Aspire eCatalogue October 2018 by Aspire Art

Historic, Modern & Contemporary Art

Historic, Modern & Contemporary Art Evening Sale | Spring 18

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

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

Sunday 28 October 2018 | 6 pm Drinks and refreshments will be served V IE W I N G

Thursday 25 October 2018 | 10 am – 5 pm Friday 26 October 2018 | 10 am – 5 pm Saturday 27 October 2018 | 10 am – 5 pm Sunday 28 October 2018 | 10 am – 5 pm WAL K A B O U TS

Saturday 27 and Sunday 28 October 2018 at 11 am AUCTI O N EER

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

When sending telephone or absentee bids, this sale is referred to as: AAA SPRING 18 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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

AUCT ION VENUE – GO RD ON INS T IT UT E OF B US INE S S S C IE NC E 26 Melville Road, Illovo, Johannesburg

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

ad ia Ro Rivon

Fricker Road

From the M1

Aspire Art Auctions Offices

Harries

Road

GIBS Business School

Chaplin

UPCOM IN G L IVE A UCTIONS IN 2 0 1 9 Cape Town | Summer 19 Historic, Modern & Contemporary Art 3 March 2019 Consignments close mid-January 2019 Johannesburg | Winter 19 Historic, Modern & Contemporary Art 2 June 2019 Consignments close mid-April 2019

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Road

oad Oxford R

oad Fricker R

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

Melville

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

Road

From Jan Smuts Avenue

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CON TE N T S

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

Sale Lots 1 to 157 1–197 Author Biographies and Acknowledgements 199 Guide for Prospective Buyers 200 Terms and Conditions of Business 203 Artist Index 209 Catalogue Subscription Form 211 Details used in prelim pages from: COVER

Lot 73 William Kentridge Drawing from Stereoscope (Double page, Soho in two rooms)

Written/Telephone Bidding Form 212

FOLD OUT

Lot 103 Alexis Preller Adam PAGE VI–VII

Lot 51 Peter Clarke Dinge kannie so aangaan nie PAGE VIII

Lot 75 Robert Hodgins The Tenth Circle PAGE X

Lot 54 Edoardo Villa Four Faces PAGE XIII

Lot 12 Andy Warhol Mao PAGE XI

Lot 55 Keith Alexander Barley Fields PAGE XVI

Lot 27 Ezrom Legae Head PAGE XIV

Lot 85 Moshekwa Langa hand thrown distance PAGE XX

Lot 30 Anton van Wouw The Dagga Smoker

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

xvii

xviii

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 over 90 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 over

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

R400 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 professionals that have made this market what it is today forms the heart of

company won the Business Arts South Africa award for Best Strategic Project in 2017 for the ARR initiative. Exiled South African artist Louis Maqhubela, one of the artists who has

this pioneering initiative. Whilst upholding the significance of established

benefited from the Aspire ARR, had this to say: ‘your email was like a whisper

artists, Aspire is building a market for the future.

from the “Old Ones” – a grand affirmation of ethical market practice, goodwill

Across the world, artists, associations and collecting societies have been actively fighting, for decades, to achieve and implement resale rights. With the globalisation of the art market, this is a timeous and significant

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

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

PORTION OF THE SALE PRICE

ROYALTIES

From 0 to R50,000

From R50,000.01 to R200,000

From R200,000.01 to R350,000

From R350,000.01 to R500,000

0.5%

Exceeding R500,000.01

0.25%

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

xix

Historic, Modern & Contemporary Art

Lot 1

Gerard Sekoto South African 1913–1993

Football game 1973 watercolour on paper signed and dated 13 x 18 cm

R60 000 – 90 000

Lot 2

Gerard Sekoto South African 1913–1993

Man with cane 1976 gouache on paper signed and dated 53.5 x 37 cm

R150 000 – 200 000 © Gerard Sekoto Foundation | DALRO

Lot 3

Helen Sebidi b.1943 South Africa

Milking in the Country near Skilpadfontein, TVL 1977 oil on board signed; signed, dated and inscribed with the title on the reverse 33 x 54 cm

R40 000 – 60 000

Lot 4

John Koenakeefe Mohl South African 1903–1985

Back from Working to Soweto to Jo-burg (S.A.) oil on board signed and dated ‘in the 20th Century’; signed, dated and inscribed with the title on the reverse 42 x 33 cm

R50 000 – 80 000

Lot 5

Lucky Sibiya South African 1942–1999

Symbol of Peace 1988 carved, incised and painted wood panel signed and dated; inscribed with the title on an Everard Read gallery label on the reverse 67.5 x 84.5 cm

R90 000 – 120 000 PROVENANCE

Everard Read, Johannesburg.

Lot 6

Walter Battiss South African 1906–1982

European Soldiers, Painted by the Last Bushmen of the Kraai River, Lady Grey District, Cape Province watercolour on card signed and inscribed ‘Swartfontein, Lady Grey, C.P.’; inscribed with the title on the reverse 28.5 x 35 cm

R25 000 – 40 000

Lot 7

Jacobus Hendrik Pierneef South African 1886–1957

Tree study 1929 pencil on paper signed and dated 16.5 x 12.5 cm

R20 000 – 30 000

Lot 8

Dorothy Kay South African 1886–1964

The Song of the Pick; Malay Driver; Fingo Witch Doctor 1938; 1923; 1925 etchings signed, numbered 49/75 and inscribed with the title in pencil in the margin; signed, dated and inscribed with the title in pencil in the margin; signed and inscribed with the title in pencil in the margin plate sizes: 38.5 x 32.5 cm; 25.5 x 20 cm; 24 x 20 cm (3)

R25 000 – 35 000

Lot 9

Nerine Desmond South African 1908–1993

The Cavalcade, Basutoland oil on board signed 59.5 x 89 cm

R60 000 – 90 000 NO T E S

This painting was commercially reproduced and sold by E. Schweickerdt (Pty) Ltd, Pretoria, in the 1960s and appears in colour on p.1 of their Art Catalogue. A copy of the reproduction accompanies this lot.

Lot 10

Alfred Thoba b.1951 South Africa

Soccer Mash (sic) 2010 oil on canvas laid down on board signed, dated, inscribed with the title and description on a label on the reverse 40.5 x 69 cm

R70 000 – 100 000

PRO VEN A N CE

Natalie Knight Gallery, Johannesburg. EXH IBITED

Standard Bank Gallery, Johannesburg, Halakasha! Soccer Exhibition, 2 June to 17 July 2010. N O TES

Note on reverse by Alfred Thoba reads: ‘Football Mash keiza chiefs and orlando pairet (Disaster composasion) I will say thank your to syentists of europe foot ball have come to be very faimours sport amang all gaind of sports, heir syentists of Europe yung fellow are all yours as your have that time and sycological on uniting them all, their friendshipness have become very fairmous for the rest of the world. Kaiza Chief and Orlando Pairet. 16/3/2010’ (sic).

Lot 11

Alfred Thoba b.1951 South Africa

Virgin whit a Lover Boy (sic) 2010 oil on panel signed, dated 6/10/2010, inscribed with the title and description on a label on the reverse 49 x 58 cm

R70 000 – 100 000

PRO VEN A N CE

Natalie Knight Gallery, Johannesburg. EXH IBITED

WAM, Johannesburg, Alfred Thoba: A Step Becomes a Statement, 13 March to 3 June 2018. N O TES

Note on reverse by Alfred Thoba reads: ‘The two figers on Artifisial Dressed and Their skins, Natural Love applay’s snow in the Mind and Blaindness in to Human 7/10/2010’ (sic).

Lot 12

Andy Warhol’s obsessive pursuit of the logic of the

Andy Warhol

reproduction found one of its more cogent and sustained social

American 1928–1987

and political platforms in his hundreds of paintings and prints

Mao

of Chairman Mao Tse-tung. Mao was the founding father of

1972 colour screenprint on Beckett high white paper signed in ballpoint pen, numbered 173/250 and stamped ‘copyright Andy Warhol 1972, Printed at Styria Studio Inc.’ on the reverse from an edition of 250 + 50 AP sheet size: 91.4 x 91.4 cm

the People’s Republic of China from 1949 until his death in

R400 000 – 600 000 L IT E R AT U R E

Printed by Styria Studio, Inc., New York. Published by Castelli Graphics and Multiples, Inc., New York. NO T E S

Accompanied by a certificate of authenticity issued by Goodman Gallery on 1 October 1996.

1976. His imaging of figures such as Marilyn Monroe and Elvis Presley gave shape to the confluence between popular culture, fame and mechanical reproduction that he found so fascinating. But this confluence took a different turn in the series of images of Mao. US President Richard Nixon announced the first full diplomatic visit to the People’s Republic of China in 1972, putting Mao in the full glare of the Western media machine. Warhol lost no time in taking on Mao as his new subject. In doing so, he was responding not only to the newsworthiness of the Chairman’s image, reproduced as it already was on millions of posters in China. Mao’s The Little Red Book had penetrated Western consciousness, and had been the bible of the Cultural Revolution since the mid-1960s. Warhol wanted to image Mao as, simply, the most famous person in the world – not only by Western media standards, but in the eyes of the most populous nation on Earth. So he embarked, between 1972 and 1973, on a series of paintings and prints of the now-familiar head and shoulders portrait of Mao which was widely distributed during the Cultural Revolution. The print, despite paying homage to Mao’s fame and the extreme reproducibility of his image worldwide, also brings a characteristically irreverent lightness of touch. The colour palette is relatively restrained, with Mao’s Yat-sen suit, his equivalent of a neutral Western business suit, rendered in a dusky pink against a mustard background. The same pink, however, appears on the Chairman’s lips, in what seems remarkably like an application of lipstick. Warhol’s playfulness, and his sustained engagement with the politics of images and their reproduction and dissemination, are epitomised in this delightful work. James Sey

Lot 13

Tiepolo outside Machadodorp is a delightful flight of

William Kentridge

imagination in which William Kentridge brings together the

b.1955 South Africa

epitome of Venetian Rococo extravagance with what was once

Tiepolo outside Machadodorp

an ancient African settlement of the baKoni peoples and is now

1986 gouache on paper signed and dated 24 x 24 cm

and tourist attractions.

R300 000 – 500 000

embody the lightness and elegance of Rococo art. The favoured

NO T E S

Accompanied by the colour screenprint Tiepolo in Machadodorp, 1986, signed, dated and numbered 28/31 in pencil, image size: 36 x 36 cm and accompanied by an original invoice of sale from Cassirer Fine Art, Rosebank, 10 November 1986.

somewhat off the beaten track, best known for its trout fishing Giovanni Battista Tiepolo, the great 18th century Venetian painter, was celebrated for the luminosity of his frescoes, which artist of the nobility and the clergy, he transformed splendid palaces and cathedrals from Venice to Würzburg with his extraordinary allegorical paintings, often populated by heroic figures and voluptuous nudes in theatrical poses set against dramatic skies. Around Machadodorp, now known as eNtokozweni, or Place of Happiness, are the remains of a series of stone terraces generally regarded as walls built by the baKoni to retain sheep and cattle. The structures have not been excavated or properly dated, but could be anywhere between 25 000 and 250 000 years old. The baKoni are considered by local archaeologists as different groups of people, with different origins, who arrived across a period of time. They became collectively known as ‘the people from the North’, or Bokoni. Here, Kentridge confers the light elegance of a Tiepoloinspired nude couple, entwined in flagrante delicto beneath dramatic skies bulging with puffy pink clouds, onto a seemingly prosaic Mpumalanga landscape, seeing its potential for exquisite beauty and inviting us to unpack its hidden stories. This rare early gouache is unique in Kentridge’s oeuvre. Emma Bedford

Lot 14

In this work, we see a classic Robert Hodgins’ visual trope: that

Robert Hodgins

of a male head in profile, his features distorted and coalescing

South African 1920–2010

into a mound of fleshiness that speaks of a face without the

Demagogue (Government of the People, Through the People, Know What I Mean?)

clear outlines and markers that give real meaning to that part

1992 oil on canvas signed, dated, inscribed with the title and medium on the reverse 77 x 90 cm

R350 000 – 500 000

of the body. The demagogue has the vague appearance of humanness without any articulation of form which would indicate true personhood. This typical portrayal of the gross, flaccid and unnerving man of power – distinguished solely for the ability to visually unnerve and at the same time fascinate us, is one of Hodgins’ most powerful and memorable artistic strategies. While on the surface we are potentially gazing on a person without character, the shocking juxtaposition of colour utilised in realising its mass and form, and the bold swaths of paint and deft brushstrokes employed in realising its ominous and all-encompassing presence, force us to take this dominating element of the painting very seriously indeed. The demagogue appeals to mass fears and hysteria; it would seem that Hodgins here is implying that the vocabulary and rhetoric that he spouts to win attention are debased, unformed and illusory. Minuscule in comparison to the main figure and seemingly confused, disjointed and naked, a series of smaller figures are arrayed at the base of the canvas. In a manner that echoes Hieronymous Bosch, they seem to contort and convulse as much as they dance and debate. The bloody red penumbra that emanates from the top of the head of the central figure seems to speak of billowing plumes of smoke, as if his words have the ability to consume and destroy. And then, in a masterstroke that only Hodgins could achieve, the demagogue’s yellow chest and arm strike a contrast to everything else, surmounted by a hand that appears to be giving a sign that seems to imply ‘trust me, you’ll be safe in my hands’. The near-impossible balance between beauty and horror that this canvas invokes seems to speak to us very directly today, with our current politics of vapour, illusion and words that melt into air, leaving all below naked, chattering and abandoned. Andrew Lamprecht

Lot 15

In most of the paintings that Stanley Pinker produced

Stanley Pinker

throughout his career, he remained content to quietly explore

South African 1924–2012

the formal implications of the ‘classic’ early modern movements

The Last Waltz

that he had absorbed during his earlier sojourns in London

oil on canvas and board signed and inscribed ‘Last Tango in Parys’ 69.5 x 45.5 cm

and Paris. Of these, it was the early Cubism of Picasso and

R700 000 – 1 000 000

Braque, with its revolutionary language of pictorial structure, shallow space, unfolding forms, texture, collage and textual insertions that exerted the most profound effect. It could even be said that, to some degree, Pinker layered a specifically South African iconography over the pictorial formalism of Cubism. His cluttered, yet carefully crafted integration of local subjects, objects and emblematic forms within this approach also led, at times, to the attachment of found objects to his painted surfaces. It also saw, eventually, his break with the tyranny of the containing limitations of the rectangular format. The superimposition of a circular tondo above a rectangular format in The Last Waltz to serve as an extension of his pictorial field is a case in point. The oval form, so beloved of the Cubists, also forms the focal centre of the rectangular canvas below it. It echoes the tondo above, and functions as a containing field for the artist’s whimsical miscellany of South African objects and elements. The bottom canvas is inscribed at base centre with the words ‘Last Tango in Parys’. This is an amusing localisation to a South African geographical context of the title of the controversial 1972 erotic film Last Tango in Paris, starring Marlon Brando. The work’s actual title, The Last Waltz, clearly alludes to the dancing figures of the nude, winged, female cupid-like figure and a man in formal-dress attire, while a red heart floats suspended between them. Another musical allusion to a past era is hinted at in the title, which calls to mind Engelbert Humperdinck’s highly popular 1969 hit song The Last Waltz. With its references to the tricolours of the old apartheid-era flag and that of the ANC; to ‘good luck’ ladybirds, inverted compasses, skulls, chameleons, watermelons, burning farmhouses and shooting stars, Pinker’s The Last Waltz is a meditation on a country caught between memories of its colonial past and auguries on its uncertain future. Hayden Proud

Â© The Estate of Stanley Pinker | DALRO

Lot 16

One only has to refer to the recent publication Walter Battiss:

Walter Battiss

‘I Invented myself ’ The Jack M. Ginsberg Collection (2016)1 to

South African 1906–1982

see the significance of this early oil painting by Walter Battiss.

Limpopo Rocks

One of the reasons I chose to place the more than 700 works

oil on canvas signed; inscribed with the title on the reverse 29 x 39 cm

by Battiss from the Ginsberg Collection, in chronological order

R150 000 – 250 000

thematically, which was the only way curators had attempted to

across five major periods, was to gain insight into patterns that would otherwise be missed if the works were simply ordered approach Battiss’s oeuvre in past retrospectives, most notably Walter Battiss: gentle anarchist (2005)2 curated by Prof. Karin Skawran. One advantage of the chronological placement of Battiss’s works is that it becomes immediately obvious that, until the beginning of the sixties, oil paintings are extremely rare in his oeuvre. If one takes the works in the Jack Ginsberg Collection as a yardstick, there are only six oils from a total of 118 works, which cover the period from 1916 to 1959. The explanation for the small number of oil paintings is very simple – a lack of money. Battiss could buy many sketchbooks, pens, pencils and watercolour sets for the price of the oil paints and canvas required to make a single painting. Like any other artist who was still emerging within the consciousness and minds of South African art collectors during the forties and fifties, his time as an artist was better spent creating watercolours, drawings and prints that were far more affordable for young collectors with limited budgets. The other advantage of concentrating on works on paper early on, was to create a small, but steady income from a diverse range of artworks, rather than risk having all one’s capital tied up in two or three oil paintings that might take months, if not years, to find a home. Continued on page 24

Continued from page 22

This rare example of Battiss’s early foray into painting in oil is a jewel, encapsulating all his finest qualities as an artist, which included his profound sense of composition as well as his exquisite use of colour. This work also embodies his great love for the South African bushveld, which is best recorded in a short synopsis written by the artist himself, to accompany his portfolio of colour woodcuts and lithographs titled Fragments of Africa (1951)3 Battiss wrote: ‘When I came down from the mountain of initiation I was articulate and free. For I had conversed with the white rocks and the lilac trees, the coucal and the rhebuck. I had conversed too with the ancient men of Africa who spoke to me through their picture writing on the walls of their crumbling rock-shelters ... All this was my peculiar discovery but I had no desire to paint an anecdote about them but rather to make pictures of them in such a way that I exposed the happy change they had worked within me. Yes, I made and want to make pictures which are a colour language of the haphazard experiences of my African existence. These pictures I call fragments of Africa but they are also fragments of myself.’ Warren Siebrits 1 Siebrits, W. (2016). Walter Battiss: ‘I invented myself ’ Works from the Jack Ginsberg collection. Johannesburg: Ampersand Foundation. 2 Skawran, K. (ed.) (2005). Walter Battiss: gentle anarchist. Johannesburg: Standard Bank Gallery. 3 Battiss, W. (1951). Fragments of Africa. Pretoria: Red Fawn Press, n.p.

Lot 17

Gregoire Boonzaier South African 1909–2005

Cottages 1950 oil on board signed and dated 24 x 34 cm

R50 000 – 70 000

Lot 18

Pranas Domsaitis South African 1880–1965

Karoo with Three Small Figures oil on board signed; signed, inscribed with the title and ‘No. 5’ on the reverse 36.5 x 63 cm

R40 000 – 60 000

Lot 19

Maud Sumner South African 1902–1985

Red dunes oil on canvas laid down on board signed 30 x 60 cm

R90 000 – 120 000

Lot 20

Tinus de Jongh South African 1885–1942

Cape Dutch house oil on canvas signed 31 x 51 cm

R25 000 – 35 000

Lot 21

Tinus de Jongh South African 1885–1942

Mountainous landscape with cottages oil on canvas signed; inscribed ‘Purchased B. Lobel, 1922 – 60 guineas’ on the reverse 24 x 29 cm

R20 000 – 30 000

Lot 22

Willem Hermanus Coetzer South African 1900–1983

A shady respite 1954 oil on canvas laid down on board signed and dated 33.5 x 43.5 cm

R20 000 – 30 000

Lot 23

Gregoire Boonzaier South African 1909–2005

Rand van die Bos (Edge of the Forest) 1980 oil on canvas signed and dated; signed and inscribed with the title in Afrikaans and English on the reverse 49 x 39 cm

R100 000 – 150 000

N O TES

Engraved ‘Geskenk aan Dr B.G. Fourie deur die Lede van die Departement van Buitelandse Sake en Inligting met sy Aftrede as Direkteur Generaal. 30 April 1982’ on a plaque on the frame.

Lot 24

Irma Stern South African 1894â&#x20AC;&#x201C;1966

European village ink and pastel on paper signed and indistinctly dated 34 x 51 cm

R250 000 â&#x20AC;&#x201C; 400 000

Lot 25

Irma Stern South African 1894â&#x20AC;&#x201C;1966

Congolese man 1942 charcoal on paper signed and dated 62 x 47 cm

R120 000 â&#x20AC;&#x201C; 180 000

Lot 26

The emergence of Edoardo Villa’s seminal Mediaeval Head

Edoardo Villa

(1966) from his Steel Heads series onto the auction market

South African 1915–2011

brings a number of important aspects of South African art

Mediaeval Head (from the Steel Heads series)

history into sharp focus.

1966 painted steel signed and dated 92 x 48 x 35 cm

of this series of magnificent sculptures was Lola Watter,

R400 000 – 600 000

Karin Skawran, who was the founder of the UNISA Fine Arts

L IT E R AT U R E

Engel, E.P. (ed.) (1980). Edoardo Villa Sculpture. Johannesburg: United Book Distributors, illustrated plates 20 and 21. PROVENANCE

Linda Givon collection, Johannesburg Private collection, Johannesburg

The art historian responsible for pointing out the importance who remains all but forgotten by most people in the South African art world today. I was told of her importance by Prof. department when it first opened in Pretoria in 1960/61. It was due to a thesis written by Watter that Villa’s work first came to the attention of Prof. Skawran, who subsequently, because of her exposure to the thesis, became an expert in Villa’s work. Lola Watter continued her research and study of Villa’s rich and dynamic ouevre and by the mid-sixties she was considered the leading expert on his work. As a result, she was approached to write definitive essays on Villa for, among others, Our Art Vol. 3.1 These excellent articles led to an invitation from Philip Stein to author the first dedicated Villa monograph, which Stein self-published in 1967, under the modest title Villa: Modern South African Sculptors. Three of the ‘Steel Heads’ were photographed by Egon Guenther and are reproduced in the book. This is how Watter described these works at the time: ‘Three of the series of ‘Steel Heads’, forged in 1966, are shown on Plates 33 (a,b,c and d). Here Villa emphasised the architectonic quality of the sculpture by enclosing the sides with half-drums, like bisected helmets. ...The Heads stand on heavy discs or oblongs. The forms appear to mount on horizontal accents up the shafts of the necks, and to extend towards the solid interlinked forms of the features. A sense of looming presence emanates from them. These are not the heads of mediaeval or tribal warriors, they represent the proud heads of warriors of space, the intrepid astronauts.’ (Watter, 1967: 9-10)2 One of the three works referred to by Watter above, already belonged to gallerist Linda Goodman, and the other two were still in the collection of the artist at the time the book was published. Thirteen years later, a more comprehensive and larger monograph titled Edoardo Villa Sculpture,3 was published by Randse Afrikaanse Universiteit (RAU). This book represented the culmination of more than 15 years of research conducted by Amalie von Maltitz. It is in her pictorial survey, at the back of the book, that von Maltitz documents a fourth Continued on page 35

Another view of Lot 26

Continued from page 32

sculpture from the Steel Heads series titled Mediaeval Head (1965), which is the first time this sculpture is documented (illustrations adjacent). Thus, the current work on auction is incorrectly dated by von Maltitz to have been made in 1965, when it was clearly made the following year. As it happens, this work is listed in Edoardo Villa Sculpture as being from the collection of Mr and Mrs R. Givon, Linda Goodman having by then married Reuven Givon. This proves that she had bought more than one of these seminal sculptures from the Steel Heads series early on. Linda, being the first owner of these two works is significant in my opinion, considering that in 1966 she opened Goodman Gallery in Hyde Park, Johannesburg, an event which singlehandly changed the trajectory of South African modern and contemporary art. Over half a century later, Goodman Gallery is still going strong. Not only has Goodman artist William Kentridge become an international superstar over the past decade, but the reputations of earlier stalwarts of the gallery, including Edoardo Villa, Sydney Kumalo, Ezrom Legae and Cecil Skotnes are now firmly secured, with record prices currently paid at auction for their works by a younger generation of collectors. This rich and dynamic legacy is symbolised by Villa’s Mediaeval Head (1966), which provides a rare opportunity for a discerning collector to embrace it. Warren Siebrits 1 (n.d.) Our Art 3. Pretoria: Foundation for Education, Science and Technology. 2 Watter, L. (1967). Villa: Modern South African Sculptors. Johannesburg: Philip Stein, pp.9-10. 3 Engel, E.P. (ed.) (1980). Edoardo Villa Sculpture. Johannesburg: Rand Afrikaanse Universiteit.

Three examples from the Steel Heads series, 1966.

Lot 27

Ezrom Legae’s sculptures share a profound, haunting

Ezrom Legae

expression, especially the bronze heads that exude a transitory

South African 1938–1999

state of being simultaneously here and elsewhere, far away

Head

in their own universe. Through their facial expressions and

bronze and wood 52.5 x 26 x 28 cm excluding base

physical postures, they reveal the interiority of deep feeling and

R350 000 – 550 000

nor is the appeal against dehumanisation. Black bodies tend to

L IT E R AT U R E

be in agony, though resisting surrender as they exude courage;

De Jager, E. J. (1992). Images of Man: Contemporary South African Black Art and Artists. Alice: Fort Hare University Press, illustrated on p.118.

penetrating psychology. The human trauma is not mistaken,

standing the test of oppression, anguish and degradation against brutal regimes. Head embodies these expressive contents, articulated through the geometric shapes that define its physical identity as a black portrait. A subtle commentary, the work speaks through its facial expression, denoting a sense of disquiet. If not that, then the figure is self-absorbed in contemplation. A curious feature of Head is the elongated, upright neck that holds firm the head shape in a sculptural posture suggesting strength and the resolve of the black subject to stand tall and demand dignity under oppressive circumstances. The erect posture of Head is daring, without aggression, but approached with an aesthetic sensibility indicative of steadiness. As a head, it could be perceived as the epicentre of reason, where thought and memory, understanding and emotion are controlled. This understanding does not relegate the rest of the body, but underscores the significance of Head to be representative of wisdom, if not a poised assertive, heroic posture. Also, it could be the head-space where the concepts of Steve Biko’s ‘black consciousness’ and Ngugi Wa Thiongo’s ‘decolonising the mind’ need to occur. Stylised in character, Head demonstrates Legae’s command of technique, the rendition of form, an articulation of human expression. The wonderfully pensive personality of this bronze head, like many of his works, attests to his creative ability to produce commentary in his art that is imaginatively reflective, yet simple in outlook. Only mastery articulates complexity in basic form, as Head evinces. Thembinkosi Goniwe

Lot 28

Shortly after his marriage to Thelma Carter in 1951, Cecil

Cecil Skotnes

Skotnes and his new wife lived for nine months in London.

South African 1926–2009

It was there at the British Museum that Skotnes saw the vast

The Legend of Gilgamesh

colonial collections of Egyptian, Assyrian, pre-classical and

carved, incised and painted wood panel signed 114 x 145 cm

African art that would have a profound influence on the rest of

R500 000 – 800 000 PROVENANCE

Linda Givon collection, Johannesburg Private collection, Johannesburg

his artistic career. This carved, incised and painted wood panel is clearly borne out of that influence – depicting an episode from the Sumerian epic, Gilgamesh, widely regarded as the earliest surviving work of literature and dating back to c2100 bc. The Epic of Gilgamesh had provided the inspiration for a series of wood panels that Skotnes had produced for a commission from winemakers KWV in 1977. For the KWV commission, titled The Epic of Gilgamesh/ The Origin of Wine, Skotnes had focused on the second half of the epic poem in which the protagonist, Gilgamesh the king of Urak, goes in search of the secret to immortality following the death of his beloved friend Enkidu. Along the way he encounters Siduri, the goddess of wine who tells him that immortality is impossible but that man should eat, drink, enjoy the good things in life and make others happy – a philosophy that Skotnes firmly embraced in his own life. While the link between the KWV commission (which is on display at the Laborie wine farm in Paarl) and this piece is predominantly in the title and not in the imagery, there is a delicacy of detail, verve, kinetic energy and use of colour that connects the work to much of Skotnes’s later period wood panels. In particular, the use of greens, blues and yellows, places The Legend of Gilgamesh within the period after the 1970s, when Skotnes relocated from Johannesburg to Cape Town and the difference in light between the two places began to be expressed by the artist in his work through increased use of brighter and more diverse colours taken from his new surroundings. This work formed part of the personal collection of Goodman Gallery founder Linda Givon, who was a staunch supporter of Skotnes from 1966 when she opened her gallery, until the artist’s death in 2009. Tymon Smith

Â© The Estate of Cecil Skotnes | DALRO

Lot 29

On 23 July 1966, the front cover of the prestigious London

Sydney Kumalo

fortnightly art magazine Arts Review featured photographs

South African 1935–1988

of two bronze sculptures; a Henry Moore reclining figure and

Reclining Figure I

Sydney Kumalo’s Head (Portrait of Egon). Kumalo’s sculpture

1982

was featured on the front cover as he was taking part in a

bronze signed and numbered 1/5 from a planned edition of 5, of which only 2 were cast 37 x 62 x 30.5 cm

two-man exhibition with Cecil Skotnes at London’s Grosvenor

R500 000 – 700 000 NO T E S

Cast by the Vignali Foundry, Pretoria. EXHIBITED

Goodman Gallery, Johannesburg, 16 October 1982. L IT E R AT U R E

Berman, E. (1983). Art and Artists of South Africa. Johannesburg: A.A. Balkema, illustrated on p.404. The Star, 19 October 1982.

Gallery from 12 July to 6 August 1966. Given the political situation in South Africa at the time, it is remarkable that a South African artist – especially a black artist – was able to achieve this level of international recognition. There were three major influences on Kumalo’s development as an internationally recognised artist: Cecil Skotnes during his formative period when Kumalo studied at Polly Street; Egon Guenther as his mentor and art dealer from 1959 to 1972; and Linda Givon of the Goodman Gallery, who represented Kumalo from 1973 until his death in 1988. Over the last ten years, Kumalo’s importance as one of South Africa’s foremost sculptors, and one of the top ten South African artists of all time, has been increasingly recognised. Huge demand for his work by art museums and collectors, both in South Africa and internationally, has resulted in rising prices for his sculptures, especially those done while he was mentored and represented by Guenther and the Goodman Gallery. Reclining Figure I was conceived in 1982 while Kumalo was represented by Linda Givon. This sculpture has also been referred to as Reclining Mapogga and Ndebele Reclining Figure. Only two sculptures were cast from an edition of 5. The influence of Henry Moore is evident, but the work is quintessentially Kumalo. Gavin Watkins

Two views of Lot 29

Lot 30

Soon after Anton van Wouw moved from Pretoria to

Anton van Wouw

Doornfontein, Johannesburg in 1906, he started working on a

South African 1862–1945

series of thirteen smaller, more detailed sculptures, primarily

The Dagga Smoker

comprised of various intricate studies of traditional and

1907

historical African life.

bronze on a wooden base signed and inscribed ‘Fonderia G. Nisini Roma’ 19 x 52 x 23 cm

studies. Van Wouw himself was very fond of this piece. Having

R700 000 – 1 000 000

(Duffey 2008)1.

L IT E R AT U R E

The Dagga Smoker is one of the most popular of these worked on it for nine months, he considered it his best work The Dagga Smoker is a romanticised depiction of the historic

Duffey, A.E. (2008). Anton van Wouw: The Smaller Works. Pretoria: Protea Book House, another example from the edition illustrated on pp.61–62.

and customary practice of smoking cannabis by using the

Duffey, A.E. (1981). Anton van Wouw 1862–1945 en die Van Wouwhuis. Pretoria: University of Pretoria, another example from the edition illustrated on p.32.

traditional attire, kneeling down to smoke from a reed inserted

earth pipe method – a distinctive tradition in Southern Africa. Here, van Wouw presents a highly realistic figure of a man in into the ground. In his right hand he holds a calabash. This particular lot is an outstanding bronze cast, made at the distinguished Giovanni Nisini Foundry in Rome. The exquisite dark brown patina accentuates Van Wouw’s fine modelling of the human form, his detailing of the figure’s facial expression, features and mannerisms, and the impeccable finishing of smooth, highly polished surfaces which contrast beautifully with various textured parts. Van Wouw is well regarded for his large sculptures, but it is in the smaller works, like The Dagga Smoker, that one sees his observational and technical mastery. The attention to composition is evident as he worked from life, staging his models in the imaginative dramas he wanted to portray. In 1908, Van Wouw presented his first solo exhibition in Johannesburg, showing the entire series of new Italian-cast sculptures, including The Dagga Smoker. At the time, Van Wouw was entrenched in the Johannesburg art world, and was befriended by the influential Sir Lionel and Lady Florence Phillips, who were amongst his most important patrons and supported his exhibition by acquiring a number of the sculptures. When the Johannesburg Art Gallery, founded by Lady Phillips, opened in 1910, Van Wouw was the only South African artist represented in the initial bequeathed collection, which included The Dagga Smoker. Marelize van Zyl 1 Duffey, A.E. (2008). Anton van Wouw: The Smaller Works. Pretoria: Protea Book House. p.61.

Lot 31

Ruth Everard Haden’s Nude clearly demonstrates the influences

Ruth Everard Haden

of her formative exposure to some of the greatest modernist

South African 1904–1992

painters and teachers working in England and France in the

Nude

early twentieth century. From 1922, in life drawing and painting

oil on canvas authenticated by Leonora Everard Haden, the artist’s daughter, on the reverse 92 x 92 cm

classes at the Slade School of Fine Art in London, as well as

R100 000 – 200 000

form.

under the private tuition of renowned figurative artist, Henry Tonks, she gained valuable experience in painting the human In 1923 Everard Haden enrolled at the Colarossi Art School in the Rue de la Grande Chaumière, and from her letters to her mother, artist Bertha Everard, it is clear that she began the present work not long afterwards. Writing of a visit to the Louvre, she enthuses about looking at the paintings of Peter Paul Rubens whose ‘flesh colour is simply marvellous, and his drawing superb’1 but it is undoubtedly the modernist, Paul Cézanne, who made the most impact on her, when she expressed her intentions as being ‘to get it strong and delicate and to keep the planes and not get it too hard all at the same time, and besides to get the colour beautiful’.2 She certainly drew on Cézanne’s simplified forms and modulated colour to create subtle gradations as can be seen in the brushwork of the flesh and even more evidently in her handling of the voluminous folds of drapery in the background. By eschewing modelling and strong tonal contrasts in favour of broader areas of colour, her painting emphasised a strong pictorial cohesion. Art historian Frieda Harmsen found the painting sufficiently impressive to illustrate and comment on it in her highly regarded biography of the Everard Group. Interestingly, her first comment that ‘the head has the austerity of a primitive mask’ links this South African artist to the ground-breaking traditions of Gauguin, Picasso and the German Expressionists before she concludes that a ‘fierce vitality is expressed through rugged, angular, positively unpretty shapes, determined line … and racy brushwork which is exuberant and restless as if dashed down by an Expressionist’.3 Such unstinting praise clearly marks Everard Haden as a courageous artist far ahead of her time. Emma Bedford 1 Harmsen, F. (1980). The Women of Bonnefoi: The story of the Everard Group. Pretoria: J.L. van Schaik. P. 86. 2 ibid, p.87. 3 ibid, p.87.

Lot 32

Judith Gluckman was a prominent figure in Johannesburg and

Judith Gluckman

Pretoria art circles in the 1940s and 1950s, before her early

South African 1915–1961

death at the age of 46. Although she was primarily known as

Self portrait

a close friend of Pretoria-born Alexis Preller, the prominent

oil on canvas signed 91.5 x 65 cm

SA ‘modernist’ artist, with whom she studied in Paris in 1937

R60 000 – 90 000

shortly after meeting him in South Africa, her own work was also highly regarded in her day. While never prolific, her circles of influence included some of the most important artistic groups and movements in 20th century South African art. Her mentoring in the early years of her career included teaching the young Gerard Sekoto techniques in oil painting and providing him with materials. She was also involved in the New Group, the modernist collective which included artists such as Lippy Lipshitz, the well-regarded sculptor, who subsequently became one of her teachers. Preller himself also exhibited in early New Group shows. Gluckman moved to Cape Town in the 1940s, moving in Irma Stern’s social circle, but often travelled to Johannesburg to exhibit. She also returned to Europe in that decade, studying sculpture under Ossip Zadkine – the only female student the influential Russian ever took on. This quiet and dignified portrait of a woman has never been to auction before, and is thought to be a self-portrait. The woman it depicts has a noble bearing and a gravitas that, despite her ill health, Gluckman displayed in her life. It closely resembles the portrait Preller painted of her in 1937. James Sey

Lot 33

‘Look down on District Six from some vantage point and the

Alexander Rose-Innes

impression it gives is one of unity in diversity, a confused and

South African 1915–1996

disorganized abstraction of rusted roofs, turrets, minarets,

Tennant Street, District Six, Cape Town

towers, arches, ornate façades, colonnades and Gothic

1962 oil on canvas signed; dated and inscribed with the title on the reverse 61 x 71.5 cm

Cloete Breytenbach (1970:6)1 remembered this Cape Town

R180 000 – 240 000

spires, dazzling in their variety and colour.’ This is how neighbourhood in The Spirit of District Six in 1970, only two years after the forced removal of District Six’s inhabitants started in 1968. Looking down Tennant Street towards the bay, Alexander Rose-Innes captured something of this ‘confused and disorganised abstraction’ in this painting, from a vantage point Gregoire Boonzaier also shared in many of his renditions of this area. The architectural character dominates in this scarcely populated street scene – only a single man on a balcony and perhaps two or three figures to the right are visible. Embracing the buildings, some sunlit, is the street surface, the distant harbour and sea and the clouded sky, all rendered in shades of blue. By the time Rose-Innes settled in Cape Town in 1956, the New Group with Boonzaier as chair and members like Lippy Lipshitz, Frieda Lock, Cecil Higgs and Terence McCaw, had disbanded three years earlier. The Group had succeeded in its aim of bringing art within reach of a wider public, by hosting lectures and exhibitions in Cape Town and also countrywide. It was in this well-established environment that Rose-Innes worked within the Cape Impressionist tradition, influenced by the major exponents of that idiom and particularly by Boonzaier, with whom he became close friends and whom he joined on several painting excursions. ‘Alexander Rose-Innes is a traditionalist artist. He did not pursue innovation for the sake of innovation; nor did he follow fashionable trends. Yet his particular brand of painting has not only survived, but steadily grown in popularity,’ states Martin Bekker (1991)2 What Rose-Innes captured of District Six in this image is what Breytenbach (1970)3 refers to as ‘a place of poverty and often degradation, but a place where people had the intelligence to take what life gave them and give it meaning’. Johan Myburg 1 Breytenbach, C. (1970). The Spirit of District Six. Cape Town: Struik, p.6. 2 Bekker, M. (1991). The Art of Alexander Rose-Innes, Cape Town and Johannesburg: Perskor, p.37. 3 Breytenbach, C. (1970). The Spirit of District Six. Cape Town: Struik, p.6.

Lot 34

Alexander Rose-Innes arrived in Cape Town in 1956 when the

Alexander Rose-Innes

city was ‘without doubt, the artistic capital of South Africa.

South African 1915–1996

Many of the leading artists lived and worked in the Cape. The

The artist’s studio

art market was buoyant and the quality of works exhibited

oil on canvas laid down on board signed 56 x 66 cm

high, as was the public awareness of art and artists.’1 Matthys

R60 000 – 80 000

Bokhorst, curator of the Michaelis Collection and later to become Director of the South African National Gallery from 1962 until 1973, befriended the artist and encouraged him to continue painting and exhibiting his work. In 1962 Rose-Innes exhibited at the South African Association of Arts Gallery with Gregoire Boonzaier, Ruth Prowse, David Botha, Carl Büchner, Nerine Desmond and Frank Spears and became associated with the Cape Impressionist tradition. Several solo exhibitions in South Africa and Belgium followed, and his work was included in numerous national and international exhibitions. In 1986, he was honoured by the University of Pretoria with a retrospective exhibition of his work and a medal for his contribution to the arts in South Africa. This painting of his studio offers a rare insight into the artist’s working space, rendered in the painterly style for which he became known and admired. As Esmé Berman observes, ‘the absence of strong colour notes, together with the use of close-up views, contributes to a sense of intimacy in his work. The subtle gradation of tone and the creamy thickness of paint application are prominent characteristics of his technique.’2 Emma Bedford 1 Bekker, M. (1991). The Art of Alexander Rose-Innes, Perskor: Cape Town, 566-567. 2 Berman, E. (1996). Art and Artists of South Africa, Southern Book Publishers: Western Cape, 367.

Lot 35

Willem Hermanus Coetzer South African 1900–1983

Me, Al Capone and his Gang – A Shelf in my Studio 1969 oil on canvas laid down on board signed and dated; inscribed with the title on the reverse 41 x 51 cm

R30 000 – 40 000

Lot 36

Phillip Klein German 1871-1907

Woman dressing oil on canvas signed 53.5 x 43.5 cm

R60 000 – 90 000

Lot 37

Maximilien Luce French 1858-1941

Wrestler oil on card signed 52 x 67 cm

R70 000 – 90 000

Lot 38

Keith Alexander South African 1946–1998

Locomotive 1979 oil on canvas laid down on board signed and dated 55 x 72 cm

R150 000 – 250 000

Lot 39

Alexander Rose-Innes South African 1915–1996

In the pub oil on canvas signed 73 x 61 cm

R80 000 – 120 000

Lot 40

Ruth Everard Haden South African 1904–1992

Portrait of a Young Girl oil on canvas signed; authenticated by Leonora EverardHaden, the artist’s daughter, on the reverse 92 x 74 cm

R150 000 – 250 000 PROVENANCE

Everard Read, Johannesburg.

Lot 41

Maud Sumner South African 1902–1985

Bundon Abbey watercolour on paper signed twice; inscribed with the title in another hand on the reverse 29 x 42 cm

R20 000 – 30 000 PROVENANCE

Everard Read, Johannesburg.

Lot 42

Maud Sumner South African 1902–1985

Still life in an interior watercolour on paper signed 66.5 x 41.5 cm

R40 000 – 60 000

Lot 43

Walter Battiss South African 1906–1982

London 1975 watercolour on paper signed, dated 2.7.75 and inscribed with the title 28 x 35.5 cm

R30 000 – 50 000

Lot 44

Maud Sumner South African 1902–1985

Boats watercolour on paper 30 x 42 cm

R25 000 – 35 000

Lot 45

Frans Oerder received thorough training within the northern

Frans Oerder

European art tradition at the Rotterdam Academy of Art,

South African 1867–1944

where he was awarded a medal for figure drawing. He settled

Chrysanthemums

in South Africa in 1890, and secured a position as artisan

oil on canvas signed 81 x 100.5 cm

with the Netherlands South African Railway Company

R200 000 – 250 000

(ZASM) as the company was in the process of building a railway line to Lorenço Marques and in need of skilled workers. Oerder worked for a time in the Komatipoort area where he was exposed to the harsh conditions of the bushveld, initially so totally foreign to his creative European sensibilities. Subsequently, this experience led him as painter to accurately observe the natural scenery and to adapt his eye to accommodate the unforgiving glare of the African sun. After the South African War, where he was commissioned to work as a war artist, Oerder settled once again in Pretoria and hired studio space in Church Street. His friend and supporter Dr F.V. Engelenburg, introduced Oerder to many well-known personalities and soon the artist became actively involved in the cultural life of the town. Anton van Wouw became a frequent visitor and friend as well as Gustav Preller, Dr W.J. Leyds and Dr H.G. Breyer. During this time, the artist agreed to assist the young Jacob Hendrik Pierneef with painting lessons before he (Oerder) embarked on a European tour in 1907. Oerder eventually settled in Rotterdam in 1908 and in 1909 married the flower painter Gerda Pitlo. Gradually his palette turned towards darker hues as he depicted the Dutch countryside and intimate interiors. The artist returned to South Africa in 1938 where he undertook much travelling to the Lowveld and the Cape to paint and exhibit his work. Oerder’s painterly interests revolved around the major genres of landscape painting, portraiture and still life. His wife’s influence as a flower painter remained an inspiration and in later years he derived much joy in painting his own flower studies. In this study, Oerder captured the arresting brilliance of the chrysanthemums by focussing his brush on the intensity of the cadmium yellow and the striking highlights as unifying features within the composition. The rather indistinct background, the vase and tablecloth all serve as dramatic substructures in support of the glorious profusion of colour in this painting. Eunice Basson

Lot 46

Frans Oerder South African 1867–1944

Senetti Daisies oil on canvas signed 71 x 91 cm

R150 000 – 200 000

Lot 47

Adriaan Boshoff South African 1935–2007

Azaleas oil on canvas laid down on board signed 95 x 61 cm

R80 000 – 120 000

Lot 48

There’s not much that’s still but plenty of exuberant, joyful and

Walter Battiss

impish life in this Walter Battiss oil that lifts it from the realms

South African 1906–1982

of the merely contemplative, to that of the celebration of the

Flowers, fruit and paintbrushes

beauty to be found in the seemingly ordinary.

oil on canvas signed 35.5 x 40.5 cm

the artist has created an impression that not only conveys the

R400 000 – 600 000

Through the compositional linking of colours and markings, pleasure of the moment, but also slyly points to his presence as the observer and capturer of that moment. Battiss’ singular gift for walking the thin line between abstraction and realism is seen in the vibrancy of the sgraffito that gives life to the blistering burst of bright flowers in the foreground and the roughly crafted jar of paintbrushes on the left of the frame. The flat blue of the background serves to accentuate the liveliness of the flowers, while also providing a depth to the overall composition. Likewise, the deep green of the table surface adds dimension to the scribbled renditions of fruit, carefully composed so as to give balance to the left side of the painting. It’s almost as if you can feel Battiss standing next to you, giving you a nudging wink that allows you to see how the seemingly mundane arrangement of everyday objects can be transformed into a tantalising expression of the thumping heartbeat at the centre of lived and appreciated experience. The work is a testament to Battiss’ talents for imbuing even the most banal scene with so much vitality and energy that the more you look at it, the harder it is not to find yourself smiling with a pure joy of recognition and agreement. There is indeed, something more here than initially meets the eye, to be savoured and celebrated. Tymon Smith

Lot 49

Erik Laubscher South African 1927–2013

Fruit, bowl and vinaigrette 2002 oil on canvas signed and dated 65 x 54 cm

R200 000 – 300 000

Lot 50

Sam Nhlengethwa b.1955 South Africa

Red room 2014 oil and collage on canvas signed and dated 110 x 80 cm

R100 000 â&#x20AC;&#x201C; 150 000

Lot 51

Like a good vintage wine, the further we go back to Peter

Peter Clarke

Clarke’s earlier works – treated with ambivalence when

South African 1929–2014

they were produced – the more we learn to appreciate their

Dinge kannie so aangaan nie

impact. The more we look, the more we realise that Clarke’s

1976 gouache on paper signed and dated; inscribed with the title and medium on the reverse 48 x 68 cm

of its making. It is upon discovering this spatio-temporal

R500 000 – 800 000

work wasn’t just prescient, it was insightful about the time acumen, expressed in the simplest non-posturing and yet most contemplative expressionism, that we realise that it is us who have been playing catch up to Clarke’s oeuvre. This sensitivity and insight is brilliantly expressed in these

PROVENANCE

two works, Their shadow hangs over us (1974) (Lot 53), and

Acquired from the artist’s estate.

Dinge kannie so aangaan nie (1976) (Lot 51). Their concerns and visual prose, slightly anachronistic, invoke a variation of the typical township-outdoor themes, albeit without their street buzz. It’s such, that from the perspective of the reigning approaches in the 1970s, they appear subdued in comparison to the more confrontational aesthetic of the time. In the 1970s, committed anti-apartheid or ‘protest’ art developed in response to the political provocations of the regime. This type of art took precedence over the largely reflective demeanour of the previous decades, but upon closer examination, Clarke’s work, despite being more subdued, exposes the blind spots of protest culture, subtly questioning adopted superficial distinctions between reflection and confrontation. Clarke was evicted from Simon’s Town in 1972, and dumped in a newly established coloured township called Ocean View, ironically situated away from the sea. In the wake of the Group Areas Act, as art historians Phillippa Hobbs and Elizabeth Rankin have noted, Clarke’s work reflects the spread of the social dislocation these forced removals caused, by way of documenting and capturing the subsequent uncertainty.1 Both works depict communities of seemingly bewildered and secluded people in an environment threatened by disappearance. Continued on page 74

Â© The Estate of Peter Clarke | DALRO

Continued from page 72

This is an impression immediately suggested by the ambivalent titles that register a sense of testimony and refusal. Documenting this tragedy of perpetual loss of self and place, is another way of refusing to forget and refusing to accept the status quo. Are these representations of the same place and reality taken from different angles and times? Consider how in both images, the warm washes of yellow and orange spread from the foreground to the outer edges of the picture, connecting the sand dunes (a running motif in Clarke’s work from the 1960s) with the cabins, and are only broken at the horizon by mournful washes of blue and black skies. Patches and scribbles of cold and warmer colours punctuate the frame in ways that intensify the feelings of dejection and confusion that sculpt the facial expressions of the figures. From palette to the composition, there’s a pictorial continuity or relation that perhaps can only be understood through a shared collective affect that communities afflicted by similar situations know. Time, here, seems inconsequential. The injury is etched in the memory like a scar, or a wound, that when the mind remembers, pictures of displacement, unfolding like a blanket of despair. These truths have not, as some have asserted, been particular convictions of his later years. Instead, one can pick them up in the reticent expressions of his much earlier works, subtly expressed through those quotidian moments and definitive palette. So it’s not only a matter of Clarke’s work growing on you, but how the artist stimulates our growing in how we read him. Athi Mongezeleli Joja Hobbs, P. and Rankin, E. (2015). Listening to Distant Thunder: The Art of Peter Clarke. Johannesburg: Random House Struik.

Lot 52

In 1947, following solo shows in Pretoria and Johannesburg,

Gerard Sekoto

Gerard Sekoto left South Africa for Europe and soon settled

South African 1913–1993

in Paris. His inclusion as the only black artist on the travelling

Casamance dancers and policeman

Overseas Exhibition of South African Art (shown at the Tate

1966 watercolour and gouache on paper signed and dated 37 x 51 cm

interest in his work and he began to attract wider attention.

R300 000 – 500 000

time one of the great African poets and statesmen, who was

Gallery, amongst others, between 1948 and 1949) stimulated In Paris, Sekoto met Senegalese students, one of whom was a nephew of Léopold Sédar Senghor. Senghor was at that influential in articulating the concept of Negritude, which is often defined as the literary and artistic expression of the black African experience. He was closely involved in the influential journal of Pan-Africanism and Négritude, founded in 1947 by fellow Senegalese thinker Alioune Diop, Présence Africaine. Thus it was that Sekoto came to be in Senegal – invited by President Senghor to attend the ground-breaking First World Festival of Negro Arts which launched in Dakar on 30 March 1966. The impact of his experience there is keenly felt in the works he produced when the president made his car and chauffeur available to the artist, allowing him to tour the country to far-flung places like Casamance in the south. Was this a scene witnessed by Sekoto during this visit? How likely is it that a lone Senegalese man in a pith helmet might attack a crowd of dancers with a stick? Perhaps what Sekoto is capturing here is the re-enactment of an imaginary scenario for the benefit of entertaining onlookers. Despite his accoutrements of colonialism, it is the policeman who is out of place while the dancers – regal and powerful in their traditional costume – appear to be in control of the show. Emma Bedford

Â© Gerard Sekoto Foundation | DALRO

Lot 53

Peter Clarke South African 1929–2014

Their shadow hangs over us 1974 brush, ink and pastel on paper signed and dated; inscribed with the title and medium on the reverse 83.5 x 57.5 cm

R400 000 – R600 000 PROVENANCE

Acquired from the artist’s estate.

Lot 54

Edoardo Villa was adventurous and prolific - his works are

Edoardo Villa

extensive both in the breadth of subject and in the number of

South African 1915–2011

pieces he produced collaboratively with Lucas Legodi. There

Four Faces

are many interpretations of a given subject and then further

copper and brass 93 x 45 x 52 cm

exploration and reinterpretation of it, extending throughout

R600 000 – 900 000

as the figures in Rythmic Group (1955), made from cast iron.

his career. Villa might sculpt a ‘conversation’ of subjects, such This work depicts a group of figures which appear to dance. Through the use of sensuous curves, Villa alludes to a sweeping rhythmic movement. He makes the work African Shield in 1957, which was housed in the Schlesinger Collection, and which bears a striking resemblance to his iconic and important work Winter (1961), the last and most significant work in the series of seasons. These two pieces, made four years apart and of different subjects, nevertheless have a remarkable similarity of form. Winter is the last of the series of separate works interpreting the different seasons, and is made, like the rest of the series, in

Rythmic Group, 1955.

copper and brass. The series completes the notion of a year and consequently is seen as a whole over the four works. Taken together, the four works are significantly structurally similar to the piece on auction, Four Faces (c.1961). It is a work about which the current owner knew the title, but not the exact year of execution. Given that Villa uses the same materials as the seasons series, copper and brass, that are never seen in combination again, we might surmise that this work is from 1961. The method of making is more discriminating than using steel as the medium is much softer and needs to be braised, not welded.

Heraldic Figures, 1962.

It is a highly unusual work in that it is almost a continuum or extension of the concept we see in the seasons sculptures, of this process where there are four visages in one piece. The four faces meld into a central abstracted form, I would argue implying four views rather than visages. The verdigris patina is due to the age of the work. Four Faces might also be seen as a precursor of the Heraldic Figures (1962), which are very shield- or mask-like, and were first exhibited by Egon Guenther in his gallery in 1962-1963. It is perhaps most closely aligned to African Sentinel (1963), which used to be sited at the Southdale Shopping Centre, atop a water feature, but was rumoured to have been removed and, as many Villa’s were, lost to the scrap yard. Four Faces is a remarkable work, extremely rare and fragile, yet so very strong in form and concept.

Winter, 1961.

Mary-Jane Darroll and James Sey

Lot 55

The enigmatic, hyper-realist and compelling work of Keith

Keith Alexander

Alexander is mesmerizingly demonstrated in these two

South African 1946–1998

examples of very different landscapes, Barley Fields (1990) (Lot

Barley Fields

55) and The Delivery (1990) (Lot 56) which, at this scale, are not

1990 oil on canvas signed and dated 300 x 169 cm

often seen by the artist.

R650 000 – 900 000

– fantasy ruins rise out of the sand; a gemsbok, often a

His meticulous desert landscapes, often with a surrealistic touch, are what many think of as definitive of his work lead character in Alexander’s imagination, surveys a postapocalyptic vista. His definitively Africanised, if fantasised,

Lot 56

Keith Alexander South African 1946–1998

The Delivery

scenes are perhaps why his reputation was so cemented in international markets, often selling out European exhibitions. These two deceptively straightforward paintings are given their gravitas partly by both being three metres high – massive panels depicting two very different tableaux.

1990 oil on canvas signed and dated 300 x 169 cm

trunk emerging from the titular barley field. It surveys a rich,

R650 000 – 900 000

In the upper two-thirds of the canvas the immense Southern

In Barley Fields a solitary pied crow perches on a blasted tree undulating field of grain, partly reaped in geometric patterns. African summer sky, the same one to stretch over Alexander’s beloved Zimbabwe and Namibia, builds up in meticulously painted cumulonimbus storm clouds. The Delivery depicts a very different landscape, albeit returning to his favourite arid sites for inspiration. In a remote desert town, two workers deliver crates of Lion Beer (as their Ford Model T delivery truck indicates) to what may be a hotel bar in the Karoo. The hotel itself looms, immaculately rendered, in the right foreground. Above the two deliverymen, reduced in the landscape to an insignificant detail, a very different sky, though still a Southern African one, is laid out, dusted with high cirrus clouds. The vastness of both landscapes, though really both are skyscapes, is only possible with canvases of this size. Every inch of each is put to minutely detailed use by this consummate painter. James Sey

Lot 57

A Distant Connection (1994) forms part of an important body

Robert Hodgins

of work that Robert Hodgins produced around the time of

South African 1920–2010

South Africa’s transition to democracy in the mid-1990s. In

A Distant Connection

1996 Hodgins self-published a slim ephemeral volume devoted

1994 oil on canvas signed, dated, inscribed with the title and medium on the reverse 121.5 x 91 cm

to illustrating the most significant of these works with an

R600 000 – 800 000 L IT E R AT U R E

Powell, I. (1996). Robert Hodgins. Johannesburg: Robert Hodgins and Ivor Powell, illustrated in colour, plate 17.

accompanying, almost collaboratory text by Ivor Powell. In the preface the artist speaks of the making of these works as ‘a generous experience’1. Significantly, amongst the handful of paintings chosen to illustrate the volume, are two interiors: the present work and another titled Madhouse with a view of Tyburn (1994). The latter is dominated by warm colours, but the scene is one of horror: cell doors bolted, a telephone hanging unanswered and in the background, a figure seemingly engulfed in a structure that is half-gallows and half-guillotine. A Distant Connection has visual similarities, but could not be further apart, I would argue. The muted colours speak, I believe, of a sort of tranquillity in the context of Hodgins’ use of garish and strident colours to denote authoritarianism and dominating power. Significantly in the upstairs window, there is a yellow patch of light from outside, as if offering the first rays of illumination into the grimy chamber before us. And to the right, also powerfully illuminated with similar contrasting sunny yellow, an open door. In his caption to the plate of this work, Hodgins intimates that that door may be threatening, leading to negation or even hell … But he also makes it clear that the opening of the door is something he would like to pursue. I believe this pivotal work stands at a threshold for the artist: between past and unknowable, fear-ridden future. Between a South Africa of suppression, brutality and cruelty that he spent much of his career articulating and one that was to come, unknowable. It is a fin-de-siècle work, painted at a time of uncertainty and yet, it seems, one that is suffused with hope and the distillation of Robert Hodgins’s great gift: endless generosity of spirit. Warren Siebrits 1 Hodgins, R and Powell, I. (1996). Robert Hodgins. Johannesburg: Robert Hodgins, p.3.

Lot 58

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

Composision for a Sculpture (sic) 1967 pen and ink on paper signed, dated and inscribed with the title 29.5 x 21.5 cm

R25 000 â&#x20AC;&#x201C; 35 000

Lot 59

Lucas Sithole South African 1931–1994

If I were a man (LS7918) 1979 Nkunzibomvu wood on a liquid steel base signed 104.5 x 12 x 12.5 cm

R90 000 – 120 000 EXHIBITED

Gallery 21, Johannesburg, 1980. L IT E R AT U R E

Haenggi, H. (1979). Lucas Sithole 1958–1979: A Pictorial Review of Africa’s Major Sculptor. Johannesburg: Gallery 21.

Lot 60

Alexis Preller South African 1911â&#x20AC;&#x201C;1975

New Red 1965 oil and gold leaf on canvas laid down on panel signed and dated; inscribed with the title on the reverse 27 x 31 cm

R300 000 â&#x20AC;&#x201C; 500 000

Lot 61

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

Agro Alpha 1986 oil and enamel on Perspex and board signed and dated; signed, dated and inscribed with the title on the reverse 123.5 x 122.5 cm

R80 000 â&#x20AC;&#x201C; 120 000

Lot 62

Judith Mason South African 1938–2016

Shroud so Far oil and fabric on board signed 280 x 120 cm

R100 000 – 200 000

Lot 63

Matthew Hindley b.1974 South Africa

The Impossibility of Death in the Mind of Someone Living, IV 2014 oil on canvas signed, dated and inscribed with the title on the reverse 150 x 210 cm

R60 000 â&#x20AC;&#x201C; 80 000

Lot 64

Robert Slingsby b.1955 South Africa

One Point of View 1988 oil and foil on canvas signed and dated 54 x 39 cm

R30 000 â&#x20AC;&#x201C; 50 000

Lot 65

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

With his personal standard monoprint signed, dated, numbered 1/1 and inscribed with the title in pencil in the margin sheet size: 77 x 57 cm

R80 000 â&#x20AC;&#x201C; 120 000

Lot 66

Bridal themes and flowers have played a significant role

Christo Coetzee

throughout Christo Coetzee’s artistic career of more than fifty

South African 1929–2000

years, perhaps as an indication of his romantic side as well as

Bride

his appreciation of what he considered beautiful. Some of his

1998 acrylic and enamel on board signed and dated 119 x 119 cm

earliest work dating from his ‘Figurative Period’ (1947–1953)

R150 000 – 200 000

the early 20th century – and various still-lives with roses.

includes Bridal Couple (1948), Bridesmaid (1950) and The Bride (1950) – all reminiscent of the European romantic painters of In the early 1970s, living in Spain, Coetzee started producing larger paintings of brides with elaborate headpieces and antique Spanish dresses, layered with lace and edged with pearly beads. These monumental brides are ‘represented with a countenance, attitude and attribute that express serenity, shyness, calmness and especially a sense of mystery’ (Ballot 1999:42)1. Usually his brides are depicted as veiled, emphasising the enigmatic qualities of these ‘dolls’ or ‘intuitive remembrances’, as Coetzee often referred to his paintings of female subjects. The distance that veils create between the bride and the viewer was taken further in Coetzee’s so-called Heuristic Period (1975-1980), when he started to cover his paintings with an additional painted Perspex panel mounted in front of the painting – as can be seen with Agro Alpha (Lot 61). These panels rendered the face difficult to read, ultimately obscuring the message of the work. Painted two years before his death in 2000, Coetzee presents The Bride (1998) as an unobscured image of a young woman, without any symbolic elements as concealing techniques. Her almond-shaped eyes are directed at the viewer and her gossamer veil, crowned by a garland of roses, billows to the sides. Her long neck, adorned with a string of pearls, disappears into a sea of voile, layered in hues of pink and blue. The Bride is portrayed as serene, calm and approachable, yet she maintains that level of mystique so characteristic of Coetzee’s brides. Johan Myburg Ballot, M. (1999). Christo Coetzee. Cape Town: Human & Rousseau. p.42.

Lot 67

Kate Gottgens b.1965 South Africa

Fair Play 2015 oil on canvas signed on the reverse 84 x 120 cm

R70 000 – 90 000 EXHIBITED

SMAC Gallery, Stellenbosch, Kate Gottgens: Infinite Loop, 1 August to 19 September 2015. L IT E R AT U R E

Van Zyl, M. (ed.) (2015). Kate Gottgens: Paintings 2007–2015. Stellenbosch: SMAC Art Publishing, illustrated in colour on p.30.

Lot 68

Clive van den Berg b.1956 South Africa

Bather, after Cezanne 2012 oil on canvas signed, dated and inscribed with the title on the reverse 102 x 75.5 cm

R110 000 â&#x20AC;&#x201C; 160 000

Lot 69

Diane Victor b.1964 South Africa

Disasters of Peace, sixteen 2001 etchings each signed, numbered 22/25 and inscribed with the respective title in pencil in the margin sheet size: 36 x 39 cm each (16)

R90 000 – 120 000 EXHIBITED

Goodman Gallery, Johannesburg, Diane Victor (solo show), 2001. NO T E S

Including: Down on the Farm; Made to Measure; Why-Defy; Blind Justice; Memories; All for the Right Price; In Sheeps Clothing; Mind the Gap; 5000 Rand Ahead; Keeping Score; Blind Mans Bluff Four Boy’s in Blue; Or had you Forgoten (sic); Glue Boys; Kom Vrou en Bring die Kinders; As Easy as Pie; Glass Houses and Fence Sitters.

100

101

Lot 70

Diane Victor b.1964 South Africa

Disasters of Peace, six 2006 etchings each signed, dated, numbered 22/25 and inscribed with the respective title in pencil in the margin sheet size approximately: 34.6 x 39 cm each (6)

R50 000 â&#x20AC;&#x201C; 70 000 EXHIBITED

Goodman Gallery, Johannesburg, Diane Victor (solo show), 2006. NO T E S

Including: Witch Hunt; The Lion, the Man and the Fence; Complex; MAD bob; Fizz Pop and Graphic

102

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Lot 71

Georgina Gratrix’s still lives of flowers seem to belie that very

Georgina Gratrix

term, for they are hardly still, given the energy and vitality

b.1982 Mexico

that the artist imbues in them. The absurd inflorescence of

I Love You All the Time

flowers pouring and gushing from the tiny vase that impossibly

2011 oil on board signed and dated on the reverse 140 x 120 cm

holds them seems to imply that the perpetual love alluded to

R200 000 – 300 000

of the blooms confront the viewer with their celebration of joy

in the title is either not possible or a miracle, defying all logical explanations. In either case, the sheer volume and exuberance and life.

EXHIBITED

SMAC Gallery, Stellenbosch, Georgina Gratrix: My Show, 29 March to 24 May 2012. L IT E R AT U R E

Van Zyl, M. (ed.) (2016). Georgina Gratrix. SMAC Art Publishing, illustrated in colour on p.165. Art South Africa, Vol. 10. No. 4., 1 June 2012, illustrated in colour on the cover.

Gratrix is well known for her use of deep impasto and layering of paint, and this work shows this expertise to a remarkable degree. In addition, the thick luminescent dollops of oil colour speak of vitality and are symbolically rich. The variety and richness of the plants to be seen seem to refer to the many-faceted aspects of love itself and, in filling most of the frame of the canvas, seem to want to break free from the surface and engulf the viewer. It is a deeply romantic work, on one hand. On the other, through its very absurdity, it seems to be taking a somewhat jaundiced view of excessive outpourings of love, as if saying to the Hallmark greetings card phrase ‘I love you all the time:’ ‘Oh, really.’ The balance between visual excess and excessive outpourings of emotion creates a work that is humorous, cynical and, in essence, very beautiful. Andrew Lamprecht

Image courtesy of ART AFRICA.

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107

Lot 72

Tapers (1982) offers multiple insights into the work of one of

Penny Siopis

South Africa’s most celebrated contemporary artists, Penny

b.1953 South Africa

Siopis. In a review of the artist’s 2009 Paintings exhibition,

Tapers

Marilyn Martin, former Director of Iziko South African

1982 oil and candles on canvas 99 x 99 cm

National Gallery, observed how the artist’s ‘career reveals

R400 000 – 600 000 EXHIBITED

Iziko South African National Gallery, Cape Town, Penny Siopis: Time and Again, December 2014. L IT E R AT U R E

Smith, K. ‘Penny Siopis’ in Sophie Perryer. (ed.) (2004). 10 Years, 100 Artists: Art in a Democratic South Africa. Cape Town, Bell-Roberts Publishing, p.346. Smith, K. (ed.) (2005). Penny Siopis. Johannesburg: Goodman Gallery, illustrated in colour on p.14. Viljoen, G. (ed.) (2014). Penny Siopis: Time and Again. Johannesburg: Wits University Press, illustrated in colour on p.79.

extraordinary shifts and changes, but leitmotifs have presented themselves since the beginning: allegory, ritual, sexuality, vulnerability, estrangement and the uncanny’,1 many aspects of which are present in this significant early work. Siopis’s cake paintings are amongst her most sought-after works, conjuring images of the family bakery in Vryburg in the Northern Cape that was so integral to her primal memories and formative years. Isolated on a veridian field, the columnar pedestal with its angled table top and tapers redolent of offering, becomes an iconic statement. Tapers, common to both celebratory and religious activities, and lit in votive rituals or for prayers of intercession, emerge from crumbling cakes. As luscious in their subject as in their materiality, the alluring associations of cake with sexuality and seduction are inescapable. Abundance swiftly shifts into acquisitive excess – the indulgence and decadence prescient of the crumbling of an old order in the 1980s. In her remarkable painting, Siopis brings together ethics and aesthetics to raise questions about South African society. The question remains: ‘Can one have one’s cake and eat it?’ Emma Bedford 1 http://artafricamagazine.org/penny-siopis-7/ accessed 17 September 2018.

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110

111

Lot 73

William Kentridge b.1955 South Africa

Drawing from Stereoscope (Double page, Soho in two rooms) 1999 charcoal and pastel on paper signed 120 x 160 cm

R4 500 000 – 6 000 000 EXHIBITED

LITERATU RE

Goodman Gallery, Johannesburg, Stereoscope, 16 October to 20 November 1999.

Boris, S., Cameron, D. and Benezra, N. (curators). (2001). William Kentridge. New York: Museum of Modern Art, Chicago: New Museum of Contemporary Art, New York: Harry Abrams Inc., other drawings from the film illustrated on pp.129–133.

William Kentridge travelling exhibition Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., 28 February – 13 May 2001. New Museum, New York, 3 June – 16 September 2001. Museum of Contemporary Art, Chicago, 20 October 2001 – 6 January 2002.

Tone, L. (2013). William Kentridge: Fortuna. London: Thames and Hudson, comparative detail of drawing illustrated on p.195.

Contemporary Art Museum, Houston, 1 March – 5 May 2002.

PRO VEN A N CE

The Los Angeles County Museum of Art, 21 July – 6 October 2002.

Goodman Gallery, Stereoscope, 1999. Private Collection, Cape Town. Private Collection, Johannesburg.

South African National Gallery, Cape Town, 7 December 2002 – 23 March 2003.

N O TES

William Kentridge: Five Themes San Francisco Museum of Modern Art, 14 March – 31 May 2009. Norton Museum of Art, Florida, 7 November 2009 – 17 January 2010. Galerie Nationale de Jeu de Paume, Paris, 28 June – 12 September 2010. Stedelijk Museum, Amsterdam, 7 July – 11 October 2011. amongst others William Kentridge: Fortuna Instituto Moreira Salles, Rio de Janeiro, 24 October 2012 – 17 February 2013. Fundação Iberê Camargo, Porto Alegre, 7 March – 26 May 2013. Pinacoteca do Estado de São Paulo, 30 August – 17 November 2013. amongst others

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Rosenthal, M. (ed.) (2010). William Kentridge: Five Themes. New York: MOMA, colour illustration on p.234.

This was the featured drawing for the artist’s solo exhibition, Stereoscope, at Goodman Gallery, Johannesburg, 16 October to 20 November 1999 and was the work selected to be reproduced on the exhibition poster.

113

William Kentridge’s Drawing from Stereoscope, is certainly the most significant and exciting such work to come to auction since Aspire Art Auctions sold a drawing from the film, Mine titled Drawing from Mine (Soho with coffee plunger and cup), 1991, for R5 456 640 in November last year – a South African record for a Kentridge drawing. Produced in 1999, Stereoscope is the 8th in the Drawings for Projection series of animated films featuring the central characters of Soho Eckstein and Felix Teitlebaum. 10 films have been produced so far, with an 11th film in the making at the time of writing. This work, Drawing from Stereoscope (Double page, Soho in two rooms), 1999, is one of the largest of 65 drawings that Kentridge used to make the 8 minute and 22 second animated film that was first shown, together with a selection of drawings, at the Museum of Modern Art, New York, in April 1999. The business-suited figure in the drawing, Soho Eckstein, is William Kentridge’s much discussed alter ego, a corporate figure linked to affluent South Africans’ exploitation of the sub-continent. Over the course of the films, but in many ways culminating in this one, it is revealed that Soho Eckstein, the arch-capitalist magnate, and Felix Teitelbaum, his naked nemesis and lover of Mrs. Eckstein, are in fact one and the same. The drawing represents one of the critical moments in the film where Soho realises with sorrow the divided nature of his identity, and feels, in the midst of the political tumult going on in the world outside, totally alone in an empty room. The artist writes in the catalogue for William Kentridge: Five Themes, San Francisco Museum of Modern Art, edited in 2009 by M. Rosenthal, that ‘one of the things the films showed was that Soho and Felix were both located close to me – not so much a self divided, but the artist as mediator between several different factions of the self. In Stereoscope, Soho divides in two ...’ They are alter egos, at first seen as rivals in the earlier films and finally revealed as two parts of one splintered self in this film. This drawing depicts the crucial moment when the realisation sinks in. In the year in which he made this film, Kentridge said of his method: ‘I believe that in the indeterminacy of drawing, the contingent way that images arrive in the work, lies some kind of model of how we live our lives. The activity of drawing is a way of trying to understand who we are and how we operate in the world. It is in the strangeness of the activity itself that can be detected judgement, ethics and morality.’ James Sey

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This drawing from Stereoscope is one of the largest of 65 drawings that William Kentridge used to make the 8 minute and 22 second animated film that was first shown, together with a selection of drawings, at the Museum of Modern Art (MoMA), New York, in April 1999. Stereoscope, like Kentridge’s other ‘Drawings for Projection’, was made in stopframe animation (that the artist called ‘stone-age film-making’) in which a drawing would be filmed for a few frames, altered by tiny additions and/or erasures, filmed again until a sense of movement was achieved and replaced by another drawing in which the process was repeated. The technique is characterised by both rough, seemingly provisional marks and vestiges of erased marks that contribute to the resonance of each drawing. In the year in which he made this film, Kentridge said of his method: I believe that in the indeterminacy of drawing, the contingent way that images arrive in the work, lies some kind of model of how we live our lives. The activity of drawing is a way of trying to understand who we are and how we operate in the world. It is in the strangeness of the activity itself that can be detected judgement, ethics and morality.1

In the present double drawing, the two forms of both Soho Eckstein, the protagonist of the film, and the room in which he is set, are summarily defined. Moreover, Soho, on the left side, shows traces of arm movements as, in the animation, he has finished reading a letter. The space of both rooms is traversed by the ghosts of blue pastel lines that, in earlier versions of the drawing, had represented frenetic lines of telephonic and other forms of communication invading Soho’s world. The stereoscope is a nineteenth-century optical instrument that approximates binocular vision by presenting each eye with a slightly different view of the same two-dimensional scene that the viewer’s brain then reads as a unitary threedimensional scene. As a mechanical device, the stereoscope relates to Kentridge’s fascination with instruments – optical, cinematic and medical – that present realities that are obviously partial but, arguably, with one no less real than any other. In Stereoscope, however, Kentridge reverses the process. Instead of combining two images into one, he uses the split screen to represent the two sides of Soho Eckstein’s conflicted self – the manic businessman and the remorseful man wanting to retire from the world. In the film, scenes of civic strife compound the chaos of Soho’s life.

116

As Matthew Kentridge has written, in the early ‘Drawings for Projection’, Soho was ‘the embodiment of wealth and greed, arch-capitalist in his privileged world, fat to bursting on the proceeds of exploitation’.2 This world is represented in the chaos of communication systems, manic numbers, and various forms of interpersonal abuse that invade Soho’s room on the left. From around the time of The History of the Main Complaint of 1996, however, Soho began to express remorse for his role in an unjust system and attempted to withdraw from this world: this space is represented on the right of the drawing. Stereoscope was made at the time of the Truth and Reconciliation Commission that dealt mainly with political crimes under Apartheid but paved the way for big business to acknowledge complicity and guilt. All Kentridge’s films, however, have an autobiographical element. At the time of Stereoscope, apparently, he felt that his ‘life was much too complicated’ with exhibitions and theatre and opera projects all over the world, and he longed for an alternative existence of ‘extreme simplicity and control’.3 At the same time, Kentridge knew that neither state was desirable or feasible in itself.4 Thus, for the artist, Stereoscope expressed the hope for a balance or resolution between these competing states of life. The present drawing represents the setting of the stage, the time before Soho’s world is invaded, on the left side, and his struggles to protect his integrity, on the right. In the context of the film, with its frenzy and violence, this drawing represents the calm before the storm – a moment of possibility and contemplation – a moment also, paradoxically, of resolution even before the conflict begins. Michael Godby 1 ‘Carolyn Christov-Bakargiev in Conversation with William Kentridge’ in Cameron, D., Christov-Bakargiev, C. and Coetzee, J.M. (1999). William Kentridge. London: Phaidon, p.35. 2 Kentridge, M. (2015). The Soho Chronicles: 10 Films by William Kentridge. Calcutta: Seagull Books, p.57. 3 Kentridge, W. and Breidbach, A. (2006). William Kentridge: Thinking Aloud; Conversations with Angela Breidbach. Johannesburg: David Krut Publishing, p.80. 4 Ibid, p.74. With thanks to Anthony Dawson of Goodman Gallery, Cape Town, for assistance in preparing this essay.

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Lot 74

Deborah Bell’s Fortuna was produced at a critical time in

Deborah Bell

South Africa’s history, after Nelson Mandela’s release from

b.1957 South Africa

incarceration and in the build-up to the first democratic

Fortuna

elections in 1994 – a period of transition fraught with political

1993 charcoal, pastel, collage and oil on paper signed and dated; signed, dated and inscribed with the title on the reverse 146.5 x 116 cm

violence and instability and yet permeated with hope.

R250 000 – 350 000

of fortune). She might bring good or bad luck: she could be

Fortuna is thus an apt vehicle for reflecting on those times. As the Roman goddess of fortune and the personification of luck, she was often depicted with a ball or Rota Fortunae (wheel represented as veiled and blind, as in modern depictions of Lady Justice, and came to represent life’s capriciousness. Bell notes that this work was produced in the wake of Easing the Passing (of the Hours), a computer animation produced collaboratively with William Kentridge and Robert Hodgins.1 Aware of the ending of an era, the film is dominated by a legless general in a wheelchair, his puppet and the crowds that he addresses and is interspersed with a beheaded man, dancing nudes, microphones and the paraphernalia of despots. Some of these elements find their way into the present work: the general astride his wheel of fortune, as if cycling through history, while a nude woman dances like Salome at a feast. A phallic gun and the gloves and boots of workers or the military are strewn about, reinforcing associations of brutal power. Made at a time when Bell was exploring the visual and conceptual potential of torn colour collages, the medium itself contributes to the meaning of the work. ‘The sense of displacement and fragmentation of lives which occurs as a result of oppressive regimes is reflected in the spatial arrangement of the images on the page’ as Pippa Stein so perceptively points out (2004)2. While the signifiers of that remarkable era are invoked, any sense of a coherent narrative structure is challenged, alluding to portentous events, but leaving the viewer to piece together the fragments. Emma Bedford 1 Telephonic interview with the author 11 September 2018. 2 Stein, P. (2004). Deborah Bell. Johannesburg: David Krut Publishing. p.60.

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Lot 75

In Dante’s Inferno, there are, of course, only nine circles of

Robert Hodgins

Hell, reserved for all manner of sinners. Hodgins has extended

South African 1920–2010

this to a tenth, most innermost circle, presumably reserved for

The Tenth Circle

those who are the very worst of reprobates: the Capitalists.

1994/5 oil on canvas signed, dated, inscribed with the title, medium and ‘Begun Tues July 5 ‘94’ on the reverse 120 x 90 cm

In the lower right foreground, we see a generic representation

R600 000 – 900 000

of this character, familiar from other works by the artist. He stands confidently, leaning against his executive swivel chair, a somewhat blank but also sinister glint emanating from his eyes. One leg is akimbo, suggesting indolent control of his domain. Behind him and to the upper left is the massive portrayal of a hand holding a hammer, as if about to knock on (or through) the panelled doors of the boardroom. This hand and hammer clearly represents that of the worker and its scale indicate that the mass of workers far outnumbers those who control finance at the upper echelons of the corporate pyramid. The splashes of red that dominate the canvas clearly allude to blood: but to whose? The blood of the workers spilt in creating wealth in apartheid South Africa; or the blood of the capitalist which the artist seems to imply will flow freely in due course. Painted in 1994/95, at a time of massive economic and social restructuring in South Africa, the implication is that the tenth circle will not be reserved for after death but will be coming a-knocking rather sooner. Here Robert Hodgins has used ironic humour to critique a system that would not be supplanted but rather appropriated in the ‘New South Africa’, much to his dismay. Nevertheless, it is a masterful use of painting to summon up an ethical argument that the artist had been exploring for his whole career. Andrew Lamprecht

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Lot 76

David Brown was a dedicated artistic satirist and masterful

David Brown

sculptor. His sculptures, especially his large-scale works in wood

South African 1951–2016

and metal, are representative of a certain type of ironically

Engine Driver (from the Deadly Sinners series)

oppositional narrative within South African art from the height

2011 bronze and steel signed, dated and numbered 3/3 185 x 253 x 97 cm

political protest nature of his work, and in the regime’s

R200 000 – 300 000

humour to his figures, along with their hints of grotesquerie

of apartheid. Brown was quite specific about the anti-apartheid, aftermath, his work moved into a more generalised satirical view. Brown typically brought a macabre, even Hogarthian and chimera, all set in an implicitly political context. Engine Driver, a large-scale work from 2008, is a version of one of the figures which appear in the 2011 series, Deadly Sinners. Brown is said to have been influenced in creating the work by reading a book on the gulags in Stalinist Russia, which led him to muse on the role played by ordinary people in facilitating social horrors – what Hannah Arendt called ‘the banality of evil’. The notion of forced removal and imprisonment inherent in the image of the gulag train of course has echoes in the forced removals of the apartheid era. Brown would go on to imagine a range of such figures that, in his view, caused a range of social ills and evils. The ‘deadly sinners’, made at a much smaller scale than this work, included a preacher, a surgeon, a hunter and a butcher. Each is characterised by an exaggerated pose and appendages from their role in life attached to their person or sculpted as the base for the figure. In the case of the large-scale standalone engine driver figure, this life-size lampoon is sculpted in a classic surfer’s pose, literally riding the rails, which, complete with steel sleepers, forms the base of the imposing work. As with many of Brown’s satirical male figures, the engine driver, clad only in shorts and boots, is shown with a protruding penis sticking out of his shorts. The abandonment and speed of the driver riding the rails, his locomotive and carriages in miniature chasing around his waist, is admirably realised. While there is much comedy here, there is also a sinister undertone that was common in much of Brown’s later figures, a barbed comment on what we would now call ‘toxic masculinity’. James Sey

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Lot 77

Wopko Jensma South African 1939–1993

Six Armed Mythical Figure, and five others 1972 linocuts each signed with the artist’s initials, dated and inscribed Proof in pencil in the margin sheet size: 61.5 x 46 cm (6)

R15 000 – 18 000 L IT E R AT U R E

Gardiner, M. (2017). Who is Wopko Jensma? A Short Biography. Johannesburg: Porcupine Press, illustrated on the front cover. NO T E S

Accompanied by five other framed linocuts by Jensma from the same series of prints titled Wail for the Beast, first exhibited at Gallery Y, Hillbrow, 1973.

Lot 78

Wopko Jensma South African 1939–1993

Bone of Contention 1974 bone and wood 25 x 13 x 11 cm

R20 000 – 30 000 PROVENANCE

The Wolf and Gundi Weinek Collection, Johannesburg, 1974–2013. EXHIBITED

Gallery Y, Johannesburg, Wopko Jensma, 1974. Gallery AOP, Johannesburg, Wopko Jensma: Possessing Tools/Professing Artistry, April 2013. NO T E S

Accompanied by the Gallery AOP Wopko Jensma: Possessing Tools/Professing Artistry exhibition catalogue.

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Lot 79

Fred Page South African 1908–1984

The In-Between Days 1968 pen and ink on paper signed, dated and inscribed with the title 64 x 41 cm

R50 000 – 70 000

Lot 80

Fred Page South African 1908–1984

Lower Russell Road, PE 1968 acrylic on paper laid down on board signed and dated; signed and inscribed with the title on the reverse 87 x 64.5 cm

R100 000 – 150 000

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Lot 81

Edoardo Villa returned over and over again to the key subjects

Edoardo Villa

of incarceration and its corollary, liberation. Series, or groups

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

of such works, in particular the Prisoner, or the Open Door

Liberation

group, show Villa using stylized human forms to comment

1985 bronze and steel signed and dated 180 x 73 x 60 cm

on key aspects of the human condition. An important visual

R600 000 â&#x20AC;&#x201C; 800 000

change and possibility.

difference between these groups is how he realized the state of liberation â&#x20AC;&#x201C; where forced incarceration becomes a moment of One of the two most important works of the Prisoner group, a barred and aggressive form shown on the WITS campus in 1984, alludes to a country under severe socio-political turmoil, where the captor is struggling for freedom. The constrained forms are overt in the notion of threat and impingement. The windows with bars suggest horizontal and vertical ladders, the concepts of movement impossible for the captive. In the other work, a monumental sculpture in steel from 1983, there are angular forms that are sharp and aggressive. However the spire that projects from the top of the piece is symbolic of a movement upward, a liberation from the box like incarceration where there is a limited and controlled view. It bears remembering that Villa himself was a prisoner of war in World War II, imprisoned at Zonderwater camp sometime between 1941 and 1942. He speaks from experience of both incarceration and liberation. Continued on page 128

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Continued from page 126

Villa presents many variations on the subject: 1 Figure, 19801. This is the first cast part of the steel sculpture Edition 1-3/3 and two Artist Proofs, Renzo Vignali Foundry. It is part steel and part bronze - two aspects of the whole, comprising an architectural context in steel - and a human presence in bronze. 2 In another variation of the same figures, there is Group (1985)2, Edition 1-6 plus two Artist Proofs, also cast at the Renzo Vignali Foundry. Here, the two figures stand alongside Figure, 1980.

each other devoid of the confines of a box. 3 Lastly, the monumental work Open Door (1984)3, steel, 260cm, is done just a year after the rest of the Prison series and a year before Liberation (1985). This work is colossal and ironically would present a space of severe confinement had its doors been able to close. The figure is bursting forth and there are no barred windows but rather very small unpleasant looking apertures - almost a viewpoint that doesn’t have the possibility of any liberation. The work on auction, Liberation (1985) provides a view of a figure which may be ascending or descending the steps. The

Group, 1985.

presence of steps leading both in and out of the space is also present in Figure [Open Door] (1985) which might also have been an extension of the concept of the box, but is certainly expressive of liberated viewpoint. Mary-Jane Darroll and James Sey 1 De Klerk, C. & De Kamper, G. (2012). A comprehensive reference to

the castings of Villa in Bronze. Pretoria: University of Pretoria, p.103 2 ibid., p.67. 3 Nel, K, Burroughs, E. & Von Maltitz, A. (eds.) (2005). Villa at 90.

Johannesburg: Shelf Publishing, p.23.

Open Door, 1984.

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Two views of Lot 82

Lot 82

Michael MacGarry b.1978 South Africa

Satrap V AK47 replica, found objects, leather, wood and steel 27 x 88 x 8 cm

R50 000 â&#x20AC;&#x201C; 80 000 EXHIBITED

Blank Projects, Cape Town, Half-Devil and Half-Child, 23 January to 22 February 2014.

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Lot 83

Robert Hodgins South African 1920–2010

The Night of the Reichstag Fire 1984 tempera and oil on pressed board signed, dated, inscribed with the title and medium on the reverse and again on a label on the reverse 35.5 x 51 cm

R100 000 – 200 000 EXHIBITED

Carriage House Gallery, Johannesburg, October to November 1984. Grahamstown National Arts Festival, festival artist, 1986. L IT E R AT U R E

Grahamstown National Arts Festival exhibition catalogue, 1986, catalogue number A57.

N O TES

This atmospheric work by Hodgins was painted at perhaps one of the darkest times in modern South African history – deep in the apartheid era, and shortly before the first State of Emergency in the country in mid-1985. The historical allusion of its title is a reference to the infamous night in 1933 when a mysterious fire that almost burned down the German Reichstag, or parliament building, was blamed on a German Communist Party member. This provided Hitler with the pretext to launch a crackdown on Communist Party activity, and manoeuvre the National Socialist Party into power. The phrase ‘Reichstag fire’ was for some time used in politics to refer to a fabricated excuse to get rid of opponents. Hodgins uses the floating swastikas in the upper background of the piece as a sinister historical reference to this original rise of the Nazis, but the even more sinister figures that dominate the painting could also be the functionaries dominating the apartheid South African state when the work was painted. The allegory between the National Party in the 1980s and the National Socialist Party in the 1930s is clear.

131

Lot 84

Young Guns X and Young Guns O (2005) formed part of the select

Willem Boshoff

collection of works that featured in Willem Boshoff’s mid-career

b.1951 South Africa

retrospective exhibition in 2007 at the Standard Bank Gallery in

Young Guns X; Young Guns O, diptych

Johannesburg. Titled Willem Boshoff: Word Forms and Language Shapes

2005 plastic toy guns, sand, small stones, wood and glue on board each signed and dated on the reverse 126 x 126 cm each (2)

intricacies of Boshoff’s conceptual work and significant artistic output.

R250 000 – 400 000 EXHIBITED

Standard Bank Gallery, Johannesburg, Willem Boshoff: Word Forms and Language Shapes 1975–2007, 25 September to 1 December 2007. L IT E R AT U R E

Siebrits, W. (2007). Willem Boshoff: Word Forms and Language Shapes 1975–2007. Johannesburg: Standard Bank Gallery, illustrated in colour on pp.108–109. NO T E S

Accompanied by a certificate of authenticity signed by the artist.

1975–2007, the exhibition, curated by Warren Siebrits, surveyed the Boshoff is internationally renowned for engaging his socio-political viewpoints in evocative and, at times, challenging works, in various media for well over thirty years. An obsessive collector and taxonomist of objects both natural and manmade, of words, phrases and paraphernalia, his practice take on an almost investigative process of collecting, ordering and translating. Despite seeing himself as a pacifist, Boshoff has never shied away from tackling very serious topical issues head-on. Young Guns X and Young Guns O is an imposing two-piece mixed media work in which Boshoff makes a strong statement against perpetuating a culture of violence, already subliminally inculcated since childhood. Criticizing the commercial supply of war themed games and toy guns for children’s recreation, he states: ‘The toys we play with when we are small embody the standards we uphold for the rest of our lives. Children’s toys write the script by which they enact their adult lives. Little boys play with guns, and ultimately, in a violent society like South Africa’s, they want to play with real guns when they are adults. This is a dangerous tendency, because it fosters a kind of militaristic aggression. If guns and the elements of aggression are taken out of the toy shop, it will cease to exist’1 At the centre of this work is a consideration for the child, who is innocent and vulnerable, especially at a very young age. A ‘young gun’ refers to a young person regarded as assertive and aggressively selfconfident, however in this context Boshoff condemns the societal approval of conflict and confrontation. In a public drive to create awareness for a non-violent society, Boshoff actively ‘called on’ children in the Johannesburg area to ‘surrender their weapons’. He collected 90 plastic toy guns which he fixed to two panels and covered them with a sand and glue mixture to evoke ‘the transition from childhood plaything to serious killing instrument of adulthood’2. However, buried, these guns are now rendered useless and unattainable. Suggesting a game of tic-tac-toe, Boshoff further denounces these instruments of violence; a superimposed O draws their challenge to a zero and the X cancels them out. Marelize van Zyl 1 Siebrits, W. (2007). Willem Boshoff: Word Forms and Language Shapes 1975–2007, Johannesburg: Standard Bank Gallery, p.25. 2 Siebrits, W. (2007). Willem Boshoff: Word Forms and Language Shapes 1975–2007, Johannesburg: Standard Bank Gallery, p.108.

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Lot 85

Moshekwa Langa’s artworks entered the South African art canon

Moshekwa Langa

in the mid-nineties after the historic first democratic elections

b.1975 South Africa

in 1994. Within the art establishment, Langa’s work is hailed

hand thrown distance

as undeniably contemporary1, a radical break from the familiar

2000 pen, pencil, acrylic, enamel and spray paint on paper 140 x 100 cm

stock of primitivist tropes. His ascendance is welcomed with

R250 000 – 350 000

conceptually-based artist’2.

relief; according to Clive Kellner, ‘Langa epitomizes everything that the establishment has been seeking: he is young, black, and a Often described as mixed media, Langa’s oeuvre evades hard

EXHIBITED

Goodman Gallery, Johannesburg, Another Time, Another Place, 4 to 25 November 2000.

descriptive categories and his work hand thrown distance (2000) presents a strong case in point. To create this image, Langa uses a combination of everyday instruments such as pen, pencil, acrylic, enamel and spray paint to create a colourful euphony of blues, taupes and green hues. In hand thrown distance he handles his colours in a loose and poetic way. Thick lines curve and twist as if guided by the instinctive impulse suggested by the title of the artwork. Further, the title, hand thrown distance alludes to a riddle, as we see it inscribed in a self-referential way above the sketchy ghost-like countenance that hovers on the left hand side. Painted in a layered and fragmented fashion; hand thrown distance echoes the recognisable traits of modern abstraction. However, this modern quality is immediately undermined by the layers of spray paint that suggest the fleeting freedom of graffiti, a testament to Langa’s connection to the urban. This painting marks a milestone in Langa’s professional timeline. It was first exhibited during the year 2000, as part of Another Time, Another Place3, at the Goodman Gallery in Johannesburg. This was the artist’s first solo exhibition in South Africa following the completion of his studies at the esteemed Rijksakademie van beeldende kunsten in Amsterdam. Hand thrown distance is a complex composition, layered with curious details that keep us second-guessing. It is an enigmatic piece that doesn’t give away its secrets. Unresolved, it keeps the viewer lurking at a close distance, close enough to turn back to it again and again. The power of this work lies in its inscrutable dimensions that demand something far deeper than just a thoughtful understanding. hand thrown distance is a spiritual experience. Zama Nsele 1 Corrigall, M. (2011) ‘At the border post of Western art: the provisional ‘reaggregation’ of Moshekwa Langa’s art into the South African canon’. Image and Text (2011) (17), p.138–157. 2 Kellner, C. (1997). ‘Emerging voices/radiant child: Moshekwa Langa’. Atlantica (17), p.157–161. 3 Art Africa, SPRING 18 FOCUS: Contemporary African Art: Moshekwa Langa. 2018. [O] Available: https://artafricamagazine.org/spring-18-focus-contemporaryafrican-art-moshekwa-langa-collector/ Accessed 5 September 2018.

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Lot 86

With a prolific career that was steeped in so many influences

Walter Battiss

drawn from the art movements that were occurring during his

South African 1906–1982

lifetime, and influences drawn from his many explorative trips

Traders

to places as far afield as Greece, Zanzibar, Yemen, Tahiti, the

oil on canvas signed 51.5 x 61.5 cm

Seychelles and the US – it is not always easy to pin down the

R500 000 – 700 000

work of Walter Battiss to a specific time and place. However, this oil painting with its distinctive use of the Hellenic blue and white combination in its central podium, and the scrawled complementary coloured abstract figures in yellow and orange which pop out against its blue background, would seem to fit into the period of the artist’s career after his trips to Greece from 1966 to 1968. The congregation of female figures also invoke elements of Greek mythology, without being tied down to the particular representation of any discernible episode, while evoking in their clear, emblematic details the artist’s lifetime fascination with the rock art of South Africa. Battiss’s use of the palette knife as a means of etching out forms against the backdrops of the strikingly bold colours of his figures, is also typical of many similar works created during this period. It is also a technique, which Battiss embraced precisely because it was frowned upon by the art establishment of his day. As he told Dan Swart in a 1980 interview, ‘I painted with a paletteknife because the Wits art school said you should never paint with a palette knife. So, I loved painting with a palette-knife. I loved being a rebel, doing what they said I mustn’t.’ (Siebrits 2016)1. That rebellious spirit is fully displayed here both in the centring of female figures in the work as well as in its distinctive colour juxtapositions and playful abstractions. It is an image that conveys a vibrancy and a sense of bustle through only a few scribbles and careful interventions in a manner that clearly marks it out as a distinctively Battissian evocation of a world both familiar and strange. Tymon Smith 1 Siebrits, W. (2016). Walter Battiss: ‘I invented myself ’ The Jack Ginsberg Collection. Johannesburg: The Ampersand Foundation, p.57.

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138

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Lot 87

Keith Alexander South African 1946–1998

Abstract form carved wood signed with the artist’s initials 60 x 92 x 29 cm

R30 000 – 50 000

Lot 88

Winston Saoli South African 1950–1995

Abstract 1971 oil on canvas signed and dated 67 x 92 cm

R15 000 – 25 000 PROVENANCE

A similar example, titled Twilight, is in the University of Fort Hare’s De Beers art collection and illustrated as item 53 in E.J. de Jager. (1973). Images Of Man: Contemporary South African Black Art And Artists.

140

Lot 89

Cecil Skotnes South African 1926–2009

Geometric composition hand-woven wool tapestry 105 x 205 cm

R50 000 – 80 000

141

Lot 90

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

Standing form 2011 painted steel signed and dated 96 x 30 x 33 cm excluding base

R120 000 â&#x20AC;&#x201C; 180 000

142

Lot 91

Herman van Nazareth b.1936 South Africa

Torso bronze signed 81 x 74 x 36 cm

R65 000 – 85 000

Lot 92

Geoffrey Armstrong Canadian 1928–2018

Untitled 1968 acrylic on canvas 213 x 170 cm

R20 000 – 30 000 PROVENANCE

Mary McFadden, Johannesburg (The Giorgis Trust Collection) which included iconic examples of international contemporary art of the day, such as Andy Warhol’s seminal painting Thirty are Better than One (30 Mona Lisas), 1963. EXHIBITED

Pretoria Art Museum, Pretoria, The Giorgis Trust Collection, June to September 1969, catalogue number 86. NO T E S

Accompanied by two drawings and the original Giorgis Trust Collection exhibition catalogue which includes illustrations of Warhol, Bacon and Rauschenberg. Untitled I – colour crayon and pastel on paper, signed and dated 1975 on the reverse, 108.5 x 80 cm Untitled II – pastel and enamel on paper, signed and dated 1975 on the reverse, 108.5 x 80 cm

143

Lot 93

Kenneth Bakker’s work commands a distinctive position in the

Kenneth Bakker

canon of abstract art in South Africa. A former student of Erik

South African 1926–1988

Composition 1982 1982 mixed media relief construction with marble inlay on board, in the artist’s frame signed and dated; signed, inscribed with the title and ‘Simon’s Town’ on the reverse 128 x 128 cm

R100 000 – 150 000

Laubscher during 1950 and 1952 at the Contemporary School of Art in Cape Town, he gained prominence in 1963 when he became the first South African artist to receive an honorary award at the São Paulo Biennale for his work Composition No 5 (1963), which is now in the Sanlam Art Collection. His winning entry was described as an ‘essay in textures’1, and this was Bakker’s forte throughout his oeuvre – to physically emphasize texture and structure. Drawn to the organic forms found in nature, particularly geological formations, Bakker determinedly sought to invent a radically new way to reveal aspects of a reality that seemed inaccessible to the techniques and conventions of figurative art. The advance of abstract production in South Africa since the late 1950s, new techniques, and the experimental spirit of the 1960s and 1970s, all led to fundamental changes in the general nature of artistic expression at the time. Creative originality was subject to the imperatives of authenticity, and Bakker responded to this by extending the physical properties and possibilities inherent in his various media – especially paint. Arbitrary colour, exaggerated textures, collages, distortions and other disruptions of the surface were among the varied devices Bakker adopted. Composition 1982 is an impressive mixed media relief construction consisting of simplified forms in a highly stylized composition. It is one of Bakker’s few later works. Produced in 1982, when he was 56 years old, the work displays Bakker’s artistic confidence and maturity. Structurally dynamic, Composition 1982 references geophysical allusions – almost in microscopic form. Here Bakker has mastered his technique of combining the effects of painterly impressions and sculptural augmentation by incorporating plastic media, like gesso, to create physical relief formations on the surface. The work possesses a mystical, fascinating quality. The inlays of marble are unique and the clever employment of mise en abyme (the technique of a picture appearing within itself) not only achieves optical impact, but suggests an infinitely recurring sequence of the phenomena that captured Bakker’s imagination. Marelize van Zyl 1 Berman, E. (1983). Art & Artists of South Africa: An Illustrated Biographical Dictionary and Historical Survey of Painters, Sculptors & Graphic Artists since 1875. Cape Town: AA Balkema. p.53.

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Lot 94

Douglas Portway’s abstract paintings intuit a complex reality

Douglas Portway

that cannot easily be put into words. Similar to the experience

South African 1922–1993

of standing in front of Mark Rothko’s large-scale ‘floating-

Yellow abstract

forms’, his works are quietly powerful. Without referencing any

1977 oil on canvas signed and dated 117.5 x 117.5 cm

subject, they appeal immediately, alluding to sensations, feelings

R100 000 – 150 000

in meaning, in order to invite individual contemplation and

and reactions. Addressing the viewer in a purely formal visual language, Portway often stated that his paintings are ambiguous a consideration of the expressive elements in each work. In their own individual sincerity, it is this ‘abstract poeticism’ (Hodin 1983:17)1 that is part of Portway’s artistic authority, making him one of the most moving and esteemed artists of his generation working in abstraction. Yellow Abstract (1977) (Lot 94) is a striking example of Portway’s distinctive mature style and his unique technique of colour and surface layering without giving tactile body

Halima Nałęcz (right) owner of Drian Galleries (1957-2000) in London, 8 February 8, 1972. photo: wł. bednarczyk, archives: j.w.sienkiewicz

to the paint – a sensibility derived from the restraint of Far Eastern painterly traditions. He was greatly influenced by the intellectual currents of abstract expressionism and the philosophy of Zen Buddhism which he explored in his paintings. Working intuitively, yet introspectively, was central to his process of manifesting visually a state of mind or feeling, without the interference of conceptual thought. A sense of serenity can be read in Yellow Abstract, a warm circular form - as the focal point dominates the contained, black-outlined composition. It draws the viewer in and demands a minute of quiet reflection. The background is nondescript and calm. Yellow Abstract was painted a decade after Portway settled in St Ives, West Cornwall, in 1967, which at the time had been the centre for modern developments in British art since the 1940s. There he met other artists involved in the British Abstract movement of the 1950s and 1960s and became an important member of this dynamic artistic community. He however kept very close ties with South Africa after emigrating in 1956, shortly after his works were included in the South African presentation at the Venice Biennale that year. Portway’s first solo exhibition in London in 1959 was with the prestigious Drian Galleries. The show drew much critical acclaim. Following its success, he was contracted by the gallery founder and director Halima Natecz, who then officially represented his work until the 1970s. Continued on page 148

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Continued from page 146

Lot 95

Douglas Portway

Composition No. 11 (Lot 95) is one of the many works first handled by Drian Galleries and carried its stamp of approval.

South African 1922–1993

It is an impressive painting and typical of Portway’s gestural

Composition No. 11

compositions from the 1960s. Despite the notable large scale

oil on canvas signed; inscribed ‘No. 11’ on the reverse 95.5 x 129 cm

and voluminous – almost movable – shapes, it shows the artist’s

R80 000 – 120 000 PROVENANCE

Drian Galleries, London.

subtle handling of paint, layered scraffiti and the application of colour in monochrome, to create a sensuous surface. The title references its form, and is not revealing of meaning or narrative. Rather, the work is a semblance of sensation or of thought, expressed without a concrete image. Composition No. 11 is not rooted in time or place, but universal in its aesthetic quality and continuing mystery. Marelize van Zyl 1 Hodin, J.P. (1983). Douglas Portway: A Painter’s Life. Cranbury: Art Alliance Press.

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Lot 96

Douglas Portway South African 1922–1993

Composition 1976 charcoal and pastel on paper signed and dated 56.5 x 75.5 cm

R18 000 – 24 000 EXHIBITED

Natalie Knight Gallery, Hyde Park, Females, Flowers and Fantasies, March 1990.

149

Lot 97

Walter Oltmann b.1960 South Africa

Residuum 2013 aluminium wire 169 x 180 cm

R110 000 â&#x20AC;&#x201C; 160 000 PROVENANCE

Goodman Gallery, Johannesburg.

150

Lot 98

Lot 99

Willem Boshoff

b.1951 South Africa

Abstract form

Kubus, with the original prototype

1976 carved and polished wood signed and dated twice 6.5 x 90.5 x 17 cm

R25 000 – 40 000

1982 aluminium, cotton linen and contact adhesive signed, dated and numbered 15/50 5 x 5 x 5 cm closed (2)

R35 000 – 50 000

LI TERATURE

Siebrits, W. (2007). Willem Boshoff: Word Forms and Language Shapes 1975–2007. Johannesburg: Standard Bank Gallery, another example from the edition illustrated in colour on pp.42–43. Knight, N. (2017). The Big Picture: an Art-O-Biography. Johannesburg: Natalie Knight Productions, illustrated on pp. 66– 67 and illustrates a photograph of Willem Boshoff presenting Kubus to politician Zach de Beer. Vladislavic, I. (2005). Willem Boshoff. Johannesburg: David Krut Publishing, another example from the edition illustrated in colour on pp.16–17. NOTES

Accompanied by the original prototype from which the edition was made.

151

Lot 100

Lot 101

Norman Catherine

Zander Blom

b.1949 South Africa

b.1982 South Africa

Think box (rare)

Untitled (1.822)

1994 oil on metal and wood assemblage signed and dated 80 x 70 cm including frame

2016 oil and graphite on Belgian linen signed, dated Aug 2016, inscribed with the title and ‘CPT’ on the reverse 76 x 56 cm

R90 000 – 120 000

R30 000 – 50 000 LI TERATURE

Blom, Z. (2016). Paintings Volume II 2013–2016. Cape Town: Stevenson, illustrated in colour on p.318.

152

Lot 102

Andrzej Urbanski b.1983 Poland

A028 140/108/16 2016 spray paint and acrylic on canvas signed, dated, inscribed ‘CT’ and ‘To Rebecca, I Love You’ on the reverse 200 x 230 cm

R150 000 – 180 000

153

Lot 103

On first encountering this electrifying and vibrant painting

Alexis Preller

by Alexis Preller from 1972, one is immediately struck by its

South African 1911–1975

hypersaturated colour palette. Simply titled Adam, it belongs to

Adam

a period in Preller’s career where the figuration of male subjects

1972 oil on canvas signed and dated 102 x 102 cm

was taking interesting directions and nuances. As was often

R8 000 000 – 10 000 000

Berman and Nel (2009)1 point out, much of the importance of

Preller’s practice, he painted several versions of and variations on the Adam theme through the late 1960s and early 1970s. As this work derives from its status as a variation on a significant

EXHIBITED

São Paulo Biennale, Brazil, 1973. L IT E R AT U R E

Berman, E. and Nel, K. (2009). Alexis Preller: Collected Images. Johannesburg: Shelf Publishing, a comparable example titled Icon Barbare (Adam) illustrated on p.230.

original Adam intaglio from 1969. Initially thought to be lost, this earlier work was subsequently rediscovered in a private collection in the USA and returned to South Africa. The almost lifesize fibreglass and oil intaglio depicts a powerfully dramatic male figure, posed in the ancient Greek kouros style of a free-standing young male nude statue with arms at his sides, though Preller’s is without arms, and has a direct and unmistakably sexualised presence. With this work, along with the two paintings The Creation of Adam I and The Creation of Adam II, Preller thus inaugurates in the late 1960s a series of Adamic figures that might be grouped with the Apollonian torsos that find their best expression in the magisterial Marathon of 1970. As Berman and Nel (2009)2 explain: [Preller was now focused on] the Biblical myth of the origin of humankind and the parallel return to the origin of his own creative language. In both cases, the focus fell on Adam, the first human figure to be shaped in the Garden of Eden… Adam was specifically the first man and thus the essential male prototype, just as Apollo was the ideal of male beauty. […] Preller freely celebrated both (emphases in original).

The current work on auction fits exactly within this group, and demonstrates many of the key characteristics of Preller’s imagining of the male psyche in his oeuvre and in his personal mythography. In the Adamic and Apollonian works around this time there is often a gender ambiguity, and a certain eroticism, which this Adam figure embodies. Continued on page 156

154

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Continued from page 154

As a painted study, or a revisioning, of the 1969 intaglio, it retains the aura of a Pan figure, or a Satyr. In antiquity these Satyrs expressed qualities of sexuality and power, but also of the religious or sacred properties with which ancient societies imbued nature. They were in essence pagan or pantheistic societies. The elements that are retained in this Preller painting from the earlier intaglio reinforce this impression – the mane of hair and beard, and the belt and neck decorations, for example – both connect the work to the other Apollonian studies and lend it an air of pagan pantheism, elements Preller was aware Adam, 1969

of and seeking to express in his own way. Another Adam work from the same year as the current painting, Icon Barbare (Adam) (1974), referenced in Berman and Nel,3 evokes the same qualities, though realised in gold leaf on wood. Clearly the most striking aspect of this important work is its startling colour palette in almost kaleidoscopic purples, blues and greens. It is a very different and extreme contrast to the far more muted palettes of the other Adams, and brings it more in line with later paintings like C’est magnifique (1974). This Adam’s eyes are rendered in a powerfully uncanny electric blue, lending the figure an almost reverential and godlike atmosphere.

Icon Barbare (Adam), 1972 photo: bob cnoops

They are completely blue, painted without irises, in an allusion to classical Greek sculpture. Preller imbues his Adam with this timeless quality, as if he is looking into the void, capturing powerfully the ambiguity beween the abyss and a godlike expansiveness. It was certainly telling that Preller deemed it a significant enough work to go to the São Paulo Biennale of 1973, an exhibition for which he only selected five works. James Sey

C’est Magnifique, 1974 photo: bob cnoops

1 Berman, E. and Nel, K. (2009). Alexis Preller, A Visual Biography: Collected Images. Johannesburg: Shelf Publishing, p.229. 2 Ibid, p.225. 3 Ibid, p.231.

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157

Lot 104

William Kentridge b.1955 South Africa

Felix in Exile 1994 etching, aquatint, drypoint and soft ground signed and numbered 19/35 plate size: 55.5 x 77.5 cm

R400 000 â&#x20AC;&#x201C; 600 000

158

LITERATU RE

Law-Viljoen, B. (2006). William Kentridge Prints. Johannesburg: David Krut Publishing, another example from the edition illustrated in colour on pp.50â&#x20AC;&#x201C;51. Knight, N. (2017). The Big Picture: an ArtO-Biography. Johannesburg: Natalie Knight Productions, illustrated on p.94. Hecker, J. (2010). William Kentridge Trace. New York: The Museum of Modern Art, another example from the edition illustrated in colour on p.13.

Lot 105

William Kentridge b.1955 South Africa

Seated woman (from the Domestic Scenes series) 1980 etching signed, dated and inscribed ‘A/P’ in pencil in the margin plate size: 14.5 x 14.5 cm

R30 000 – 50 000

Lot 106

William Kentridge b.1955 South Africa

Woman in the back seat of a car with her dog 1980 etching with hand-colouring signed, dated and inscribed ‘A/P’ in pencil in the margin plate size: 12 x 20 cm

R30 000 – 50 000

159

Lot 107

Leonora Everard Haden b.1937 South Africa

Dombeya Tree in Flower 2018 oil on canvas signed 104 x 77 cm

R70 000 â&#x20AC;&#x201C; 100 000

160

Lot 108

Nicky Leigh South African 1966–2017

Ngunis and Cabbage Trees 2015 oil on canvas signed; signed, dated, inscribed with the title and ‘Cat 606’ on the reverse 81 x 101 cm

R25 000 – 40 000 PROVENANCE

Everard Read, Johannesburg.

Lot 109

Louis van Heerden b.1957 South Africa

Amaryllis oil on canvas signed 75 x 60 cm

R20 000 – 30 000

161

Lot 110

Johannes Meintjes South African 1923–1980

Small Landscape with Succulent 1956 oil on board signed and dated 20 x 14 cm

R30 000 – 50 000 L IT E R AT U R E

Meintjes, J. (1972). Diary of Johannes Meintjes, catalogue number 533.

Lot 111

Johannes Meintjes South African 1923–1980

Seegesig met Voël (Seascape with Bird) 1954 oil on board signed and dated; signed, dated and inscribed with the title on the reverse 38.5 x 40.5 cm

R60 000 – 90 000 EXHIBITED

RAU (University of Johannesburg), Johannesburg, 7 June to 6 July 1990, catalogue number 28. L IT E R AT U R E

Meintjes, J. (1972). Diary of Johannes Meintjes, catalogue number 457.

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Lot 112

Cecil Higgs South African 1898–1986

Surf and Kelp 1964 oil on canvas inscribed with the title on the reverse 24.5 x 45 cm

R30 000 – 50 000 PROVENANCE

Purchased from the artist in 1966 and thence by descent.

Lot 113

Alfred Krenz South African 1899–1980

Fisherman’s cottages, Arniston 1963 oil on board signed and dated 45 x 59 cm

R30 000 – 50 000

163

Lot 114

William Timlin British 1892–1943

The Rose Fairies ink and watercolour on paper signed, inscribed with the title and the artist’s owl device mark 48.5 x 38.5 cm

R30 000 – 40 000

Lot 115

Lippy Lipshitz South African 1903–1980

Washer Woman 1935 bronze signed from an edition of 2 16 x 21 x 10 cm

R15 000 – 20 000 EXHIBITED

Ashbey’s Galleries, Cape Town, Lippy Lipshitz, November 1937, catalogue number 2. L IT E R AT U R E

Arnott, B. (1969). Lippy Lipshitz: A Biographical Commentary & Documentation of the years 1930–1968 with catalogue raisonné of sculptures. Cape Town: A.A. Balkema, illustrated on p.90, plate 115.

164

Lot 116

Lot 117

Anton Momberg

b.1951 South Africa

Poised Figure

Untitled (Nude IV)

bronze signed and numbered 8/15 41.5 x 28.5 x 28.5 cm

resin signed and numbered 1/15 66 x 34 x 28.5 cm

R20 000 â&#x20AC;&#x201C; 30 000

R25 000 â&#x20AC;&#x201C; 35 000

165

Lot 118

Hennie Niemann Jnr b.1972 South Africa

The Violinist 2011 oil on canvas signed with the artistâ&#x20AC;&#x2122;s initials and dated; signed, dated and inscribed with the title on the reverse 61 x 45 cm

R50 000 â&#x20AC;&#x201C; 80 000 PROVENANCE

Johans Borman Fine Art, Cape Town.

166

Lot 119

Sam Nhlengethwa b.1955 South Africa

Bass player 1994 oil and collage on paper signed and dated 56 x 41.5 cm

R40 000 – 60 000

Lot 120

Pieter van der Westhuizen South African 1931–2008

Portrait 2004 oil pastel on paper signed and dated 74.5 x 55.5 cm

R40 000 – 60 000

167

Lot 121

Sam Nhlengethwa b.1955 South Africa

Miners I 1996 oil, collage and assemblage on aluminium signed and dated 54.5 x 65.5 cm

R50 000 â&#x20AC;&#x201C; 70 000 EXHIBITED

Warren Siebrits Modern and Contemporary, Johannesburg, Paintings Methven to Mashile, June 2006.

Lot 122

Sam Nhlengethwa b.1955 South Africa

Recyclers 2017 oil, collage and assemblage on canvas signed and dated 100 x 90 cm

R90 000 â&#x20AC;&#x201C; 120 000

168

Lot 123

David Koloane b.1938 South Africa

Street scene, Hillbrow charcoal and chalk on paper signed and dated indistinctly 146.5 x 89.5 cm

R80 000 â&#x20AC;&#x201C; 120 000

169

Lot 124

Beverley Price b.1956 South Africa

Nelson Mandela Neckpiece 1999–2005 2005 aluminium, plastic, paper, wire, leather, fabric, glass beads and buttons signed and inscribed with the title on a label on the reverse diameter: 54 cm

R20 000 – 30 000 L IT E R AT U R E

Le Van, M. (ed.) (2006). 500 Necklaces: Contemporary Interpretations of a Timeless Form. Johannesburg: Lark Books, illustrated in colour on p.52 with the title Contemporary Xhosa Collar for Nelson Mandela’s Sentencing – 12th June 1964. Knight, N. (2017). The Big Picture: an Art-O-Biography. Johannesburg: Natalie Knight Productions, illustrated on p.158. Ilse-Neuman, U. (2014). Multiple Exposures: Jewelry and Photography. New York: Museum of Arts and design, illustrated on p.66.

Lot 125

Marlene Dumas b.1953 South Africa

Portrait of a Young Nelson Mandela 2008 lithograph signed, dated, numbered 228/250, inscribed with the title and ‘Would you trust this man with your daughter?’ in pencil sheet size: 44.5 x 35 cm

R80 000 – 120 000

170

Lot 126

Judith Mason South African 1938–2016

Bread with Gestures 1–6 pencil, ink and watercolour on card each signed, inscribed with the title and sequence number 115 x 119 cm combined

R25 000 – 40 000

171

Lot 127

Diane Victor b.1964 South Africa

Between a Minor and a Major Three-piece installation comprising a glass panel with smoke drawing, a mosaic on board and mixed media on board signed glass panel: 186 x 80 cm; mosaic diameter: 120 cm and 80 cm

R140 000 â&#x20AC;&#x201C; 180 000 EXHIBITED

Cornerhouse Gallery, Johannesburg, Joburg-Joburg: Responding to the Centre, March 2014.

Installation views, 2014, Diane Victor pictured with the installation.

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Lot 128

Mohau Modisakeng b.1986 South Africa

Ditaola XV 2014 Inkjet print on Epson Ultrasmooth dibonded aluminium composite from an edition of 5 + 2AP 198 x 149 cm

R180 000 â&#x20AC;&#x201C; 240 000 EXHIBITED

Brundyn +, Cape Town, Ditaola , 29 May to 12 July 2014. 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 in colour on p.56.

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175

Lot 129

Jo Ractliffe b.1961 South Africa

2001: Goch St cnr Bree St Carr St Goch St NEWTOWN; 2001: Simmonds St cnr Market St Rissik St Pritchard St JOHANNESBURG CENTRAL; 2000: Wolmarans St JOUBERT PARK; 2001: M1 South NEWTOWN Jorrissen St BRAAMFONTEIN, four 2004 digital photographic print each signed, dated and numbered 2/5 in pencil image size: 54.5 x 204 cm each (4)

R50 000 – 80 000 EXHIBITED

Warren Siebrits Modern and Contemporary, Johannesburg, Jo Ractliffe Selected Colour Works 1999–2005, October 2005. L IT E R AT U R E

Siebrits, W. and Ractiffe, J. (2005). Jo Ractliffe Selected Colour Works 19992005. Johannesburg: Warren Siebrits Modern and Contemporary, illustrated, n.p. Perryer, S. (intro.) (2004). 10 Years 100 Artists: Art in a Democratic South Africa. Cape Town: Bell Roberts Publishing, other examples from the editions illustrated on p.308–309. NO T E S

Accompanied by the Jo Ractliffe Selected Colour Works 1999–2005 exhibition catalogue.

176

Since its inception in 1839, photography has remained a powerful medium for conveying the breadth and depth of human experience; documenting social, political, economic and emotional states with immediacy and precision. Within the rich history of South African photography, documentary work that is also conceived of as fine art has dominated triumphantly as a singular force in South African image-making. Two quite different images in this tradition are present on this auction, and provide remarkably different perspectives on the documentary fine art idiom. Jo Ractliffe’s cityscapes embody the beauty and contradiction of inner-city Johannesburg. Captured on analogue film, they document a specific moment and location, and speak to the transitory nature of urban life; the city distilled into a dreamlike state. Of this work, Ractliffe says: ‘Initially, I think it was the sublime I was searching for. What I found was a city of slippages. Johannesburg is not a place you can apprehend in a fixed way… [it’s] a place that constantly shifts your experience of it each time you think you might have found what you are looking for.’1 Continued on page 178

177

Continued from page 176

Lot 130

Pieter Hugo

A more Africanist perspective is brought to the genre by an instantly recognisable work by South African photographer

b.1976 South Africa

Pieter Hugo. In a career marked by numerous accolades (Seydou

Hyena Men of Abuja

Keita Award at Rencontres de Bamako African Photography

2005 archival pigment inks on 100% cotton rag paper signed, numbered 2/5 and inscribed ‘From the Hyena Men of Nigeria Series, 2005’ in pencil in the margin image size: 100 x 100 cm

Biennial, 2011; shortlisted for the Deutsche Börse Photography

R80 000 – 120 000

Prize, 2012), Hugo’s much-lauded series ‘Gadawan Kura’ – The Hyena Men I and II is among his best-known work. The series was exhibited at and featured specifically in his win of the prestigious Discovery award at Rencontres d’Arles, 2008. The Hyena Men of Abuja transports us to the Hausa community of Nigeria. A troupe of itinerant performers, the

EXHIBITED

Michael Stevenson, Cape Town, Pieter Hugo ‘Gadawan Kura’ – The Hyena Men, 27 February to 25 March 2006. L IT E R AT U R E

Abiola, A. and Hugo, P. (2008). The Hyena and Other Men. Munich: Prestel Verlag, another example from the edition illustrated, n.p. Demos, TJ. and Schuman, A. (2012). Peter Hugo: This Must be the Place. Munich: Prestel Verlag, another example from the edition illustrated on p.139.

group travels between Nigerian cities large and small. They make their living through live performances with hyenas and baboons, operating at the fringes of legality and society and often at odds with local law enforcement. Open-ended and complex, this portrait both asks and answers questions in equal measure. We are invited into a complicated and visually arresting world, hungry to understand its context, social norms and history. ‘What is it exactly that makes these images so arresting? Perhaps it has to do with their contradictions. On one level, they are studies in extreme masculinity; on another, they show once-wild animals made vulnerable through their subjugation. The presence of monkeys, often posing as if human, surely stirs something in our subconscious … So many issues reverberate here that, as Elisabeth Biondi [Visuals Editor of The New Yorker, 1996– 2011] says, ‘the urge is to not look away however much we want to’’.2 Kathryn Del Boccio 1 Ractliffe, J. and Siebrits, W. (eds.) (2005). Jo Ractliffe: Selected Colour Works 1999–2005. Johannesburg: Warren Siebrits Modern and Contemporary Art, n.p. 2 O’Hagan, S. (2008). ‘Africa as You’ve Never Seen It’, The Guardian, 20 July. Available at: https://www.theguardian.com/artanddesign/2008/jul/20/ photography.southafrica. Accessed 14 September 2018.

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Lot 131

Pieter Hugo b.1976 South Africa

Thami Mawe, Johannesburg, 2003 2003 archival pigment inks on 100% cotton rag paper signed, numbered 3/3 and inscribed with the title in pencil in the margin from an edition of 3 + 1 AP image size: 100 x 80 cm

R30 000 â&#x20AC;&#x201C; 40 000

180

LITERATU RE

Hugo, P. (2006). Looking Aside. Rome: the artist and Punctum, another example from the edition illustrated, n.p.

Lot 132

Nontsikelelo (Lolo) Veleko 2004 b.1977 South Africa

Phumeza; Thato archival pigment inks on 100% cotton rag paper each signed and numbered 2/10 and 9/10 in pencil in the margins sheet size: 36 x 25 cm; 36 x 23.5 cm (2)

R18 000 â&#x20AC;&#x201C; 24 000 PROVENANCE

Goodman Gallery, Johannesburg.

181

Lot 133

Simon Stone b.1952 South Africa

Fold Out 2006 oil on canvas signed 113.5 x 91 cm

R50 000 â&#x20AC;&#x201C; 80 000

182

Lot 134

Wayne Barker b.1963 South Africa

And Life Goes On, diptych 1992 oil on canvas each signed with the artist’s initials; signed with the artist’s initials and dated on the reverse 120 x 107 cm; 120 x 90 cm

R120 000 – 180 000

183

Lot 135

Wim Botha b.1974 South Africa

Untitled (Ecstasy Drawing) 2010 charcoal on paper signed and dated 98.5 x 69.5 cm

R60 000 â&#x20AC;&#x201C; R80 000

184

Lot 136

Lot 137

Johann Louw

Johannes Phokela

b.1965 South Africa

b.1966 South Africa

Hondeskedel

Three figures

2010 oil on canvas signed on the reverse 160 x 120 cm

oil on transparency paper 57 x 41 cm

R60 000 – 80 000

R60 000 – 80 000 EXHIBITED

SMAC Gallery, Stellenbosch, Johann Louw: New Paintings, 9 December 2012 to 28 February 2013. L IT E R AT U R E

Van Zyl, M. (ed.) (2010). Johann Louw. SMAC Art Publishing, illustrated in colour on the cover. NO T E S

Accompanied by Van Zyl, M. (ed.) (2010). Johann Louw. SMAC Art Publishing, signed by the artist.

185

Lot 138

Clare Menck b.1960 South Africa

The car show 2012 oil on canvas signed and dated 25 x 30 cm

R15 000 – 20 000

Lot 139

Kerri Evans b.1967 South Africa

Doubt KJ 367 2011 oil on canvas signed and dated; inscribed with the title on an Everard Read gallery label on the reverse 75 x 100 cm

R40 000 – 60 000 PROVENANCE

Everard Read, Johannesburg.

186

Lot 140

Lot 141

Sasha Hartslief

Pauline Gutter

b.1974 South Africa

b.1980 South Africa

Contemplation I

Die Huweliksaansoek

oil on canvas inscribed with the title on an Everard Read gallery label on the reverse 63 x 48 cm

wooden obelisk with telephone, screen and DVD player 200 x 50 x 50 cm

R30 000 – 40 000

R20 000 – 30 000 EXH IBITED

PROVENANCE

Everard Read, Cape Town.

ABSA Art Gallery, Johannesburg, ABSA L’Atelier Exhibition, 18 July to 22 August 2013. N O TES

The artist won the 2013 ABSA L’Atelier Award based on this artwork.

187

188

Lot 142

Lot 143

Anton Karstel

b.1968 South Africa

Three Nudes I

Three Nudes II

2011 oil on canvas dated and inscribed with the title on a SMAC Gallery label on the reverse 78 x 54 cm

2011 oil on canvas dated and inscribed with the title on a SMAC Gallery label on the reverse 80 x 57 cm

R35 000 – 50 000

EXHIBITED

EXHI BI TED

SMAC Gallery, FNB Joburg Art Fair, Johannesburg, 23 to 28 September 2011.

Lot 144

Lot 145

Louis Olivier

Kilmany-Jo Liversage

b.1976 South Africa

b.1973 South Africa

Bust

Obversa 714

2011 charcoal, pastel and glue on paper signed and dated 107 x 79 cm

2014 oil and spray paint on canvas signed, dated, inscribed with the title and ‘Ovenden’ on the reverse 200 x 150 cm

R25 000 – 35 000

R30 000 – 50 000

189

Lot 146

Sam Nhlengethwa b.1955 South Africa

Eight prints from the Tribute series 2008/11 colour lithographs each signed, dated, numbered in pencil and embossed with the Artistsâ&#x20AC;&#x2122; Press chop mark in the margin sheet size: 57 x 76 cm each

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

Including: Tribute to William Kentridge, 2008, numbered 20/50 Tribute to Judith Mason, 2008, numbered 33/50 Tribute to Marlene Dumas, 2008, numbered T/P Tribute to Dumile Feni, 2008, numbered 33/50 Tribute to Deborah Bell, 2011, numbered 46/50 Tribute to Zwelethu Mthethwa, 2011, numbered 46/50 Tribute to Cecil Skotnes, 2011, numbered 46/50 Tribute to Helen Sebidi, 2011, numbered 46/50

190

Lot 147

Wim Botha b.1974 South Africa

Untitled (Red Velvet I, II and III) 1999 charcoal and oil on canvas each signed with the artistâ&#x20AC;&#x2122;s initials and dated; each signed, dated and inscribed with the respective title on the reverse 120 x 60 cm each

R100 000 â&#x20AC;&#x201C; 150 000

191

Lot 148

Nelson Makamo b.1982 South Africa

Going home 2009 charcoal and watercolour on paper signed and dated 100 x 69 cm

R70 000 – 90 000

Lot 149

Diane Victor b.1964 South Africa

Lot’s Wife etching signed, numbered 7/20, inscribed with the title in pencil and embossed with the David Krut Workshop chop mark sheet size: 56 x 69 cm

R40 000 – 60 000

192

Lot 150

David Koloane b.1938 South Africa

Portrait at night 2008 oil on canvas signed and dated 51.5 x 51.5 cm

R40 000 â&#x20AC;&#x201C; 60 000

Lot 151

Esther Mahlangu b.1935 South Africa

Ndebele patterns 2018 acrylic on canvas signed and dated 70 x 90 cm

R40 000 â&#x20AC;&#x201C; 60 000

193

Lot 152

Maureen Quin b.1934 South Africa

Head 1977 carved stone signed and dated 36 x 21 x 9 cm

R15 000 â&#x20AC;&#x201C; 20 000 L IT E R AT U R E

Reed, V. and Quin, M. (2014). Maureen Quin: Master Sculptor, a painting of the same subject titled Suspicion illustrated on p.67.

Lot 153

Norman Catherine b.1949 South Africa

Untitled (Bathtime) 1989 airbrush on paper signed and dated 20 x 20 cm

R35 000 â&#x20AC;&#x201C; 50 000

194

Lot 154

Norman Catherine b.1949 South Africa

Moonwhite Trout 1974 airbrush and found objects on paper signed, dated and inscribed with the title 71.5 x 86 cm

R25 000 â&#x20AC;&#x201C; 40 000

Lot 155

Norman Catherine b.1949 South Africa

Two chickens 1976 airbrush on paper signed and dated 52 x 68 cm

R25 000 â&#x20AC;&#x201C; 40 000

195

Lot 156

Jim Dine b.1935 United States of America

New Pinocchio 2003 etching, cardboard intaglio and handcolouring signed, dated and numbered 1/1 in pencil in the margin sheet size: 143.5 x 86 cm

R250 000 â&#x20AC;&#x201C; 350 000

196

Lot 157

Paul Johan du Toit South African 1965–2014

Three Princes 2001 oil and acrylic on canvas signed and dated 150 x 260 cm

R150 000 – 200 000

197

198

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. Mary-Jane Darroll is Senior Art Specialist and a Director at Aspire Art Auctions. Her career takes in every aspect of the South African art industry, and includes senior curatorial roles at the Standard Bank National Arts Festival, Everard Read Gallery, and several senior executive roles in the SA auction industry. She currently serves as a trustee on the Edoardo and Claire Villa Will Trust, and on the committee of the UJ Arts Advisory team on Arts and Culture. Kathryn Del Boccio is an Art Specialist and leads the Client Liaison team at Aspire Art Auctions. She has worked in fine art for 11 years prior to joining Aspire; in London as Assistant Curator of one of the world’s largest privatelyheld photography collections and as Director of the Kraszna-Krausz Foundation, and in Johannesburg as Head of VIP Relations for FNB JoburgArtFair. She holds a Masters of Letters in History of Art and Connoisseurship from Christie’s Education, London. Prof Michael Godby is an Emeritus Professor of History of Art at the University of Cape Town, who has published widely and curated several noteworthy exhibitions on South African art. Thembinkosi Goniwe is a Johannesburg-based artist and art historian, and is currently a visiting researcher at the Wits School of Arts. Goniwe has taught in numerous university contexts, and his artworks have been exhibited locally and internationally. He has published widely, and has curated a number of important exhibitions. Athi Mongezeleli Joja is an art critic and theorist. He is also a member of the artist collective, Gugulective. Andrew Lamprecht is an art historian based at the University of Cape Town who has written and curated extensively on the subjects of contemporary and historical South African art.

AC K NOW L ED G EM EN TS Zamansele Nsele is a lecturer in the Faculty of Art, Design and Architecture at the University of Johannesburg, and previously lectured in the Department of Fine Art at Rhodes University. She is also one of the Mail & Guardian’s Top 200 Young South Africans of 2018 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. 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. Warren Siebrits started his career in the art world over 25 years ago. He is an avid collector, consultant and passionate art historian with extensive expertise in the fields of South African modern and contemporary art. Tymon Smith was the literary editor of the Sunday Times for six years. He has since written on the arts, music, film and television for the paper as well as ArtThrob, adjective and The Lake Magazine. Smith was the recipient of a 2016 silver arts journalist award for features writing and also works as a scriptwriter, researcher and story editor for the television industry. Marelize van Zyl is an Art Specialist at Aspire Art Auctions. She has worked in the local and international art market for the past 10 years gathering an impressive resumé of curatorial and editorial projects. She holds a Masters in Visual Studies from Stellenbosch University.

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

RES E AR C H AND AUT HOR S HI P

Eunice Basson Emma Bedford Mary-Jane Darroll Kathryn Del Boccio Michael Godby Thembinkosi Goniwe Athi Mongezeleli Joja Andrew Lamprecht Johan Myburg Zama Nsele Hayden Proud James Sey Warren Siebrits Tymon Smith Marelize van Zyl Gavin Watkins

DE S I GN

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

Nina Lieska | Repro Pictures P R I NT I NG

Typo, Johannesburg

Dr Gavin Watkins is a collector of Cape furniture, South African art and sculpture for the last 40 years, with a particular interest in South African art and sculpture from the 1950s–1970s. Since the early 1990s he has been passionate about the sculptures of Sydney Kumalo and Ezrom Legae and is in the final stages of compiling a catalogue raisonee on their work, due to be published in 2019.

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.

199

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on your preference and availability during the live

you the day after the auction to assist with logis-

to view online. The auction preview is open to

auction.

tics. If you are unable to collect the artwork within

the public.

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

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

2. The catalogue

You can physically bid during a live auction by

A courier company will contact you with quotes for

The catalogue includes all information regarding

registering and bidding in the saleroom. You may

delivery the day following the auction.

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

artwork details, date, medium, dimensions,

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

auction under Aspire’s insurance for a limited time

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

sale.

only (see our Terms and Conditions of Business).

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

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

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

person to satisfy yourself as to the condition of a

5.2. Telephone bid

Buyers premium

prospective purchase. Condition reports are not

An Aspire representative will phone you during

Buyers will be liable for payment of the purchase

necessarily compiled by professional conservators

the live auction: a trained staff member will walk

price.

unless otherwise stated.

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

3. Estimates

behalf. Don’t forget to send through your telephone

Aspire assigns a low and high estimate to every lot.

bids at least 24 hours before the commencement of

These estimates give our opinion of value, bearing

the auction to ensure sufficient time for processing.

the following factors in mind: the sales precedent

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Aspire will store artworks purchased at the

of each artist, the subject matter, the importance of

5.3. Written bid (Absentee bid/Book bid/

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

Commission bid)

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

Robert Hodgins A Bad Day on the Dow: An Apoplectic Painting oil on canvas 91 x 121.5 cm R700 000 – 900 000

SUMMER AUCTION Cape Town | 3 March 2019 Historic, Modern & Contemporary Art

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

SELL WITH US. CONSIGN NOW.

www.aspireart.net

The Friends of the Iziko South African National Gallery (Friends) is a registered Non-Profit Organisation and relies on your support. By supporting the Friends through donations, Membership or volunteering, you are helping make the Iziko South African National Gallery (iSANG) a world-class centre of excellence in art and visual engagement. Support from members of the public, galleries, companies and patrons helps us to help the iSANG build their collection, refurbish galleries, curate world-class exhibitions, improve facilities, conserve and study the collection, and develop our learning and events programme.

GERALD MACHONA . MILLENNIUM BAR II . 2010 . C-PRINT ON FUJI CRYSTAL ARCHIVE PAPER . PAPER SIZE 35,7 X 45,6 CM EDITION OF 100 +2AP R3 000 AVAILABALE TO PURCHASE IN SUPPORT OF THE FRIENDS friendssang15@gmail.com

SANGFriends SANGFriends www.FriendsofSANG.co.za

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.

204

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

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

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

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

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

8. I MPORT, EXPORT, COPYRIGHT

RESTRICTIONS, LICENSES AND QUALITY OF THE GOODS SOLD

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

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

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

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

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

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

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

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

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

15. E STIMATION OF SELLING PRICE AND DESCRIPTION OF GOODS

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

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16. W ARRANTIES AND INDEMNITIES PROVIDED FOR BY THE SELLER

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

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

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

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

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

The proceeds of sale shall be paid as follows: 20.1. Aspire shall make payment to the Seller not later than 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. t o remove, store and insure the Lot which has been sold; 20.3.3. to settle any claim by or against the Buyer on such terms as Aspire deems fit and do all such things necessary to collect from the Buyer any outstanding amounts due to the Seller; 20.3.4. to rescind the sale and refund these amounts to the Buyer; 20.3.5. where Aspire pays the Sale proceeds to the Seller prior to receipt of the full Purchase price then ownership shall pass to Aspire; 20.3.6. to obtain a refund from the Seller where the sale of a Lot has been set aside, or cancelled by the Buyer in terms of paragraph 10 above and Aspire has paid the sale proceeds to the Seller. In such instance, the Seller shall be required to refund the full sale proceeds to Aspire, who will then in turn refund the Buyer. Aspire will then make the Lot available for collection to the Seller; and 20.3.7. that any annulment, rescission, cancellation or nullification of the sale in terms of paragraph 10 above shall not extinguish the Seller’s obligation to pay the commission to Aspire and/or to reimburse any expenses incurred by Aspire in respect of this.

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

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

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

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

24. A MENDMENT OF THESE TERMS AND CONDITIONS

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

1. I NFORMATION ASPIRE MAY COLLECT 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. O NLINE INFORMATION PROCESSED BY ASPIRE

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

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

3. S TORAGE 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. A MENDMENTS TO THE PRIVACY POLICY

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

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

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208

ARTIST INDEX

Alexander, K 38, 55, 56, 87

Hodgins, R 14, 57, 65, 75, 83

Phokela, J 137

Armstrong, G 92

Hugo, P 130, 131

Pierneef, JH 7

Bakker, K 93

Jensma, W 77, 78

Pinker, S 15

Barker, W 134

Karstel, A 142, 143

Portway, D 94, 95, 96

Battiss, W 6, 16, 43, 48, 86

Kay, D 8

Preller, A 60, 104

Bell, D 74

Kentridge, W 13, 73, 104, 105, 106

Price, B 124

Blom, Z 101

Klein, P 36

Quin, M 152

Boonzaier, G 17, 23

Koloane, D 123, 150

Ractliffe, J 129

Boshoff, A 47

Krenz, A 113

Rose-Innes, A 33, 34, 39

Boshoff, W 84, 98, 99

Kumalo, S 29

Saoli, W 88

Botha, W 135, 147

Langa, M 85

Sebidi, H 3

Brown, D 76

Laubscher, E 49

Sekoto, G 1, 2, 52

Catherine, N 100, 153, 154, 155

Legae, E 27

Sibiya, L 5

Clarke, P 51, 53

Leigh, N 108

Siopis, P 72

Coetzee, C 61, 66

Lipshitz, L 115

Sithole, L 59

Coetzer, WH 22, 35

Liversage, K 145

Skotnes, C 28, 89

de Jongh, T 20, 21

Louw, J 136

Slingsby, R 64

Desmond, N 9

Luce, M 37

Stern, I 24, 25

Dine, J 156

MacGarry, M 82

Stone, S 133

Domsaitis, P 18

Mahlangu, E 151

Sumner, M 19, 41, 42, 44

du Toit, P 157

Makamo, N 148

Thoba, A 10, 11

Dumas, M 125

Mason, J 62, 126

Timlin, W 114

Evans, K 139

Meintjes, J 110, 111

Urbanski, A 102

Everard Haden, L 107

Menck, C 138

van den Berg, C 68

Everard Haden, R 31, 40

Modisakeng, M 128

van der Westhuizen, P 120

Feni, D 58

Mohl, JK 4

van Heerden, L 109

Gluckman, J 32

Momberg, A 116, 117

van Nazareth, H 91

Gottgens, K 67

Nhlengethwa, S 50, 119, 121, 122, 146

van Wouw, A 30

Gratrix, G 71

Niemann, H Jnr 118

Veleko, N 132

Gutter, P 141

Oerder, F 45, 46

Victor, D 69, 70, 127, 149

Hartslief, S 140

Olivier, L 144

Villa, E 26, 54, 81, 90

Higgs, C 112

Oltmann, W 97

Warhol, A 12

Hindley, M 63

Page, F 79, 80

DETAIL ON PAGE 206

Lot 50 Sam Nhlengethwa Red room DETAIL ON PAGE 208

Lot 102 Andrzej Urbanski A028 140/108/16

209

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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

L OT S –

SALE VENUE: Gordon Institute of Business Science | JHB

LOT NUMBER LOT DESCRIPTION

Please print clearly MAXIMUM | EMERGENCY BID (HAMMER PRICE)

SALE DATE: 28 October 2018 | 6 pm SALE CODE: AAA | Spring 18 Telephone bid Absentee/Commission/Written bid Written bids must be received at least 24 hours prior to commencement of the auction. For dealers, please ensure the billing name and address corresponds with the company VAT number. Aspire cannot re-invoice or re-issue an invoice in a different name from the one listed on this form. Aspire will confirm receipt of all written bids telephonically or by email within one business day.

Please send completed forms to bids@aspireart.net Enquiries: +27 11 243 5243 | +27 71 675 2991 CLIENT CODE B ILL I N G N A M E AD D R E S S

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

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

R1 000 increments

R20 000–R30 000

R2 000 increments

R30 000–R50 000

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

R50 000–R100 000

R5 000 increments

R100 000–R200 000

R10 000 increments

R200 000–R300 000

R20 000 increments

R300 000–R500 000

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

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

R500 000–R1 000 000 R50 000 increments

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

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

Payment method: EFT Credit Card

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

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

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BI DDI NG I NCREMENTS

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

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

SI GNATURE