971 oil, ink and sand on canvas signed and dated; signed, dated, inscribed with the title and dimensions on the reverse 150.5 x 150.5 cm

objets trouvés disappeared toward the end of the late 1960s,

R300 000 – 500 000 PROVENANCE

From the collection of Bettie CilliersBarnard, Pretoria, and thence by descent.

the circle as form remained and Coetzee used this shape to synthesise his work: to control it, to give it a form and a basis, as he explained in an interview with Linda Goodman in 1969.1 Coetzee’s exhibition that opened on Sunday, 28 March 1971 at the Goodman Gallery in Hyde Square, Johannesburg, was dominated by circles, by ‘circle shapes floating and orbiting in space’, as Die Vaderland2 reported in a review. Perhaps it was what Ballot labelled Coetzee’s fascination with ‘the multitude of mysteries and ideas distinctively associated with the circle as a perfect and closed unity and symbolic source of energy’3 that informed so many of the paintings in this exhibition, dealing with the cosmos, constellations and nature in both macroscopic and microscopic structures. The titles of the individual works echo these manifestations: Venus, Sun 70/89, Snow Structure and the triptych Snowflake, of which Kleidoscope 1 is the first of three panels. On white canvas within the ubiquitous circle Coetzee created a hexagonal structure, reminiscent of a snow crystal, surrounded by irregular petal-like forms (the half of the infinity symbol that characterised his earlier work), textured by means of parallel hatching. At the time this painting was made Coetzee was living in Spain: aged 42 and at the zenith of his career in Europe; an established master of assemblage; a torchbearer of the avantgarde. The next year, in 1972, he returned to South Africa to settle in Tulbagh. Johan Myburgh 1 Ballot, M. (1999). Christo Coetzee. Cape Town: Human & Rousseau. P.108. 2 Van Rensburg, N. (1971). ‘Coetzee se sirkelskilderye is treffend’ in Die Vaderland, 8 April 1971. 3 Ibid. P.35.

Goodman Gallery exhibition opening, 1971.

Lot 23

Alexis Preller’s works, Silver Constellation and Golden Chariot

Alexis Preller

were completed in 1967, the same year as this rather cryptic

South African 1911–1975

work. At first glance, the work seems to be of a golden limpet

Tower – Zimbabwe Ruins

or shell floating on a field of dark cobalt blue grading into a

1967 oil, gesso and gold leaf on canvas signed and dated 71.5 x 61.5 cm

shadow-like blackness. It also reads, cartographically, as an

R400 000 – 600 000

viewer is suddenly able to discern Preller’s intent, a stylised

PROVENANCE

The Harold Jeppe Collection, Johannesburg. Purchased from Dennis Hotz Fine Art, Johannesburg, and thence by descent. NO T E S

Framed in the original gold-plated frame made by Pelette under the direction of the artist.

island surrounded evocatively by deep waters and small islets. On being given its specific title, Tower – Zimbabwe Ruins, the evocation of an aerial view of Great Zimbabwe, the famous archaeological site. At the very centre, amidst a series of raised platforms, stands an enigmatic tower. The massive tower and the imposing walls that embrace the space around it form one of Africa’s most emblematic and permanent structures, constructed as it is from packed stone. Great Zimbabwe’s location was undoubtedly chosen on account of the gold in the surrounding mountains and river valleys, and which afforded it the opportunity of participating in the gold trade towards the East coast, making it a nexus of expanded trade in the region during the twelfth century. Preller’s use of gold as the dominant focus of the work is suggestive of both the importance of gold and the Zimbabwean citadel. Preller and his friend, Norman Eaton, the modernist

Aerial view of Great Zimbabwe.

architect, shared a long fascination with archaic towers, from that of Great Zimbabwe to the spiral towers of the Middle East. Both men built towers on their respective properties: Preller’s in brick at his remote home, Dombeya, in Brits, and Eaton’s packed stone towers on the edge of his property on the Waterkloof Heights in Pretoria. In this painting, Preller’s fugue-like creative process where ideas and images morphed over a lifetime is once again evident: it is as if Preller overlays and compresses his love of the Conus shells from island beaches, towers and mythical places in these contours of gesso-gold. Karel Nel

The tower, Great Zimbabwe

Lot 24

A graduate of UCT, Kevin Atkinson subsequently studied

Kevin Atkinson

under the British Surrealist printmaker Stanley Hayter at

South African 1939–2007

Atelier 17 in Paris, where he also encountered Marcel Duchamp.

Golden Seven

He was a restlessly experimental figure whose initial body of

1976-77 acrylic, oil and blackboard paint on canvas 168 x 167.5 cm

work reflects an internalisation of the dominant international

R150 000 – 200 000

hard-edge painting and environmental art. In Scotland, while

trends of the 1960s and 70s. Initially, these included kinetic art, exhibiting a series of bright yellow triangles that punctuated

EXHIBITED

Iziko South African National Gallery, Cape Town, ‘Plato’s Cave’: The Legacy of Kevin Atkinson, 10 September 2013 to 9 February 2014. SMAC Gallery, FNB Joburg Art Fair, Johannesburg, Kevin Atkinson: The Arena Paintings, 9 to 11 September 2016. SMAC Gallery, Stellenbosch, Reopening ‘Plato’s Cave’: The Legacy of Kevin Atkinson, 15 October to 19 November 2016.

the rolling lawns of a private estate at the 1972 Edinburgh Festival, Atkinson also had dialogues with Joseph Beuys and Jack Burnham. Between 1975 and 1977, the thinking of these two significant artist-philosophers led his art in a decidedly metaphysical and cerebral direction. Golden Seven is a drawn from the artist’s Arena series1 of paintings, drawings, etchings and lithographs of this period. Despite its esoteric content, the Arena series is now, in retrospect, becoming better understood and seen as Atkinson’s most definitive body of work. Like many other works in this series, it references Atkinson’s ubiquitous use of the symbols of the heart and the triangle. The latter is strongly indicated in Golden Seven as the mystical Pythagorean tetractys2, and is inscribed over a wedge of ultramarine blue in the lower left of the canvas. Atkinson’s mysticism also connected strongly with numerology. The number 7, which he clearly associated with the vocation of the artist, represents intuition, inner wisdom, the seeker, the thinker and a quest for Truth with a capital ‘T’. For Atkinson, his Arena series stood as evidence of a striving towards ‘consciousness’ and of his own spiritual journey. They

Kevin Atkinson and Walter Battiss in Atkinson’s studio, circa late 1970s.

were conceived of as ‘process’ works that he left behind him to guide others who wished to follow a similar path. Hayden Proud With acknowledgement of the assistance of Stephen Croeser 1 In the 1970s, Atkinson had been much taken with the Surrealist and Abstract Expressionist notion of painting as a ‘performative act’, and as the result or ‘byproduct’ of ‘process in motion’. The American art critic Harold Rosenberg’s concept of the canvas as ‘an arena in which to act’ was taken up by Atkinson, and the word ‘arena’ was frequently inscribed or stencilled onto his canvases and prints in the Arena series.

Kevin Atkinson, circa late 1970s. Images courtesy of Kevin and Patricia Atkinson Trust.

2 A mystical symbol associated with planetary movements, the seasons and music, the tetractys (Greek: τετρακτύς) is a triangular figure consisting of ten points arranged in four rows: one, two, three, and four points in each row, which is the geometrical representation of the fourth triangular number.

Lot 25

Lot 26

Brett Murray

David Brown

b.1961 South Africa

South African 1951–2016

Crying Sycophant

Head of an autocrat

2008 aluminium, paint and resin signed and numbered 4/5 on the reverse 63.5 x 41.5 x 3 cm

2012 bronze stamped with the artist’s initials, the date and numbered FC 58 x 33.5 x 30 cm

R15 000 – 20 000

R80 000 – 120 000

EXHIBITED

Goodman Gallery, Cape Town, Crocodile Tears, 10 April to 17 May 2008, another example from the edition exhibited. Goodman Gallery, Johannesburg, Crocodile Tears II, 5 to 28 February 2009, another example from the edition exhibited.

NOTES

Only two casts of this sculpture were produced.

Lot 27

The repeated banana motif rendered in collaged pieces of vivid

Jody Paulsen

yellow felt, makes this work by Jody Paulsen seductively tactile.

b.1987 South Africa

Eat Me (Bananas) 2013 felt collage diameter: 200 cm

R120 000 â&#x20AC;&#x201C; 180 000

Drawing primarily from his personal life, Paulsen produced Eat Me in 2013, as a celebration of sexuality and self-love. The artist uses recurring images of fresh summer fruits, lush palm leaves, brightly coloured flowers and exotic creatures throughout his work to create a tropical utopia, away from a world where difference is often rejected. The title of this work,

EXHIBITED

Eat Me, serves as a cheeky, yet defiant idiomatic expression

Brundyn+, Cape Town, Anyway, the Wind Blows, 4 December 2014 to 15 February 2015.

against these same oppressive forces. Although felt is a material typically associated with craft, Paulsen uses it to tackle more serious themes â&#x20AC;&#x201C; a witty paradox which has come to characterise his work. Lisa Truter

Lot 28

Jane Alexander b.1959 South Africa

Grand Salon, Hotel Dajti 2009 archival pigment ink on cotton rag paper signed, dated, numbered 2/12, inscribed with the title and ‘Background Image Bevis Fusha’ on the reverse sheet size: 61 x 81.5 cm

R40 000 – 60 000 PROVENANCE

Gifted to the current owner by the artist. EXHIBITED

Tirana International Contemporary Art Biennial, Albania, 18 September to 22 October 2009, another example from the edition exhibited. Michael Stevenson, Cape Town, Summer 2009/10: Projects, 26 November 2009 to 16 January 2010, another example from the edition exhibited.

LITERATU RE

Perryer, S. (ed.). (2009). Summer 2009/10 Projects. Cape Town: Michael Stevenson, another example from the edition illustrated in colour on p.4. N O TES

Jane Alexander describes the context in which her Hotel Dajti series was made: The Hotel Dajti photomontages were produced for the Tirana International Contemporary Art Biennial 2009, The Symbolic Efficiency of the Frame. The exhibition, curated by Edi Muka and Joa Ljungberg, was presented in the Hotel Dajti from September. Bevis Fusha was commissioned to take a series of background photographs for the images from which these were selected.

Lot 29

Zander Blom b.1982 South Africa

Untitled 2012 oil and graphite on Belgian linen laid down on board signed and dated on the reverse 50 x 36.5 cm

R20 000 – 30 000

Lot 30

Rowan Smith b.1983 South Africa

Extensions of the Universe 2007 acrylic on board, Imbuia, maple, African rosewood and Iroko dimensions variable

R80 000 – 120 000 EXHIBITED

WHATIFTHEWORLD, Cape Town, Future Shock Lost, 5 to 30 August 2007. L IT E R AT U R E

Smith, R. (2014). Rowan Smith. Cape Town: WHATIFTHEWORLD, illustrated in colour on p.84.

Lot 31

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

Suspended form 1971 painted steel signed and dated 80 x 200 x 37 cm

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

cf. Engel. E. (ed.). (1980). Edoardo Villa Sculpture. Pretoria: United Book Distributors, another suspended form illustrated on p.177.

Lot 32

Alexis Preller was in many ways an artist torn between

Alexis Preller

two impulses: in one thread his work is cosmic, fantastical,

South African 1911–1975

visionary; in another observational, familiar, acute. What

The Blue Plate

often tied the threads together was his ubiquitous ‘household

1956 oil on canvas signed and dated 51 x 61.5 cm

gods’ concept. These talismanic domestic objects were various,

R2 000 000 – 4 000 000 EXHIBITED

Lidchi Gallery, Johannesburg, Alexis Preller, 13 to 24 March 1956.

brought together from his travels, as gifts from friends and family, or taken from his garden and immediate surrounds. The ways in which these objects weave through his artistic output are very interesting. Often they appear in a painting to tie a grand theme or subject to a more prosaic and familiar grounding. At other times they provide a sacramental character to scenes depicted in his paintings, providing the markers of a visionary space. This reorientation of the meanings inherent in everyday objects, a recasting of the relationships between objects and their significance, became one of the hallmarks of Preller’s work. Even the standard subjects of still life painting generally, such as fruit, took on an overdetermined symbolic nature in his work. Good examples of this are the intaglio apples of his later career. In this work, a decidedly domestic still life tableau is given a typically Prelleresque signature by the addition of symbolically charged items from the artist’s studio. The blue plate in the mid-foreground contains pieces of fruit in a concession to standard still life convention. In the bottom right of the frame an impossibly blue aubergine echoes the blue of the plate, reminding us of the artist’s mastery of and innovation with colour. The range of other domestic objects, including the bottles dominating the left mid-ground of the frame, and the pile of books whose identity is carefully elided, beautifully establish the context of the work as an accomplished still life. But other elements make it a Preller still life. The stylised screens in the background, and particularly the sketched profile figure in the midground, are quintessential touches by the artist. The audacious inclusion of one of his own works in this painting makes it unusual – the profile figure would reappear many times over the years, and featured in a very similar composition to the one rendered here as a still life object, in the two paintings entitled The Young King, a year later than this exquisite work. James Sey

Lot 33

Penny Siopis b.1953 South Africa

Cakes c.1979/80 relief oil on board 55.5 x 76 cm

R400 000 – 600 000 EXHIBITED

Jack Heath Gallery, University of Natal, Pietermaritzburg, Penny Siopis and Peter Schütz, 1981.

Lot 34

Lot 35

Peter Schütz

South African 1942–2008

A Piece of Blue Sky

Pierced with Passion

2006 jelutong and oil paint 102 x 19 x 36.5 cm

2005/6 jelutong and oil paint 103 x 30 x 29 cm

R80 000 – 120 000

EXHIBITED

PROVENANCE

Goodman Gallery, Johannesburg, Sentient Beings, 21 April to 19 May 2007.

Goodman Gallery, Johannesburg.

Lot 36

Athi-Patra Ruga b.1984 South Africa

The Night of the Long Knives I 2013 archival ink-jet print on Photo Rag Baryta, Dibond mounted from an edition of 5 + 2AP 150 x 190 cm

R250 000 – 350 000

Somerset House, London, Athi-Patra Ruga: Of Gods, Rainbows and Omissions, 4 October 2018 to 6 January 2019, another example from the edition exhibited.

EXHIBITED

LITERATU RE

WHATIFTHEWORLD, Cape Town, The Future White Women of Azania Saga, 27 November 2013 to 1 January 2014, another example from the edition exhibited.

Athi-Patra Ruga. (2014). Athi-Patra Ruga: F.W.W.O.A SAGA. Cape Town: WHATIFTHEWORLD, illustrated in colour n.p.

Framer Framed, Amsterdam, Re(as)sisting Narratives, 28 August to 27 November 2016, another example from the edition exhibited.

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

N O TES

Lot 37

The well-known Cape Town art dealer Joe Wolpe once

Erik Laubscher

remarked that Erik Laubscher ‘produces the sort of abstract

South African 1927–2013

painting that can make sense to everyone. People like it because

Near Riebeek Kasteel

it is simple and forceful and it really means something’.1

1968 acrylic on canvas signed, dated, inscribed with the title and ‘To Michele from Dad’ on the reverse 165 x 165 cm

Laubscher is recognized as one of the leading and most

R400 000 – 600 000 EXHIBITED

SMAC Gallery, Stellenbosch, Erik Laubscher: A Major Retrospective Exhibition, 6 December 2009 to 25 February 2010. Ebony Curated, Franschhoek, Erik Laubscher – The Landscapes: A Selection of Works 1946–2012, 28 October 2017 to 7 January 2018. L IT E R AT U R E

Fransen, H. (2009). Erik Laubscher: A Life in Art. Stellenbosch: SMAC Publishing, illustrated in colour on p.134.

dominant figures of the generation of post-war Cape painters working in abstraction during the 1960s, and it is his unique hard-edge portrayals of the countryside in the Western Cape in particular, that left a lasting impression and for which he is most renowned. Near Riebeeck Kasteel is another hallmark of Laubscher’s hard-edge landscapes, showing the artist translating the structural elements of this area onto canvas in a compositional arrangement of simplified forms with flat planes of colour. The work was painted in 1968, two years after Laubscher visited the United States where he discovered the works of the Californian/ West Coast hard-edge painters and the New York School. This period saw him painting on larger formats and using acrylics. Riebeek-Kasteel is one of the oldest towns in South Africa, situated 80 km north-east of Cape Town. In this painting, Laubscher shares an intimate view of the valley nestling on the slopes of the dramatic Kasteelberg. The surrounds are wheatlands, vineyards as well as olive groves, and there are some clouds in the sky. He presents the scene on a shaped canvas for visual effect, which also shows his concern for design and structure in composition. It is seemingly simple, with an emphasis on the flatness of the surface, clean edges and shaped areas of colour. However, there is great power in its simplicity. The sense of depth and space present in this work pulls the viewer in, almost forcing one to pause, look carefully and appreciate the scene. In his own words: ‘I wanted to create paintings that also gave the feeling that it wasn’t just one little picture … The painting has to evoke the monumental feeling that really does exist in Africa’.2 Marelize van Zyl 1 Fransen, H. (2009). Erik Laubscher: A Life in Art. Stellenbosch: SMAC Art Publishing. p.123. 2 Ibid. p.265.

Lot 38

In his Tribute Series, Sam Nhlengethwa works with carefully

Sam Nhlengethwa

selected images from public media such as magazines and

b.1955 South Africa

posters. These found images are appropriated, reproduced,

Homage to Myself

cut up, and fragmented to create new images, relationships

2017 oil and collage on canvas signed and dated; signed, dated and inscribed with the title on the reverse 155 x 175 cm

and meanings, combining printed material with photography,

R220 000 – 280 000

drawing and painting. The series pays homage to significant creatives – visual artists and jazz musicians – who influenced and inspired Nhlengethwa. Impelled by people and their spaces, he recreates the works of his favourite artists and places them in a constructed environment, an imagined space, giving the viewer a new context in which to experience the works. By recreating works of other artists, he simultaneously challenges the concept of authorship and the limits of representation. The environments in which the artworks are placed are contemporary interiors, suffused with a clean, minimalist aesthetic, characteristic of the artist’s dapper personal style. The spaces are void of people with the artworks providing the only figurative suggestion. Nhlengethwa talks about a sense of loneliness that artists encounter when working in their studios for long periods, isolated from family and friends. This sense of quiet and solitariness is poignantly reflected in the emptiness of the interiors he conjures, creating a soothing environment with a calming atmosphere. Featured artists include South African greats such as Gerard Sekoto, Dumile Feni, William Kentridge and Marlene Dumas, amongst others, while international influences like Romare Bearden and Henri Matisse also occupy the series. Having started the project in 2008, the third and final Tributes exhibition was held at Goodman Gallery in 2014. At the end of the long period of creative output, Nhlengethwa returns the gaze onto himself and, in Homage to Myself, creates a final tribute to his own significant legacy. Ruarc Peffers

Lot 39

In his late-career paintings, from the mid-1980s onwards,

Stanley Pinker

Stanley Pinker pushed his art in new directions. While

South African 1924–2012

continuing to explore the implications of earlier modernist

Somewhere in Cloud Kuku Land

styles such as Cubism with its shallow planes and use of

oil and assemblage on canvas and board signed; inscribed with the artist’s name and the title in another hand on a label on the reverse 114 x 62.5 cm

the rectangular canvas format. Adopting a more ‘constructivist’

R900 000 – 1 500 000

stencilled words, he also began to break with the regularity of approach, he not only integrated found objects, but extended his pictorial field beyond the confines of the painting’s frame by the addition of other shapes and forms. This emphasised the idea of each painting as an independent object in its own right. It also increased the possibilities for the sense of pictorial whimsy and play that had always underpinned his art. The inclusion of the words ‘puzzle picture’ in the centre of the chevron-shape at the bottom of this painting poses a challenge to the viewer to make sense of an imaginary and delusional place called ‘Cloud Kuku Land’, which is alluded to in its title. This appears to be a localised version of ‘Cloud Cuckoo Land’; a place of foolish, utopian dreams. In Pinker’s title, the word ‘cuckoo’ has been supplanted by the general African term ‘kuku’, which means ‘chicken’. In the blue field of the rotating colour wheel attached to the top of the painting, it is stencilled three times with exclamation marks, as if alluding to the sound of a cuckoo-clock, itself an aural metaphor for a state of idiocy and absurdity. In the 1980s, the phrase ‘cloud-cuckoo land’ had a particular resonance for South Africa, as then-British Prime Minister Margaret Thatcher is reputed to have (apocryphally) declared that ‘the ANC is a typical terrorist organization … anyone who thinks it is going to run the government in South Africa is living in cloud-cuckoo land’. Pinker, like many South African artists in the 1980s, was highly responsive to the political crises of those years. Avoiding overt political statements in his work, he preferred a more subtle, ironical and gentle satirical approach, evoking meaning by a layering of associative images and words; making solid, well-constructed pictorial reflections on the topsy-turvy politics and absurdities of South African life. Hayden Proud

Â© The Estate of Stanley Pinker | DALRO

Lot 40

Robert Hodgins was a particularly prolific artist, especially in

Robert Hodgins

his later life, as if he was determined to make up for the lost

South African 1920–2010

With Malice, Aforethought

time before he became a full-time painter. His reputation as a highly collectable signature in the auction market, noteably since his death, has focused on his numerous

2006 oil over spray paint on canvas signed, dated, inscribed with the title and medium on the reverse; inscribed with the artist’s name and the title on a Goodman Gallery label on the reverse 90 x 90 cm

oil paintings, which have grown steadily in value. But in reality

R500 000 – 700 000

got older.

PROVENANCE

Goodman Gallery, Johannesburg.

Hodgins had a highly developed commitment to formal and material experimentation. Critical and commercial attention may have focused on his oils, but he turned to many different mediums throughout his career, and perhaps even more so as he The bequest of his print archive to the Wits Art Museum, where he spent many fruitful years teaching, amply demonstrates the range and diversity in his printmaking – an approach he extended to other work. With Malice, Aforethought, produced in 2006 is thus noteworthy for its use of spray paint as its foundational layer, over which his more customary oils have been painted. More commonly associated with street art and graffitti, spray paint tends, understandably, to be inexact in its application, but has a neon palette and associated urban atmosphere which one can easily understand Hodgins being drawn to. The uncomfortable proximity of the figures in the work, and the threat of implicit violence contained in the work’s title, are almost unbearably heightened by its acid hues and blurred outlines. Such formal innovation by an artist already then in his eighties is testament to Hodgins’ restless genius. James Sey

Lot 41

This iconic Head was proudly displayed in the Cape Town

Cecil Skotnes

house of Cecil and Thelma Skotnes after their move there in

South African 1926–2009

1979. It remained in their estate until passed on to a descendant

Head

and has thus never been to market.

1983 carved, incised and painted wood panel signed and dated; inscribed with the artist’s name, the date and the title on a South African National Gallery label adhered to the reverse 122.5 x 90 cm

R500 000 – 800 000

John Skotnes has fond memories of this work as it ‘graced the family living room and was witness to the wholeness of my parents’ family life’ including ‘the friends, family, artists, stars, musicians, dancers and people from so many different walks of life, who constantly came to the home’. Reflecting on his extraordinary father, John explains, ‘he never romanticised his work but he celebrated the making of a ‘big one’, like this

PROVENANCE

From the artist’s family by descent. EXHIBITED

South African National Gallery, Cape Town, Cecil Skotnes Retrospective, October to December 1996.

panel’.1 A totemic head such as this that so powerfully evokes Africa with its strong forms and earthy colours, also serves as a mindscape mapping moods and experiences. As Neville Dubow, friend of the artist and former Director of the Michaelis School of Fine Art, has remarked in the Cecil Skotnes retrospective catalogue, ‘The key here is the concept of landscape in its broadest sense, of the landscapes of the mind, of an artist’s mindscape, and above all, of the link between landscape and memory’.2 Emma Bedford 1 Personal correspondence with the author, Monday 14 January 2019. 2 Dubow, N. (1996). ‘Landscapes of the Mind’. In Harmsen, F. (ed.), Cecil Skotnes. Cape Town: South African Breweries. p.121.

Head in the Skotnes family home, Cape Town.

Â© The Estate of Cecil Skotnes | DALRO

Lot 42

Partly influenced and informed by Sapeurs, Simphiwe Ndzube’s

Simphiwe Ndzube

work is at once playful and menacing. The La Sape movement

b.1990 South Africa

– an abbreviation based on the phrase Société des Ambianceurs

Sarah and some Gentlemen, diptych

et des Personnes Élégantes (French for ‘Society of Ambiance-

2014 acrylic, charcoal and collage on paper signed and dated 153 x 142 cm; 153 x 174 cm (2)

word sape (attire) – is a subculture which originated in the

R250 000 – 350 000

Makers and Elegant People’), and referencing the French slang cities of Kinshasa and Brazzaville in the Democratic Republic of the Congo and Republic of Congo respectively, and has now spread across the continent. The movement embodies the elegance in style and manners of colonial dandies, passed on from generation to generation. Sapeurism can be traced back to the colonial period when slaves chose to subvert the oppression exerted by their European masters by adapting and embellishing the coloniser’s style with their own exaggerated high-fashion reimagining of European period costume. Loaded with these and other more politicised historical references, Ndzube’s work depicts the disenfranchised on the outskirts of society. He creates portraits of figures that reflect on the struggle many South Africans have in trying to cope with the legacy of colonial and apartheid history, while at the same time inhabiting their agency in forging a new future, becoming the subjects of their own making. The figures in this work, though playful and carnivalesque, are simultaneously imbued with an underlying menacing character. They express the dangers inherent in the unpredictability and unknown quantity of the ‘Other’ and play on the inherent ambivalences of prevailing sentiments around freedom and inclusivity in a ‘new’ South Africa. The title is also a reference to Sarah Baartman, who stands out as the primary figure depicted in the work, in a pose reminiscent of Botticelli’s Birth of Venus. Ambiguously emerging from a pool and standing on a display podium, she is bedecked in a wig and regal sceptre with flowers at her feet, heightening the tension between readings of the figure as monarch or as colonial anthropological curiosity. She is a model of royal dignity, surrounded by the ominous gentlemanly dandies under her dominion, populating a space that defies physics – a premonition contrasted with apocalyptic sky and decorative floral motifs adorning the ground. The figures are positioned on the precipice of a time gone by, stepping into a new, though sometimes compromised, future. Ruarc Peffers

Lot 43

Towards the end of 1917, at the age of thirty two, JH Pierneef

Jacobus Hendrik Pierneef

had resigned from his position as a clerk at the State Library

South African 1886–1957

evenings, the artist preferred to work there after office hours in

Sunlit mountains, Clarens

order to spend as much as possible of his daylight hours either

1918 oil on canvas signed and dated; signed on the reverse 51 x 66.5 cm

painting in the veld, researching or associating with like-minded

R1 000 000 – 2 000 000

him far more flexibility to devote time to his own art as he

in Pretoria. As this institution remained open until 9pm in the

artists in town. Pierneef’s appointment as art lecturer at the Heidelberg Teachers’ Training College in early 1918 afforded was only expected to teach eight hours per week. By then, and through the encouragement of a growing circle of friends and supporters, the artist had already presented two successful solo exhibitions in Pretoria. Pierneef was extremely interested in the world around him; he presented lectures on art and culture to select groups in an effort to encourage social and scientific interaction among the educated community of Pretoria and further afield. On one such lecturing excursion to Bloemfontein, his close friend JFW Grosskopf introduced Pierneef to Reenen J. van Reenen, an acknowledged authority on rock art in the Free State. This field of research became one of the artist’s enduring interests during his lifetime. It is known that Van Reenen and Pierneef spent time at the now well-known Schaaplaats Farm rock art site in the Clarens district. The artist was by that time also well acquainted with the work of the French Impressionists and their focus on and depiction of light with its wide-ranging qualities on selected landscape features. In all probability this early painting with its sparkling orange hues and deep blue-grey anticlinal crags and crests, set within a sumptuous sunlit landscape, was completed after one of the expeditions to a secluded rock art site in that mountainous area. Eunice Basson

Lot 44

Sam Nhlengethwa b.1955 South Africa

Senegalese figures with goats 2010 oil on canvas signed and dated; printed with the artistâ&#x20AC;&#x2122;s name on a Brundyn + Gonsalves gallery label on the reverse 80 x 100 cm

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

Brundyn + Gonsalves, Cape Town.

Lot 45

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

Watusi 1970 oil on canvas signed and dated; inscribed with the title on the reverse 62.5 x 75 cm

R150 000 â&#x20AC;&#x201C; 200 000

Lot 46

Those who lived in the small port town where Peter Clarke grew

Peter Clarke

up were wholly dependent on the sea for their livelihood. While

South African 1929–2014

some of the men worked at the Simon’s Town docks, as Clarke

Fishermen

himself did, many were involved in the fishing trade. A system

1960 oil on canvas laid down on board signed; dated June 1960 and inscribed with the title in another hand on the reverse 44.5 x 36 cm

of lookouts from the cliffs to direct boats to large shoals of

R400 000 – 600 000 PROVENANCE

Gifted to the current owner by the artist.

fish made for profitable catches. But the pair of fishermen that Clarke portrays, each carrying just two fine specimens, were more likely fishing for their own families’ needs. Painted in 1960 before Clarke’s brief time at Michaelis School of Fine Arts, the sturdy figures that amply fill the picture plane are typical of his early subject matter drawn from his Simon’s Town surroundings. Working in the oil paint introduced to him by Roland Alexander, Clarke uses a favourite motif – the back view of his subjects. The two friends seem unaware that they are being observed, and the viewer, facing in the same direction, feels drawn into the scene. The simple composition is unified by Clarke’s acute colour sense. Played off against the buff-coloured sand, a full spectrum of blues is deployed in the men’s clothing, the lightest blue of the left-hand shirt resonating in the freely painted sky and sea, the darkest blue tinting the dark shadows the men cast as they tramp along the beach, companionably in step with one another. The complementary warm ochre of the other shirt is echoed vividly in the reds of their catch. Far from appearing dead, the fish with their large eyes seem to look back comically at the viewer, and the curve of their gills almost mimics a smile. In an unexpected way they add to the sense of camaraderie. Clarke’s gift for observation makes us look afresh at ordinary occurrences and share his pleasure in everyday relationships. Elizabeth Rankin

Â© The Estate of Peter Clarke | DALRO

Lot 47

Peter Clarke South African 1929–2014

A Little Lekker Night Musiek 1980 gouache and collage on paper signed; signed, dated 28 May 1980, inscribed with the title, medium and artist’s address on the reverse 66 x 49.5 cm

R90 000 – 120 000

N O TES

Peter Clarke was always somewhat eclectic in the tastes and interests that he brought into his work. Partly this may be because his community interests as a teacher and activist brought him into contact with many other artists and performers, in different art forms. The influence of literature, especially poetry, runs throughout his multimedia works, and his own writings often featured in works of visual art. Similarly, his interest in and love of music weaves intermittently through his work, as it did, and continues to do, in

the communities he lived in. This joyous gouache and collage work reflects these emotions. Clarke knew Sam Nhlengethwa from art activism circles, and their interest in music, especially jazz, perhaps overlapped. Certainly Clarke would return to the theme in other works such as Theme for Bra Kippie (1998), where it conflated with his love for literature in the form of one of his artist’s books. The title of this work is a sly, ironic reference in transliterated Afrikaans to Mozart’s famous eighteenth century chamber piece.

Lot 48

Sam Nhlengethwa b.1955 South Africa

Keith Jarrett 2017 oil and collage on canvas signed and dated 76 x 91 cm

R90 000 â&#x20AC;&#x201C; 120 000 NO T E S

Sam Nhlengethwa has exhibited extensively around the world, from New York to Japan to Cuba. A consummate jazz connoisseur, he has amassed a collection in excess of 5 000 vinyl records acquired around the world on his extensive travels, all of which are played regularly in his home and studio on any one of his dozens of collectible vintage record players. Jazz has been a lifelong passion for the artist and features prominently in his work throughout his career, and the musicians represented here rank amongst his favourites.

Lot 49

Sam Nhlengethwa b.1955 South Africa

Miriam Makeba 2017 oil and collage on canvas signed and dated 101 x 76 cm

R90 000 â&#x20AC;&#x201C; 120 000

Lot 50

Alexis Preller in 1939 was at a watershed moment in his life as

Alexis Preller

an artist. His education in London earlier in the 1930s had led

South African 1911–1975

to a commitment to making art. This decision was rewarded

Congo Figures

early on with two solo shows in 1936, only his second year as a

1939 oil on hessian signed and dated 63.5 x 79.5 cm

full-time artist, one in Johannesburg and one in Pretoria. The

R4 000 000 – 6 000 000

along with work by older and more established figures like

PROVENANCE

same year saw one of his works, Native Study (Mapogges) (sic), chosen for exhibition on the prestigious Empire Exhibition, J.H. Pierneef, Maggie Laubser and Irma Stern, among others. A series of six paintings also depicting so-called ‘Mapogge’

From the collection of Bettie CilliersBarnard, Pretoria, and thence by descent.

scenes was a central focus of the Pretoria solo show in that year,

EXHIBITED

along with a poignant figure study entitled Man in the Sun. In

Gainsborough Gallery, Johannesburg, Alexis Preller: 20 Paintings 1947, 6 to 9 June 1944, where the title ‘Congo Men’ was used. Pretoria Art Museum, Pretoria, Alexis Preller Retrospective Exhibition, 24 October to 26 November 1972, where the title ‘Congo Men’ was used. South African National Gallery, Cape Town, Paris and South African Artists 1850–1965, 14 April to 29 May 1988, catalogue number 170, where the title ‘Congo Men’ was used.

these early works Preller’s debt to both Stern and to Vincent van Gogh is evident stylistically and in the choice of subject matter. Preller’s travels in Europe and Africa throughout the late 1930s culminated in his first visit to the Congo in 1939, with the threat of war already looming. His visit there was to paint and study local life and culture, some years before Stern’s productive travels in the same country. While the style of Congo Figures echoes Stern and his own earlier Mapogge scenes, it also has clear affinities with Paul Gauguin’s colourful post-Impressionist

Johannesburg Art Gallery, Johannesburg, Paris and South African Artists 1850–1965, 22 June to 17 July 1988, where the title ‘Congo Men’ was used.

island scenes, especially those from his late nineteenth century

Pretoria Art Museum, Pretoria, Preller 1991, catalogue number 6, where the title ‘Congo Men’ was used.

fresh, spontaneous quality about the rendering of the subject

L IT E R AT U R E

Alexander, L., Bedford, E and Cohen, E. (1988). Paris and South African Artists 1850–1965 exhibition catalogue. Cape Town: South African National Gallery, discussed on pp.44 and 108. Berman, E and Nel, K. (2009). Alexis Preller: Collected Images. Johannesburg: Shelf Publishing, illustrated and discussed on pp.12–13. The Pretoria Art Museum. (1972). Alexis Preller Retrospective exhibition catalogue, illustrated plate 7.

paintings in Tahiti. As Karel Nel puts it in the authoritative study Alexis Preller: Collected Images,1 in this work ‘there is a that is irresistibly appealing. It is almost as though the painting is a glimpsed fragment of the stream of life of the participants. The artist has not inserted himself into the situation and the ongoing activities are unaffected by the witness. The colour is another factor in the success of this painting. The artist had actually made the paint himself, mixing raw pigment with an oil and turpentine medium, and the combination of homemade tints worked effectively. Preller’s time in the Congo would become the source of major innovations in his work, but those developments were held in check by his active service in the War’. Continued on page 72

Continued from page 70

Indeed, Prellerâ&#x20AC;&#x2122;s output would dry up during his active service in the Medical Corps in the war, but the debt to Gauguin would again be evident in his first significant paintings some years later, depicting as they did a transformed memory of the trauma of dealing with the wounded, such as Fleurs du Mal (1944). His Congo Figures is therefore significant because it represents the end of an era of innocence of sorts for Preller. Subsequently his depictions of similar scenes, and of Mapoggas, would be transformed by his developing personal style and mythography, as well as the personal experiences he had undergone. The painting is further distinguished by having been in the same, influential collection for over seventy years. James Sey 1 Berman, E. and Nel, K. (2009). Alexis Preller: Collected Images. Johannesburg: Shelf Publishing. pp.13â&#x20AC;&#x201C;14.

Mapogga Figures, 1936

Lot 51

Guy Tillim b.1962 South Africa

Opunohu – Rotui – Cook’s Bay, diptych 2010 archival pigment ink on cotton rag paper signed and inscribed ‘PP’ in pencil in the margin from an edition of 7 + 2AP + 1PP image size: 53 x 70.5 cm each (2)

R50 000 – 80 000

Huis Marseille, Amsterdam, Guy Tillim: Second Nature, 2 March to 3 June 2012, another example from the edition exhibited. Kuckei+Kuckei, Berlin, Guy Tillim: Second Nature 2010-2011, 14 September to 27 October 2012, another example from the edition exhibited.

EXHIBITED

LITERATU RE

Stevenson, Cape Town, Guy Tillim: Second Nature I, 27 July to 3 September 2011, another example from the edition exhibited.

Leers, D. and Tillim, G. (2015). O Futuro Certo. Göttigen: Steidl, another example from the edition illustrated in colour on pp.162–163.

James Harris Gallery, Seattle, Guy Tillim: Second Nature, 2 February 2012 to 17 March 2012, another example from the edition exhibited.

Barents, E. and Tillim, G. (2012). Guy Tillim: Second Nature. Munich: Prestel, another example from the edition illustrated in colour, n.p.

Lot 52

Daniel Naudé b.1984 South Africa

Xhosa bull on the shore. Mgazi, Eastern Cape, 18 May 2010 2010 chromogenic print printed with the artist’s name and the title on a label on the reverse number 1, from an edition of 7 + 2AP image size: 110 x 110 cm

R60 000 – 80 000

EXH IBITED

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

Naudé, D. (2012). Daniel Naudé: Animal Farm. Munich: Prestel Verlag, another example from the edition illustrated, n.p.

Lot 53

This extraordinary painting, with its vivid colours, dramatic

Walter Battiss

forms and lively patterning, may well be an invocation of

South African 1906–1982

Xhosa initiation customs, or ulwaluko. Walter Battiss could

Initiate

have encountered or heard about such rites during his youthful

oil on board signed; inscribed with the title on the reverse 61 x 61 cm

explorations of the area around his home in Somerset East,

R400 000 – 600 000

whose face and bodies are covered in white clay to ward off evil.

where he lived until the age of eleven. A central figure features in the work, with white facial markings reminiscent of youths To the right, two figures appear to confer in a cave, while in the foreground a supine figure lies before a configuration that can be read as a circle of initiates. All are positioned within a space of richly imagined calligraphy that may be interpreted as knowledge. In a letter written on 29 January 1981 to Dacre Punt, Battiss notes ‘the Venda student, 20 years, was here 6 weeks & I taught him to dance to Satie’s music. He was excellent with a feline mask…’.1 Battiss painted his body with lively Fookian calligraphy as captured in a Style Magazine article published in May 1981. Alongside the student is a black and white painting which shows a similar simplification of form and composition

Student being body-painted by Battiss, January 1981. Photo by Richard Cutler, Style, May 1981, p. 57.

as appears in Initiate indicating that both may have been produced in the 1970s. Emma Bedford 1 Siebrits, W. (2016). Walter Battiss: I invented myself. Johannesburg: The Ampersand Foundation. p.216.

Lot 54

Douglas Portway South African 1922–1993

Seated nude 1984 oil on paper signed and dated 76 x 50 cm

R60 000 – 80 000

Lot 55

Freida Lock South African 1902–1962

Portrait of John Dronsfield oil on canvas signed 49 x 38 cm

R50 000 – 70 000

Lot 56

Maud Sumner South African 1902–1985

Portrait of a woman with Tiger lilies oil on canvas signed 77 x 50 cm

R150 000 – 250 000

Lot 57

Still life paintings often celebrate the pleasures of life. Roses

Christo Coetzee

and fruit provide evidence of the joys of life as much as they

South African 1929–2000

are reminders of its brevity. The mandolin, with ancient origins

Roses & Grapes

in the musical bows of prehistoric France and the bowed harps

1986 oil on board signed and dated; signed, dated, inscribed with the title and ‘Tulbagh’ on the reverse 122 x 122 cm

of West Africa, is played and enjoyed with varying instruments

R150 000 – 200 000

the Valencian province of Alicante on the Mediterranean coast.

PROVENANCE

Acquired directly from the artist circa 1995, Tulbagh.

and styles across the world. But Coetzee would most likely have heard the mandolin in Spain, where he spent a good deal of time each year after acquiring his home in 1965 in Finestrat, in Painted in 1986, this sumptuous painting explores the romanticism of his Spanish worldview in found objects representing European cultural history and art. However, in tying the mandolin to the stretcher of a painting, Coetzee affirms his radical determination to challenge the conventions of painting by including the back of a canvas in the composition. Emma Bedford

Lot 58

Erik Laubscher South African 1927-2013

Pear studies, four 2012 oil on canvas each signed; each inscribed with the artistâ&#x20AC;&#x2122;s studio reference number on the reverse 26 x 30.5 cm (3); 24.5 x 41 cm (1) (4)

R180 000 â&#x20AC;&#x201C; 240 000

Lot 59

The luscious blooms in this painting may have been a gift to

Irma Stern

Irma Stern, or could possibly have come from the old rose bed

South African 1894–1966

Still life with roses

below her Rondebosch studio, which is no longer standing. In her lifetime, Stern’s famous garden at her house The Firs

1948 oil on canvas signed and dated 51 x 38 cm

(now the Irma Stern Museum) was not nearly as shaded as it is

R2 000 000 – 4 000 000

growing roses.

today. The giant magnolia and oak trees have soared ever higher in the intervening decades, rendering the garden problematic for Stern’s elegant composition seems to be dictated by the vertical tower of blooms held aloft by a black Chinese martaban, a severe and effective contrast to the roses’ lush, organic glory. The planes of the angular composition are balanced by the choice of the madonna blue on the left, the dense cream of the background, and the foaming blue white of the foreground. This was Stern in a gentle, reflective state of mind. We recall once again the words of American-British sculptor Jacob Epstein, quoted in Neville Dubow’s book on Stern. Epstein, upon seeing Stern’s rose paintings in London remarked: ‘At last a painter who can paint’. As Dubow also points out, Stern was later to claim that Epstein added, ‘You and I understand one another. Renoir’s roses look like paper next to yours’. Stern’s roses in this work could even be compared favourably to the very great flower painter of the 19th century, French artist Henri Fantin Latour, and also that of her closer contemporary, the English artist Matthew Smith. Perhaps the inspiration for this particular rendition comes from the possibility that they were a bunch of birthday roses – they look like first-flush October roses and Stern’s birthday was on 2 October. Christopher Peter 1 Dubow, N. (1987). Irma Stern. Pretoria: Struik. p.18. 2 Ibid.

Â© The Irma Stern Trust | DALRO

Lot 60

John Meyer is among the rare South African artists whose

John Meyer

reputation is perhaps even greater in international markets than

b.1942 South Africa

at home. His significance as a technically gifted realist painter is

Above Lairg

widely recognised from his exhibitions all over the world, and he is

oil on canvas signed; signed and inscribed with the title on the reverse 56 x 91.5 cm

in the fairly unique position, at least in the South African market,

R200 000 – 300 000

of international collectors. His immaculately composed painted

of being regarded as a modern-day ‘court painter’, commissioned to paint many official subjects and occasion works for a range scenes evident from the very beginning of his career, can sometimes, precisely because of their photorealist skill, belie the talent and ability with which all his work is imbued. While his painting started out with acutely observed still lifes and subtle landscapes, he has also become known for narrative painting, either in the vignette and cinematic form he has favoured more recently, or in the grand historical stories he has depicted in many well-known canvases. These two earlier landscapes, at first glance, bear all the hallmarks of the painterly photorealism for which his work is celebrated. However, they also offer an opportunity to enjoy the way in which Meyer goes about his craft – especially if we

Lot 61

John Meyer b.1942 South Africa

Citroën oil on board signed; inscribed with the title on an Everard Read label on the reverse 60 x 121 cm

R200 000 – 300 000 PROVENANCE

Everard Read, Johannesburg.

consider that Citroën is purported, by a close friend of the artist, to be his first commercial work. Both landscapes use the depiction of light almost as a character in the work, so much so that it becomes tangible and such a convincing framing for the mood of the scene. The abandoned, rusted wreck of the old Citroën car in that work attracts the eye and offers the narrative focus for a virtuoso landscape. By the same token, Above Lairg offers a classic three-plane composition: a white house in the foreground dominating the mid-plane, and a beautifully realised crepuscular atmosphere pervading the scene, descending from the mountains and sky to form the upper compositional structure of the painting. James Sey

Lot 62

Adriaan Boshoff South African 1935–2007

Cape minstrels oil on canvas laid down on board signed 75 x 102 cm

R300 000 – 400 000

Lot 63

Nelson Makamo b.1982 South Africa

Laughing boy 2017 charcoal, pastel and gold paint on paper signed and dated 98 x 70 cm

R100 000 – 150 000

Lot 64

Irma Stern South African 1894–1966

Lovers, two 1954 hand-painted and fired ceramics brown plate: signed and dated 1954 on the underside; black plate: signed on the underside diameter: 26.5 cm each (2)

R40 000 – 60 000 © The Irma Stern Trust | DALRO

Lot 65

Maggie Laubser South African 1886–1973

Portrait of a woman with dotted apron charcoal on paper signed 53.5 x 40 cm

R90 000 – 120 000 PROVENANCE

Mr R. Dayson, Pretoria. Mr C.J. Claasens, Pretoria. Mr R.D. Claasens inherited from the Estate of Mr C.J. Claasens. L IT E R AT U R E

Botha, E. (1964). Die lewe en skilderwerk van Maggie Laubser. Ongepubliseerde MA-verhandeling. Universiteit van Pretoria, catalogue number 169. Marais, D. (1994). Maggie Laubser: Her Paintings, Drawings and Graphics. Johannesburg and Cape Town: Perskor, illustrated on p.239, catalogue number 850.

Lot 66

Marlene Dumas has been described as ‘perhaps the most

Marlene Dumas

celebrated living female painter of the human form, and

b.1953 South Africa

certainly one of the most provocative contemporary artists’.1

Love Lost

Her art has been acknowledged with solo exhibitions at many

1973/4 oil, collage and graphite on cotton duck signed, dated, inscribed with the title, ‘vir Boeta van Marlene’ and ‘Michaelis BA Fine Art’ on the reverse 122 x 91 cm

prestigious international museums, such as the Museum of

R3 000 000 – 5 000 000 NO T E S

Accompanied by Dumas, M. and Bedford, E. (ed.). (2008). Marlene Dumas: Intimate Relations. Cape Town: Jacana Media and Amsterdam: Roma.

Modern Art in New York and Tate Modern in London, and celebrated locally with a mid-career retrospective entitled Marlene Dumas: Intimate Relations at Iziko South African National Gallery and the Standard Bank Gallery, jointly curated by the artist and the author. Love Lost was commenced when Dumas was only 20 years old. Emphasising the importance of this early work for the development of her later concerns, the artist, in conversation with the author,2 described the painting as one which was to prefigure many significant later works and themes. With their unflinching approach to love, sex, politics, race and death, Dumas’ works resonate with contemporary art lovers. Her profound empathy, and her sense of ethics, stem no doubt from encounters in her first year at the University of Cape Town with respected philosophy Professor, Marthinus Versveld, as well as from her studies at the Institute of Psychology, University of Amsterdam, in 1979 and 1980. In a world grown increasingly inhumane, she calls us to account for our personal relationships as well as suggesting wider accountability for the world in which we live, and which we construct daily through our choices and actions. Dumas wants us to examine how our choices impact those nearest to us, as well as those in our wider circle of influence. In this, as in major later works, Dumas favours a technique of applying paint and removing it to allow the canvas-textured surface to be read as flesh, evident here especially in the face, breasts, upper arms and hands – amongst the most expressive and vulnerable areas of a woman’s body. Interestingly, in Continued on page 92

Continued from page 90

1973, Dumas was using thinners to erase the images of women in Scope and Vogue magazines,3 commenting not only on censorship and what was permissible in an increasingly draconian society, but rejecting prescriptive images of women and exploring a more fecund multiplicity that was to find echoes in her paintings of that time and throughout her career. Exploring what lies hidden, by peeling away layers of information to expose the underlying canvas or skin, was to become a crucial methodology in many significant paintings. With its atmospheric colour palette of olive greens and inky Prussian blues, Love Lost is amongst her earliest works exploring the experience of love found and lost. We all know the foundational nature of first love and its power. ‘First love fixes a life forever’, as Julian Barnes so eloquently articulated in The Only Story. The transformative experience of love found and the profound impact of love lost are experiences central to our humanity, raising questions of how we relate to one another, not only sentimentally in picture postcard renditions of Victorian England, but in the very core of our being. Here, the effects of these profound emotions are recorded in the personal experience of a young woman whose tousled hair and body are not unlike those of the young artist herself. Dumas’ expressive painting is at once seductive and compelling. Yes, this is a gorgeous young woman sitting naked and objectified before us, but the way in which she frankly looks back and engages the viewer makes it infinitely clear that whatever might transpire later, would have to be negotiated on her terms. Emma Bedford 1 https://www.nytimes.com/2014/08/20/t-magazine/marlene-dumas-south-africanartist-profile.html 2 14 December 2018. 3 Dumas, M. and Bedford, E. (2007). Marlene Dumas: Intimate Relations, Cape Town: Jacana Media, and Amsterdam: Roma Publications. pp.20–21.

Lot 67

Since the early 1990s, Moshekwa Langa’s art has been

Moshekwa Langa

consistently elusive; on the run. Prominent American curator

b.1975 South Africa

Hamza Walker characterized it as ‘consciously cryptic’.1 Late

the cyclone that never abates

art critic Colin Richards also weighed in, describing it as

acrylic, watercolour, ink and thread on paper inscribed with the title 138 x 100 cm

sharp feel for the game and a devotion to keeping on the move’.2 Langa himself has described his work as being ‘sparked by so

R280 000 – 360 000

than 10 things at once because they are prompted by different

PROVENANCE

Goodman Gallery, Johannesburg.

‘cryptic and diaristic, his aesthetic one of wit and whimsy, a

many different things that it is very, very possible to have more desires and different needs’.3 The painting at hand, The cyclone that never abates, expresses just that. A watery crimson hue drapes down from the top, interrupted by a microscopic cursively written inscription, ‘the cyclone that never abates’. The title suggests turmoil and disquiet, but the painting depicts no traces of destruction. However, it would be negligent to claim that what visually unfolds before us is ‘simple’ despite it seeming so. Here, existence itself appears merely abstracted, surrealistic, and prevaricating. Human figures, creatures, animals, boats, airplanes, birds, ships, and residencies are cartographically dispersed across the picture plane in ways that flatten the space. Dumile Feni’s The African Guernica comes to mind here, except Langa refuses us the comfort of a narrative arc. His characters and scenes, always childlike, have no clearly visible relation to each other or the viewer. There’s no intelligible disaster in this cyclone then, but instead, there’s a compositional and formal recalcitrance. A disaster is immanent in the very visual properties of the work itself. The discordant palette of turbid greys spread unevenly across the lemony acrylic, touches of watercolour, and the faint blues and pinks of woolen thread textures present a disturbing disharmony. We can sense a disaster but can’t locate it. This cryptic sensibility isn’t without critical capital. If anything, Langa’s the cyclone that never abates reflects to us our society, without giving us easy solutions. Athi Mongezeleli Joja 1 Walker H. (2003). Moshekwa Langa: The Global Village Revisited. in Fault Lines: Contemporary African Art and Shifting Landscapes, edited by Gilane Tawadros and Sarah Campbell. London: inIVA. 2 Richards C. (2004). Aftermath: Value and Violence in Contemporary South Africa Art. in Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity. Edited by Terry Smith, et al. Durham: Duke University Press. 3 Ellipses Exhibition Outline. https://www.stevenson.info/exhibition/44. Accessed 15 January 2019.

Lot 68

Beezy Bailey b.1962 South Africa

The chances of anything comming from Mars were a million they said (sic) 2008 oil on canvas signed and dated; inscribed with the title on the reverse 170 x 250 cm

R150 000 â&#x20AC;&#x201C; 200 000

Lot 69

Asha Zero b.1975 South Africa

zansi nib 2008 acrylic on board signed, dated and inscribed with the title on the reverse 80 x 70 cm

R50 000 – 70 000 EXHIBITED

34Long Fine Art, Cape Town, Asha Zero – say for me, 2008. Pertwee, Anderson & Gold, London, numberrs (sic), 2012. L IT E R AT U R E

Zero, A. (2008). Asha Zero – say for me. Cape Town: 34Long Fine Art, illustrated in colour on the cover and p.3. Zero, A. (2012). numberrs (sic). Cape Town: 34Long Fine Art, illustrated in colour on p.32.

Lot 70

Asha Zero b.1975 South Africa

sambi 2008 acrylic on board signed, dated and inscribed with the title on the reverse 100 x 120 cm

R40 000 – 60 000 EXHIBITED

34Long Fine Art, Cape Town, Asha Zero – say for me, 2008. Pertwee, Anderson & Gold, London, numberrs (sic), 2012. L IT E R AT U R E

Zero, A. (2008). Asha Zero – say for me. Cape Town: 34Long Fine Art, illustrated in colour on p.13. Zero, A. (2012). numberrs (sic). Cape Town: 34Long Fine Art, illustrated in colour on p.32.

Lot 71

In the mid 1990s, Robert Hodgins had retired from teaching art

Robert Hodgins

at Wits University and had been engaged for over a decade in an

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

intensive and prolific surge of creativity in his painting. He was

A Bad Day on the Dow: An Apoplectic Painting

by this time in full, triumphant, though always quirky, control

1994/5 oil on canvas signed, dated and inscribed with the title on the reverse 91.5 x 121.5 cm

An Apoplectic Painting (1994/5) serves, in masterclass mode, to

R700 000 â&#x20AC;&#x201C; 900 000

of his medium, content and technique. A Bad Day on the Dow: illustrate his mastery. Hodgins achieves a colouristic intensity by juxtaposing, mixing up and modulating hot reds, oranges and yellows. This generates a negative space seething with visual discomfort and menace; a visual equivalent of heartburn and high blood pressure. His brutalist marks and drawing are caught as always between the heroic crudity of Jean Dubuffet or Philip Guston, and the Beano and Dandy comics of his English childhood. Here, he images three businessmen facing financial disaster: the figure on the left blotted with liverish and worm-like marks on a swarthy disquiet of dyspeptic paint; that at centre frozen in cartoonish wide-eyed horror transfixed in brutal white; and on the right, the bland and suave accountant archetype, goggles reflecting the meltdown but occluding his human gaze, features and flesh aggregated as chevrons and well managed echoes of line. This same rhythmic linearity is picked up in a remarkable painterly metonymy in which Hodgins uses the pinstripe motif to tellingly expressive, psychologising and dramatic effect â&#x20AC;&#x201C; notably, though not exclusively, in the central figure, reduced as he is to a sawn off pinstriped bust bobbing on a sea of adversity. And burning out from the background, on the shifting tide of red, orange and yellow, there is, disembodied and spotlighted, the office presented as the scene of a crime, a crime as yet unaudited. A Bad Day on the Dow: An Apoplectic Painting is a remarkable and memorable one in the oeuvre of an artist who continues to justify his burgeoning international reputation. Ivor Powell

Lot 72

Matthew Hindley b.1974 South Africa

Resurrection I 2015 oil on canvas signed and dated on the reverse; inscribed with the title on an Everard Read label on the reverse 191 x 221 cm

R80 000 – 120 000 EXHIBITED

Everard Read, Cape Town, Resurrection (Der Brennende Wald), 29 October to 10 November 2015.

Lot 73

Matthew Hindley b.1974 South Africa

Resurrection III 2015 oil on canvas signed, dated and inscribed with the title on the reverse 191 x 221 cm

R80 000 – 120 000 EXHIBITED

Everard Read, Cape Town, Resurrection (Der Brennende Wald), 29 October to 10 November 2015.

100

Lot 74

Ndikhumbule Ngqinambi b.1977 South Africa

Recorded History II 2010 oil on canvas 150 x 190 cm

R25 000 – 40 000 PROVENANCE

Everard Read, Cape Town.

Lot 75

Khaya Witbooi b.1977 South Africa

SA… loot 2014 oil, spray paint and collage on canvas signed and inscribed with the title on the reverse 151 x 100 cm

R40 000 – 60 000 EXHIBITED

Worldart Gallery, Cape Town, Khaya Witbooi: My people, let Pharaoh go, 3 to 30 April 2014.

101

Lot 76

Diane Victor b.1964 South Africa

Honest Politician 2008 etching and embossing signed, numbered 4/10 and inscribed with the title in pencil sheet size: 200 x 100 cm

R50 000 â&#x20AC;&#x201C; 80 000

102

Lot 77

Diane Victor b.1964 South Africa

Untitled 2008 charcoal and pencil on paper signed and dated 148.5 x 100 cm

R100 000 â&#x20AC;&#x201C; 200 000 PROVENANCE

Purchased directly from the artist.

103

Lot 78

Mohau Modisakeng b.1986 South Africa

Badisa 2012 inkjet print on watercolour paper from an edition of 5 + 1AP 108 x 133 cm

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

Brundyn+, Cape Town. EXHIBITED

National Gallery of Zimbabwe, Harare, Unevenness, 20 April to 30 June 2012, another example from the edition exhibited. NO T E S

Accompanied by a certificate of authenticity signed by the artist.

104

Lot 79

Mohau Modisakeng b.1986 South Africa

Ga Etsho 1 2015 inkjet print on Epson Ultrasmooth signed and dated on the reverse unique in this size 98.5 x 132 cm

R100 000 â&#x20AC;&#x201C; 150 000 NO T E S

This work is unique at this size, and in its provenance, and is assumed to be a precursor to the 2015 edition of 6+2 AP of the same image.

LITERATU RE

Accompanied by a Mohau Modisakeng Standard Bank Young Artist Award Winner 2016 Lefa La Ntate block mounted exhibition poster.

Mokoena, M., Simbao, R. and Jamal, A. (2016). Mohau Modisakeng. Cape Town: WHATIFTHEWORLD, another example from the edition illustrated on p.140.

105

Lot 80

Robin Rhode was born in Cape Town in 1976, embarking on his

Robin Rhode

career as a professional artist after finishing studies in art and

b.1976 South Africa

film in Johannesburg in 2000.

Pan’s Opticon Studies, five 2009 photogravure each signed, dated and numbered 14/24 in pencil in the margin sheet size: 54 x 78 cm each (5)

R120 000 – 180 000 PROVENANCE

Niels Borch Jensen Gallery & Editions, Berlin. EXHIBITED

Since 2002 he has been based in Berlin, but returns frequently to Joburg as a favourite site for his post-modern street art. Rhode has developed what might be called ‘performative drawing’ as his signature medium. Derived from graffitti, his own street drawings, originally with chalk directly onto the city’s walls which are then photographed and filmed, saw a performer (usually but not always Rhode himself) interact with a wall drawing, turning the two-dimensional image into a threedimensional one. The drawings, erasures and redrawings his process demanded

Niels Borch Jensen Gallery & Editions, Art Basel Miami Beach, Miami, 3 to 6 December 2009, another example from the edition exhibited.

in his early work are reminiscent stylistically of William

Baltimore Museum of Art, Maryland, Shifting Views: People & Politics in Contemporary African Art, 18 December 2016 to 10 December 2017, another example from the edition exhibited.

possibilities of the filmic and photographic media he works in

NO T E S

Other examples from the edition are included in the Daimler Art Collection, Germany, the Baltimore Museum of Art collection, Maryland and the Scheryn Art Collection, Cape Town.

Kentridge’s charcoal drawings for film projection. His approach has shifted subsequently, and has become more focused on the to develop his conceptual approach. The works on auction are a full series of photogravures from his 2009 composition Pan’s Opticon Studies. The series is a development from one staged in 2008, Pan’s Opticon, comprising 15 photographs. Both series feature a black man in different hats, viewed from behind, who appears to be drawing with an architect’s compass emerging from his eyes.The title of the work is a punning reference to Victorian economist and social reformer Jeremy Bentham’s panopticon, which was his never-realised design for a circular prison building which allowed constant observation of prisoners without their knowledge. Rhode’s poignantly intelligent performance piece brings together a meditation on the technology of surveillance, mapping and control with a sensitivity to the racialised nature of such technological measures in contemporary society. Despite his avowed continued connection to South Africa (he still frequently uses Joburg as a location) and despite a healthy international auction market for his work, this is the first time a work by Rhode has appeared on the South African auction market. James Sey

106

107

Lot 81

Simon Stone b.1952 South Africa

Graaff Reinet & London 2001 oil on board signed and dated; inscribed with the artistâ&#x20AC;&#x2122;s name, the title, medium and dimensions on a Knysna Fine Art label on the reverse 97.5 x 76.5 cm

R90 000 â&#x20AC;&#x201C; 120 000 PROVENANCE

Knysna Fine Art.

108

Lot 82

Jessica Webster b.1981 South Africa

Sequence 11 (Tree with streetlight) 2015 oil on cotton duck on forex 278.5 x 130 cm

R80 000 – 120 000 EXHIBITED

Goodman Gallery, Johannesburg, ‘Murderer’, 2 July to 3 August 2015.

109

Lot 83

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

Fire Walker Deluxe Edition 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 37/40 in pencil and embossed with the Artist Proof Studio chop mark, and a Gerhard Marx print Foot Map, signed, dated, numbered 37/40 and inscribed with the title in pencil, cut into six parts, all in Lunetta Bartz custom-made linen slipcases within a custom-made box-set portfolio size: 44 x 30.5 x 4 cm

R80 000 – 120 000 NO T E S

To be sold in aid of Fourthwall Books.

Lot 84

William Kentridge b.1955 South Africa

Fire Walker 2010 linocut with hand painting in Indian ink signed, numbered I 11/12 in pencil and embossed with the Artist Proof Studio chop mark sheet size: 66 x 48 cm

R50 000 – 70 000

110

Lot 85

William Kentridge b.1955 South Africa

Resist the Hour 2011 digital print on archival mould made cotton rag 310gsm paper signed and numbered 18/50 in contĂŠ sheet size: 186 x 112 cm

R100 000 â&#x20AC;&#x201C; 150 000

111

Lot 86

Mohau Modisakeng b.1986 South Africa

Untitled (Frame XV) 2012 archival inkjet print on Epson Ultrasmooth, Diasec mounted number 3, from an edition of 3 + 2AP 200 x 150 cm

R180 000 â&#x20AC;&#x201C; 240 000 L IT E R AT U R E

Mokoena, M., Simbao, R. and Jamal, A. (2016). Mohau Modisakeng. Cape Town: WHATIFTHEWORLD, another example from the edition illustrated on p.36.

112

N O TES

Accompanied by a certificate of authenticity signed by the artist.

Lot 87

Pieter Hugo b.1976 South Africa

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

R80 000 – 120 000

EXH IBITED

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

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

113

Lot 88

Breyten Breytenbach b.1939 South Africa

En Faisant Mouche oil on canvas signed and inscribed with the title on the reverse 59 x 81 cm

R40 000 – 60 000 NO T E S

Renowned South African poet, Breyten Breytenbach, lived in exile in France from 1960 until his clandestine return and arrest in 1975. Here he employs image and text to critique political orders. His title involves, not surprisingly, a play on words. Faire mouche is a French expression meaning ’to reach the target’, or, to ‘affect someone’ in a sensitive way. An archaic expression, it refers to the 18th century penchant amongst aristocratic women for the palest complexions to be exaggerated by the addition of a dark beauty spot, called a mouche or fly. Mouche also referred to the dark centre of a target. By implication, you hit the target when you reached this dark spot. The fly thus becomes an apposite metaphor for reflecting on the Ancien Régime and, by extension, the apartheid order.

Lot 89

Nat Mokgosi b.1946 South Africa

Beasts 1974 pen and ink on paper signed and dated 75 x 108.5 cm

R18 000 – 24 000 NO T E S

Sold in aid of the George Hallett medical fund.

114

Lot 90

Lot 91

Ezrom Legae

Guy Tillim

South African 1938–1999

b.1962 South Africa

Head of a wise man

Mai Mai DRC

terracotta 34 x 17 x 15 cm

2003 digital print on surfboard signed, dated and inscribed with the title 181 x 50 x 27 cm including stand

R100 000 – 150 000 PROVENANCE

Purchased from the artist’s estate.

R30 000 – 50 000 PROVENANCE

Wavescape Artboard Auction, Cape Town.

115

Lot 92

Andrew McAttee b.1975 Britain

Airborne oil and spray paint on canvas 106.5 x 162.5 cm

R90 000 â&#x20AC;&#x201C; 120 000

116

Lot 93

Jan-Henri Booyens b.1981 South Africa

Electric City 2010/2013 oil and spray paint on canvas signed and dated on the reverse 170 x 200 cm

R70 000 – 90 000 PROVENANCE

blank projects, Cape Town. EXHIBITED

blank projects, Cape Town, Save it Till the Morning After, 6 June to 4 July 2013.

Lot 94

Jan-Henri Booyens b.1981 South Africa

These violent desires, entertaining the idea of impossibility 2015 oil and spray paint on canvas signed with the artist’s initials on the reverse 120 x 150 cm

R50 000 – 70 000

117

Lot 95

Walter Battiss devoted the greater part of the 1960s to travelling

Walter Battiss

extensively. He explored the remote parts of Southern and East

South African 1906–1982

Africa, the Middle East and Southern Arabia. During these

African village

tours, Battiss passionately learned about the many peoples

oil on canvas signed; printed with the artist’s name on a Gallery 709 label on the reverse 30 x 40 cm

and diverse cultures he encountered, his many sketchbooks

R350 000 – 450 000

stimuli were absorbed in Battiss’ paintings, which revealed a

PROVENANCE

Gallery 709, Cape Town.

filled with detailed observations on the landscapes and settings of these seemingly ‘exotic’ places. All these new and exciting shift in style and technique in the works from this period. A trip that had a profound impact on Battiss was his visit to Hadhramaut, in present-day Yemen, in late 1964. The desert intrigued him and he studied the ancient scripts and cultures of this land. He admired the enchanting views of the old cities and the historical Arabian architecture of these urban areas. Battiss beautifully portrayed such a scene in Buildings, Mukalla (1964), now in The Jack Ginsberg Collection. It was during this time that the artist gained a profound understanding of the various deep-rooted Arabic influences on the African continent, especially in the various countries he visited like Kenya, Somalia

Buildings, Mukalla (1964). From the Jack Ginsberg collection.

and Tanzania. In the same year, Battiss also travelled along the East coast of Africa, spending time in the ancient Arabic port cities of Zanzibar, Mombasa, Lamu and the Bajun Islands.1 The paintings he produced during this time of exploration are widely considered as the artist’s finest. African Village is such a work. Showing Battiss’ confident spontaneity with paint, it references one of the many scenes he would have encountered during his journeys – here a semi-rural setting, perhaps a marketplace with figures dressed in traditional attire. A flatroofed Arabian-style building with typically arched windows, surrounded by palm trees, features in the background. Although the particular place depicted might be unknown, the painting serves as a personal and historical record of the artist’s memory and response to the sights of these locales. African Village closely resembles Buildings, Mukalla. The two paintings, with their similar warm tones, were in all likelihood painted during the same period in 1964. Marelize van Zyl 1 Siebrits, W. (2016). The Five Lives of Walter Battiss. ‘My Art Celebrates Life, Love, Freedom’, in Siebrits, W. (ed.). (2016). Walter Battiss: I invented myself. Wits University Press: Johannesburg.

118

119

Lot 96

Born in Lancashire, expressionist painter Sir Robin Philipson

Robin Philipson

moved with his family to Scotland when he was aged 14. He

British 1916–1992

went on to study at the Edinburgh College of Art, subsequently

Poppies on a Blue Ground

joining the lecturing staff there after the Second World War in

1981 oil on canvas printed with the artist’s name, the date and title on an artist’s label on the reverse; inscribed with the artist’s name, the date and title on an Everard Read label on the reverse 87 x 112 cm

1947. He retired from the College as Head of the Drawing and

R500 000 – 800 000

of the Edinburgh School, but he was also inspired by the work

PROVENANCE

of Oscar Kokoschka.

Everard Read, Johannesburg.

Painting Department in 1982. His early work was dominated by still lifes and landscapes, characterised by his bold use of colour and heavy impasto. In his early career he quite naturally, considering his alma mater, came under the influence of William Gillies and John Maxwell

Through the 1950s and 1960s his style and thematics broadened to more dynamic subjects, including figurative studies and the series which established his reputation, focused on cockfights. The kinetic energy and assured depiction of line and light in this series later became extended to secular paintings of religious subjects – including renowned works portraying cathedrals. In particular his 1960 work simply entitled Cathedral – a painting inspired by Amiens Cathedral in France – conveys the scale and wonder of the Gothic architecture by focusing on the colourful diffraction of light through its stained glass windows. No matter what the subject matter, his skill with colour and expressive use of form was a hallmark throughout his career. This is nowhere more evident than in the still lifes that he consistently returned to. Among those still life subjects, the artist’s favourite and most frequently revisited were paintings of poppies; indeed, the subject has fetched seven out of his top ten prices at auction. The work on this auction is a splendid example from his later career, full of limpid light and a delicate palette. James Sey

120

121

Lot 97

Stephen Conroy b.1964 Britain

The Entrance I 1992 oil on canvas signed, dated and inscribed with the title on the reverse 183 x 137 cm

R700 000 – 1 000 000

Lot 98

Stephen Conroy b.1964 Britain

Head Study 1990 oil on board signed and dated on the reverse; inscribed with the title on an artist’s label on the reverse 24.5 x 20 cm

R40 000 – 60 000

122

Stephen Conroy was born in 1964 in Dumbarton in Scotland, and studied at the famous Glasgow School of Art from 1982 to 1987. His reputation as a brilliant, intelligent and evocative figurative painter was established early on, with much positive critical reception for his sold-out degree show, and a Royal Academy prize under his belt before even graduating. In 1987 he was the youngest artist included in ‘The Vigorous Imagination’, the main exhibition at the Edinburgh Festival of that year, and the show which helped establish contemporary Scottish art as one of the most important European enclaves. The exhibition recently celebrated its 30th anniversary, and commemorative shows hung Conroy’s work alongside that of the slightly older and, at the time, more famous Steven Campbell, now deceased, and with whom Conroy’s work is often compared. Conroy went on to hold his first one-person show at Marlborough Fine Art, one of the most prestigious London dealers, in 1989. His style and thematic have remained consistent, driven by his depiction of quite softly realised, warmly lit but enigmatic figurative subjects. Often these subjects strike curiously formal poses, and are often depicted in a liminal, threshold space, as in The Entrance I, posed irresolutely in a dimly-lit doorway. The comparison beween this work and Head Study is instructive for the ways it demonstrates his characteristic palette, depiction of a crepuscular light, and the uncannily uniform appearance and deadpan faces of his subjects. It has been suggested that, in the subtle evocation they have of another time, as well as the lack of obvious emotion, that his figures echo the work of British artists Gilbert and George. But his oeuvre is without doubt his own, peopled with a mysterious and timeless cast of beautifully observed characters, of which these two paintings are perfect examples. James Sey

123

Lot 99

Dylan Lewis b.1964 South Africa

Leopard Lying on a Boulder, maquette bronze signed, numbered 11/15, stamped with the Bronze Age Foundry mark and the sculpture number S333 43 x 58 x 38 cm

R200 000 â&#x20AC;&#x201C; 300 000

124

Lot 100

Anton Momberg b.1951 South Africa

Resting cow bronze on a wooden base inscribed with the artist’s name on an Everard Read label on the underside 20 x 45 x 25cm

R25 000 – 40 000 PROVENANCE

Everard Read, Johannesburg.

Lot 101

Phillemon Hlungwani b.1975 South Africa

Wild horses 2011 charcoal on paper signed and dated 120 x 150 cm

R50 000 – 70 000

125

Lot 102

Roy Lichtenstein American 1923–1997

Shipboard Girl 1965 offset colour lithograph on thin wove paper signed in pencil sheet size: 68.2 x 49.4 cm

R250 000 – 350 000

126

LITERATU RE

Corlett, M. (1994). The Prints of Roy Lichtenstein – A Catalogue Raisonné 1948-1993. New York: Hudson Hills Press, another example from the edition illustrated on p.286, catalogue no.11.6. Waldman, D. (1988). Roy Lichtenstein Drawings and Prints. New York: The Wellfleet Press, catalogue no.12. N O TES

Published by Leo Castelli Gallery, New York. Printed by Graphic Industries, Inc., New York.

Lot 103

Lot 104

David Bromley

Jim Dine

b.1960 Britain

b.1935 America

Belinda III

Bill Clinton Robe

oil and metallic paint on canvas signed; inscribed with the artist’s name and title on an Everard Read label on the reverse 91.5 x 61 cm

1992 woodcut and power-tool abrasion on Hahnemuhle paper signed, dated and numbered 79/100 in pencil in the margin sheet size: 52.5 x 38.2 cm

R30 000 – 40 000

R70 000 – 90 000

PROVENANCE

Everard Read, Johannesburg.

127

Lot 105

Esther Mahlangu b.1935 South Africa

Patterns 2018 acrylic on canvas signed and dated 100 x 160 cm

R70 000 – 90 000

Lot 106

Joan Miró Spanish 1893-1983

Libertes des Libertes colour lithograph signed and numbered XVII/XXIV in pencil in the margin sheet size: 46.6 x 34.5 cm

R40 000 – 60 000 L IT E R AT U R E

Cramer, P. (1989). Joan Miró: The Illustrated Books. California: Alan Wofsky Fine Arts, catalogue number 750.

128

Lot 107

Gail Catlin b.1948 South Africa

Crystal squares liquid crystal and resin signed and indistinctly dated 87 x 78.5 cm

R30 000 – 50 000

Lot 108

Douglas Portway South African 1922–1993

Abstract composition 1973 conté and pigment on paper signed and dated 50 x 66 cm

R18 000 – 24 000

129

Lot 109

Rowland Hilder British 1905–1993

Oast Houses near Shoreham Kent oil on canvas signed; inscribed with the title on the reverse 60 x 90 cm

R50 000 – 80 000

Lot 110

Leonora Everard Haden b.1937 South Africa

Aloes in winter grass 2018 oil on canvas signed and dated 78 x 103 cm

R50 000 – 80 000

130

Lot 111

Adriaan Boshoff South African 1935–2007

Man with ox and wagon oil on canvas laid down on board signed 57.5 x 88.5 cm

R200 000 – 300 000

131

Lot 112

Allerley Glossop South African 1870–1955

Devil’s Peak, Cape 1917 oil on canvas signed and dated 175 x 112 cm

R35 000 – 50 000

Lot 113

Walter Meyer South African 1965–2017

Kalahari Town 2008 oil on canvas signed with the artist’s initials and dated; inscribed with the artist’s name and the title on an iArt label on the reverse 48.5 x 63.5 cm

R40 000 – 60 000 PROVENANCE

iArt, Cape Town.

132

Lot 114

Walter Meyer South African 1965–2017

Camps Bay Drive 2007 oil on canvas signed with the artist’s initials and dated; inscribed with the title on the reverse 48.5 x 64 cm

R60 000 – 90 000

Lot 115

John Kramer b.1964 South Africa

Franschhoek cafe 2000 oil over pencil on canvas signed and dated 43 x 58 cm

R25 000 – 35 000

133

Lot 116

Gregoire Boonzaier South African 1909–2005

Pinelands, Cape oil on panel signed; inscribed with the artist’s name and the title on the reverse 19 x 25.5 cm

R100 000 – 150 000

Lot 117

Piet van Heerden South African 1917–1991

Street scene with figures, Paarl 1946 oil on canvas signed and dated 58 x 68.5 cm

R40 000 – 60 000

134

Lot 118

Sidney Goldblatt South African 1919–1979

Boats in a harbour 1962 oil on board signed and dated 77 x 97 cm

R40 000 – 60 000

Lot 119

Terence McCaw South African 1913–1978

Hout Bay harbour 1955 oil on canvas signed and dated 50 x 60.5 cm

R25 000 – 35 000

135

Lot 120

Frank Spears South African 1906–1991

White roses oil on board signed 59 x 44 cm

R18 000 – 24 000

Lot 121

Robert Gwelo Goodman South African 1871–1939

Still life with roses oil on canvas signed with the artist’s initials 44.5 x 44.5 cm

R40 000 – 60 000

136

Lot 122

Adriaan Boshoff South African 1935–2007

Picking cosmos oil on board signed 74 x 120.5 cm

R200 000 – 300 000

137

Lot 123

Terence Cuneo British 1907–1996

When Did You Last See Your Father? oil on canvas signed 62 x 112 cm

R80 000 – 120 000 L IT E R AT U R E

Cuneo, T. (1977). The Mouse & His Master: The Life and Work of Terence Cuneo. London: New Cavendish Books, illustrated in colour on p.233.

138

Lot 124

Terence Cuneo British 1907–1996

Explorer; Musketeer, two oil on canvas laid down on card each signed 35.5 x 25.5 cm; 36.5 x 26.5 cm (2)

R80 000 – 120 000

139

Lot 125

Pieter van der Westhuizen South African 1931–2008

Jerusalem 2007 pastel on paper signed and dated 49.5 x 39 cm

R25 000 – 35 000

Lot 126

Frans Claerhout South African 1919–2006

Harvesters oil on board signed 49.5 x 60 cm

R30 000 – 40 000

140

Lot 127

Frank Spears South African 1906–1991

Girl wearing a blue hat oil on board signed 44.5 x 34 cm

R18 000 – 24 000

Lot 128

Carl Büchner South African 1921–2003

Nude in blue oil and pastel on board signed 53.5 x 75 cm

R30 000 – 40 000

141

Lot 129

Norman Catherine b.1949 South Africa

Shady French Art Dealer 2006 oil on canvas signed and dated; inscribed with the artistâ&#x20AC;&#x2122;s name, the date and title on a Goodman Gallery label on the reverse 60.5 x 70 cm

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

Goodman Gallery, Johannesburg.

142

Lot 130

Paul Johan du Toit South African 1965–2014

Blank 2002 oil and acrylic paste on canvas signed and dated 140 x 120 cm

R80 000 – 120 000 L IT E R AT U R E

Tsilik, P. (ed.). (2006). Fighting with My Weak Hand. Cape Town: PlanetPaul, illustrated in colour on p.75. Jamal, A. (ed.). (2016). Paul. Cape Town: PlanetPaul, illustrated in colour on p.177.

Lot 131

Paul Johan du Toit South African 1965–2014

Envy 2002 oil and acrylic paste on canvas signed and dated 140 x 120 cm

R80 000 – 120 000 EXHIBITED

PaKua Gallery, Sandton Convention Centre, Johannesburg, Paul du Toit, October 2002. L IT E R AT U R E

Tsilik, P. (ed.). (2006). Fighting with My Weak Hand. Cape Town: PlanetPaul, illustrated in colour on p.76.

143

Perjovschi installing at Moma, NYC. Photo by Robin Holland

Dan Perjovschi Feb 13 – May 9 Tue – Fri: 10:00 – 17:30 Sat: 10:00 – 14:00

A4 Arts Foundation 23 Buitenkant Street, District 6 info@a4arts.org A4 is a free to public, not-for-profit centre for the arts of Southern Africa

a4arts.org

AUT HOR BIO GRAPH IES Dr Eunice Basson is an art historian and a former senior lecturer in Art History at the University of Pretoria and Unisa. She was also joint editor of the art history journal, de arte, and a former art advisor for ABSA Bank. Emma Bedford is Senior Art Specialist and a Director at Aspire Art Auctions. She is co-author or editor of many important South African art books and catalogues, and author of many monographs, including many of the Fresh series published between 2000 and 2003, and was co-author with the artist of Marlene Dumas: Intimate Relations in 2007. Athi Mongezeleli Joja is an art critic and theorist. He is also a member of the artist collective, Gugulective. Dr Johan Myburg is an independent writer, former arts editor at a daily newspaper, and arts critic who has published widely on South African art. Prof Karel Nel was an Associate Professor in the Division of Visual Arts at the Wits School of Arts. Nel is a respected artist, writer, collector, arts advisor and curator. Ruarc Peffers is Managing Director, Senior Art Specialist, auctioneer and one of the founders of Aspire Art Auctions. He holds a Fine Art degree from the University of Cape Town, and an Msc in History, Curating and criticism from the University of Edinburgh. His professional experience encompasses roles in the gallery market, the Art NGO field, and in the auction industry. Christopher Peter is Director and Head Curator of UCT’s Irma Stern Museum in Rosebank, Cape Town. The Museum was previously the artist’s home. Ivor Powell has published on a wide range of subjects, as a playwright, lecturer, art critic, editor and investigative journalist.

AC K NOW L ED G EM EN TS Hayden Proud, born and educated in Zimbabwe, is a graduate of the Courtauld Institute of Art in London, UNISA and the University of Cape Town. Formerly a lecturer in Art History, he is now curator of the historical collections at Iziko Museums of South Africa, and lectures in curatorial studies at UCT’s Centre for Curating the Archive. He has published a wide range of essays, catalogues and books, including Revisions: Expanding the Narrative of South African Art. Prof Elizabeth Rankin is an Emeritus Professor of Art History at the University of Auckland, and the former Dean of Arts at Wits, who has worked on significant exhibitions and publications, including co-writing the extensive monograph Listening to Distant Thunder: The Art of Peter Clarke (2011, 2014). James Sey is the Marketing Manager at Aspire Art Auctions. He is also a Research Associate in the Faculty of Fine Art, Design and Architecture at the University of Johannesburg. He has published and lectured widely on all forms of art, locally and internationally. Lisa Truter is a Cataloguer at Aspire Art Auctions. She graduated in 2016 with an Honours in Curatorship from the University of Cape Town’s Centre for Curating the Archive (CCA). Her research is centered on curatorial intervention. She has worked on various projects for the Iziko South African National Gallery and other local galleries. Marelize van Zyl is an Art Specialist at Aspire Art Auctions. She has worked in the local and international art market for the past 10 years gathering an impressive resumé of curatorial and editorial projects. She holds a Masters in Visual Studies from Stellenbosch University.

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

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

Eunice Basson Emma Bedford Athi Mongezeleli Joja Johan Myburg Karel Nel Ruarc Peffers Christopher Peter Ivor Powell Hayden Proud Elizabeth Rankin James Sey Lisa Truter Marelize van Zyl

DE S I GN

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

Nina Lieska | Repro Pictures Mario Todeschini Matthew Bradley Anthea Pokroy P R I NT I NG

Typo, Johannesburg

145

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you the day after the auction to assist with logis-

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

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146

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FRIENDS OF THE IZIKO SOUTH AFRICAN NATIONAL GALLERY

FILLING THE GAPS An exhibition of artworks acquired by the Iziko South African National Gallery since 2014 15 February â&#x20AC;&#x201C; 6 October 2019

Help the Friends of the Iziko South African National Gallery in our mission to further close the gaps. Join. Donate. Support www.friendsofsang.co.za

Steven Cohen Chandelier 2000 Chandelier, corset, codpiece, lights, steel, shoes Dimensions variable Courtesy of the artist and Stevenson Gallery

4 NEW EXHIBITIONS OPEN FROM: 13 FEBRUARY PUBLIC RECEPTION: 17 FEBRUARY | 12 PM

LABOUR OF MANY: IBRAHIM MAHAMA

ON THE MINES: DAVID GOLDBLATT

TRADE WINDS: YINKA SHONIBARE CBE

COLLECTORâ&#x20AC;&#x2122;S FOCUS: SANLAM ART COLLECTION

4 STEENBERG RD, TOKAI | NORVALFOUNDATION.ORG Norval_Aspire-Autumn.indd 1

2019/01/28 11:40

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

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

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

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

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

4. GENERAL TERMS OF BUSINESS 4.1. Every bid shall constitute an offer which will lay open for acceptance by the Auctioneer. Acceptance of the highest bid made shall be indicated by the knock down of the hammer or, in the case of sale by Private Treaty, the acceptance of the offer by Aspire. 4.2. In bidding for any Lots, all Bidders confirm that they have not been induced into making any bid or offer by any representative of the Seller and/or Aspire. 4.3. It is the sole responsibility of all prospective Buyers to inspect and satisfy themselves prior to the Auction or Private Treaty as to the condition of the Lot and satisfy themselves accordingly that the Lot matches any description given to them (whether in a Catalogue or otherwise). 4.4. All descriptions and/or illustrations set out in a Catalogue exist as guidance for the prospective Bidder and do not contain conclusive information as to the colour, pattern, precise characteristics or the damage to a particular Lot to be sold by way of Auction or Private Treaty. 4.5. Neither Aspire nor any of its servants, employees, agents and/or the Auctioneer shall be liable, whether directly or indirectly, for any errors, omissions, incorrect and/or inadequate descriptions or defects or lack of authenticity or lack of ownership or genuineness in any goods Auctioned and sold which are not caused by the wilful or fraudulent conduct of any such person. 4.6. Aspire shall not be held responsible for any incorrect, inaccurate or defective description of the goods listed for sale in the Catalogue or in any condition report, publication, letter, or electronic transmission or to the attribution, origin, date, age, condition and description of the goods sold, and shall not be responsible for any loss, damage, consequential damages and/or patrimonial loss of any kind or nature whatsoever and howsoever arising. 4.7. No warranty on any aspect of any Lot (save for those expressly provided for by the Seller in terms of paragraph 16), whether express, implied or tacit is given by Aspire, its servants, its agents, or its employees, or the Auctioneer or the Seller or the Buyer of any Lot shall be binding or legally enforceable. 4.8. Any Lot which proves to be a Forgery (which will only be the case if an expert appointed by Aspire for such purposes confirms this in writing) may be returned by the Buyer (as his sole remedy hereunder or at law) to Aspire within 7 (seven) days from the date of Auction or Private Treaty (as the case may be), in the same condition in which it was at the time of the Auction or accompanied by a statement of defects, the number of the Lot, and the date of the Auction or Private Treaty at which it was purchased. If Aspire is satisfied that the item is a Forgery and that the Buyer has and is able to transfer a good and marketable title to the Lot, free from any third-party claims, the sale will be set aside and any amount paid in respect of the Lot will be refunded, subject to the express condition that the Buyer will have no rights or claims against Aspire (whether under these Terms of Business, at law or otherwise) if: 4.8.1. the description in the Catalogue at the date of the sale was in accordance with the then generally accepted opinion of scholars and experts or fairly indicated that there was conflict of such opinion; or 4.8.2. the only method of establishing at the date of publication of the Catalogue that the Lot was a Forgery was by means of a scientific process not generally accepted for use until after publication of the Catalogue, or by a process which was unreasonably expensive or impractical. 4.9. Buyer’s claiming (whether in contract, delict or otherwise) under paragraph 4.8 will be limited to the amount paid for a particular Lot and will not extend to any loss or damage of whatsoever nature suffered, or expense incurred by him/her; 4.10. The benefit of paragraph 4.8 will not be assignable and will rest solely and exclusively with the Buyer who, for the purpose of this condition, will be the only person to whom the original invoice is made out by Aspire in respect of the Lot sold.

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

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

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

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

6. EXCLUSION OF LIABILITY TO BUYERS OR SELLERS

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

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

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

8. IMPORT, EXPORT, COPYRIGHT

RESTRICTIONS, LICENSES AND QUALITY OF THE GOODS SOLD

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

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

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

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

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

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

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

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

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

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

15. ESTIMATION OF SELLING PRICE AND DESCRIPTION OF GOODS

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

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16. WARRANTIES AND INDEMNITIES PROVIDED FOR BY THE SELLER

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

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

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

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

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

20. PAYMENT IN RESPECT OF THE SALE PROCEEDS

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

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

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

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

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

24. AMENDMENT OF THESE TERMS AND CONDITIONS

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

1. INFORMATION ASPIRE MAY COLLECT AND PROCESS

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

2. ONLINE INFORMATION PROCESSED BY ASPIRE

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

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

3. STORAGE OF PERSONAL INFORMATION

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

4. AMENDMENTS TO THE PRIVACY POLICY

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

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

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ARTIST INDEX

Aikman, J 20

Hilder, R 109

Paulsen, J 27

Alexander, J 28

Hindley, M 72, 73

Philipson, R 96

Atkinson, K 24

Hlungwani, P 101

Pierneef, JH 15, 17, 43

Bailey, B 68

Hodgins, R 40, 71

Pinker, S 39

Battiss, W 13, 14, 16, 53, 95

Hugo, P 87

Portway, D 54, 108

Bell, D 9

Kentridge, W 21, 84, 85

Preller, A 23, 32, 50

Blom, Z 29

Kentridge, W & Marx, G 83

Rhode, R 80

Boonzaier, G 116

Kramer, J 115

Rose-Innes, A 19

Booyens, J 93, 94

Langa, M 67

Ruga, A 36

Boshoff, A 62, 111, 122

Laubscher, E 37, 58

Schütz, P 34, 35

Breytenbach, B 88

Laubser, M 65

Sekoto, G 10

Bromley, D 103

Legae, E 90

Siopis, P 7, 8, 33

Brown, D 26

Lewis, D 99

Skotnes, C 41

Büchner, C 128

Lichtenstein, R 102

Smith, R 30

Catherine, N 129

Lock, F 55

Spears, F 120, 127

Catlin, G 107

Mahlangu, E 105

Stern, I 12, 59, 64

Claerhout, F 126

Makamo, N 63

Stone, S 81

Clarke, P 1, 2, 5, 46, 47

McAttee, A 92

Sumner, M 56

Coetzee, C 22, 57

McCaw, T 119

Tillim, G 51, 91

Conroy, S 97, 98

Meyer, J 60, 61

Van der Westhuizen, P 125

Cuneo, T 123, 124

Meyer, W 113, 114

Van Essche, M 45

Dine, J 104

Miró, J 106

Van Heerden, P 117

Du Toit, P 18

Modisakeng, M 78, 79, 86

Victor, D 76, 77

Du Toit, P J 130, 131

Mokgosi, N 89

Villa, E 3, 31

Dumas, M 6, 66

Momberg, A 100

Webster, J 82

Everard Haden, L 110

Murray, B 25

Welz, J 11

Glossop, A 112

Naudé, D 52

Witbooi, K 75

Goldblatt, S 118

Ndzube, S 42

Zero, A 69, 70

Goodman, RG 121

Ngqinambi, N 74

Gottgens, K 4

Nhlengethwa, S 38, 44, 48, 49

DETAIL ON PAGE 154

Lot 20 Jake Aikman Veiled Distances

155

GA LLERY

SOU TH It’s the artist’s job to remind people of that transcendent side which underlies or overlays human activity. Bill Ainslie … [P]olitical friends told me that the artistic activity was not the most urgent thing to concentrate upon, while our people were undergoing such a terrible plight, but I believed, on the contrary, that art was precisely also a means to favour a greater consciousness in Man, which, for me, is part of the struggle for any human liberation, and without which any practical achievement would probably, sooner or later, deviate and miss its point. Ernest Mancoba Africans were intercessors … against everything: against unknown, menacing spirits. I went on looking at the fetishes [the African statues Picasso saw in the Trocadero Museum in 1907]. Suddenly I understood: I too am against everything. I too think that everything is unknown, hostile … I realised what purpose their sculpture served … They were weapons. To help people stop being ruled by spirits, to free themselves … If we give a form to these spirits, we become free… And then I understood what painting really meant … [I]t’s a form of magic that interposes itself between us and the hostile universe … The day I understood that, I realised that I had found my path. I understood why I was a painter. Pablo Picasso

info@gallerysouth.co.za

@gallerysouth_za

1 9 AT L A N T IC R D M U I Z E N B E RG C T Z A

Erik Laubscher Still Life with Blue Plate 1964 oil on canvas 47.5 x 53 cm R800 000 â&#x20AC;&#x201C; 1 000 000

WINTER AUCTION Johannesburg | 2 June 2019 Historic, Modern & Contemporary Art

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SELL WITH US. CONSIGN NOW.

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My Africa. Our art The Javett Art Centre at the University of Pretoria (Javett-UP) is claiming its place as a landmark, getting ready to be home to the art of Africa, and preparing to open its doors in our capital city where South Africa meets the world. Javett-UP is born of the vision of its founding partners. The University of Pretoria and the Javett Foundation share the belief that art and expressive creativity matter, for society in general, and education in particular. As a corporate social investment opportunity Javett-UP is unrivalled. It’s a public space in the heart of a university whose diversity is matched only by research and teaching excellence. It’s a place where art and culture are practised, studied, conserved and exhibited; where north meets south in cross-context, cross-disciplinary dialogues that count. This is all housed in a distinctive building set to change Pretoria’s skyline. With an unmissable gallery spanning bustling Lynnwood Road and a majestic tower evoking Mapungubwe to house the gold of Africa, Javett-UP is connecting the city with the university, Africa’s past with its future, through art. Accept our invitation and show the world that your business is aligned with educational excellence, innovation and a belief in the future of Africa’s creative economy. Be associated from the moment Javett-UP opens its doors.

Please be in touch. Javett-UP looks forward to meeting you and talking creative business with you.

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

SALE TITLE: Historic, Modern & Contemporary Art SALE VENUE: Avenue | V&A Waterfront | Cape Town

L OT S –

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MAXIMUM | EMERGENCY BID (HAMMER PRICE)

SALE DATE: 3 March 2019 | 6 pm SALE CODE: AAA | Autumn 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.

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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

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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.

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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.

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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.

160

R10 000–R20 000

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

SI GNATURE