Johannesburg 30 November 2022 Auction e-Catalogue by Aspire Art

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LIVE AUCTION Wednesday 30 November 2022 | 6 pm

VIEWING Lots will be on view at our Johannesburg gallery & auction room from Friday 25 to Wednesday 30 November

AUCTIONEER Ruarc Peffers

AUCTION CODE AND NUMBER When sending telephone or absentee bids, this sale is referred to as: JHB 30 NOV 22

CONDITIONS OF SALE The auction is subject to: Rules of Auction, Important Notices, Conditions of Business and Reserves

AUCTION RESULTS +27 10 109 7989 View them on our website www.aspireart.net

ABSENTEE AND TELEPHONE BIDS bids@aspireart.net | +27 10 109 7989

SALE CONTACT Ruarc Peffers | ruarc@aspireart.net | +27 84 444 8004 Jacqui Carney | jacqui@aspireart.net | +27 71 675 2991

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GLOSSARY OF CATALOGUING TERMS AND PRACTICE Terms used in this catalogue have the following meanings and conventions ascribed to them. Condition reports are available on all lots by request, and bidders are advised to inspect all lots themselves.

Artist details 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.

Conventions in titles 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.

listed as a portfolio, artist’s book, tapestry or carpet.

Where the title of an artwork is unknown, a descriptive title is given. This title is in sentence case and is not italicised.

The history of ownership of a particular lot.

Signature, date and inscription conventions 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.

Dimension conventions 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/image size: describes the size of the full printed area for all other printmaking methods and excludes all margins.

Framing All works are framed, unless otherwise stated in the catalogue, or if they are

Provenance

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

Literature 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.

Lot 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.

Saleroom notice 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).

Condition report when catalogued 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.]

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Contents Auction Information

iii

Glossary of Cataloguing Terms and Practice

Staff

Buyers Guide

Online Bidding Guide

xiv

Auction: Lots 1 to 84

2-153

Terms and Conditions of Business

154

Artist Index

160

Commission/Telephone Bidding Form

163

Details used in prelim pages from: COVER Lot 16 William Kentridge Urbanise PAGE II Lot 30 William Kentridge & PAGE IV Lot 41 Dumile Feni Mother and child PAGE VI Lot 47 Irma Stern Anemones PAGE VIII Lot 67 Robert Hodgins Artist in His Studio PAGE X Lot 3 Zanele Muholi Muholi II PAGE XIII Lot 55 Cecil Skotnes Head PAGE XV Lot 66 William Kentridge Arched Landscape PAGE XVI Lot 58 Alexis Preller Circles of Life

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STAFF SPECIALISTS Ruarc Peffers Senior Specialist | Managing Director ruarc@aspireart.net +27 84 444 8004

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

Emma Bedford Consulting Senior Specialist emma@aspireart.net +27 83 391 7235

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

Sarah Sinisi Senior Specialist sarah@aspireart.net +27 84 568 5639

Carina Jansen Associate Specialist carina@aspireart.net +27 10 109 7989

CLIENT ADVISORY Kholisa Thomas Client Advisory kholisa@aspireart.net +27 83 397 2410

ACCOUNTS Bekithemba Ndebele Financial Officer accounts@aspireart.net +27 10 109 7989

CATALOGUERS Micaela Wentzel Cataloguer & Researcher micaela@aspireart.net +27 21 418 0765

Mtha Poni Cataloguer & Researcher mtha@aspireart.net +27 21 418 0765

Nonkululeko Sibande Cataloguer & Researcher nonkululeko@aspireart.net +27 10 109 7989

LOGISTICS & ADMINISTRATION Eleanor Katyatya Personal Assistant eleanor@aspireart.net +27 10 109 7989

Themba Ndzipho Storekeeper enquiries@aspireart.net +27 10 109 7989

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BUYERS GUIDE The following information is designed to guide prospective bidders through the auction process and explains how to bid at an auction by Aspire Art. Our staff are happy to assist with any queries. 1. Identify your potential acquisition

4. Specialist assistance

Once payment for the purchased lot is made

Our specialists are available to discuss any

and cleared, you may take the lot or arrange

Aspire Art holds four live auctions per annum.

lot in further detail if you require additional

for collection. An Aspire Art representative will

You can subscribe to our printed catalogues

information. Please do not hesitate to contact us.

contact you the day after the auction to assist

to view all works coming up in an auction or

with logistics. If you are unable to collect the

alternatively, our e-catalogues are posted online

5. Bidding with Aspire Art

approximately three weeks prior to each sale;

Bidding may be done in four ways, depending

arrange storage or delivery of the lot, which will

these are free downloads and give a full overview

on your preference and availability during

be for your account.

of each auction. Keep an eye on our website and

the live auction.

social media platforms where we will provide

artwork within the allocated time – Aspire will

While we endeavour to assist our Clients as much

regular updates regarding sale information and

New bidders to Aspire Art will need to

when catalogues are available to view online. The

supply us with their ID/Driver’s license and

and/or collected from our premises by the Client.

auction preview is open to the public.

proof of address.

In instances where a Client is unable to deliver or

2. The catalogue

5.1. Live bidding in the saleroom

assist in this process by outsourcing the services

The catalogue includes all information regarding

You can physically bid during a live auction by

to one of our preferred Service Providers. The

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

registering and bidding in the saleroom. You may

cost for this will be for the Client’s account, with

artwork details, date, medium, dimensions,

an additional Handling Fee of 15% charged on top

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

during the preview), or you can register on the

of the Service Provider’s invoice.

Condition reports are not included in the

day of the auction.

as possible, we require artwork(s) to be delivered

collect artwork(s), Aspire Art staff is available to

catalogue, but may be requested by emailing

Aspire Art will store artworks purchased at

conditionreports@aspireart.net. However,

The auction is open to the public. If you cannot

as we are not qualified conservators, we

attend the auction, there are two absentee

limited time only (see our Terms and Conditions

advise that you view the lot in person to satisfy

bidding methods available to you.

of Business). Storage and handling costs will

purchase. Condition reports are not necessarily

5.2. Telephone bid

within this time.

compiled by professional conservators unless

An Aspire Art representative will phone you

yourself as to the condition of a prospective

otherwise stated.

the auction under Aspire Art's insurance for a

be charged if the property is not collected

during the live auction: a trained staff member

7. Commissions and fees payable

will walk you through the auction as it happens

Buyers Premium

and you may instruct the representative to bid

Buyers will be liable for payment of the Premium

Aspire Art assigns a low and high estimate to

on a lot on your behalf. Don’t forget to send

Price. The Premium Price is the sum of the

every lot. These estimates give our opinion

through your telephone bids at least 24 hours

Hammer Price, the Buyer’s Premium and VAT

of value, bearing the following factors in mind:

before the commencement of the auction to

charged on the Premium.

the sales precedent of each artist, the subject

ensure sufficient time for processing.

3. Estimates

Commission charged on any lot selling up to

matter, the importance of the work within the artist’s oeuvre, the condition of the work and

You can now also register your telephone bids

assimilates the accumulative totality of all of

online through our website.

and including R50 000 is 15% (plus VAT). Commission charged on any lot selling in

these factors. Each lot has a confidential reserve

excess of R50 000 is 12% (plus VAT).

of the lot. The reserve is the minimum price

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

that will be accepted for a lot, any amount below

Recorded bids entered into the auctioneer’s

Aspire Art charges a 15% Handling Fee on

which a lot will not be sold. The reserve price will

catalogue. The auctioneer will, in your absence,

all Logistics, Framing, Restoration and

not exceed the low estimate.

bid on your behalf, up to the maximum amount

Conservation that it arranges and manages on

given by you. Should the bidding not reach your

a Client's behalf.

price agreed between Aspire Art and the seller

The estimates included in this catalogue

maximum bid, you will acquire the lot for one

are expressed in South African Rands, the

increment above the previous bid.

conversion into foreign currency being made,

Aspire Art's preferred method of payment is EFT. Clients also have the option of making payment

5.4. Online via www.live.aspireart.net

by credit card. However, due to the costs levied Aspire Art is obliged to transfer these costs onto

These conversions are for information only,

6. Payments, collection and storage

and bidders are invited, if they wish, to check

Payment must be made immediately after

card. Consequently, a standard surcharge of 2%

the rate of exchange in effect on the day of the

completion of the auction, as stated in our Terms

will be added to payments made by card.

sale. All invoices that will be issued after the

and Conditions of Business, unless otherwise

sale, will only be expressed in South African

agreed with Aspire Art beforehand.

for information only, on the basis of the rate of change in force on 1 November 2022.

by the banks on transactions by credit card, the Buyer should they choose to pay by credit

Rands. All payments relating to the sale must be made in South African Rands.

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We can now accept payment in

Crypto-Currency

QUERIES | +27 10 109 7989 | accounts@aspireart.net www.aspireart.net

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ONLINE BIDDING GUIDE Now all your bidding requirements will be in one location with a single login. Whether you are participating in a live auction or an online auction from anywhere in the world, bidding at Aspire Art is practical and easy.

Create an account/sign in • • • • • •

Go to aspireart.net and click the user icon in the top right hand corner [My Account]. Click on 'Sign In/Create Account'. Fill out the ‘Create My Account’ form with your contact information and create a password. You will subsequently receive an email to confirm and activate your Aspire Art user account. You will only have to do this once – returning clients and clients that have previously transacted with Aspire Art can simply Sign In. If you have forgotten your password, click on the ‘Reset your password’ link below the Sign In section and follow the email prompts.

Register & place bids You can register for auctions and place bids through our website. Register Register for any upcoming auction through our Upcoming Auctions page. You will be registered for an auction when you submit absentee/commission bids through our website. Bid • You can place absentee/commission bids to your maximum value on all lots. • The system will bid on your behalf up to the value of your maximum bid, but only if other bidder(s) place competing bids against yours. • You can shortlist lots of interest by clicking on the star icon – this will add the lot to your Wishlist page. • You can access your Wishlist through your ‘My Account’ page, and place bids on shortlisted lots. • You can arrange for telephone bidding via our Telephone Bidding Request form. • You can submit a Bid Form by email to bids@aspireart.net – please do so at least 24-hours prior to an auction. • When participating in an Aspire Art auction, please ensure you have reviewed our Bidding Increments, Buyer’s Premium, and Terms & Conditions of Business..

Live bidding Return to our website on sale day to bid online and in real-time through our dedicated bidding platform – Aspire Live. To attend the auction physically and bid in-person, join us at our Johannesburg auction rooms on Wednesday 30 November at 6 pm: 32 Bolton Road, Parkwood, Johanesburg, 2193 The exhibition preview is open to the public. Viewing is from Friday 25 to Wednesday 30 November – weekdays from 09h30 to 16h30, Saturdays from 09h30 to 13h00, and Sundays by appointment.

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20th Century & Contemporary Art Live Auction Lots 1 to 84

Wednesday 30 November 2022 | 6 pm

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1 Mustafa Maluka South Africa 1976–

Focus 2012 acrylic and oil on canvas signed, dated and inscribed with the artist's name and the title on the reverse 60 x 50 x 2 cm ZAR USD GBP EURO

150 000 – 200 000 8 250 – 11 000 7 200 – 9 600 8 400 – 11 200

PROVENANCE Private collection, Johannesburg. Acquired directly from the artist COLLECTIONS The artist is represented in numerous local and international collections, notably, the Burger Collection, Hong Kong.; North Carolina Museum of Art, North Carolina.; Jimenez-Colon Collection, Puerto Rico and the Terrana Collection, New York.

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In Focus, Mustafa Maluka presents a vivid portrait visually embodying ongoing discourses around the fluidity of identity (especially within the African diaspora) – be that race, socio-cultural or sexual. In 2012, the same year this painting was produced, Maluka presented a solo exhibition Dialectical Continuum at Galerie Sébastien Bertrand in Geneva, Switzerland and also formed part of the group show Flying at Künstlerhaus Bethanien in Berlin, Germany. Before that in 2008, Maluka formed part of the seminal group exhibition Flow which was held at the Studio Museum in Harlem, New York. Curated by Christine Y. Kim, the exhibition was a survey of new work by twenty emerging artists of African descent who lived and worked across Africa, Europe and North America at the time, and included Mustafa Maluka alongside, now current leading contemporary stars; Moshekwa Langa, Lynette YiadomBoakye, Otobong Nkanga, Mounir Fatim and Michele Magema among others. Coming of age after the mid-century movements for national liberation in Africa, this generation has witnessed significant political, economic and social shifts. Flow reviewed the multiple ways people, resources, cultures and ideas move - the concept organized around a continent that has been shaped by a history of mobility and displacement. This concept encapsulates the core subject of Mustafa Maluka’s vibrant, and at times flamboyant, portraits.

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2 Mustafa Maluka South Africa 1976–

I forgot where it all began 2009 acrylic and oil on canvas 183 × 133.5 cm ZAR USD GBP EURO

300 000 – 400 000 16 500 – 22 000 14 400 – 19 200 16 800 – 22 400

PROVENANCE Private collection, Johannesburg. Keyes Art, New York. Tilton Gallery, New York. EXHIBITED Tilton Gallery, New York, Mustafa Maluka: A Place So Foreign, 13 November to 24 December 2009. NOTES In 2009, the same year in which this painting was produced, another portrait painting by the artist was selected as the cover image for the seminal publication South African Art Now, edited by Sue Williamson.

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Striking in scale, this fiercely alluring portrait formed part of Mustafa Maluka’s 2009 debut exhibition in New York, where he presented new works from his ongoing series of psychedelically-coloured portraits that illustrate the hybrid nature and nomadic lifestyle of young people in urban centres around the world. The title of the exhibition, A Place So Foreign – borrowed from the name of Cory Doctorow's 2003 science fiction volume – refers to the artist’s own experience as a global citizen, where cultures morph and merge. Born in Cape Town, Maluka left for Amsterdam in 1998 to study at de Ateliers, after which he divided his time between Berlin, Helsinki and New York. For Maluka, his solo shows are like directing theatrical plays, where the paintings portray a cast of diverse enigmatic characters who, like the artist himself, inhabit plural worlds. The faces of these transnational characters are densely painted – built-up layers of washes are juxtaposed with bold patterns and forms in various hues that determine the mood and tone of the work, without giving the subject a figurative context. About his portraits, Maluka states: “My characters have always been physically ambiguous, transracial and intercultural beings and their experience is, by definition, international”.1 I forgot where it all began, with the subject’s direct and intense gaze, is an exceptional example of Maluka’s highly stylized portraits that sees the artist pushing the boundaries of this art historical genre as he, like in Doctorow’s tales, explores aspects of pop culture, trash, cool, punk, nerd pride, and the nexus of technology and social change. In these paintings, Mustafa Maluka presents a view of the possible cultural and social futures that may arise – in our lifetime. Marelize van Zyl 1

Williamson, S (ed). (2009). South African Art Now. New York: Harper Collins Publishers. p. 226.

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3 Zanele Muholi South Africa 1972–

Muholi II 2021 bronze number 1 from an edition of 3 90 x 60 x 35 cm ZAR USD GBP EURO

800 000 – 1 200 000 44 000 – 66 000 38 400 – 57 600 44 800 – 67 200

PROVENANCE Muholi Art Institute, Cape Town. EXHIBITED District Six Museum, Homecoming Centre, Cape Town, Salon Afrique, A Homecoming Reimagined, 2 June to 9 July 2022. Art Paris, Grand Palais Éphémère, Paris, Galerie Carole Kvasnevski, 7 to 10 April 2022.

Sir Zanele Muholi is the Black Madonna of the global art world. The gender slippage in this sentence is deliberate – Muholi operates in an extramoral Nietzschean realm, beyond boundaries. The radical currency of Muholi's art must be understood as such. The sculpture, Muholi II (2021), which sees the artist extending the versatility of their practice, is quaint, retro, quirky – fundamentally queer. As gender theorist Judith Butler points out in her essay, Radically Queer; “If the term queer is to be a site of collective contestation, the point of departure for a set of historical reflections and futural imaginings, it will have to remain that which is, in the present, never fully owned, but always and only re-deployed, twisted, queered from a prior usage and in the direction of urgent and expanding purposes”.1 This is why Muholi declares that “The political agenda behind my work is not yet fulfilled... I have to continue to redirect, resist, and interrogate the act of looking”.2 Like Butler, Muholi occupies an expanded field, in which looking is as tyrannical as it is enlightening. Optics matter. With regard to the sculpture, Muholi II, the optic is decidedly quaint and obtuse, current and old-fashioned. Muholi's point? That to be queer – in the healthiest, incorporative and intelligent sense of the word – is to be untimely, outside causation, radically vertical, otherwise. This is the point of all of Muholi's art. After the Nobel laureate, Toni Morrison, Muholi plays in the dark, and, as such, produces art that is both palpable and illuminating. This is because Muholi knows that their 'political agenda' is permanent, unfulfilled, latent, and that art, to truly reach the world, must, despite all, remain sonar. Queer, definitionally, is this powerful abstraction. We see a 'man', a 'woman' – a slippage between – a being composed, entire, yet profoundly hesitant. Why? Because Muholi must perpetually “redirect, resist, and interrogate the act of looking”.3 Ashraf Jamal

NOTES Accompanied by a Certificate of Authenticity signed by the artist.

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1 Judith Butler, 'Critically Queer' in Goodman, L & De Gay, J. (eds). (2000). Politics and Performance, London and New York: Rutledge. 2 Zanele Muholi in Being Muholi: Portraits as Resistance Gallery Guide. Available at: https://www.gardnermuseum.org/ experience/being-muholi/gallery-guide (Accessed: 31 October 2022). 3 ibid

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4 Zanele Muholi South Africa 1972–

From the Somnyama Ngonyama series 2022 giclée print on Hahnemühle Photo Rag Baryta paper from an edition of 8 + 2 APs sheet size: 90 x 60 cm ZAR USD GBP EURO

500 000 – 600 000 27 500 – 33 000 24 000 – 28 800 28 000 – 33 600

PROVENANCE Muholi Art Institute, Cape Town. NOTES Accompanied by a Certificate of Authenticity signed by the artist COLLECTIONS The artist is represented in numerous local and international collections, notably, the Baltimore Museum of Fine Art, Baltimore.; Centre Georges Pompidou, Paris.; Guggenheim Museum, New York.; Tate Modern, London and Zeitz MOCAA, Cape Town. NOTES A large-scale mid-career retrospective of the artist’s extensive career was presented by the Tate Modern, London in 2020/21. Thereafter the exhibition travelled to the Gropius Bau in Berlin and Maison Européenne de la Photographie in Paris. Muholi was recently featured in The Story of Art as it’s Still Being Written at Victoria Miro in London. Curated by Katy Hessel, the exhibition coincides with her book The Story of Art without Men, aiming to 'overthrow the canon' and 'place women firmly at the centre of the story’.

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These two striking and captivating portraits form part of Zanele Muholi’s most recent additions to their ongoing Somnyama Ngonyama series in which the artist, as a visual activist, uses their own body to address critical politics of race, representation, gendered identities and human rights in relation to the Black body – through photography. In these powerful, highly stylised black-and-white self-portraits, Muholi (playfully) employs the conventions of classical painting, fashion photography and the familiar tropes of ethnographic imagery to rearticulate discourses of contemporary identity politics. Here, found and ‘everyday’ objects are dramatically transformed into social symbolic props, merging the political with the personal and aesthetics with history. Muholi does not only comment on specific events or issues in South Africa’s present and past, but also current urgent global concerns. In November 2022, the International Centre For Photography’s 11th Spotlights honoured Zanele Muholi in New York. Founded in 2012, the ICP Spotlights has spent ten years celebrating the immense talent of women image-makers influencing the world of photography and visual culture and how they create space for gender diversity in photography. Marelize Van Zyl

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5 Zanele Muholi South Africa 1972–

Aphelile X, Durban, 2020 2020 giclée print on Hahnemühle Photo Rag Baryta paper from an edition of 8 + 2 APs sheet size: 95 x 74 cm ZAR USD GBP EURO

500 000 – 600 000 27 500 – 33 000 24 000 – 28 800 28 000 – 33 600

PROVENANCE Muholi Art Institute, Cape Town. NOTES Accompanied by a Certificate of Authenticity signed by the artist EXHIBITED Uitstalling Art Gallery, Genk, Zanele Muholi: Somnyama Ngonyama, 28 October 2022 to 29 January 2023. Maison Guerlain, Paris, Les Militantes, 20 October to 14 November 2022. Savanah Centre for Contemporary Art, Tamale, Dig Where You Stand, curated by Azu Nwagbogu, 12 September to 9 October 2022. Art Paris, Grand Palais Éphémère, Paris, Galerie Carole Kvasnevski, 7 to 10 April 2022. HANGAR, Lisbon, Just My Imagination: Zanele Muholi and Ayogu Kingsley, 25 November 2021 to 29 January 2022.

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6 Alf Kumalo South Africa 1930–2012

Hugh Masekela, 1956 1956 archival ink print on Hahnemühle Photo Rag number 2 from an edition of 10 image size: 45 x 35 cm; sheet size: 59.5 x 42 cm ZAR USD GBP EURO

50 000 – 70 000 2 750 – 3 850 2 400– 3 360 2 800– 3 920

PROVENANCE Private collection, Cape Town. LITERATURE Kumalo, A. (2011). Through My Lens: A Photographic Memoir. Cape Town: NB Publishers, illustrated on p.208. Cheers, D & Masekela, H. (2005). Still Grazing: The Musical Journey of Hugh Masekela. New York: Three Rivers Press. cover image. COLLECTIONS The artist is represented in numerous local and international collections, notably, Iziko South African National Gallery, Cape Town and Javett Art Centre, Pretoria.

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NOTES Accompanied by a Certificate of Authenticity signed by the artist's estate. This photograph was taken after Hugh Masekela received a trumpet from American jazz legend, Louis Armstrong, through anti-apartheid activist Father Trevor Huddleston. Kumalo wanted to capture the significant, newsworthy moment and asked the then-teenage Masekela to pose for what would later become a book and album cover. At the time, Masekela was mortified at how the photo made him look, but Kumalo assured him that the picture would "outlive his girlfriend". Masekela grew to love the image and how it "captured his spirit perfectly", so much so that it was chosen for the book cover of his autobiography, Still Grazing: The Musical Journey of Hugh Masekela.

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7 Alf Kumalo South Africa 1930–2012

Miriam Makeba performing in Lesotho

PROVENANCE Private collection, Cape Town.

1960 archival ink print on Hahnemühle Photo Rag number 2 from an edition of 10 image size: 45 x 35 cm; sheet size: 59.5 x 42 cm

LITERATURE Kumalo, A. (2011). Through My Lens: A Photographic Memoir. Cape Town: NB Publishers, illustrated on p.208.

ZAR USD GBP EURO

40 000 – 60 000 2 200 – 3 300 1 920 – 2 880 2 240 – 3 360

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NOTES Accompanied by a Certificate of Authenticity signed by the artist's estate.

8 Alf Kumalo South Africa 1930–2012

Dancing Ladies – Dance is music in motion (Phataphata!) circa 1960 archival ink print on Hahnemühle Photo Rag number 2 from an edition of 10 image size: 45 x 35 cm; sheet size: 59.5 x 42 cm ZAR USD GBP EURO

40 000 – 60 000 2 200 – 3 300 1 920 – 2 880 2 240 – 3 360

PROVENANCE Private collection, Cape Town. LITERATURE Kumalo, A. (2011). Through My Lens: A Photographic Memoir. Cape Town: NB Publishers, illustrated on the front cover and on p.208. NOTES Accompanied by a Certificate of Authenticity signed by the artist's estate. This photograph, taken in the 1960s, shows that despite the increasing oppression of Black people in South Africa, the local cultural scene in townships flourished. Here, a jazz show hits a high note at the Orlando Stadium in Soweto.

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9 Phillemon Hlungwani South Africa 1975–

Women laughing 2020 charcoal and pastel on paper signed and dated bottom right 80 x 140.5 cm; framed size: 97 x 131 x 3.5 cm ZAR USD GBP EURO

90 000 – 120 000 4 950 – 6 600 4 320 – 5 760 5 040 – 6 720

PROVENANCE Private collection, Johannesburg.

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COLLECTIONS The artist is represented in numerous local and international collections, notably, Johannesburg; Irma Stern Museum, Cape Town; Standard Bank Gallery, Johannesburg and the Sasol Art Collection, Johannesburg.

10 Nelson Makamo South Africa 1982–

Young girl in the wind 2015 charcoal on paper signed and dated bottom right 107 x 78.5 cm; framed size: 121 x 92 x 4.5 cm ZAR USD GBP EURO

50 000 – 80 000 2 750 – 4 400 2 400 – 3 840 2 800 – 4 480

PROVENANCE Private collection, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, the Giorgio Armani Art Collection; the Oprah Winfrey Art Collection; the DJ Black Coffee Art Collection and the Annie Lennox Art Collection.

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11 Sam Nhlengethwa South Africa 1955–

The Three Miners 1998 acrylic and collage on canvas signed and dated bottom right; inscribed with the artist's name, the date and title on the reverse 50.5 x 55 x 5 cm ZAR USD GBP EURO

50 000 – 70 000 2 750 – 3 850 2 400– 3 360 2 800– 3 920

PROVENANCE Private collection, Johannesburg.

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COLLECTIONS The artist is represented in numerous international collections, notably, Scalabrini House, Italy; Museum of Modern Art, Malabo Equatorial Guinea; the Jorge M. Pérez Collection, Miami; Fondation H Museum, Antananarivo; The Bunker Art Space (Beth Rudin DeWoody Collection), Los Angeles and the UTA Artist Space Collection, California.

12 Sam Nhlengethwa South Africa 1955–

Bus stop 2002 acrylic and collage on canvas signed and dated bottom right 50 x 74.5 x 4.5 cm ZAR USD GBP EURO

60 000 – 80 000 3 300 – 4 400 2 880 – 3 840 3 360 – 4 480

PROVENANCE Private collection, Johannesburg.

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13 Bambo Sibiya South Africa 1986–

Portrait of a young girl I 2019 oil and charcoal on canvas signed and dated bottom right 210 x 154 cm; framed size: 213 x 157 x 5 cm ZAR USD GBP EURO

60 000 – 80 000 3 300 – 4 400 2 880 – 3 840 3 360 – 4 480

PROVENANCE Private collection, Johannesburg.

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COLLECTIONS The artist is represented in numerous local and international collections, notably, the Imago Mundi Collection, Treviso, Italy; the ABSA Bank Collection, Johannesburg; the Rand Merchant Bank, Johannesburg and the Spier Art Collection, Stellenbosch.

14 Bambo Sibiya South Africa 1986–

Portrait of a young girl II 2019 oil and charcoal on canvas signed and dated bottom right 212 x 156 cm; framed size: 215 x 160 x 5 cm ZAR USD GBP EURO

60 000 – 80 000 3 300 – 4 400 2 880 – 3 840 3 360 – 4 480

PROVENANCE Private collection, Johannesburg.

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CENTRE STAGE: William Kentridge

The recent opening of William Kentridge’s major retrospective exhibition at the Royal Academy of Arts in London foregrounds – once again – his stature as not only South Africa’s most celebrated and influential living artist, but as one of the most prominent and highly regarded contemporary artists today. Covering four decades of Kentridge’s remarkable and prolific career, this survey exhibition (the first of an artist from the African continent) further highlights the extraordinary conceptual and technical versatility of his work. As an artist, Kentridge is not limited to a particular material or genre. While considering drawing as his primary practice, Kentridge works across various mediums including printmaking, writing, film, performance, music, theatre, sculpture and numerous collaborative practices to create complex and intellectually engaging works of art that are rooted in history, politics, science, literature, philosophy and history. In celebration of the artist and this momentous event, Aspire proudly presents an outstanding and unique collection of significant works by William Kentridge, spanning his career and showcasing the diverse mediums in which he works. Featuring signature charcoal drawings alongside collages, tapestry, prints and sculptures, this body of work is exemplary of Kentridge’s artistic brilliance and skill. William Kentridge’s acclaimed artistic legacy is reflected in the unceasing demand for his work. Artprice’s ‘The Contemporary Art Market Report’ (2021) positions Kentridge as the third most important and recognised contemporary artist from Africa by auction turnover (2020/21) and its ‘Top 500 Contemporary Artists’ ranks Kentridge at #80 in terms of auction revenue (2020/21) with a turnover of $ 4,691,690 with 188 lots sold. To date, Aspire Art remains the top South African seller of important works by William Kentridge on the secondary market and currently holds the top two auction records set in Africa with the sale of Drawing from Stereoscope (Double page, Soho in two rooms), 1999, for R6,600,400 in November 2018 and Drawing from Mine (Soho with Coffee Plunger and Cup) for R 5,456,640 in November 2017.

Drawing from Stereoscope (Double page, Soho in two

Mine (Soho with Coffee Plunger and Cup), 1991

rooms), 1999, sold for R6,600,400

sold for R 5,456,640

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15 William Kentridge South Africa 1955–

Self Portrait (State VI) 2007 etching and drypoint signed and numbered 7/18 in pencil in the margin and embossed with the David Krut Workshop chop mark plate size: 25 x 20 cm; sheet size: 40.5 x 36 cm; framed size: 50 x 47 x 3 cm ZAR USD GBP EURO

50 000 – 70 000 2 750 – 3 850 2 400– 3 360 2 800– 3 920

PROVENANCE Private collection, Cape Town. Goodman Gallery, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, the Museum of Modern Art, New York.; Tate Modern, London.; Metropolitan Museum of Art, New York.; San Francisco Museum of Modern Art, California and The Museum of Contemporary Art (MCA), Chicago. NOTES This William Kentridge selfportrait exists in six different versions. Kentridge reworked the plate six times, adding drypoint each time until he was satisfied. The last three states were each printed as an edition. State I to III each have 1 print only, State IV to V are editions of 8 + proofs and the final state is printed in an edition of 18 + proofs. 12.06 on the top left is the month and the year the plate was finalised, 2007 being the year all the editions were printed in full. Thank you to Jillian Ross for her assistance in cataloguing this lot.

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16 William Kentridge

Although not mentioned by name, the mixed media drawing Urbanise is one of the landscapes discussed by Kentridge in his article ‘Landscape in a State of Siege’ that was published in Stet magazine in November 1988.1 In the article, Kentridge explained how neither the image of Africa that he was exposed to at school, nor the conventions of European landscape painting that formed an important part of his aesthetic education, corresponded to his experience of his environment as he was growing up. In fact, as he wrote, he soon came to recognise that, in their denial of the historical processes of dispossession and appropriation, the heroic landscapes of South African art history are not only false but actually “documents of disremembering”.

South Africa 1955–

Urbanise 1988 pencil, pastel and charcoal on paper signed and dated bottom left sheet size: 107 x 155 cm; framed size: 125 x 171 x 5 cm ZAR USD GBP EURO

3 000 000 – 5 000 000 165 000 – 275 000 144 000 – 240 000 168 000 – 280 000

PROVENANCE Private collection, Johannesburg. LITERATURE Sittenfeld, M. (ed). (2001). William Kentridge. Chicago: Museum of Contemporary Art, illustrated in colour on p.35. Christov-Bakargiev, C. (1998). William Kentridge. Brussels: Palais des Beaux-Arts. Illustrated in colour on p.37.

Kentridge described his understanding of landscape as “essentially urban”. “It has to do with visions from the roadside, with landscape that is articulated, or given a meaning, by incidents across it, pieces of civil engineering, the lines of pipes, culverts, fences”. In Urbanise and other landscapes in this series, evidently, this catalogue of civil engineering details has developed into fractured peri-urban wastelands of billboards, broken stadia, constructions sites, etc. “It has become clear that the variety of the ephemera of human intervention on the landscape is far greater than anything the land itself has to offer”. By focussing on the human history of landscape, Kentridge uses the genre to resist what he calls the “Disease of Urbanity”, that South African tendency to absorb contradiction and compromise in daily life that, for him, constitutes another form of “disremembering”. The title Urbanise almost certainly reflects this idea of urbanity – the first two syllables are emphasised in the drawing. But it also suggests the fateful rhetoric of early twentieth-century socialist revolutionaries. In both verbal and visual forms, Kentridge embraces ambiguity and contradiction: the pine tree symbol of ‘Spar’, the suburban grocery chain, for example, is opposed to a short line of poplar trees which, in turn, echo the form of a dining fork in the foreground. And the word ‘Spar’ itself is connected to those ‘stout poles’ that constitute one of its dictionary meanings. This play with words and forms is enabled by Kentridge’s adoption of the collage style, that method of representing one’s environment not as the harmonious unitary space of the South African landscape tradition, but as “a non-stop flow of incomplete, contradictory elements, impulses and sensations”.2 It is in this disjointed vision of the world that Kentridge is able to depict his wife, Ann Stanwix, sharing a billboard with a motor car advertisement. Michael Godby 1 ‘Landscape in a State of Siege’ is republished in Carolyn Christov-Bakargiev. (1998). William Kentridge. Brussels: Societe des Expositions du Palais des Beaux-Arts. pp.43-49. Urbanise is illustrated on page 37 but dated incorrectly 1989. 2 William Kentridge in conversation with Rose Korber in ‘Revealing the Truth of Veld that Lies’, Weekly Mail, April 1988, reprinted in Christov-Bakargiev, William Kentridge, p.161.

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17 William Kentridge South Africa 1955–

Self portrait in collage: Head VII 2008 drawing, lithography, letterpress, scanned book pages, hand colouring and chine collé signed and dated bottom left unique head: 43.5 x 17.5 x 15cm; box: 47 x 37 x 41 cm; including base: 156 x 41 x 37 cm ZAR USD GBP EURO

450 000 – 650 000 24 750 – 35 750 21 600 – 31 200 25 200 – 36 400

PROVENANCE Private collection, Cape Town. Goodman Gallery, Johannesburg. NOTES Accompanied by a certificate of authenticity signed by Neil Dundas and William Kentridge.

The self-portrait, is an existential and intimate reflection which began our understanding of the oeuvre of William Kentridge in the early stop frame animations of Felix Teitelbaum and Soho Eckstein (1989 – 2011). In this work Self-Portrait in collage: Head VII (2008), the head of the artist is constructed from a two-dimensional drawing of two portraits slotted into each other in which the two flat surfaces take on a three-dimensionality and transform into a provisional bust. The bust, experienced in the round, has visual references to the globe or the orb and the traces of text ‘The Incident is Closed’ and ‘Intolerable Trust’ further question the musings of this bust. Inspired from Kentridge’s earlier series Four Paper Heads (2007)1, and the performance of Zeno Writing (2002) which is “based on Italo Svevo’s 1923 novel Confessions of Zeno, and contrasts the atmosphere of post-World War One Trieste with contemporary Johannesburg”.2 We see the face deconstructed and reconstructed through the provisional line and the torn page, the memory and memorial reflected in the exposed features of a cheek, an eye or an ear. The artist is the accuser and the accused as he both observes the self and deconstructs the self in a questioning of the image of humanity as fragile, complex and provisional. In a nod to Alberto Giacometti’s sculptures which stretch and augment a rough line and knobbly impressions into a figure, the provisional drawings of Kentridge become more than a line drawing and more than a bust. The image of the self points to contemporary dilemmas and historical legacies. This work is well placed within the expansive dialogue the artist has with drawing, history and theories of existentialism which emerge from these histories. Tammy Langtry 1 Taylor, J. (2018). William Kentridge: That Which We Do Not Remember with Jane Taylor. Sydney and Adelaide: Naomi Milgrom Foundation. p.52. 2 William Kentridge. Zeno Writing (2002) Qagoma. https://learning.qagoma.qld.gov.au/artworks/zeno-writing/ (Accessed Tuesday, 18 October 2022.)

Zeno writing still

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Four Paper Heads (2007), image courtesy Marion Goodman Gallery

two views of lot 17

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18 William Kentridge South Africa 1955–

Dancer in Red Sash 1996 colour screenprint signed, dated, numbered 37/45 in pencil in the margin and embossed with the Caversham Press Studio chop mark bottom right sheet size: 100 x 70.5 cm unframed ZAR USD GBP EURO

100 000 – 150 000 5 500 – 8 250 4 800 – 7 200 5 600 – 8 400

PROVENANCE Private collection, KwaZulu-Natal.

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19 William Kentridge South Africa 1955–

Entirely Not So 2010 screenprint on BFK Rives 300gsm, positives drawn on acetate sheets signed and numbered 21/30 in pencil and embossed with the Caversham Press chop mark in the margin sheet size: 160 x 107 cm; framed size: 176 x 123 x 6.5 cm ZAR USD GBP EURO

150 000 – 200 000 8 250 – 11 000 7 200 – 9 600 8 400 – 11 200

PROVENANCE Private collection, Johannesburg. EXHIBITED Boston University Art Gallery, Three Artists at the Caversham Press: Deborah Bell, Robert Hodgins and William Kentridge, 8 February to 27 March 2011. LITERATURE Tone, L. (2013). William Kentridge: Fortuna. London: Thames & Hudson Ltd, illustrated in colour in a studio shot on pp.28-29. Kentridge, W, (2019). Why Should I Hesitate: Putting Drawings To Work. London: Koenig Books, illustrated in colour in a studio shot on p.260. Annandale Galleries exhibition catalogue (2012), William Kentridge: A Universal Archive (Parts 7-23). Sydney: Annandale Galleries, another example from the edition illustrated on p.21. NOTES Published by The Caversham Press.

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20 Blessing Ngobeni South Africa 1985–

Predictions 2013 acrylic, acrylic gel and collage on canvas signed and dated bottom right 119.5 x 196 x 2.5 cm ZAR USD GBP EURO

120 000 – 180 000 6 600 – 9 900 5 750 – 8 640 6 720 – 10 080

PROVENANCE Private collection, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, Johannesburg Art Gallery, Johannesburg and the SAFFCA Collection, South Africa.

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21 Blessing Ngobeni South Africa 1985–

Tears of Human 2017 collage and acrylic on canvas signed and dated bottom right 154 x 122 x 4.5 cm ZAR USD GBP EURO

70 000 – 100 000 3 850 – 5 500 3 360 – 4 800 3 920 – 5 600

PROVENANCE Private collection, Johannesburg.

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22 David Koloane South Africa 1938–2019

Moon and Hillbrow Tower 2007–8 oil on canvas signed and dated bottom right 142 x 148 cm; framed size: 145.5 x 151.5 x 7.5 cm ZAR USD GBP EURO

200 000 – 300 000 11 000 – 16 500 9 600 – 14 400 11 200 – 16 800

PROVENANCE Private collection, Cape Town. Goodman Gallery, Johannesburg. EXHIBITED Iziko National Gallery, Cape Town; Wits Art Museum, Johannesburg; Standard Bank Gallery, Johannesburg, A Resilient Visionary: Poetic Expressions of David Koloane, 1 June 2019 to 22 February 2020. LITERATURE Goniwe, T. (ed). (2019). The Resilient Visionary: Poetic Expressions of David Koloane. Johannesburg: Standard Bank of South Africa Limited, illustrated in colour on p.86. COLLECTIONS The artist is represented in numerous local and international collections, notably, the Dutch Royal Family Collection, The Netherlands.; the BMW Collection, Germany.; Saatchi Gallery, London.; Iziko South African National Gallery, Cape Town and Wits Art Museum, Johannesburg.

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In a walkabout for the 2019 exhibition, A Resilient Visionary: Poetic Expressions of David Koloane, (opening in May at the Iziko South African National Gallery, Cape Town and in October at the Standard Bank Gallery, Johannesburg), Standard Bank Art Gallery curator Dr Same Ndluli, conveys Johannesburg as Koloane’s ‘muse’. She mentions his daily route to his studio in Fordsburg from his home in Hillbrow, a 4km stretch, rich in history, architecture, and commotion. The evidence of this personal journey is clear in his work through his subject matter, including one of his common motifs and well-known landmark of Johannesburg, the iconic Hillbrow Tower. The exhibition was curated by art historian and writer Theminkosi Goniwe. Despite spending most of his life in the city, Koloane’s interest in the City of Gold can be described as an avid curiosity. The artist was compelled to explore the streets he knew so well and represented these observations through his layered brushstrokes and detailed landscapes. Goniwe described Koloane: “He was like a flaneur, but not in the conventional, European sense. He delved into the city’s back alleys, he saw and smelled the city, he heard her sounds as he observed the transitions and changes in Jo’burg. But he was not a passive consumer of the city, he was also a participant”.1 Micaela Wentzel 1 Tolsi, N., David Koloane’s art is a love letter to Jo’burg, Mail & Guardian, 4 December 2019, Available at: https:// mg.co.za/article/2019-12-04-00-david-koloanes-art-is-a-love-letter-to-joburg/ (Accessed: 1 November 2022).

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23 Michael Taylor South Africa 1979–

Untitled 2013 acrylic, gouache and watercolour on paper signed with the artist's initials bottom right 175.5 x 146.5 cm; framed size: 185 x 155.5 x 6 cm ZAR USD GBP EURO

70 000 – 90 000 3 850 – 4 950 3 360 – 4 320 3 920– 5 040

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PROVENANCE Private collection, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, the Nando’s Art Collection, Johannesburg; the Spier Art Collection, Stellenbosch; the Stellenbosch University Art Collection and the Woolworths Art Collection, Cape Town.

24 Brett Murray South Africa 1961–

The Patriarch 2016 bronze on a steel base number 3 from an edition of 6 30 x 15 x 10 cm ZAR USD GBP EURO

50 000 – 70 000 2 750 – 3 850 2 400– 3 360 2 800– 3 920

PROVENANCE Private collection, Johannesburg. Everard Read Gallery, Johannesburg. EXHIBITED Everard Read Gallery, Johannesburg, Brett Murray: Again Again, 2 March to 8 April 2017. NOTES Accompanied by certificate of authenticity from Everard Read Gallery signed by the artist COLLECTIONS The artist is represented in numerous local and international collections, notably, the Norval Foundation Collection, Cape Town; the Nando’s Art Collection, Johannesburg; the University of the Witwatersrand, Johannesburg and the University of Cape Town, Cape Town.

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25 Norman Catherine South Africa 1949–

The Five Senses 1998 carved and painted wood signed and dated mid right portion 129 x 199 x 10 cm ZAR USD GBP EURO

250 000 – 350 000 13 750 – 19 250 12 000 – 16 800 14 000 – 19 600

PROVENANCE Private collection, Johannesburg. Strauss and Co., Modern, PostWar, Contemporary Art, 7 to 8 November 2021, lot 31.

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26 Angus Taylor South Africa 1970–

Head earth, ground and steel on a granite base signed and numbered 3/6 on the base 28 x 18 x 30 cm excluding base; 58 x 18 x 30 cm including base ZAR USD GBP EURO

50 000 – 80 000 2 750 – 4 400 2 400 – 3 840 2 800 – 4 480

PROVENANCE Private collection, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, Nirox Foundation Collection and Sculpture Park, Krugersdorp.; Norval Foundation, Cape Town.; Leeu Estates, Franschhoek and Beeldenaan Zee Museum, The Hague.

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27 Mikhael Subotzky South Africa 1981–

Boat 2 2008 inkjet on archival Dibond with facemounted toughened glass uniquely smashed by the artist number 4 from an edition of 5 sheet size: 59.5 x 47.5 cm; framed size: 60.5 x 48.5 x 3.5 cm ZAR USD GBP EURO

60 000 – 90 000 3 300 – 4 950 2 880 – 4 320 3 360– 5 040

PROVENANCE Private collection, Cape Town. Goodman Gallery, Johannesburg. EXHIBITED Sherman Contemporary Art Foundation, Sydney, W.Y.E, 18 March to 21 May 2016, another example from the edition exhibited. IZIKO South African National Gallery, Cape Town, I Was Looking Back, 2012, another example from the edition exhibited. Goodman Gallery, Cape Town, Surfacing / 2014, 22 March to 26 April 2014 LITERATURE Gradwell, M. (2017). Ellerman House Art Collection. Cape Town: Ellerman House, another example from this edition illustrated in colour on p.192. Vladislavic, I. (ed.). (2012). Retinal Shift. Gottingen: Steidl. another example from the edition illustrated in colour on p.197. Rose, J. (eds.). (2016). W.Y.E. Sydney: SCAF, another example from the edition illustrated on p.23.

Mikhael Subotsky made his first smashed work when, as part of his career defining series on the Western Cape prison system Die Vier Hoeke, a photograph of a prisoner who had been burned to death in his cell, titled Christopher Sibilla’s Body I was taken on the request of Sibilla’s Mother. This was the first time Subotzky saw a dead body and the intimate process disturbed him. The thought of the photograph continued to haunt him, he became frustrated that his feelings of the photograph were not visually evident in the work itself. Plagued with these emotions, Subotzky smashed the glass frame of the work, clouding Sibilla’s body. Assessing his action in retrospect, Subotzky realised that his emotions around the violence and cruelty of what he witnessed in photographing Die Vier Hoeke became evident. This launched the theme of smashed glass in Subotzky’s creative process. Subotzky has since selected over 40 images to smash. He notes that, “Smashing started provoking a whole load of different thoughts for me. There was the obvious relationship to Roland Barthes' concept of punctum – the puncture that actually connects the viewer to the emotional quality of the photograph – and to death as well. Then I realized that smashing also draws attention to the surface and the materiality of the photograph, preventing the viewer from having this complacent relationship with what a photograph is. The smashing got in the way of the viewer's ability to consume the photograph”. 1 1 Mikhael Subotzky: In Conversation (2018). Available at: https://www.phillips.com/article/37490275/mikhael-subotzky-inconversation (Accessed: 14 October 2022). 1 Tolsi, N., David Koloane’s art is a love letter to Jo’burg, Mail & Guardian, 4 December 2019, Available at: https://mg.co.za/ article/2019-12-04-00-david-koloanes-art-is-a-love-letter-to-joburg/ (Accessed: 1 November 2022).

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28 Jake Singer South Africa 1991–

Bird in flight 2019 mild steel with automotive paint 194 x 80 x 80 cm excluding base; 240 x 80 x 80 cm including base ZAR USD GBP EURO

90 000 – 120 000 4 950 – 6 600 4 320 – 5 760 5 040 – 6 720

PROVENANCE Private collection, Johannesburg. COLLECTIONS The artist is represented in local and international collections, notably, the Rand Merchant Bank Collection, Johannesburg.

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29 Norman Catherine South Africa 1949–

Hotel Babylon 1998 carved and painted wood assemblage signed and dated bottom right 181 x 104 x 9.5 cm ZAR USD GBP EURO

400 000 – 600 000 22 000 – 33 000 19 200 – 28 800 22 400 – 33 600

PROVENANCE Private collection, Johannesburg.

In 2000, the Goodman Gallery produced a book on Norman Catherine which, twenty-two years later, remains a stellar study of contemporary South African art, and an invaluable asset for all art collectors, not least because of the foreword by David Bowie. The great rockstar too owned one of Catherine’s libraries of wooden curiosities. That one of these, Hotel Babylon (1998), is up for sale is thrilling. No South African artist ranks as highly in the global Pop idiom, none has more hilariously examined white colonial mischief or the perversities of black power. Hotel Babylon is an invaluable assemblage, not only because it is an exquisite slice of Catherine’s irresistible punctuality – his ‘Nowness’ – but because no artist, in this manically distressed and restless moment, better typifies both an African and global condition. Catherine’s surreal figures are a mirror image of Fanagalo – a lingua franca that combines Nguni languages with English and Afrikaans and a result of indenture and migrant labour. A syncretic makeshift language, and, as such, wildly loose and irreferential. Doubtless, in Catherine’s menagerie Bowie saw a number of alter-egos. This is because Catherine’s personae are psychic projections and representations – they manifest the dark human undertow, the instinctive, venomous, hilarious, and macabre. In the introduction to the book, Norman Catherine, I reflected on “the innumerable gashed, howling, serrated mouths”, their acidic expressions caught “in a rictus of demonic pleasure”. Catherine’s hard-edged cut-out technique, the strange ‘laughter’ that galvanises his sculptures that veer “from the mildly comic to the absurd to an affect hauntingly predatory”.1 In this regard, Hotel Babylon is an exemplary congregation of Catherine’s dystopic brilliance. Ashraf Jamal 1

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Jamal, A. (2000). Norman Catherine, Johannesburg: Goodman Gallery Editions, preface.

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30 William Kentridge South Africa 1955–

& 2017 bronze signed with the artist's initials, inscribed 'FP' and 'Work Horse' on the base from an edition of 3 plus 1AP and 1FP 84 x 55 x 83 cm excluding base; 166 x 105 x 81.5 cm including base ZAR USD GBP EURO

5 000 000 – 6 000 000 275 000 – 330 000 240 000 – 288 000 280 000 – 336 000

PROVENANCE Private collection, Johannesburg. Workhorse Bronze Foundry, Johannesburg. EXHIBITED Norval Foundation, Cape Town, Why Should I Hesitate: Sculpture, 24 August 2019 to 27 July 2020, another example from the edition exhibited. LITERATURE Kentridge, W. (2019). Why Should I Hesitate. Cape Town: Norval Foundation, another example from the edition illustrated in black and white on pp.239-318.

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An ampersand, which is often used, especially in series, as a substitute for ‘and’, is a visual rendition of the Latin word ‘et’, which means ‘and’. In the European Middle Ages, single letters could be used as full words when combined with the phrase ‘per se’, Latin for ‘by itself’. ‘Ampersand’ is a corruption of the term ‘and per se and’, literally ‘and by itself’. For a time, the ampersand was the 27th letter of the English alphabet. Over and above the obvious beauty of the ligature of the letters ‘e’ and ‘t’, the project of making a sculpture out of an ampersand seems to have appealed to Kentridge for its potential to continue his exploration of materiality, representation and illusionism in his sculpture and other work. Firewalker and La Fenice, for example, become legible only as the spectator moves around them or as they rotate before the spectator’s eyes.1 Other recent sculptures reproduce in bronze the illusion of the disposable materials from which their maquettes were made.2 In a similar vein, Kentridge wanted & and other sculptures in the series to have weight “but I still wanted to read them as silhouettes”.3 It was Kentridge himself who gave the title & but how does one say this? Ampersand? And? Both? Kentridge seems to prevent one from getting to first base with this work. Moreover, the ampersand symbol is simultaneously a word and, apparently, a letter. Essentially, & is the conundrum of an abstract symbol expressed in substantial three-dimensional form whose mass is deliberately negated. Added to this complex ontological status, the ampersand is of course a conjunction – a grammatical form that requires to be set between two or more propositions. A conjunction without such context is essentially meaningless. Focussing on such paradoxes of representation is a persistent theme in Kentridge’s works through which he proposes the impossibility of fixed meaning. Michael Godby 1 William Kentridge, ‘Provisional Coherence’, pp.101-112, in William Kentridge. (2019). Why Should I Hesitate: Sculpture. Cape Town: Norval Foundation, and London: Koenig Books. 2 William Kentridge, ‘Trompe-l’oeil’, pp.203-218, in Why Should I Hesitate: Sculpture. 3 William Kentridge, ‘Weighing One’s Words’, pp.219-240, in Why Should I Hesitate: Sculpture.

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31 Norman Catherine South Africa 1949–

Shark Eater 2009 carved and painted wood inscribed with the title above the centre piece 122 x 100 x 10 cm ZAR USD GBP EURO

100 000 – 150 000 5 500 – 8 250 4 800 – 7 200 5 600 – 8 400

PROVENANCE Private collection, Cape Town.

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32 Norman Catherine South Africa 1949–

Headman 2012 bronze signed and dated on the base 87 x 17 x 18 cm ZAR USD GBP EURO

60 000 – 90 000 3 300 – 4 950 2 880 – 4 320 3 360– 5 040

PROVENANCE Private collection, Johannesburg. Circa Gallery, Johannesburg. EXHIBITED Circa Gallery, Johannesburg, Norman Catherine Incognito, 1 August to 5 October 2013, another example from the edition exhibited and illustrated in the exhibition catalogue on p.32 and p.36. COLLECTIONS The artist is represented in numerous local and international collections, notably, the Museum of Modern Art, New York.; the Brooklyn Museum, New York.; IZIKO South African National Gallery, Cape Town.; Javett Art Centre, Pretoria and The Haenggi Foundation Inc., Basel.

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33 Wayne Barker South Africa 1963–

breath 2020 neon fluorescent tube from an edition of 3 80 x 60 x 9 cm ZAR USD GBP EURO

60 000 – 90 000 3 300 – 4 950 2 880 – 4 320 3 360– 5 040

PROVENANCE Private collection, Johannesburg. Everard Read Gallery, Johannesburg. EXHIBITED Everard Read Gallery, Johannesburg, Wayne Barker: Love Light in the Time of Corona, 13 to 31 October 2020. COLLECTIONS The artist is represented in numerous local collections, notably, Iziko South African National Gallery, Cape Town; Johannesburg Art Gallery; MTN Art Collection, Johannesburg; Javett Art Centre, Pretoria and Wits Art Museum, University of the Witwatersrand, Johannesburg.

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In the wake of the 2020 pandemic, Wayne Barker created Love, Life in The Time of Corona; a series of portraits that not only spoke to the feelings of uncertainty, but also the collective strength of human beings displayed at the time. Hoping to shed some light and hope in a dark time, the ongoing project invited viewers to participate by sending their ‘selfies’ to the artist. The images were the starting point, followed by layers of colour, text and a hopeful light that brightens the whole image. breath is a reference to the airborne nature of the Coronavirus and the manner in which all of humanity was encouraged, and indeed coerced, into managing and controlling the free flow of each of their own breath. The clasped hands make reference to the uncontrollability of the virus, and it’s broad, yet democratic and undiscerning, impact on the global population.

34 Jim Dine America 1935–

The Foam 1990 etching and aquatint and powertool drypoint with hand colouring on Hahnemühle warm white paper signed, dated and numbered 19/30 in pencil in the margin sheet size: 107 x 79 cm; framed size: 120 x 92 x 3.5 cm ZAR USD GBP EURO

80 000 – 120 000 4 400 – 6 600 3 840 – 5 760 4 480 – 6 720

PROVENANCE Private collection, Johannesburg. NOTES Accompanied by a certificate of authenticity from The Whitehouse Gallery. COLLECTIONS The artist is represented in numerous local and international collections, notably, Tate Modern, London.; Museum of Modern Art, New York.; Bilbao Fine Arts Museum, Bilboa.; Walker Art Cente, Minneapolis and the National Gallery of Art, Washington D.C.

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35 Simphiwe Mbunyuza South Africa 1989–

Nqolomsila 2022 ceramic and underglaze signed along the bottom 97 x 63 x 63 cm ZAR USD GBP EURO

250 000 – 350 000 13 750 – 19 250 12 000 – 16 800 14 000 – 19 600

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Simphiwe Mbunyuza is a young South African artist and ceramicist based in Johannesburg. His large-scale abstract ceramic work draws inspiration from his Xhosa background and African cultural symbolism. “My work involves relationships and interactions within African cultural symbolism and cultural day-to-day objects used by African groups, particularly the Xhosa people.”1 For Mbunyuza, identity, history, memory, traditional techniques and the use of indigenous materials are all important markers when considering his practice. Mbunyuza grew up in a small village called Mambendeni, just outside Butterworth in the Eastern Cape of South Africa. His work is influenced by the people and cultures of the village, taking from Xhosa and the other cultural groups that now populate the region. For example, the coloured elements in Mbunyuza’s ceramics draw from customs of decorating mud houses and the tradition of women painting their faces with decorative dots during ceremonies. The artist holds a Master of Fine Art degree from The University of Oklahoma and a Fine Arts degree from Walter Sisulu University. He has exhibited internationally, including a recent exhibition at Marianne Boesky Gallery in Aspen and New York, as well as Gallery 1957 in London and Accra, among others. He is the recipient of awards and residencies including the Anderson Ranch Arts Centre in 2021; the Red Clay Faction Award, the Oscar Jacobson Award from The University of Oklahoma in 2019 and John Steele Award for Excellence in Ceramics from The Walter Sisulu University; a residency with A.I.R Vallauris, France, in 2017 and has been invited to participate on a two year residency at world-renowned Archie Bray Foundation in Montana, USA. 1

Email from the artist to Jacqui Carney, 21 October 2022.

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36 Simphiwe Mbunyuza South Africa 1989–

Bhungane 2022 ceramic and underglaze signed along the bottom 97 x 63 x 63 cm ZAR USD GBP EURO

250 000 – 350 000 13 750 – 19 250 12 000 – 16 800 14 000 – 19 600

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38 Andile Dyalvane South Africa 1978–

Indonga Vase (Walls of the River) 2019 terracotta and black river bank clay signed, dated and inscribed 'Imiso' on the underside 38 x 32 x 30 cm ZAR USD GBP EURO

70 000 – 100 000 3 850 – 5 500 3 360 – 4 800 3 920 – 5 600

PROVENANCE Private collection, Johannesburg. Imiso Gallery, Cape Town. COLLECTIONS The artist is represented in numerous local and international collections, notably, Vitra Design Museum, Weil am Rhein.; Yingge Ceramic Museum, Taipei.; Iziko South African National Gallery, Cape Town.; NMMU Art Museum, Port Elizabeth and Javett Art Centre, Pretoria.

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37 Andile Dyalvane South Africa 1978–

Indonga 2019 terracotta and black river bank clay signed, dated and inscribed 'Imiso' on the underside 22 x 38 x 37.5 cm ZAR USD GBP EURO

50 000 – 70 000 2 750 – 3 850 2 400– 3 360 2 800– 3 920

PROVENANCE Private collection, Johannesburg. Imiso Gallery, Cape Town.

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39 Dumile Feni South Africa 1939–1991

Dedication to Ruth First and Lilian Ngoyi 1991 colour lithograph signed, dated, numbered A/P IV and inscribed with the title in pencil in the margin sheet size: 98 x 63 cm; framed size: 129 x 101 x 3.5 cm ZAR USD GBP EURO

30 000 – 50 000 1 650 – 2 750 1 440 – 2 400 1 680 – 2800

PROVENANCE Private collection, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, Iziko South African National Gallery, Cape Town.; Johannesburg Art Gallery.; De Beers Centenary Art Gallery, Alice and the University of Fort Hare, Alice.

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40 Gerard Sekoto South Africa 1913–1993

Self portrait pencil on paper signed bottom right 36.5 x 34.5 cm; framed size: 58 x 48 x 3.5 cm ZAR USD GBP EURO

30 000 – 40 000 1 650 – 2 200 1 440 – 1 920 1 680 – 2 240

PROVENANCE Private collection, Cape Town. Stephan Welz & Co., Fine Art & Design, 10 January 2014, lot 136. Gifted to the first owner by the artist. COLLECTIONS The artist is represented in numerous local and international collections, notably, Johannesburg Art Museum, Johannesburg; Javett Art Centre, Pretoria; Iziko South African National Gallery, Cape Town; the University of Fort Hare, Alice, South Africa and the University of the Witwatersrand, Johannesburg. NOTES This delicate portrait perfectly captures Sekoto who, in describing himself noted, “I was a timid man. All that interested me was to do things. I wanted people to look. But I did not want to hoist a flag. I wanted people to be sincere. I wanted to be sure. I was very sensitive”.1 Chapani Maganyi N. (2004). Gerard Sekoto: I am an African, Wits University Press: Johannesburg, p. 35. 1

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41 Dumile Feni South Africa 1939–1991

Mother and child 1966 bronze signed and numbered 4/5 on the underside 27 x 19 x 21 cm excluding base ZAR USD GBP EURO

300 000 – 500 000 16 500 – 27 500 14 400 – 24 000 16 800 – 28 000

PROVENANCE Private collection, Cape Town. EXHIBITED Adler Fielding Galleries, Johannesburg, Sculpture SA 1900-1967, 12 September 1967 another example from the edition exhibited. LITERATURE Feni, D. & Dube, P. M. (2010). Dumile Feni: The Story of a Great Artist. Johannesburg: Motloatse Arts Heritage Trust, another example from the edition illustrated on p.225. Dube, P. M. (2006). Dumile Feni Retrospective. Johannesburg: Johannesburg Art Gallery, the terracotta mould illustrated on p.28. NOTES The work was cast by the Renzo Vignali Foundry as confirmed by the Foundry and by Salome le Roux from the ART-Group and Gerard de Kamper from the University of Pretoria Museums.

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The theme of mother and child has both personal and political significance in the oeuvre of Dumile Feni. In its typical (art) historical convention, mother and child conveys fecundity, beauty, and idealised motherhood. This idolisation of the mother as bearer of and embodied life was an expressive motif of the filial values and lived experience of a given, convivial social life. However, in Dumile’s iconography such a visual motif acquires a new materialist valance and interpretation. It asks us to contend with denied filiality. At the level of the personal, it gestures to the loss and mourning of the artist’s mother who died when he was still very young. It can also become a eulogising and appreciatory device that recognises the maternal figures in and around his life. Here the severance of the black family is a natural outgrowth of the political lived experience under conditions of racial subjection. Thus, the recurrence of this theme throughout his art, might be indicative of the presence and inseparability of the personal from political or even the aesthetic from the moral. The sculpture depicts an intense frontal figuration of dejection and torment not only in how it portrays the subject’s faces, but also in how their bodily forms are distorted. The mother’s arms are wrapped around her child’s body, as she kneels, staring at the viewer with a look of desperation. We can’t escape her despondent eyes. However, the sheer muscular comportment of the mother indicates her latent potential to raise herself from the dirt. She has the power! Athi Mongezeleli Joja

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42 Dumile Feni South Africa 1939–1991

Man Drinking 1967 charcoal and conté on paper signed, dated, numbered A/P IV and inscribed with the title in pencil in the margin 250.5 x 102 cm; framed size: 268 x 120 x 6 cm ZAR USD GBP EURO

800 000 – 1 000 000 44 000 – 55 000 38 400 – 48 000 44 800 – 56 000

PROVENANCE Campbell-Smith Collection, Cape Town. Grosvenor Gallery, London. EXHIBITED Johans Borman Fine Art, Cape Town, Dumile Feni: 1968 Drawings, April 2009. Johannesburg Art Gallery, Dumile Feni Retrospective Exhibition, 31 January to 19 April 2005. LITERATURE Dube, P. M. (2006). Dumile Feni Retrospective. Johannesburg: Johannesburg Art Gallery, illustrated on p.68. NOTES Accompanied by a Certificate of Authenticity from the Dumile Feni Family Trust.

In 1967, Dumile Feni represented South Africa at the São Paolo Biennale in Brazil with five drawings. He also formed part of the South African pavilion at Expo 67 in Montreal, Canada and presented solo exhibitions at the then Transvaal Academy and Madame Haenggi’s Gallery 101 in Johannesburg. Not only was this a prosperous time locally and internationally for Feni’s artistic career, but it also marked the start of a period of great personal turmoil in the artist’s life in the lead-up to his decision to leave a politically turbulent South Africa in 1968, to go into self-imposed exile. Between 1967 and 1968, while waiting to be granted a passport and visa, Feni stayed with artist and teacher Bill Ainslie and his wife Fieke in Johannesburg. During this time, while working alongside Ainslie in the studio, he produced several large-scale charcoal drawings. The emotionally charged Man Drinking dates from this period. Later, Ainslie would remark that Dumile did some of his best work during the two years he stayed there. Curator Steven Sack famously commented that “the master of turbulent imagery was undoubtedly Dumile Feni, who was known as the Goya of the townships. His apocalyptic vision talks directly of personal experience, indicating the extent to which the political and the personal had become inextricably intertwined”. In this work, Feni ostensibly depicts, with expressive and suggestive marks, a man on a binge. The drawing is minimalist in composition, but not in its style and technique. Some areas of the figure are more detailed than other parts, like its head which is further highlighted with white conté. The contrast between intensely detailed sections and the open spaces heightens the visual tension in this unusual composition. Furthermore, the scale and positioning of the figure on a large paper format, where open space – devoid of reference – is used for dramatic effect, emphasise the physical and emotional isolation of the figure. Considering the personal upheavals Feni endured during this time and the circumstances under which this drawing was produced; his forced displacement and eventual exile, while leaving behind his seven-month pregnant partner Florence Dvali, mother of recently deceased Miriam Feni, whom he never got to meet, this drawing could be viewed as an intimate, yet blunt self-reflection. Man Drinking also speaks universally of man’s struggles and his destructive methods for a temporary escape. Works from this important period, like Man Drinking, are significant in Feni’s oeuvre, not only as markers of the artist’s stylistic development during this transitional time, but also of their subjective and emotional content. These drawings are also very rare in South Africa since Feni took the majority of them with him to London when he left. Marelize van Zyl

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43 Ephraim Ngatane South Africa 1938–1971

Boxers – The Knock Out Punch 1968 oil on board signed and dated top left 74 x 61.5 cm; framed size: 90 x 67 x 5 cm ZAR USD GBP EURO

70 000 – 90 000 3 850 – 4 950 3 360 – 4 320 3 920– 5 040

PROVENANCE Private collection, Johannesburg.

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COLLECTIONS The artist is represented in numerous local and international collections, notably, Javett Art Centre, Pretoria; the Sandton Municipal Collection, Johannesburg; Johannesburg Art Gallery, Johannesburg; Iziko South African National Gallery, Cape Town; Absolut Art Gallery, Stellenbosch and the University of the Witwatersrand, Johannesburg.

44 Lucky Sibiya South Africa 1942–1999

Two Figures carved, incised and painted wood panel signed bottom right 65 x 65 x 5 cm ZAR USD GBP EURO

60 000 – 80 000 3 300 – 4 400 2 880 – 3 840 3 360 – 4 480

PROVENANCE Private collection, Johannesburg.

COLLECTIONS The artist is represented in numerous local and international collections, notably, the Arts Association Namibia Collection, Windhoek; Durban Art Museum, Durban; the Sandton Municipal Collection, Johannesburg; Iziko South African National Gallery, Cape Town and the University of the Witwatersrand, Johannesburg.

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45 Erik Laubscher South Africa 1927–2017

Afternoon in the Overberg 1978 oil on board signed and dated bottom right; inscribed with the artist's name, the title and medium on a label on the reverse 97 x 117 cm; framed size: 101 x 120.5 x 3 cm ZAR USD GBP EURO

100 000 – 150 000 5 500 – 8 250 4 800 – 7 200 5 600 – 8 400

PROVENANCE Private collection Cape Town. COLLECTIONS The artist is represented in numerous local and international collections, notably, Iziko South African National Gallery, Cape Town.; Javett Art Centre, Pretoria.; South African Constitutional Court, Johannesburg and the Rupert Museum, Stellenbosch. NOTES Following a trip to Europe in late 1977, the artist started working on a new body of work for his exhibition scheduled to open in September 1978 at the Association of Arts in Cape Town. This exhibition of landscape paintings would be remembered as one of Laubscher’s most successful shows and awarded him much public and critical acclaim with works being acquired for the South African National Gallery and the Sanlam Art Collection. The paintings produced in the lead-up to this exhibition, like this particular work, show Laubscher’s artistic confidence and understanding of abstraction in visually formalising the landscape.

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46 Irma Stern South Africa 1894–1966

Boats, Zanzibar 1939 gouache and pencil crayon on paper signed and dated bottom right 50.5 x 68 cm; framed size: 75 x 91 x 2 cm ZAR USD GBP EURO

900 000 – 1 200 000 49 500 – 66 000 43 200 – 57 600 50 400 – 67 200

PROVENANCE Private collection, Pretoria. COLLECTIONS The artist is represented in numerous local and international collections, notably, Bielefeld Art Gallery, Bielefeld; Collection of Queen Elizabeth the Queen Mother, London; Musee de l’Art Modern, Paris; Stedelijk Museum, The Hague; Ashmolean Museum, Oxford; Contemporary Art Society, London and the South African Embassies in: Geneva, The Hague, Madrid, Paris, London, Washington D.C.

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Although Stern often produced lively pencil sketches to record the people and places she encountered while travelling both locally and abroad, she always relied on gouache to capture the immediacy of her response to the experience of light and colour in sun-drenched landscapes and coastal venues. In Stern’s gouache depicting fishing boats on a beach in Zanzibar, the high vantage point reinforces this sense of immediacy, encouraging the viewer to enjoy the space as though physically present. Stern further augmented this impression through both the daring truncation of boats in the foreground and the hazy addition of white-washed buildings and palm trees in the distance. At once lively and tranquil, this scene was recorded during Stern’s first visit to Zanzibar, which coincided with the outbreak of the Second World War in September 1939 when intercontinental travel had all but ceased. While this affords a plausible explanation for the artist’s decision to visit an island on the east coast of Africa, according to Stern it was her childhood memory of the stories recounted by the family’s Zanzibari cook that prompted her decision to go there. Then a British Protectorate, Zanzibar was described in a brochure dating to the 1930s as a remote but interesting landmark populated by a picturesque mix of people. On her return to Cape Town Stern provided an enthusiastic account of her trip, including references to members of the different Muslim communities she had encountered and painted while in Zanzibar. Most were from the prosperous communities living in Stone Town, but she also recorded some of the local fishermen, many of whom lived in Ng’ambo (‘the other side’, in Swahili), the settlement across the creek from the island’s historic centre. It is possible that Stern captured this scene of haphazardly tethered fishing boats against a shallow stretch of water while looking back from Ng’ambo to Stone Town. Sandra Klopper Professor Emeritus, University of Cape Town

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The owner of this enchanting flowerpiece won it on a raffle organized to raise war funds. Stern, who gave family and friends her works with some reluctance, was generous in this donation.1

Irma Stern’s garden at her home ‘The Firs’ in Rosebank, Cape Town was an important and tranquil sanctuary to the artist. She worked tirelessly planning and creating the lush exterior, bursting with colour and abounding with blooming flowers year-round. The same exuberance was mirrored in the interior of her home, where walls were often painted in magnificent, yet unconventional colours and the artist’s substantial collection of African sculptures, prayer mats, antique vessels and oriental and medieval objects was on display.

47 Irma Stern South Africa 1894–1966

Anemones 1938 oil on canvas signed and dated top left 67 x 70 cm; framed size: 82 x 84.5 x 6.5 cm ZAR USD GBP EURO

5 000 000 – 7 000 000 275 000 – 385 000 240 000 – 336 000 280 000 – 392 000

PROVENANCE Private collection, Johannesburg. Johans Borman Fine Art, Cape Town. Donated by the artist to raise war funds. The first owner won the work in the raffle, thence by descent. EXHIBITED Johans Borman Fine Art, Cape Town, Masterpiece, 17 September to 15 October 2016. LITERATURE Arnold, M. (1995). Irma Stern: A Feast for the Eye. Stellenbosch: Rembrandt van Rijn Art Foundation, illustrated in colour on p.138.

While many of Stern’s paintings were derived from her extensive travels, her home was important and her vivid still-life studies – largely constructed from objects and flowers in her private space – occupy a substantial place within her oeuvre. Flower pieces, in particular, attests to her love of her garden and show something of the way she lived, surrounded by beauty, colour and flowers. Indeed, this wonderful painting of anemones embodies much of the artist’s exuberant and bold character. The floral arrangement, occupying almost the entire picture plane, is bursting with radiant hues. The warm pink, red and purple tints of the flowers and complementary greens of the untidy foliage are offset by the brilliant yellow of the draped cloth below and the wall behind. The painting is undoubtedly an assertive celebration of colour and painterly texture. The work also points to other aspects of Stern’s private life. Painted a year before the onset of the Second World War, Stern kindly donated Anenomes (1938) to a raffle organised to raise war funds. While Marion Arnold, author of Irma Stern: A Feast for the Eye, points out that Stern gave works to family and friends with some reluctance, she did in fact support the war and other efforts willingly. In Remembering Irma, Mona Berman confirms that Stern would donate works to the war effort whenever given the opportunity or called upon.2 Later, in 1958, the artist also donated a work to the Treason Trail Defense Fund when Freda Feldman (Richard Feldman’s wife and Stern’s friend) asked her to assist.3 What is clear is that Stern did support critical causes. As a German-Jew who spent much of her formative years living in Germany and who, in the 1930s, still had family there, Stern would have been acutely aware of the horrific antiSemitism in the country. She had expressed her fear in a letter to her friend Trude Bosse in 1933, “I get terribly frightened when I think of Germany’s future – so much hatred that has to be overcome".4 Five years later in 1938, the year Anemones was painted, Stern’s concern for the Jewish community is evidenced in a letter to her friends the Feldmans. “Today mother and I went out to Lady Phillip’s farm in Somerset West to try and arrange some important matter for the Austrian and German Jews”. J.B.M Herzog and Jan Smut’s United Party government had, in 1937, introduced the Aliens Bill which prevented further German-Jewish immigration into South Africa. Stern continued, “Shall let you know if anything comes out of it – would be most important”.5 After 1938, growing anti-Semitism and the Second World War prevented Stern from travelling to Europe until 1947. This magnificent flower piece was painted at a moment when Stern’s life was about to shift dramatically. It is vibrant and rich in colour and offers a window to the artist’s exuberant personality and private life at ‘The Firs’. But, its history also points to an important story of the artist’s inner world and her worries and concerns within turbulent and troubling times. Sarah Sinisi Arnold, M. (1995). Irma Stern: A Feast for the Eye. Johannesburg: Fernwood Press. p. 138. Berman, M. (2003). Remembering Irma. Cape Town: Double Story Books. p 110. 3 Braude, C. (2001). Beyond Black and White: Rethinking Irma Stern. The Helen Suzman Foundation, 61, p.58. 4 Irma Stern in Braude, C. (2001). Beyond Black and White: Rethinking Irma Stern. The Helen Suzman Foundation, 61, p.55. 5 Ibid. p56. 1

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48 Fred Page South Africa 1908–1984

Portrait of a Newcomer 1971 acrylic polymer on board signed and dated bottom right; inscribed with the title, the artist’s name and address on a label on the reverse and printed with the artist’s name, the title and cataloguing information on a Wolpe Gallery label on the reverse 72.5 x 48.5 cm; framed size: 106.5 x 68.5 x 4 cm ZAR USD GBP EURO

80 000 – 120 000 4 400 – 6 600 3 840 – 5 760 4 480 – 6 720

PROVENANCE Private collection, Johannesburg. Joe Wolpe Gallery, Cape Town. COLLECTIONS The artist is represented in numerous local and international collections, notably, Rupert Museum, Stellenbosch.; the University of Cape Town, Cape Town.; Javett Art Centre, Pretoria.; William Humphreys Art Gallery, Kimberley and Iziko South African National Gallery, Cape Town.

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49 Fred Page South Africa 1908–1984

Three figures and a caterpillar 1972 acrylic polymer on board signed and dated bottom right 76.5 x 53.5 cm; framed size: 89 x 66 x 4 cm ZAR USD GBP EURO

60 000 – 80 000 3 300 – 4 400 2 880 – 3 840 3 360 – 4 480

PROVENANCE Private collection, Johannesburg.

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50 Jacobus Hendrik Pierneef South Africa 1886–1957

Landscape near Pretoria oil on board inscribed with the artist's name and the title on a note on the reverse 34.5 x 49 cm; framed size: 53 x 67 x 8.5 cm ZAR USD GBP EURO

250 000 – 350 000 13 750 – 19 250 12 000 – 16 800 14 000 – 19 600

PROVENANCE Private collection, Cape Town.

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NOTES Accompanied by a report compiled by Salome le Roux from the ART-Group and Gerard de Kamper from the University of Pretoria Museums. Inscribed on a label on the reverse: 'I hereby certify the oil painting as an original by J. H. Pierneef' signed by Emile Schweickerdt 'Ek sertifiseer hierdie olieverf skildery "Landskap by Pretoria" as 'n oorspronklike werk deur J.H. Pierneef' signed

by Emile Schweickerdt and dated 'Pretoria 17 July 1972' COLLECTIONS The artist is represented in numerous local and international collections, notably, La Motte Wine Estate, Franschhoek; the University of the Witwatersrand, Johannesburg; Javett Art Centre, Pretoria; Johannesburg Art Gallery, Johannesburg and Engelenberg House Art Collection, Pretoria

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51 Irma Stern South Africa 1894–1966

Boats and Birds 1957 gouache and ink on paper signed and dated bottom left image size: 37 x 54.5 cm; framed size: 57 x 73.5 x 4 cm ZAR USD GBP EURO

50 000 – 70 000 2 750 – 3 850 2 400– 3 360 2 800– 3 920

PROVENANCE Private collection, Johannesburg.

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52 Bettie Cilliers-Barnard South Africa 1914–2010

Harvesters 1951 oil on panel signed and dated top left and inscribed 'Hilda Brummer' on the reverse 50.5 x 40 cm; framed size: 73 x 62 x 4.5 cm ZAR USD GBP EURO

80 000 – 120 000 4 400 – 6 600 3 840 – 5 760 4 480 – 6 720

PROVENANCE Private collection, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, Iziko South African National Gallery, Cape Town; Taipei Fine Arts Museum, Tapei; Willem Annandale Art Museum, Lichtenburg; the Roger Hauert Collection, Paris and Art Foundation Rembrandt van Rijn, Stellenbosch.

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53 Cecil Skotnes South Africa 1926–2009

Icon No. 7 1990 carved, incised and painted wood panel with brass inlays, in the artist's frame signed bottom left; inscribed with the artist's name, the date, the title, the medium and dimensions on a Goodman Gallery label on the reverse 67 x 67.5 x 3 cm ZAR USD GBP EURO

250 000 – 350 000 13 750 – 19 250 12 000 – 16 800 14 000 – 19 600

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PROVENANCE Private collection, KwaZulu-Natal. Goodman Gallery, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, the Norval Foundation, Cape Town; Iziko South African National Gallery, Cape Town; Royal Belgian Library, Brussels; Royal Museum of Fine Arts, Copenhagen and Schlesinger Organisation, London.

54 Edoardo Villa South Africa 1915–2011

African Mask I bronze signed, numbered 1 and inscribed 'AP' along the base 65 x 31.5 x 30.5 cm ZAR USD GBP EURO

250 000 – 350 000 13 750 – 19 250 12 000 – 16 800 14 000 – 19 600

PROVENANCE Private collection, Johannesburg. LITERATURE De Klerk, C. & De Kamper, G. (2012). Villa in Bronze. Pretoria: University of Pretoria Museum, another example from the edition illustrated in colour on p.50. COLLECTIONS The artist is represented in numerous local and international collections, notably, Norval Foundation, Cape Town; Iziko South African National Gallery, Cape Town; The South African Reserve Bank, Johannesburg; University of the Witwatersrand, Johannesburg and Zeitz MOCAA, Cape Town.

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55 Cecil Skotnes South Africa 1926–2009

Head 1970 carved, incised and painted wood panel signed bottom right 122.5 x 120.5 x 5 cm ZAR USD GBP EURO

350 000 – 500 000 19 250 – 27 500 16 800 – 24 000 19 600 – 28 000

PROVENANCE Private collection, Cape Town. Jeremy Stephen Antiques, Johannesburg. Estate of South African artist, Lionel Hinwood.

Cecil Skotnes formed part of a group of groundbreaking post-war artists who sought to establish a uniquely South African vernacular in their art – moving away from the largely conservative, Eurocentric works of the early 1990s. Skotnes’ unapologetic pursuit of this mission shaped much of his artistic development and defines much of his legacy today. When Egon Guenther introduced Skotnes to woodcut printing in 1954, he encouraged the artist to envision the wood block as an independent art form of its own – to be incised and painted outside of the printmaking method. For Skotnes's, this was a turning point. The medium conjured up images of local traditional arts, where wood is a favoured material and provided a vehicle through which he could develop his own idiosyncratic artistic language. Almost twenty years later, by the time he created Head, Skotnes had mastered the art form with which he is synonymous today. His carving of line is controlled yet rhythmic, enhancing both tone and texture. Whereas earlier works were rendered in more subdued colours, here the artist is confident in his use of striking yet earthy tones of red, ochre and black. These formal elements come together to present a single, totemic figure in the centre of the panel. The abstraction of the figure gives a nod to the stylised works of Pablo Picasso and Henry Moore, of whom Skotnes was a great admirer. However, this figure is undoubtedly, uniquely African, and a celebration of Skotnes’ refinement of his own artistic individuality at the height of his career. Lisa Truter

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56 Deborah Bell South Africa 1957–

Diana 2010-11 bronze signed and numbered 3/9 along the right foot 42 x 35 x 35 including base ZAR USD GBP EURO

90 000 – 120 000 4 950 – 6 600 4 320 – 5 760 5 040 – 6 720

PROVENANCE Private collection, Johannesburg. EXHIBITED Circa Gallery, Johannesburg, Presence, 17 March to 30 April 2011, another example from the edition exhibited. LITERATURE Presence. (2011). [Exhibition catalogue]. Circa Gallery, Johannesburg, 17 March to 30 April 2011, another example from the edition illustrated in colour on p.7. COLLECTIONS The artist is represented in numerous local and international collections, notably, Hara Museum, Tokyo; Museum of Modern Art, New York; National Gallery of Art, Washington D.C.; Iziko South African National Gallery, Cape Town and the Smithsonian Institute, Washington D.C.

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two views of lot 57

57 Edoardo Villa South Africa 1915–2011

Abstract form 1996 bronze on a granite base signed, dated and numbered 3/6 along the base 52.5 x 26 x 26 cm excluding base; 55 x 26 x 26 cm including base ZAR USD GBP EURO

70 000 – 90 000 3 850 – 4 950 3 360 – 4 320 3 920– 5 040

PROVENANCE Private collection, Johannesburg.

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Circles of Life (1966) is a forceful and vital work painted during a short, but important period in the mid-sixties, when Alexis Preller stepped away from his familiar and established aesthetic to create a body of abstract works – which today are instantly recognisable and widely-celebrated as ‘classic’ Preller.

58 Alexis Preller South Africa 1911–1975

Circles of Life 1966 oil and gesso on canvas signed and dated bottom right 61 x 70.5 cm; framed size: 88 x 98 x 3 cm ZAR USD GBP EURO

1 000 000 – 1 500 000 55 000 – 82 500 48 000 – 72 000 56 000 – 84 000

PROVENANCE Private collection, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, Iziko South African National Gallery, Cape Town; Norval Foundation, Cape Town; Johannesburg Art Gallery, Johannesburg; Javett Art Centre, Pretoria and the Ellerman House Collection, Cape Town.

In the period from 1959-1963, Preller had been consumed with work on the mural Discovery (of the Sea Route around Africa). His third and ultimately most important commission, the work measured a monumental 3 x 12.75 metres and was installed at the new Transvaal Administration Building in Pretoria A mammoth project, the artist had been married to this mural for 4 years and it is not surprising that once relieved of it he wished to venture into new territory. In a radio interview in 1964 with art critic and broadcaster Harold Jeppe and art historian Esmé Berman, Preller described his thinking: I did realise after the mural that I had reached a psychological moment – that I would virtually have to start all over again ... Now people can quite obviously say that I am deriving from the abstract painters of the day. And I am doing it quite deliberately; because while l was busy with the mural, three, four years had gone by and I realized that the studios right around the world were being concerned with this idea of something that has nothing to do with figuration at all. With my African race I was concerned with very definite forms and figurations; and it occurred to me, ‘Why should I be painting like this when the whole world has suddenly destroyed all figuration?' And I knew that a very exciting thing had happened – a wonderful thing had happened – that artists as a group had quite successfully destroyed the image! 1

What followed was a period where Preller wholeheartedly embraced the abstract form. The artist’s biographer Karel Nel notes that, “Alexis Preller's pleasure in creating his gestural abstract paintings of the mid-sixties was clearly evident in the spontaneous vitality of those creations. His emotional response to the mystique of the celestial bodies was invested in the kinetic action of his painting arm. Thick paint, laid on in swirling movements, created circular and spiralling forms, which mimicked the motion and the radiance of the stars and, especially, of the sun”.2 It is only regrettable that many of Preller’s paintings, especially from this time, have left his home country, South Africa. Scattered across the globe in the collections of emigrant families, Nel explains that Preller’s later works were, in particular, “affected by the exodus during the 1970s; and among those works are many of the missing abstract paintings”.3 Sarah Sinisi Alexis Preller interviewed on radio by Esmé Berman and Harold Jeppe, SABC: broadcast 20 July 1964. Berman, E & Nel, K. (2009). Alexis Preller: Collected Images. Saxonworld: Shelf Publishing. p. 221. 3 Ibid.

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59 Frank Stella America 1936–

Libertinia (from the Imaginary Places series) 1995 colour screenprint, relief, etching, aquatint, lithograph and engraving on TGL handmade paper signed, dated and numbered 44/50 in pencil bottom left from an edition of 50 plus 12 APs sheet size: 55 x 126.5 cm; framed size: 64.5 x 135 x 5.5 cm ZAR USD GBP EURO

300 000 – 400 000 16 500 – 22 000 14 400 – 19 200 16 800 – 22 400

PROVENANCE Private collection, Johannesburg. Christies, New York, Prints and Multiples, 1 May 2006, lot 656. NOTES Published by Tyler Graphics, Ltd., Mount Kisco, New York, with their blindstamp. COLLECTIONS The artist is represented in numerous local and international collections, notably, the Guggenheim Museum, New York; Museum of Modern Art, New York; Los Angeles County Museum of Art, Los Angeles and the National Gallery of Art, Washington D.C.

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A year after his graduation, Frank Stella’s crucial exhibition at the Museum of Modern Art in New York, 16 Americans (16 December 1959 to 17 February 1960) catapulted his career. In the years that have followed this exhibition the artist has contributed – in myriad ways – to how we understand and define abstract art by continuing the modernist heritage of post–World War II abstract art into the twenty-first century. In Frank Stella Unbound: Literature and Printmaking (2018), James Christen Steward, Director of Princeton University Art Museum in New Jersey, notes that Stella’s influence has been compared to Bob Dylan’s influence on music or Andy Warhol’s influence “on more or less everything”. Between 1994 and 1999, Stella created a series of prints from the literary text: The Dictionary of Imaginary Places by Alberto Mangual and Gianni Guadalupi. The multi-genre text catalogues twelve hundred fictional spaces and lands in world literature. The Imaginary Places prints found their titles in the literary text and “utilize nearly every process known in Western printmaking, fitting a dazzling variety of techniques, including lithography, screenprinting, etching, digitally enhanced engraving, mezzotint, woodcut, and relief printing, into unified compositions”.1 Other examples from the edition form part of the Metropolitan Museum Collection of Modern and Contemporary Art, New Yok; Tate Collection, London and the Walker Art Centre Collection, Minneapolis. 1 Abbaspour, M., Brown, C. & Cooke, E. (2018). Frank Stella Unbound: Literature and Printmaking. New Jersey: Princeton University Art Museum.

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60 Cecil Skotnes and the Stephens Tapestry Studio South Africa 1926–2009

One-eyed Cat 1960, woven in 2020/2021 mohair and polycotton warp tapestry inscribed with the artist's name, the date, the title, the studio details, numbered 3/5, further inscribed 'Weaver Buhle Mamba; Rodhs Sori and Mumsy Mulavdzi' and 'Proofed by Christina Weavind' and endorsed and signed by Pippa Skotnes, Cecil Skotnes’s daughter on the reverse number 3 from an edition of 5 with 1 AP and 1 Studio Proof 198 x 296 cm ZAR USD GBP EURO

300 000 – 400 000 16 500 – 22 000 14 400 – 19 200 16 800 – 22 400

PROVENANCE Private collection, Johannesburg. Stephens Tapestry Studio, Johannesburg.

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Woven in 2020/2021, this tapestry depicts the famed image of Cecil Skotnes’ Cat, a limited edition woodcut made and printed in 1960. Skotnes gifted the print to his daughter Pippa, who fondly recalls: “The image I remember most clearly from my early childhood (he made this for me for my third Christmas) was a large cat, roughly cut in wood and printed by hand with the back of a spoon on fine rice paper, which hung on my bedroom wall. It was apparently a portrait of a friend’s one-eyed cat, which hunted for its dinner and gave its name to my own, more gentle pet, Kotchka”. 1 Here, on an enlarged scale, the strong and bold marks and shapes of Skotnes’ original woodcut translate beautifully in woven tapestry form. Skontess also gave this print as a Christmas gift to William Kentridge’s family when he was six years old. This particular cat image stayed with Kentridge – both because it seemed to him to be a self-portrait of Skotnes, with his moustache whiskers and his bright, cat-like eyes; and also because it changed the way that Kentridge saw cats. Ever since, cats have become a recurring motif in Kentridge’s work – all of them in one way or another indebted to this first Skotnes cat.2 1 Skotnes, P. (1996). At the Cutting Edge: Cecil Skotnes as Printmaker. In Harmsen, F. (ed.). Cecil Skotnes. Cape Town: South African Breweries. p 84. 2 Flint, J. William Kentridge: Scribble Cat. https://davidkrutprojects.com/artworks/8908/scribble-cat [Accessed on 2 November 2022]

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61 Diane Victor South Africa 1964–

Direction of Revolution (Miscalculate) 2021 chalk on board signed and dated mid left; inscribed with the artist's name, the date and the title on the reverse 137 x 184 x 2.5 cm ZAR USD GBP EURO

60 000 – 90 000 3 300 – 4 950 2 880 – 4 320 3 360– 5 040

PROVENANCE Private collection, Johannesburg. NOTES A portion of the proceeds from the sale of this lot will benefit art students on Feenix.org, an online fundraising platform that connects students and communities to fundraise towards achieving debtfree tertiary education. COLLECTIONS The artist is represented in numerous local and international collections, notably, the Museum of Modern Art, New York; Javett Art Centre, Pretoria; Johannesburg Art Gallery, Johannesburg and Durban Art Gallery, Durban.

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62 Christine Dixie South Africa 1966–

Thresholds portfolio 1997 portfolio of eleven etchings in a vinyl bound casing from an edition of 20 dimensions vary ZAR USD GBP EURO

60 000 – 80 000 3 300 – 4 400 2 880 – 3 840 3 360 – 4 480

PROVENANCE Private collection, Johannesburg. LITERATURE Bunn, D. (2007). A Sidelong Glance: Christine Dixie’s Thresholds. Corporeal Prospects. Johannesburg: Standard Bank Gallery, another example from the series illustrated. Schmahmann, B. (2004). Through the Looking Glass: Representations of Self by South African Woman Artists. Johannesburg: David Krut Publishers, another example from the series illustrated. EXHIBITED The Ibis Art Center, Montagu, Western Cape, solo exhibition, 1997, other works from the series exhibited. The Thompson Gallery, Johannesburg, solo exhibition, 1998, other works from the series exhibited. The Albany Museum, Grahamstown, Enactments, 2004, other works from the series exhibited. The Standard Bank Gallery, Johannesburg, Corporeal Prospects, 1 November to 2 November 2007, other examples from the series exhibited. COLLECTIONS The artist is represented in numerous local and international collections, notably, the New York Public Library, New York; Johannesburg Art Museum, Johannesburg and Iziko South African National Gallery, Cape Town.

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63 Dylan Lewis South Africa 1964–

Trans-figure IX 2021 bronze signed, numbered 1/8 and stamped with the catalogue number S252 on the lower leg portion 200 x 101 x 61 cm excluding base; 255 x 101 x 64.5 cm including base ZAR USD GBP EURO

800 000 – 1 200 000 44 000 – 55 000 38 400 – 48 000 44 800 – 56 000

PROVENANCE Private collection, Johannesburg. Aspire Art, Contents of Deodar House Live Auction, 11 February 2018, lot 82. Everard Read Gallery, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, The collection of President Nelson Mandela, Johannesburg.; The collection of President George W. Bush, Dallas.; Harvard Capital Management Worldwide, Boston.; Deutsche Morgan & Grenfell, London and Kirstenbosch National Botanical Gardens, Cape Town.

Nature and wilderness are absolutely central to sculptor Dylan Lewis’ practice. Having grown up in a family of religious fundamentalists with conservative views and values, the outdoors always presented a safe, non-judgemental space. As such, when he embarked on his artistic career, Lewis quickly became recognised for his powerful depictions of wildlife in bronze, and specifically his wild cat sculptures. However, after 10 years of great success in the genre, and looking for opportunities to develop both personally and artistically, Lewis turned his attention to the female nude. Given his conservative upbringing, the subject of nudity had previously been taboo and therefore presented itself as an opportunity for the exploration of the human form. Thus, an extremely successful series of erotic female figures emerged – including Trans-figure IX. Here, and throughout Lewis’ human depictions, the figure is ambiguous, without a face or identity. Lewis’ focus is instead on the form itself, expressively and emotively rendered in clay before being cast in bronze. Rich with vitality, Lewis is interested in exploring the wildness within the human psyche – both his own as he moulds his works, and that of the figures he depicts. In extension of his love for the outdoors, in 2017 Lewis opened the Dylan Lewis Sculpture Garden in Stellenbosch. The entirely indigenous garden is home to more than 60 of Lewis’ sculptures, as well as his own foundry. Another example from the Trans-figure IX edition is displayed emerging from surrounding greenery in the Southern end of the Garden. Lisa Truter

Trans-figure IX, as seen in the Dylan Lewis Sculpture Garden, Stellenbosch.

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64 Deborah Bell South Africa 1957–

Sentinel IX 2004, cast in 2010 bronze signed, dated, numbered 3/5 and inscribed 'FUSO FONDERIA RENZO VIGNALI' on the base 221.5 x 33 x 33 cm including base ZAR USD GBP EURO

750 000 – 1 000 000 41 250 – 55 000 36 000 – 48 000 42 000 – 56 000

PROVENANCE Private collection, Cape Town. Goodman Gallery, Johannesburg. LITERATURE Stein, P. (2004). Deborah Bell. Johannesburg: David Krut Publishing. Clay figure illustrated in colour on p.79.

Sentinel III and Sentinel IX form part of Deborah Bell’s original Sentinel project where the artist carved and moulded nine graceful, elongated figures from solid slabs of clay in 2003. Bell explains that the works “evolved from working with pillars of hard extruded clay that came out of the pugmill at a brick factory. Working with this clay on these columnar shapes suggested a new way of working. I began to carve, and carve again, a way of both revealing and creating, which was different to the slow circular building up through coiling that I had used in my earlier clay work. The material taught my hands what to do”.1 While creating these works, the artist drew upon a multitude of historical visual references; Gothic imagery of saints, prophets and kings, ancient hermae and African veranda posts. Indeed, Bell’s Sentinels attest to her deep familiarity with African and other sculptural traditions, bringing to mind works of quite different conventions, from the statues of the kings of Judah that once adorned the medieval Cathedral of Notre-Dame (but are now at the Musée Cluny in France) to the monumental soapstone carvings of birds from the ruins of Great Zimbabwe. With eyes closed, these sculptures radiate a calm stillness, like self-contained, sentient beings from another realm. The artist explains that in the process of working, they became guardians or sentinels but, in thinking of the works, further reflects that she likes “the idea of gods or angels who hold this world in place, and protect us, so that we can experience grand adventures”.2

South Africa 1957–

In 2019, Everard Read London approached Deborah Bell about revisiting her 2003 Sentinels. All the editions of the original sculptures had been sold. This prompted Bell to explore the guardian figures again, in 2020 creating eight Sentinels which the artist now views as quite different from the original works.

Sentinel III

Sarah Sinisi

Deborah Bell

2004, cast in 2010 bronze signed, dated, numbered 5/5 and inscribed 'FUSO FONDERIA RENZO VIGNALI' on the base 253 x 34 x 33 cm including base ZAR USD GBP EURO

1 Acclaimed South African Sculpture Deborah Bell Revisits Classic Works (2020). Available at: https://www.everardread-capetown.co.za/news/75/ (Accessed: 26 October 2022). 2 Stein, P. (2004). Deborah Bell. Johannesburg: David Krut Publishing. p.77.

750 000 – 1 000 000 41 250 – 55 000 36 000 – 48 000 42 000 – 56 000

PROVENANCE Private collection, Cape Town. Goodman Gallery, Johannesburg. LITERATURE Stein, P. (2004). Deborah Bell. Johannesburg: David Krut Publishing. Clay figure illustrated in colour on p.79.

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King sculptures from Notre-Dame

The Stone Birds of Zimbabwe

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66 William Kentridge South Africa 1955–

Arched Landscape 2004 charcoal, chalk pastel, and gouache on paper signed, dated and inscribed 'For Wilbert from William June 2004' bottom right 79 x 75 cm; framed size: 112 x 104 x 2 cm ZAR USD GBP EURO

800 000 – 1 200 000 44 000 – 66 000 38 400 – 57 600 44 800 – 67 200

PROVENANCE Private collection, Johannesburg. Johans Borman Fine Art, Cape Town. Strauss & Co., South African and International Art, Johannesburg, 12 November 2012, lot 222. EXHIBITED FNB Art Joburg, Sandton Convention Centre, In the Shadow of the Rainbow, Johans Borman Fine Art Gallery, 27 to 29 September 2013.

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LITERATURE Borman, J. & Taljaard, Z. (2013). In the Shadow of the Rainbow. Cape Town: Johans Borman Fine Art, illustrated in colour on p.51. NOTES Wilbert Schübel, to whom the drawing was originally gifted, is one of South Africa’s most accomplished sound designers and worked in collaboration with William Kentridge on many of his films and stage productions. In 2004, the year this work was created, the Castello di Rivoli, Museo d’Arte Contemporanea in Turin presented a major solo exhibition by William Kentridge which travelled to K20/21, Düsseldorf, Museum of Contemporary Art, Sydney, Musée d’Art Contemporain de Montréal. Kentridge also formed part of Africa Remix: Contemporary Art of a Continent curated by Simon Njami in 2004 at the Kunstpalast Düsseldorf. The exhibition travelled to Hayward Gallery in London, Centre Georges Pompidou in Paris, Mori Art Museum, Tokyo and ended at the Johannesburg Art Gallery in 2007. Johannesburg Art Gallery and Miami Art Central. That same year, Kentridge received a Doctor of Literature Honoris Causa from the University of the Witwatersrand, Johannesburg.

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Drawing from Felix in Exile, 1994.

A hallmark of William Kentridge’s oeuvre is his continuous experimentation with various techniques of drawing, the mechanics of making art and the construction of vision. As early as the 1990s, most notably in his handdrawn, stop motion animated films, Kentridge presented his scenes in various optical frameworks – like the stereoscopic views in Felix in Exile (1994) – not only for dramatic effect but to comment on the act of looking. Kentridge explains: “I’m interested in machines that make you aware of the process of seeing and aware of what you do when you construct the world by looking. This is interesting in itself, but more as a broad-based metaphor for how we understand the world”.1

Preparing the Flute, 2005, model theatre with drawings. MOMA, New York.

During the course of 2004, while conceptualising, developing and assembling the body of work for Preparing the Flute (2005), Kentridge produced several preparatory and exploratory drawings, investigating thematic scenes and various options for framing, projecting and filming. In Arched Landscape, using charcoal and a touch of blue and red chalk pastel, Kentridge expressively depicts a barren landscape setting in an arched-framed view. The format of the drawing references the structural framework of the model theatre and similar arched-shaped formats present in other drawings from Preparing the Flute, suggesting that the drawing was a precursor to this important body of work. The location of this landscape is unknown, yet by superimposing various surveying markers, Kentridge once more brings attention to the universal issue of Man’s exploration, exploitation and re-shaping of the natural terrain. Marelize van Zyl

Drawing from Preparing the Flute, 2004/2005. Image Courtesy Goodman Gallery

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Christov-Bakargiev, C. (1998), William Kentridge, Brussels: Palais des Beaux-Arts. p.97.

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67 Robert Hodgins South Africa 1920–2010

Artist in his Studio 2006/7 graphite and oil on canvas signed, dated, inscribed with the title and medium on the reverse 90.5 x 120.5 cm; framed size: 92 x 122 x 7.5 cm ZAR USD GBP EURO

700 000 – 1 000 000 38 500 – 55 000 33 600 – 48 000 39 200 – 56 000

PROVENANCE Private collection, Cape Town. Goodman Gallery, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, Johannesburg Art Gallery, Johannesburg.; Javett Art Centre, Pretoria.; Iziko South African National Gallery, Cape Town.; Wits Art Museum, Johannesburg and the University of the Witwatersrand, Johannesburg.

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Quintessentially Hodgins, this strikingly planar painting vibrates with several of the artist’s perennial strategies. Firstly, there is his unexpected choice of colours that infuse the narrative of the painting with their own sublimely offkey logic. A soft, fleshy pink offsets the hard red lines and complex geometry of the furniture and the painting as a whole, asserting the co-existence of abstract sensuality and cerebral complexity. Secondly, there is the postmodern composition. In a nod to Mondrian, the surface of the painting is divided into three rectangular planes, each framing a vignette, suggesting that the content of these three planes may be related, but may also depict occurrences of their own order. With this conceptual architecture, Hodgins questions the relationship between the artist in his studio, the model or subject of the painting in real space and time, and the public arena of exhibition. The painting suggests that they are at once related fields, but also separate from one another, imbued with their own moods, demands and atmospheres – all of which must be factored into the daunting act of painting. Is it any surprise then that the humble painter finds himself squeezed into the corner almost overpowered by the demands of translating the scene before him onto his easel? This configuration is Hodgins’s humour at play, because he is the small man in blue trying to make sense of the challenge that he has set himself. The joke and the abiding irony is that he has succeeded! According to Neil Dundas, Senior Curator at Goodman Gallery, the blue artist figure in the corner is instantly recognisable as Hodgins, who often wore an oversized, blue overall. Hodgins only ever did three self-portraits, and only much later in life, says Dundas.1 This painting was the first. It is a self-reflexive meditation on painting and the studio as a complex space of production and meditation. Alexandra Dodd 1

Neil Dundas, telephonic conversation with Sarah Sinisi, 19 October 2022.

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Walter Oltmann’s sculptures are skilfully woven using carefully selected stitching techniques to create a multitude of textures – taking shape gradually the artist constructs magnificent three-dimensional images. Concept and research are as intricately woven into the work as the delicate wires themselves.

68 Walter Oltmann South Africa 1960–

Larva Suit II 2004 aluminium and steel wire 206 x 148 x 100 cm including base ZAR USD GBP EURO

200 000 – 300 000 11 000 – 16 500 9 600 – 14 400 11 200 – 16 800

PROVENANCE Private collection, Cape Town. Bonhams, London, Africa Now Contemporary Africa, 6 October 2016, lot 26. Private collection, London. EXHIBITED Standard Bank Gallery, Johannesburg, Walter Oltmann - In The Weave, 28 January to 29 March 2014. Michael Stevenson, Cape Town, Walter Oltmann: Recent Works, 15 September to 23 October 2004.

In 1997 Oltmann created one of his first insect sculptures, Silverfish, for the Holdings: Refiguring the Archive exhibition at the University of the Witwatersrand Graduate School. What was fascinating to see was how the enlarged body of the fish moth created overt similarities between the human form and the insect’s thorax. He nurtured his interest in the insect’s form by creating wire constructions and suits that are hybrids between human and insect bodies. The empty suit acts as a surrogate for the body, inviting us to imagine what it would be like to find ourselves within the empty shell. The artist notes that he uses this “as a way of suggesting an in-between space – a potential zone of commonality with nonhuman animals, allowing us to imaginatively step inside to have a different view or experience of them, and also of ourselves. The empty suits can also imply bodies in transition, or as if suspended between two states, as during metamorphosis”.1 When creating Larva Suit II, Oltmann had thought, in particular, of Franz Kafka’s celebrated novella, The Metamorphosis (1915). In the fascinating short story Kafka wrote of a salesman, Gregor Samsa, who one day awakens to find himself inexplicably transformed into a huge insect and must subsequently struggle to adjust to his new condition. Although the suit by Oltmann might seem hostile at first with the spikey resemblance to armour, it is rather a defensive response to a world that, much like Samsa’s world, feels unsafe and unfamiliar. Further weaving meaning into his work, Oltmann was also vocal about how this suit deals with notions of ‘self and other’, especially referring to the history of the settler colonialists arriving in South Africa. As he tries to imagine how they might have been perceived upon arrival, he attempts to invert the power relations by reflecting on the settler as the foreign ‘other’. 2 Carina Jansen 1

Email from Neil Dundas to Carina Jansen, 18 October 2022.

Dundas, N. & Charlton, J. (ed). (2014). Walter Oltmann - In The Weave. Johannesburg: The Standard Bank Gallery of South Africa. 2

LITERATURE Dundas, N. & Charlton, J. (eds). (2014). Walter Oltmann - In The Weave. Johannesburg: The Standard Bank Gallery of South Africa, illustrated in colour on p.31. NOTES The companion of this sculpture and the first in the series Larva Suit I is in the permanent collection of the Nelson Mandela Metropolitan Art Museum, Port Elizabeth.

Larva Suit I, 2001. Nelson Mandela Metropolitan Art Museum, Port Elizabeth.

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69 Willem Boshoff South Africa 1951–

Prayer Gamble 2010 prayer rug, black cloth, 2304 acrylic dice and panel pin assemblage 209 x 123 x 8 cm ZAR USD GBP EURO

180 000 – 250 000 9 900 – 13 750 8 640 – 12 000 10 080 – 14 000

PROVENANCE Private collection, Cape Town. Goodman Gallery, Johannesburg. EXHIBITED Goodman Gallery, Johannesburg Viewing Room, Big Druid in His Cubicle, 10 June to 11 July 2010. COLLECTIONS The artist is represented in numerous local and international collections, notably, Iziko South African National Gallery, Cape Town; the University of the Witwatersrand, Johannesburg; Javett Art Centre, Pretoria and ARTSENSE, a group that promotes art among the blind, Birmingham.

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In contemporary South African art, Williem Boshoff is the barometer of conceptualism – the artist as a deeply provocative thinker. Schooled in Arte Povera – the 1960s Italian movement, now global, which finds artistic inspiration in everyday objects, which are retooled and realigned, to offer insight – Boshoff has always found inspiration in everyday objects, things we need and use, yet typically overlook. In Prayer Gamble (2010) the components include a prayer rug, black cloth, dice and a panel pin assemblage, objects seemingly discrepant and yet unanimously aligned, in order to generate a core unrest – the trepidation and anxiety which informs prayer. After all, ritual is a practice, and, as such, repeated again and again – but differently. It is this differential nature of belief, that it is housed within uncertainty, that accounts for Boshoff’s wager: that Prayer is a Gamble. After all, prayer is the invocation of some beneficent, yet inscrutable, grace. Boshoff, however, is never merely interested in the one-liner, his art is always generative, as nurturing as it is searching. In this case, the image is both austere and curiously caricatural – is it a laugh or a grimace that informs the gash at the centre of the prayer mat? As for its overall dilapidation? What are we to make of the interplay of sanctity and ruin? Doubtless, the distressed central rectangle of cloth is organic, and, as such, a sharp counterpoint to the framing black void starred with pins and dice. Repeatedly used in his brilliant 2021/22 solo show Word Woes at the Javett At Centre in Pretoria – the exhibition was a masterclass – dice, for a conceptualist like Boshoff, is unsurprising. As the French Symbolist poet, Mallarme, provocatively noted, “a throw of the dice can never abolish hazard”.1 This, too, may be the reasoning behind Prayer Gamble. In Willem Boshoff’s case, and invariably so, the execution is impeccable and elegant. In Prayer Gamble the Idea and its materiality form a synergetic combine – a conceptual machine for living inside an inescapable paradox. Ashraf Jamal 1

Millan, G. (1994). A throw of the dice: The life of Stephane Mallarmé, Thrift Books: Atlanta. online.

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70 Walter Oltmann South Africa 1960–

Wall Flower steel, copper and brass 170 x 240 x 22 cm ZAR USD GBP EURO

150 000 – 250 000 8 250 – 13 750 7 200 – 12 000 8 400 – 14 000

PROVENANCE Private collection, Johannesburg.

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COLLECTIONS The artist is represented in numerous local and international collections, notably, Seattle Art Museum, Washington; Seguros Art Centre, Bogota; Iziko South African National Gallery, Cape Town and the University of the Witwatersrand, Johannesburg.

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71 Irma Stern South Africa 1894–1966

Still life with Poinsettias 1965 oil on canvas signed and dated bottom right 61.5 x 45 cm; framed size; 37 x 70 x 7 cm ZAR USD GBP EURO

2 000 000 – 3 500 000 110 000 – 192 500 96 000 – 168 000 112 000 – 196 000

PROVENANCE Private collection, Pretoria.

Throughout her life, Irma Stern retained a deep interest in producing stilllife paintings, noting on one occasion that she wished it were daytime as she badly wanted to return to her studio to work on a series of compositions centred on flowers. Like Still life with Poinsettias with its exuberant display of unruly petals cascading forward as though to embrace the viewer, these paintings often include fruit, flowers and cloths placed in seemingly random arrangements that augment the sense of energetic spontaneity imparted through Stern’s lyrical juxtaposition of saturated colours and her organic strokes of thick, impasto oils. Over time, as Stern grew less interested in markers of space and place, she used her life-long interest in still life painting to explore increasingly abstract, pictorial interests. Although keenly attentive to the spatial and compositional relationships between the different forms she chose to include in her works, she used these relationships to heighten the tension between asserting illusionistic depth and affirming the surface of the canvas. In Still life with Poinsettias Stern’s palpable delight in exploring these ambiguities is apparent, most obviously, in her decision to mask the corner of the table behind the vase of flowers, a technique she favoured in countless compositions. In combination with the high viewpoint, this leads to a flattening of the pictorial space. But given the extraordinary sophistication of Stern’s vision, here as in many of her other works, she reasserts a sense of depth by placing a bowl of fruit in the foreground, thereby also anchoring the blue and white cloth scattered across the table. Since poinsettias naturally flower in winter, this painting probably dates to June or July 1965 and, given their fragility once cut, they were presumably from Stern’s garden in Rosebank rather than Cape Town’s Adderley street flower market. Sandra Klopper Professor Emeritus, University of Cape Town

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The iconic lithograph 9 Films was created for the landmark first South African showing of all of Kentridge's animated films, 9 Drawings for Projection. A monumental example of the image, this particular reproduction measures an astounding 2.14 x 1.5 meters, over two, seperate sheets.

72 William Kentridge South Africa 1955–

9 Films 2004 colour photolithograph signed and numbered 7/10 in red conté top left image size: 214 x 150 cm; framed size: 240 x 170 x 6.5 cm ZAR USD GBP EURO

350 000 – 500 000 19 250 – 27 500 16 800 – 24 000 19 600 – 28 000

PROVENANCE Private collection, Cape Town.

Set in Johannesburg and created over a period of 14 years the films show the changing socio-political landscape of the city, from Johannesburg: Second Greatest City after Paris (1989) to Tide Table (2003). Kentridge chronicles the rise and fall of his fictional antihero, Soho Ecksteen – a character representing wealthy landowners of Johannesburg empires. The artist uses imagery of Ecksteen’s wife’s passionate affair with his nemesis and alter ego Felix Teitlebaum, against the backdrop of the changing political circumstances – showing the upheaval of a South African uprising against the apartheid regime from which Soho benefits. The original screening of 9 Films for Projection took place in the poignant setting of The Old Fold, Constitution Hill in Johannesburg. Once the site of a prison which held political prisoners including Nelson Mandela, it is today the home of the Constitutional Court. The screening took place over three sittings and featured music by the artist's long-term collaborator, composer Philip Miller, performed by the Sontonga Quartet and pianist Jill Richards. The original drawing from which the lithograph was created is included on Kentridge’s prolific retrospective at Zeitz MOCAA, Why Should I Hesitate: Putting Drawings to Work, (August 2019 to July 2020) and illustrated in colour in the exhibition catalogue.1 1 See, Christian, S. & McIlleron, A. (2019). William Kentridge: Why Should I Hesitate: Putting Drawings to Work, London: Koenig Books, p. 271.

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73 William Kentridge South Africa 1955–

Head (Model Opera) 2015 acrylic paint on laser cut stainless steel signed and numbered 4/6 on the reverse 182 x 122 cm ZAR USD GBP EURO

1 000 000 – 1 500 000 55 000 – 82 500 48 000 – 72 000 56 000 – 84 000

PROVENANCE Private collection, Cape Town. Marian Goodman Gallery, New York. EXHIBITED Goodman Gallery, Johannesburg, Notes Towards a Model Opera, 21 January to 12 February 2016 another example from the edition exhibited. UCCA, Shanghai, William Kentridge: Notes Towards a Model Opera, 6 June to 30 August 2020 another example from the edition exhibited. Marian Goodman Gallery, London, William Kentridge More Sweetly Play the Dance, 27 June to 30 August 2015 another example from the edition exhibited.

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This laser cut stainless steel portrait presents a figure from two processional performances by William Kentridge, More Sweetly Play the Dance (2015) and Notes Towards A Model Opera (2015), both are multi-screen video installations, reflecting on the metamorphosis of global revolutionary imagery. The images find multiple symbolic lines in the parallel student protests which swept through Europe and America and in the marches of South Africa’s anti-apartheid movement. Building on extensive research into the social, political and intellectual history of China, Kentridge references the ‘eight model operas’ which were scripted for the Cultural Revolution of 1966–1976 and commissioned by Madam Mao (Jiang Qing). The operas provided a compositional and thematic standard for art making and outlined a modern approach to the thematic concerns and artistic models of the revolution as a series of ballets, operas and symphonies. In the projections by Kentridge, members of the processional construct are burdened by the carrying of talismans: “All these operas were centred around heroic figures from the proletarian classes, workers, peasants and soldiers, thus following Mao’s doctrine "the arts, and in particular those of the theatre, should not be designed for elites". The research on this Cultural Revolution spilled out into ink drawings, collages from books and notebooks, stainless steel sculptures, prints and tapestries to form a continuum of revolutionary images. In this work Head (Model Opera) the bust, an emblem of historical stature, is taken from a populist poster of a Chinese worker, and transcribed as an ink line drawing into a steel cut out sculpture. The symbolic and iconographic shadow play of this Kentridge work asks “What is the minimum needed in order to make a head”. The imagery relayed the transplanting of revolutions and the relationship between the great and the small, to understand “the weight of politics and the perseverance of the personal” in these grand narratives of history. Tammy Langtry 1 He, Joe, “A historical study on the 'eight revolutionary model operas’” in China's Great Cultural Revolution" (1991). UNLV Retrospective Theses & Dissertations. p. 170. 2 Kentridge, W. (2015). More Sweetly Play the Dance. EYE Film Museum. Bloemheuval, M. & Guldemond, J. (eds.). p, 30. 3 Why Should I Hesitate: Putting Drawings to Work. Curatorial and Exhibition Wall Text (2018). Zeitz MOCAA.

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Notes Towards a Model Opera, Installation Views at UCCA, image courtesy UCCA

Notes Towards a Model Opera, Installation View at UCCA, image courtesy UCCA

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74 Mikhael Subotzky & Patrick Waterhouse South Africa 1981–

View from Kensington, Ponte City 2013 inkjet print on photo rag inscribed with the artist's name on the reverse from an edition of 5 plus 2 APs image size: 105 x 131 cm; sheet size: 125.5 x 150 cm ZAR USD GBP EURO

80 000 – 100 000 4 400 – 5 500 3 840 – 4 800 4 480 – 5 600

PROVENANCE Private collection, Johannesburg.

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COLLECTIONS The artist is represented in numerous local and international collections, notably, the Museum of Modern Art, New York; Guggenheim Museum, New York; National Gallery of Art, Washington D.C.; Tate Modern, London and Centre Pompidou, Paris. NOTES Initially built as high-end condos during apartheid, by the 1990s the Ponte City building was largely occupied by migrant labourers and immigrants from Africa – following the exodus of the affluent from Johannesburg city centre.

Around 2007 Mikhael Subotzky and Patrick Waterhouse began visiting the building in the wake of the eviction of half of the building’s tenants by a group of developers. Exhibited in a layered sequence, the award-winning series reflected the mysteries surrounding the iconic tower throughout the years. The series has been exhibited widely, at the Photographers’ Gallery in London, Le Bal in Paris and Art Basel Unlimited, all in 2014. Subotzky and Waterhouse received the Deutsche Börse Photography Prize for the project in 2015.

75 Mikhael Subotzky South Africa 1981–

Church Group, Above Yeoville (from the Public Encounters series) 2005 inkjet mounted on Dibond from an edition of 9 99.5 x 99.5 cm; framed size: 129 x 129 x 5 cm ZAR USD GBP EURO

120 000 – 160 000 6 600 – 8 800 5 760 – 7 680 6 720 – 8 960

PROVENANCE Private collection, Johannesburg. Goodman Gallery, Johannesburg.

NOTES The Public Encounters series, shot on 6 x 6 film using a Hasselblad camera, was a project Mikhael Subotzky worked on from 2003 to 2005. A series of works from various brief and random encounters between Subotzky and other people or places. The artists states: “It was the opposite of getting to know people over years, there was no involvement, just an encounter and then moving on. It has a different feeling from the

rest of my work that I needed to explore at that time. The series allowed me to follow an interest I had in the landscape and how the relationship between the body and the landscape is expressed in photographable minutiae. Some of the ‘public encounters’ have no people in them. These images engage the colonisation and personification of the landscape”.1 Email correspondence between Carina Jansen and Medeine Tribinevicius, 25 October 2022. 1

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76 Kudzanai Chiurai South Africa 1981–

Revelations X 2011 pigment ink on premium satin photographic paper numbered 6/10 along the bottom margin sheet size: 100 x 150 cm; framed size: 127.5 x 177.5 x 7 cm ZAR USD GBP EURO

120 000 – 160 000 6 600 – 8 800 5 760 – 7 680 6 720 – 8 960

PROVENANCE Private collection, Johannesburg. Goodman Gallery, Johannesburg. EXHIBITED Goodman Gallery Projects, Johannesburg, State of the Nation, 3 November to 3 December 2011, another example from the edition exhibited. COLLECTIONS The artist is represented in numerous local and international collections, notably, Museum für Moderne Kunst, Frankfurt; Museum of Modern Art, New York; Pérez Art Museum, Miami; UNISA, Pretoria; Walther Collection, New York and Zeitz MOCAA, Cape Town.

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Since 2001, William Kentridge has created large-scale tapestries, bringing to this centuries-old medium well-known in Europe, his unique vision and sensibility forged through his experience as both an African and a global citizen. The expressive power of his mixed media collages and drawings is ably captured by the weavers who transform his multi-layered paper works through elaborate processes to capture the special qualities of Kentridge’s gestural strokes and torn and found paper. In this offering of the tapestry in conjunction with its inspirational mixed-media work, this synergy between the media can be closely observed.

77 William Kentridge South Africa 1955–

Argument from Authority (Charon at the event Horizon), a pair 2013 hand-woven mohair tapestry signed and inscribed with the artist’s name, the date, the studio details, numbered 1/6, further inscribed ‘Weavers: Margaret Zulu, Virginia Mzimba, Mavis Manzini and Rhoda Thaba’ and ‘Directed by Marguerite Stephens on a fabric label on the reverse number 1 from an edition of 6 227.5 x 199 x 1 cm ink on collaged found paper signed sheet size: 53.5 x 37 cm; framed size: 67.5 x 50.5 x 6.5 cm ZAR USD GBP EURO

2 000 000 – 2 500 000 110 000 – 137 500 96 000 – 120 000 112 000 – 140 000

PROVENANCE Private collection, Johannesburg. Goodman Gallery, Johannesburg. Stephens Tapestry Studio, Johannesburg.

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78 Hylton Nel Zambia 1941–

Ginger striped cat 2007 hand-painted and glazed ceramic signed with the artist's initials and dated on the underside 40.5 x 17 x 13 cm ZAR USD GBP EURO

40 000 – 60 000 2 200 – 3 300 1 920 – 2 880 2 240 – 3 360

PROVENANCE Private collection, Johannesburg. COLLECTIONS The artist is represented in numerous local and international collections, notably, Iziko South African National Gallery, Cape Town Javett Art Centre, Pretoria.; Durban Art Gallery, Durban and King George VI Art Gallery, Port Elizabeth.

79 Hylton Nel Zambia 1941–

Yellow cat with floral motif 2007 hand-painted and glazed ceramic signed with the artist's initials and dated on the underside 36 x 19 x 15 cm ZAR USD GBP EURO

40 000 – 60 000 2 200 – 3 300 1 920 – 2 880 2 240 – 3 360

PROVENANCE Private collection, Johannesburg.

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80 Hylton Nel Zambia 1941–

Reclining cat with blue mane 2009 hand-painted and glazed ceramic signed with the artist's initials and dated on the underside 23 x 30 x 16 cm ZAR USD GBP EURO

50 000 – 70 000 2 750 – 3 850 2 400– 3 360 2 800– 3 920

PROVENANCE Private collection, Johannesburg.

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81 Hylton Nel Zambia 1941–

Reclining piebald cat 1993 hand-painted and glazed ceramic signed with the artist's initials and dated on the underside 21 x 26 x 11 cm ZAR USD GBP EURO

35 000 – 50 000 1 925 – 2 750 1 680 – 2 400 1 960 – 3 360

PROVENANCE Private collection, Johannesburg.

82 Hylton Nel Zambia 1941–

Cat with amphora 1995 hand-painted and glazed ceramic signed with the artist's initials and dated on the underside 24.5 x 17.5 x 11 cm ZAR USD GBP EURO

35 000 – 50 000 1 925 – 2 750 1 680 – 2 400 1 960 – 3 360

PROVENANCE Private collection, Johannesburg.

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83 Hylton Nel Zambia 1941–

When will those thieves get to prison? 2019 hand-painted and glazed ceramic signed with the artist's initials and dated on the underside 25 x 23 x 16 cm ZAR USD GBP EURO

30 000 – 40 000 1 650 – 2 200 1 440 – 1 920 1 680 – 2 240

PROVENANCE Private collection, Johannesburg.

84 Hylton Nel Zambia 1941–

Bowl with a cat and man decoration 2009 hand-painted and glazed ceramic signed with the artist's initials and dated on the underside 26.5 x 26.5 x 5.5 cm ZAR USD GBP EURO

20 000 – 30 000 1 100 – 1 650 960 – 1 440 1 120 – 1 680

PROVENANCE Private collection, Johannesburg.

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TERMS AND CONDITIONS OF BUSINESS AND RULES OF AUCTION THIS AGREEMENT COMPLIES WITH THE PROVISIONS OF SECTION 45 OF THE CONSUMER PROTECTION ACT 68 OF 2008

1. DEFINITIONS 1.1.The following terms shall have the meanings assigned to them hereunder and cognate expressions shall have corresponding meanings: 1.1.1.“Act” means the Consumer Protection Act No. 68 of 2008 (“CPA”) as read with the Regulations promulgated thereunder in the Government Gazette No. 34180 on 1 April 2011; 1.1.2. ‘Artistic work’ means: 1.1.2.1.any drawing, picture, painting, collage, sculpture, ceramic, print, engraving, lithograph, screen print, etching, monotype, photograph, digitally printed photograph, video, DVD, digital artwork, installation, artist’s book, tapestry, artist designed carpet, performative artwork and any medium recognised as such in the future; 1.1.2.2. any work of craftsmanship and/or artwork which does not fall under 1.1.2.1 as set out in the Copyright Act No. 78 of 1978. 1.1.3. “Aspire” means Aspire Art Auctions (Pty) Ltd (Registration No. 2016/074025/07) incorporated under the laws of South Africa with Principal place of business at: Illovo Edge, Building 3, Ground Floor, 5 Harries Road, Illovo, 2196 1.1.4. “Auction” means any sale whereby a Lot is put up for sale by public auction and auctioned off by Ruarc Peffers on behalf of Aspire or such other auctioneer employed by Aspire from time to time; 1.1.5. “Auctioneer” means Ruarc Peffers or such other representative of Aspire conducting the Auction who warrant these Rules of Auction comply with the Act; 1.1.6. “Bidder” means any person who makes an offer to buy a particular Lot and includes the Buyer of any such Lot. A bid shall be made by a person registered to bid and in possession of an Aspire issued and numbered bidders paddle raising that paddle or indicating a bid in any way meant to be understood that way by the Auctioneer; 1.1.7. “Buyer” means any Bidder who makes a bid or offer for a Lot which has been offered for sale (whether by Private Treaty, Auction or otherwise) and which bid or offer has, subject to a reserve price, been accepted by Aspire and/ or the Seller; 1.1.8. “Business day” means any day other than a Saturday, Sunday, or any other official public holiday in South Africa; 1.1.9. “Buyer’s premium” means the commission payable by the Buyer to Aspire on the sale of a Lot at a rate of: 1.1.9.1. Live Auctions: 15%≤R50,000>12% (fifteen percent if less than or equal to fifty thousand rand; twelve per cent if greater than fifty thousand rand) plus VAT payable on that amount; 1.1.9.2. Online Auctions: 15% (fifteen per cent) plus VAT payable on that amount; 1.1.10. “Catalogue” means any brochure, price-list, condition report or any other publication (in whatever medium, including electronic), published by Aspire for the purpose of or in connection with any Auction; 1.1.11. “Forgery” means any imitation of any artistic work made with the intention of misrepresenting the authorship, origin, date, age, period, culture, and/or source of any Lot;

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1.1.12. “Hammer price” means the bid or offer made by the Buyer for any Lot that is knocked down by the Auctioneer at a sale of that Lot; 1.1.13. “Lot” means any item or items to be offered for sale as a unit and identified as such by Aspire for sale by way of Auction or by Private Treaty. Each Lot is, unless indicated to the contrary, regarded to be the subject of a separate transaction; 1.1.14. “Parties” means the Bidder, the Buyer, the Seller and Aspire; 1.1.15. “Prime rate” means the publicly quoted base rate of interest (percent, per annum compounded monthly in arrear and calculated on a 365 (three hundred and sixty-five) day year, irrespective of whether or not the year is a leap year) from time to time published by Nedbank Limited, or its successor-in-title, as being its prime overdraft rate plus three comma five percent, as certified by any manager of such bank, whose appointment, authority and designation need not be proved; 1.1.16. “Privacy Policy” means the privacy policy of Aspire attached hereto marked Annexure A; 1.1.17. “Private Treaty” means the sale of any Lot at a previously agreed upon price between the Buyer and the Seller represented by Aspire (that is, not by way of Auction); 1.1.18. “Purchase price” means the Hammer price plus the Buyer’s premium. In case of any Lot being “daggered”, VAT shall be calculated on the sum of the full Hammer price plus the Buyer’s premium. Buyer’s risk in all respects shall apply from the knock down of the Auctioneer’s hammer (and acceptance of the bid [or offer in the case of Private Treaty] if applicable). The Purchase price does not include any transport, or insurance that may be required by the Buyer; 1.1.19. “Recoverable expenses” includes all fees, taxes (including VAT) and any other costs or expenses incurred by Aspire for restoration, conservation, framing, glass replacement and transport of any Lot from a Seller’s premises to Aspire’s premises or for any other reason whatsoever, as agreed between Aspire and the Seller; 1.1.20. “Reserve” means the minimum Hammer price (if any) at which a Lot may be sold at an Auction as agreed (whether in writing or otherwise) and in confidence between the Seller of that Lot and Aspire. All lots are sold subject to a reserve price unless announced otherwise; 1.1.21. “Sale” means the sale of any Lot (whether by way of Auction, Private Treaty or otherwise) and ‘sell’ and ‘sold’ shall have a corresponding meaning; 1.1.22. “Sale proceeds” means the amount due and payable to the Seller for the sale of the relevant Lot, made up of the Hammer price less the applicable Seller’s commission and all Recoverable expenses; 1.1.23. “Seller” means the person named as the Seller of any Lot, being the person that offers the Lot for sale; 1.1.24. "Seller’s commission" means the commission payable by the Seller to Aspire on the sale of a Lot which is payable at a rate of: 1.1.24.1. Live Auctions: 15%≤R50,000>12% (fifteen per cent if less than or equal to fifty thousand rand; twelve percent if greater than fifty thousand rand) plus VAT payable on that amount;

1.1.24.2. Online Auctions: 20%≤R20,000>15% (twenty percent if less than or equal to twenty thousand rand; fifteen per cent if greater than twenty thousand rand) plus VAT payable on that amount; 1.1.25. “South Africa” means the Republic of South Africa; 1.1.26. “Terms of Business” means the terms and conditions of business and the Rules of Auction as set out in this document; 1.1.27. “VAT” means value added tax levied in terms of the Value Added Tax Act, 1991 as amended from time to time and includes any similar tax which may be enforced in place of VAT from time to time.

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

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

4. GENERAL TERMS OF BUSINESS 4.1. Every bid made shall constitute an offer. Acceptance of the highest bid made, subject to confirmation by the Seller, shall be indicated by the knock down of the hammer or, in the case of sale by Private Treaty, the acceptance of the offer by Aspire or the Seller. In the event that the highest bid does not meet the reserve, it will remain open for acceptance by the Auctioneer or the Seller and for no less than 48 hours after the Auction was concluded. 4.2. In bidding for any Lots, all Bidders confirm that they have not been induced into making any bid or offer by any representative of the Seller and/or Aspire. 4.3. It is the sole responsibility of all prospective Buyers to inspect and satisfy themselves prior to the Auction or Private Treaty as to the condition of the Lot and satisfy themselves accordingly that the Lot matches any description given to them (whether in a Catalogue or otherwise). 4.4. All descriptions and/or illustrations set out in a Catalogue exist as guidance for the prospective Bidder and do not contain conclusive information as to the colour, pattern, precise characteristics or the damage to a particular Lot to be sold by way of Auction or Private Treaty. 4.5. Neither Aspire nor any of its servants, employees, agents and/or the Auctioneer shall be liable, whether directly or indirectly, for any errors, omissions,

incorrect and/or inadequate descriptions or defects or lack of authenticity or lack of ownership or genuineness in any goods Auctioned and sold which are not caused by the wilful or fraudulent conduct of any such person. 4.6. Aspire shall not be held responsible for any incorrect, inaccurate or defective description of the goods listed for sale in the Catalogue or in any condition report, publication, letter, or electronic transmission or to the attribution, origin, date, age, condition and description of the goods sold, and shall not be responsible for any loss, damage, consequential damages and/or patrimonial loss of any kind or nature whatsoever and howsoever arising. 4.7. No warranty, representation or promise on any aspect of any Lot (save for those expressly provided for by the Seller in terms of paragraph 16), whether express, implied or tacit is given by Aspire, its servants, its agents, or its employees, or the Auctioneer or the Seller and accordingly nothing shall be binding or legally enforceable in this regard. 4.8. Any Lot which proves to be a Forgery (which will only be the case if an expert appointed by Aspire for such purposes confirms this in writing) may be returned by the Buyer (as his sole remedy hereunder or at law) to Aspire within 7 (seven) days from the date of Auction or Private Treaty (as the case may be), in the same condition in which it was at the time of the Auction or accompanied by a statement of defects, the number of the Lot, and the date of the Auction or Private Treaty at which it was purchased. If Aspire is satisfied that the item is a Forgery and that the Buyer has and is able to transfer a good and marketable title to the Lot, free from any third-party claims, the sale will be set aside and any amount paid in respect of the Lot and still in the possession of Aspire will be refunded, subject to the express condition that the Buyer will have no rights or claims against Aspire (whether under these Terms of Business, at law or otherwise) if: 4.8.1. the description in the Catalogue at the date of the sale was in accordance with the then generally accepted opinion of scholars and experts or fairly indicated that there was conflict of such opinion; or 4.8.2. the only method of establishing at the date of publication of the Catalogue that the Lot was a Forgery was by means of a scientific process not generally accepted for use until after publication of the Catalogue, or by a process which was unreasonably expensive or impractical. 4.9. Buyer’s claiming (whether in contract, delict or otherwise) under paragraph 4.8 will be limited to the amount paid for a particular Lot and will not extend to any loss or damage of whatsoever nature suffered, or expense incurred by him/her including but not limited to claims for damages, loss of profit, injury to reputation, mental anguish and suffering etc; 4.10. The benefit of paragraph 4.8 will not be assignable and will rest solely and exclusively with the Buyer who, for the purpose of this condition, will be the only person to whom the original invoice is made out by Aspire in respect of the Lot sold. 4.11. Aspire reserves its right, to refuse admission to any person to its premises or any other premises at which an Auction is to be conducted. Any defaulting bidder or buyer shall be refused access to any event or auction conducted by Aspire and shall remain barred until their default has been cured to the satisfaction of Aspire. 4.12. Any information pertaining to Bidders and Sellers which has been lawfully obtained for the purposes of the Auction and the implementation of any resultant sale shall be kept for purposes of client administration, marketing and as otherwise required by law. The Bidder and the Seller agree to the retention, processing of their personal information and the disclosure of such information to third parties (but only in connection with the sale of any works such as logistics and insurance) for the aforementioned purpose. The Seller’s identity

will not be disclosed for purposes other than what is reasonably required for client administration or as required by law. Please see the Privacy Policy for more information on this. 4.13. Aspire has, during the course of any Auction, the sole and absolute discretion, without having to give any reasons therefore, to refuse any bid, withdraw or reoffer Lots for Auction (including after the knock down of the hammer), cancel any sale if the Auctioneer and/or Aspire believes that there may be an error or dispute of any nature whatsoever, and shall have the rights, as it deems fit, to divide any Lot, to combine any two or more Lots or to put up any Lot for Auction again. 4.14. For any notice required to be given in connection with these Terms of Business and Rules of Auction: 4.14.1. Aspire will first attempt to make contact by telephone, followed by email, should there be no response, then contact will be attempted by registered post. Any notice that effects the details of the sale of a Lot will be agreed to between Aspire and the Seller prior to the sale of said Lot. If, for any reason whatsoever, Aspire is unable to make contact with a Seller, the relevant Lot will be withdrawn from the sale; 4.14.2. if given by Aspire, shall be delivered by hand, sent by registered post or by email to the address provided to Aspire by the relevant addressee as being the domicilium citandi et executandi of that addressee. Notice shall be deemed to have been received by the person who is required to receive such notice: 4.14.2.1. on the date of delivery, if delivered by hand or email; 4.14.2.2. on the fourth (4th) day from the date of posting, including the date of posting if posted by prepaid registered post from within South Africa, which postage shall be deemed to have been sent on receipt of the post office proof of posting. 4.14.3. if given to Aspire, such written notification must be given to Aspire at its email address as published by Aspire from time to time, whether on any brochure, catalogue or its website. 4.15. The Seller submits to the non-exclusive jurisdiction of the South African courts. Each Auction and Private Treaty shall be governed in accordance with the laws of South Africa. 4.16. In the event that any provision of these Terms of Business is found by a court of competent jurisdiction to be unenforceable and of no effect, the remaining provisions of these Terms and Conditions shall not be affected by that determination and shall remain binding and of full force and effect. 4.17. The Buyer and/or Seller, as the case may be, hereby pledge(s) the goods either sold and/or bought as security to Aspire for all amounts which are owing to Aspire. 4.18. Should any Party delay or not exercise their rights it shall not constitute a waiver of such rights or power. If a Party exercises their right or power, it shall not preclude such party from exercising any other right or power which they may have. 4.19. No variation, alteration, consensual termination, representation, condition, term or warranty, relaxation or waiver or release by Aspire, or estoppel against Aspire, or the suspension by Aspire, in respect of these Terms of Business, or any part thereof, shall be of any force or effect unless reduced to writing and signed by Aspire and the Buyer. 4.20. These Terms of Business and Rules of Auction constitute the entire agreement between the Parties. 4.21. The Buyer shall be responsible for the payment of the Seller’s and Aspire’s legal costs, calculated on the scale as between attorney and own client incurred by the Seller and Aspire in enforcing any of its rights or those of its principal whether such rights are exercised by way of legal proceedings or otherwise. 4.22. No Party shall be in breach of contract or liable for any loss of profit or special damages or damage

suffered as a result of a force majeure or any other event which falls outside of the Parties’ reasonable control. Notice must be given to all Parties if such an event occurs in order to enable the defaulting Party to remedy their performance. The occurrence of the aforementioned events will not excuse a Party from paying any outstanding amounts owed to any of the other Parties.

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

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Any Lot not collected immediately after the Auction will remain insured for 48 (forty-eight) hours after completion of the Auction. The Seller must be paid in full and the funds cleared before the Lot is handed over to the Buyer. 5.11. If the Buyer has not made payment within 1 (one) week of the Auction Aspire reserves the right to cancel the Sale and to claim damages from the Buyer including but not limited to the Buyers and Sellers premium, storage and insurance costs and the costs of conducting the auction which are estimated at one million rand per auction. 5.12. The collection of any Lot by a third party on behalf of a Buyer must be agreed with Aspire not later than the close of business on the day following the relevant Auction.

person who is not present but should be present at the Auction. 7.3. The Auctioneer shall be entitled to bid on behalf of the Seller of any lot, up to but not equal to or more than the Reserve, where applicable. 7.4. A contract shall be concluded between the Buyer and Seller once the Auctioneer knocks down the hammer and this shall be the Hammer price accepted by the Auctioneer (after the determination of any dispute that may exist and subject to the Seller’s consent if the reserve price was not achieved). The benefits flowing from this agreement constitute a stipulatio alteri for the benefit of Aspire, which benefits Aspire hereby accepts. Aspire shall not be liable for any breach of the agreement by either the Seller or the Buyer.

6. EXCLUSION OF LIABILITY TO BUYERS OR SELLERS

8. IMPORT, EXPORT, COPYRIGHT RESTRICTIONS, LICENSES AND QUALITY OF THE GOODS SOLD

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

7. GENERAL CONDUCT OF THE AUCTION 7.1. The Auctioneer remains in control of the Auction and has the absolute discretion to either withdraw or reoffer any Lots for sale, to accept and refuse bids and/or to reopen the bidding on any Lots should he/she believe there may be a dispute of whatever nature (including without limitation a dispute about the validity of any bid, or whether a bid has been made, and whether between two or more bidders or between the Auctioneer and any one or more bidders) or error of whatever nature, and may further take such other action as he/she deems necessary or appropriate. The Auctioneer shall commence and advance the bidding or offers for any Lot in such increments as he/she considers appropriate. 7.2. The Auction is to take place at the stipulated time and no delay shall be permitted to benefit a specific

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

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

10. RESCISSION OF SALE Notwithstanding the provisions above, if, within 7 (seven) days after the relevant Auction or Private Treaty sale, the Buyer makes a claim to rescind the sale due to

Forgery and Aspire is satisfied that the claim is justified, Aspire reserves the right to rescind the sale and refund the Buyer any amounts paid to Aspire and still held by Aspire in respect of that sale and the Seller hereby specifically authorises Aspire to do so.

11. PAYMENT AND COLLECTION 11.1. The Buyer acknowledges that Aspire acting in its capacity as agent for the Seller of a particular Lot: 11.1.1. That a Buyer’s premium shall be payable to Aspire on the sale of each Lot; 11.1.2. VAT may be payable on the full Hammer price and the Buyer’s premium, if the Seller is a registered VAT vendor; 11.1.3. Aspire shall also be entitled to a Seller’s commission and/or any other agreed fees for that Lot. 11.2. Upon the knock down of the hammer and acceptance of the price by the Auctioneer (subject to any reserve), the Buyer shall, before delivery of the Lot, pay Aspire the Purchase price immediately after the Lot is sold and should Aspire require, the Buyer shall provide it with their necessary registration details, proof of identity and any further information which Aspire may require. 11.3. All foreign Buyers are required to make arrangement with their banks prior to the Auction date regarding Forex funds as Aspire will only accept payment in South African Rands. Any expenses incurred thereof shall be at the cost of the Buyer. 11.4. The Buyer shall make payment in full to Aspire for all amounts due and payable to Aspire (including the Purchase price of each Lot bought by that Buyer) on completion of the sale but within 48 hours of the date of sale (or on such other date as Aspire and the Buyer may agree upon in writing) in cash, electronic funds transfer ("EFT"), or such other payment method as Aspire may be willing to accept. Any cheque and/or credit card payments must be arranged with Aspire prior to commencement of the Auction. All credit card purchases are to be settled in full on the date of sale and shall be subject to an administrative merchant fee of up to 5% of the hammer price plus Buyers Premium plus any vat on such amounts. 11.5. Ownership of a Lot shall not pass to the buyer thereof until Aspire has received settlement of the Purchase price of the respective Lot in full and the funds have cleared. Aspire shall not be obliged to release a Lot to the Buyer prior to receipt in full payment thereof. However, should Aspire agree to release a Lot to the Buyer prior to payment of the full Purchase price, ownership of such Lot shall not pass to the Buyer but shall remain strictly and unconditionally reserved for the Seller, nor shall the Buyer’s obligations to pay the Purchase price be impacted, until such receipt by Aspire of the full Purchase price in cleared funds. 11.6. The refusal of any approval, licence, consent, permit or clearance as required by law shall not affect the Buyer’s obligation to pay for the Lot and any Buyers Premium. 11.7. Any payments made by a Buyer to Aspire may be applied by Aspire towards any amounts owing by the Buyer to Aspire on any account whatsoever and without regard to any directions of the Buyer or his agent. The Buyer shall be and remain responsible for any removal, storage, or other charges for any Lot and must at his own expense ensure that the Lot purchased is immediately removed after the Auction but not until payment of the total amount due to Aspire. All risk of loss or damage to the purchased Lot shall be borne by the Buyer from the moment when the Lot is handed over to the Buyer. Neither Aspire nor its servants or agents shall accordingly be responsible for any loss or damage of any kind, whether caused by negligence or otherwise, from date of the sale of the Lot, whilst the Lot is in their possession or control. 11.8. All packaging and handling of Lots is at the Buyer’s risk and expense, will have to be attended to by the Buyer, and Aspire shall not be liable for any acts or omissions of any packers or shippers. 11.9. If the sale of any Lot is rescinded, set aside or

cancelled by a lawful action of the Buyer, and Aspire has accounted to the Seller for the sale proceeds, the Seller shall immediately refund the full sale proceeds to Aspire, who will in turn refund the Purchase price to the Buyer. If there is no sale, there is no commission payable save and except if the sale is cancelled as a result of a breach of either Seller or Buyer. However, if there are Recoverable expenses which have been incurred by Aspire, then the Seller will remain liable to pay these expenses to Aspire. 11.10. Any Lot which has been paid for in full but remains uncollected after 30 (thirty) days of the Auction, following written notice to the Buyer, the Lot then becomes the property of Aspire. Aspire may then resell this property at the best price it can obtain from a willing and able Buyer. If Aspire resells this property it may deduct any expenses incurred in keeping this property from the proceeds of sale after having deducted its commission. Any shortfall arising from the resale shall be at the cost of the Buyer. 11.11. No credit shall be granted to the Buyer without prior written consent from Aspire. Ownership of the Lot shall not pass until such time as the full Purchase price is paid along with any VAT thereon and any other necessary amounts including but not limited to Buyers Premium.

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

13. BREACH BY THE BUYER 13.1. In the event that the Buyer breaches any provision of these Terms of Business, fails to make payment of the full Purchase price, Buyers Premium or fails to collect the goods bought as provided for in these Terms of Business, Aspire in exercising its discretion and as agent for the Seller will, without any prejudice to any other rights it may have in law, be entitled to exercise one or more of the following remedies set out below. Aspire may: 13.1.1. institute proceedings against the Buyer for any non-payment and/or any damages incurred as a result of the breach of contract; 13.1.2. cancel the sale of that Lot or any other Lots sold to the defaulting Buyer at the same time or at any other Auction; 13.1.3. resell the Lot or do any such thing that would cause it to be resold by Auction or Private Treaty sale; 13.1.4. remove, store and insure the goods at the sole expense of the defaulting Buyer and if such goods are stored either at Aspire’s premises or any other place as Aspire may require such goods to be stored at, the Buyer shall be responsible for all charges associated therewith; 13.1.5. retain any Lot sold to the same Buyer at the same time, or at any other Auction and only allow the Buyer to take delivery of such goods after all amounts due, owing and payable have been paid by the Buyer to Aspire in terms of these Terms of Business, including interest, storage charges and any other charges;

13.1.6. reject any bid made by or on behalf of the defaulting Buyer at any future Auction; 13.1.7. exercise a right of retention over the goods sold and not to release such goods to the Buyer until such time as full payment has been made to Aspire in accordance with these Terms of Business. For such purpose and in so far as ownership of the Lots may have passed to Aspire, the Buyer hereby pledges such goods to Aspire as security for Aspire’s claim. 13.1.8. charge a reasonable rental fee for each day that the item is stored by Aspire from the date of Auction until the time of collection. 13.1.9. charge interest at a rate of the prime rate plus 3% (three per cent) per month on any outstanding amounts from the date of Auction. 13.1.10. charge the Buyer the full costs of conducting the auction which is estimated at one million rand with a breakdown available on request. 13.2. In the event that Aspire resells any Lot at a subsequent Auction as a result of Aspire exercising their remedy referred to in paragraph 13.1.3 above, the Buyer shall be liable for any loss (if any), should the Lot be resold at an amount lower than the amount for which the Buyer purchased it. The loss shall be calculated as the difference between the resale price and the original price. Aspire shall be entitled to earn commission on any subsequent sale of the same work irrespective of how many times it is sold by them.

14. TERMS RELATING TO THE SELLER 14.1. As per the Seller’s irrevocable instruction, Aspire is instructed to sell at an Auction all objects submitted for sale by the Seller and accepted by Aspire and to sell the same to the relevant Buyer of the Lot of which those objects form part, provided that the bid or offer accepted from that Buyer is equal to or higher than the Reserve (if any) on that Lot (subject always to paragraph 14.4), all on the basis set out in these Terms of Business. 14.2. The Seller also irrevocably consents to Aspire’s ability to bid for any Lot of which any of those objects form part as agent for one or more intending Buyers. 14.3. Aspire is authorised to retain any objects not sold on Auction for a period of 30 (thirty) days after the Auction for the possible sale of such objects by Aspire by way of Private Treaty or otherwise pursuant to paragraph 14.4. 14.4. Aspire is authorised to offer for sale either by Private Treaty or otherwise, without further instruction or notification to the Seller, within 30 (thirty) days after the Auction, all or any remaining objects submitted for sale by the Seller and received and accepted by Aspire in accordance with paragraph 14.1, which objects were not sold on Auction. The bid accepted on these items must not be less than the amount that the Seller would have received, had that Lot been sold on Auction at the Reserve (if any) on that Lot taking into account the deduction of the applicable Seller’s commission and Recoverable expenses for which the Seller is liable. 14.5. Both Aspire and the Auctioneer each have the right, to offer an object referred to above for sale under a Lot, to refuse any bid or offer, to divide any Lot, to combine two or more Lots with the prior approval of the relevant Seller(s), to withdraw any Lot from an Auction, to determine the description of Lots (whether in any Catalogue or otherwise), to store accepted objects at the Auction premises or any other location as he/she may deem fit and whether or not to seek the opinion of experts. 14.6. Aspire shall not be under any obligation to disclose the name of the Buyer to the Seller, save for the circumstances contemplated elsewhere in these Terms of Business or otherwise required by law.

15. ESTIMATION OF SELLING PRICE AND DESCRIPTION OF GOODS 15.1. Any estimation given by Aspire is an opinion and cannot be relied on as a true reflection of what the final Hammer price will be on the date of the sale and as such is never guaranteed. Aspire has the right

to change any estimations at any point in time in agreement with the Seller recorded on the relevant Property Receipt Form. 15.2. The Seller hereby agrees that Aspire may fully rely on any description of the goods or Lots provided to them by the Seller or his agent. 15.3. Aspire shall not be held liable for any error, misstatement or omission in the description of the goods/Lots whether in the Catalogue or otherwise unless such error, misstatement, omission is a direct result of the intentional, misleading and deceptive conduct of Aspire’s employees and/or agents.

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

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

18. RESERVES 18.1. All Lots are to be sold with a Reserve, unless

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

sale of a Lot has been set aside, or cancelled by the Buyer in terms of paragraph 10 above and Aspire has paid the sale proceeds to the Seller. In such instance, the Seller shall be required to refund the full sale proceeds to Aspire, who will then in turn refund the Buyer. Aspire will then make the Lot available for collection to the Seller; and 20.3.7. that any annulment, rescission, cancellation or nullification of the sale in terms of paragraph 10 above shall not extinguish the Seller’s obligation to pay the commission to Aspire and/or to reimburse any expenses incurred by Aspire in respect of this.

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

19. INSURANCE

22 . PHOTOGRAPHY AND ILLUSTRATIONS

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

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.

20. PAYMENT IN RESPECT OF THE SALE PROCEEDS The proceeds of sale shall be paid as follows: 20.1. Aspire shall make payment to the Seller not later than 20 (twenty) working days after the date of the Auction provided that full cleared payment of the Purchase price for said Lot has been received from the Buyer by Aspire. 20.2. If the Buyer fails to pay the full Purchase price within the allocated time set out in paragraph 11.2, Aspire shall notify the Seller in writing and request instruction on how to proceed. Aspire may at its discretion, decide to assist the Seller with the recovery of any outstanding amount from the Buyer. 20.3. The Seller hereby authorises Aspire to proceed: 20.3.1. to agree to the terms of payment on any outstanding amount; 20.3.2. to remove, store and insure the Lot which has been sold; 20.3.3. to settle any claim by or against the Buyer on such terms as Aspire deems fit and do all such things necessary to collect from the Buyer any outstanding amounts due to the Seller; 20.3.4. to rescind the sale and refund these amounts to the Buyer; 20.3.5. where Aspire pays the Sale proceeds to the Seller prior to receipt of the full Purchase price then ownership shall pass to Aspire; 20.3.6. to obtain a refund from the Seller where the

158 | Aspire Art

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

24. AMENDMENT OF THESE TERMS AND CONDITIONS 24.1. Aspire may, at any time and from time to time, in its sole discretion, amend, cancel or rescind any provision of these Terms of Business by publication of any such amended Terms of Business (whether on its website or by any other means whatsoever). 24.2. No amendment in terms of paragraph 24.1 above shall be binding on any Party to any Sale which has been entered into as at the date of that amendment unless agreed to by the relevant Parties in terms of paragraph 24.3. 24.3. No: 24.3.1. amendment or consensual cancellation of these Terms of Business or any provision or term hereof; 24.3.2. agreement, bill of exchange or other document issued or executed pursuant to or in terms of these Terms of Business (including, without

limitation, any valuation, estimate or reserve issued in terms hereof); 24.3.3. settlement of any dispute arising under these Terms of Business; 24.3.4. extension of time, waiver or relaxation or suspension of or agreement not to enforce or to suspend or postpone the enforcement of any of the provisions or terms of these Terms of Business or of any agreement, bill of exchange or other document issued pursuant to or in terms of these Terms of Business, shall be binding on any Party to any Sale concluded in terms of these Terms of Business unless agreed to by the Parties to that Sale (whether that agreement is recorded in writing or otherwise).

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

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

2 . ONLINE INFORMATION PROCESSED BY ASPIRE 2.1. Aspire may collect and store information relating to a

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

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

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

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

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ARTIST INDEX Barker, Wayne .........................................................................33 Bell, Deborah ............................................................ 56, 64, 65 Boshoff, Willem ....................................................................... 69 Catherine, Norman ...........................................25, 29, 31, 32 Chiurai, Kudzanai ...................................................................76 Cilliers-Barnard, Bettie ........................................................52 Dine, Jim .....................................................................................34 Dixie, Christine.........................................................................62 Dyalvane, Andile ...............................................................37, 38 Feni, Dumile .................................................................39, 41, 42 Hlungwani, Phillemon .............................................................. 9 Hodgins, Robert ......................................................................67 Kentridge, William......15, 16, 17, 18, 19, 30, 66, 72, 73, 77 Koloane, David..........................................................................22 Kumalo, Alf.......................................................................... 6, 7, 8 Laubscher, Erik........................................................................45 Lewis, Dylan ..............................................................................63 Makamo, Nelson ...................................................................... 10 Maluka, Mustafa .....................................................................1, 2 Mbunyuza, Simphiwe ..................................................... 35, 36 Muholi, Zanele ...................................................................3, 4, 5 Murray , Brett .........................................................................24

Nel, Hylton ..................................... 78, 79, 80, 81, 82, 83, 84 Ngatane, Ephraim ...................................................................43 Ngobeni, Blessing ............................................................ 20, 21 Nhlengethwa, Sam ............................................................. 11, 12 Oltmann, Walter.............................................................. 68, 70 Page, Fred..........................................................................48, 49 Pierneef, Jacobus Hendrik ................................................. 50 Preller, Alexis ............................................................................58 Sekoto, Gerard ....................................................................... 40 Sibiya, Bambo ..................................................................... 13, 14 Sibiya , Lucky .......................................................................... 44 Singer, Jake ...............................................................................28 Skotnes, Cecil................................................................... 53, 55 Skotnes and Stephen's Tapestry Studio ...................... 60 Stella, Frank ..............................................................................59 Stern, Irma ............................................................46, 47, 51, 71 Subotzky , Mikhael........................................................... 27, 75 Subotzky, Mikhael & Waterhouse, Patrick.................... 74 Taylor, Angus ............................................................................26 Taylor, Michael ........................................................................23 Victor, Diane ............................................................................. 61 Villa, Edoardo ................................................................... 54, 57

ACKNOWLEDGEMENTS RESEARCH AND AUTHORSHIP Marelize van Zyl Sarah Sinisi Carina Jansen Nonkululeko Sibande Micaela Wentzel Mtha Poni Alexandra Dodd Michael Godby Ashraf Jamal Athi Mongezeleli Joja Sandra Klopper Tammy Langtry Lisa Truter

PHOTOGRAPHY Anthea Pokroy Paris Brummer Matt Slater

DESIGN Jacqui Carney

PRODUCTION & PRINTING Typo, Johannesburg

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DETAIL ON PAGE 159 Lot 17 William Kentridge Self portrait in collage: Head VII DETAIL ON PAGE 161 Lot 2 Mustafa Maluka I forgot where it all began DETAIL ON PAGE 162 Lot 68 Walter Oltmann Larva Suit II

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162 | Aspire Art

Commission/ Telephone Bidding Form A Commission bid is also referred to as an Absentee or Written bid. Aspire Art Auctions (Pty) Ltd | www.aspireart.net

SALE TITLE: 20th Century & Contemporary Art SALE VENUE: 32 Bolton Rd | Johannesburg SALE DATE: 30 November 2022 | 6 pm SALE CODE: JHB 30 NOV 22 Telephone bid Absentee/Commission/Written bid Commission 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.

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

Please send completed forms to bids@aspireart.net Enquiries: +27 10 109 7989 | +27 71 675 2991 ID NUMBER BILLING NAME ADDRESS

PRIMARY CONTACT NUMBER SECONDARY CONTACT NUMBER EMAIL ADDRESS

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Lot No.

Description

Emergency Bid (Hammer Price)

Bidding increments 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)

R500 000–R1 000 000

R50 000 increments

>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. 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. 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.

SIGNATURE

164 | Aspire Art

Johannesburg 30 November 2022 Auction e-Catalogue

Articles inside

Terms and Conditions of Business