Cape Town Auction Catalogue Dogwood June 2017 by Stephan Welz & Co.

CAPE TOWN | 6 & 7 JUNE 2017 | DOGWOOD

CAPE TOWN 6 & 7 JUNE 2017 #DOGWOOD

"Love of beauty is taste. The creation of beauty is art." - Ralph Waldo Emerson

www.stephanwelzandco.co.za

FINE ART & DESIGN AUCTION CAPE TOWN | 6 & 7 JUNE 2017 | DOGWOOD The Great Cellar, Alphen Estate Alphen Drive, Constantia TUESDAY | 6 JUNE 2017 Session 1 | 10h00 Lots 1 - 160 Carpets, Rugs and Runners Books African Art Session 2 | 14h00 Lots 161 - 380 Paintings Furniture Session 3 | 19h00 Lots 381 - 520 Furniture Paintings WEDNESDAY | 7 JUNE 2017 Session 4 | 10h00 Lots 521 - 620 Clocks Pocket watches and Wristwatches Jewellery

FRONT COVER

Session 5 | 14h00 Lots 621 - 730 Silver Decorative Arts

Four Polyurethane Classic Chairs Designed in by Verner Panton for VITRA Lot 406

INSIDE FRONT COVER Jacob Hendrik Pierneef (South African 1886 - 1957) tBUSHVELDT LANDSCAPE Lot 433

EXHIBITION | VIEWING 2 - 4 June | 10h00 - 17h00 Jewellery, Wristwatches & Silver viewing will close at 16h30 each viewing day

PAGE 2 A Chinese Ink and Watercolour "Prunus and Insect" Scroll attributed to Yuan Hongsong (1910 - 2012) Lot 684

PAGE 4 Ann Lindsell-Stewart (SOUTH AFRICAN 1923 - ) SEVEN QUEUES Lot 252

PAGE 12 David Kuijers (SOUTH AFRICAN 1962 - ) TABLE BAY Lot 170

INSIDE BACK COVER A Turkish carpet, East Turkey, Modern Lot 12

Buyers premium is calculated at 14% plus VAT at the prevailing rate for items selling over R10 000 and 17% plus VAT for items selling R10 000 or less at the prevailing rate Shipping & Administration Costs The packing and transport costs will be calculated as follows (one bulk shipment between offices): Invoice value over R100 000 – free Invoice value below R100 000 – minimum of R500 + VAT Insurance is included. All images can be viewed on our website. This catalogue may be referred to as (SA1703) - DOGWOOD

CONTENTS 2

AUCTION DETAILS

WHO WE ARE

ANTON WELZ

HOW TO BUY

HIGHLIGHTS FROM PREVIOUS AUCTION

16 SESSION

34 SESSION

58 SESSION

92 SESSION

116 SESSION

Carpets, Rugs and Runners, Books on South African Art, Childrens Books, Collectable Fiction, A Biography, African Art and Sculpture

South African and Continental Paintings, Drawings, Prints, Photography and Sculpture, English, Continental and Cape Furniture, 20th Century Contemporary Design & Collectorsâ&#x20AC;&#x2122; Items

English, Continental, Oriental and Cape Furniture, 20th Century Contemporary Design, Important South African and Continental Paintings, Drawings, Prints, Photography and Sculpture

Clocks, Pocket watches, Wristwatches, Jewellery and Unmounted Gemstones

Plated Silver, English Silver, Metalware, English, European Ceramics and Works of Art, Oriental Ceramics and Works of Art, South African Ceramics

134

Important Notice to Prospective Buyers

135

Absentee and Telephone Bid Form

138

Guide for Absentee/Telephone Bidders

147

General Information Cape Town

147

General Information Johannesburg

151

Catalogue Subscription Order Form

152

Auctioneer's Announcements

153

Payment and Despatch of Purchases

154

Terms & Conditions of Business and Rules of Auction

162

Auction Results

164

Artists' Index

Who We Are Founded in 1968, Stephan Welz & Co. has entrenched itself at the forefront of the South African auction industry for nearly 50 years. With two salerooms in Johannesburg and Cape Town, we offer you the most convenient way to consign and auction your valuables. We are one of the most experienced auction houses in Africa, making us the first choice when looking to get premium prices for your valuables. Specialising in a variety of disciplines including fine art, jewellery, furniture and classic cars, we have consigned nearly 325,000 items in over 700 auctions. Our wide range of categories also include watches, silver, clocks, carpets, ceramics, books, maps, stamps and gold coins. We have specialists nationwide to valuate and consign your items to our auctions. We continue to uphold our integrity with our clients and assist them through the thrilling world of auctions. Corporate collection Stephan Welz & Co. offers corporate clients an appraisal service. We have a team on standby to travel throughout South Africa to assist our clients in finding the true value of their collections. House sales Our specialists will travel to your home and value your items. Trusts & Estates The loss of a loved one or the end of a marriage can be a traumatic experience. In order to help you get through the unpleasant process of valuating collectables, our team of specialists will valuate any item in the comfort of your home. Stephan Welz & Co. will assist you through this difficult time.

JOHANNESBURG T | +27 (11) 880 3125 F | +27 (11) 880 2656 stephanwelz @stephanwelzandco.co.za 4th Floor South Tower Nelson Mandela Square Cnr Rivonia Rd & 5th Street Sandton 2196

CAPE TOWN T | +27 (21) 794 6461 F | +27 (21) 794 6621 stephanwelz @stephanwelzandco.co.za The Great Cellar Alphen Estate Alphen Drive Constantia 7806

ANTON WELZ Division Head & Auctioneer

Dear Collector, As we rapidly approach the middle of 2017, we are proud to present our winter sale catalogue. Every sale produces a different mix of lots, and this one is no exception. From an Italian Massa casting of an Anton van Wouw sculpture to a William Kentridge ‘Sleeper and Ubu’, we have a number of quality highlights in the evening session of the sale. A work for collectors of Irma Stern is the charcoal drawing of ‘The Scholars’. Carol Kaufmann’s research has found that it is one of two known sketches of children in a madrassa, and one which informed the artist’s oil painting titled ‘Children Writing’. To quote Carol, ‘It is an insightful study into one of Irma Stern’s documented works from her “Golden Period”.’ Three Collectors, Three Collections In this winter sale we are delighted to offer three important collections assembled by three gifted individuals who in their own ways contributed to the shaping of a democratic South Africa. We have a selection of memorable works form the estate of South Africa’s celebrated author André Brink (1935-2015); a diverse collection of African art collected in situ by Professor Laurie Nathan (1959 -) on his travels to remote African regions in his capacity as a world renowned UN peace negotiator; and lastly the finely wrought pieces of African sculpture acquired both overseas and locally by an unassuming yet brilliant refugee from Nazi Germany, Bernard Herzberg (1909 - 2003) who made an early and determined contribution to the struggle for democracy in South Africa. A common thread running through these collections is an informed yet deeply personal aesthetic – with Africa being the central focus of all three. Here is an opportunity for a new generation to acquire treasured works of art that are imbued with the personality and the eye of their original owners.

Of particular interest to collectors of mid-century design are a number of wonderful furniture pieces. This category of furniture bears closer scrutiny. What has caused the interest in mid-century design, and how do we define it? It is easy to dismiss it as simply ‘fashionable’, but the reasons go deeper than that. The definition of mid-century is debatable, some say it is restricted to designs created between 1947 and 1957, others define the period as extending from 1933-1960. Either way, it covers the grand age of contemporary design, where new materials and methods allowed designers to create furniture previously thought impossible. In Denmark the movement was spearheaded by architects and designers such as Finn Juhl and Hans Wegner, in America it was Charles and Ray Eames and Frank Lloyd Wright. In Europe it was the Bauhaus, le Corbusier and later the Memphis movement, all of which influenced furniture, lighting and even architecture. The current trend of minimalism falls perfectly in line with the clean, elegant functionality and form of the designs of the mid-20th century. Combined with the demise of the demand for office furniture experienced by furniture manufacturers in the 1980s, caused in part by the rise of the home office as a result of the internet, furniture manufacturers such as Herman Miller and Vitra needed to restructure their business models. The result was a re-launch of classics such as the Eames 670 lounge chair, sales via the internet and a re-awakening of 20th century design. On this sale examples of designs by Eames, le Corbusier, Mies van der Rohe and Philippe Starck can be found among others. I do hope that you will view and take advantage of the opportunity to see something quirky, something beautiful and something classic, and that it translates into something that you have to have! See you in the saleroom.

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I T E M S

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CAPE TOWN | 21 & 22 FEBRUARY 2017 | Auction Highlights

Lot 19 An Indo Persian Carpet, Modern SOLD R 44 065

Lot 1092 An English Walnut Clock, Payne & Co, New Bond Street, Circa 1860 Sold R 278 304

Lot 740 Tinus de Jongh (South African 1885 - 1942) Meiringspoort SOLD R 208 700

Lot 649 A Dutch Walnut and Inlaid Fall-front Bureau, 19th Century SOLD R 57 980

CAPE TOWN | 21 & 22 FEBRUARY 2017 | Auction Highlights

Lot 886 A Chinese Jian Ware Tea Bowl, Possibly Song Dynasty SOLD R 16 234

Lot 816 Damien Hirst (British 1965 - ) In-A-Gadda-Da-Vida SOLD R57 980

Lot 1137

A Diamond Brooch SOLD R 60 229

Lot 479 A Three-light Tiffany style Table Lamp, 20th Century Sold R 25 511

CAPE TOWN | 21 & 22 FEBRUARY 2017 | Auction Highlights

Lot 774 Maggie Laubser (South African 1886 - 1973) Portrait of a girl with head scarf holding a pumpkin Sold R 950 872

Lot 652 A Pair of Rosewood and Leather Modus Armchairs designed by Kristian Solmer Vedel for Soren Willadsen Sold R 32 468

CAPE TOWN | 21 & 22 FEBRUARY 2017 | Auction Highlights

Lot 487 Peter Clarke (South African 1929 - 2014) Windmills SOLD R 556 600

Lot 812 Robert Griffiths Hodgins (South African 1920 - 2010) Death & the Maiden SOLD R 637 780

KPMG Art Evening

SEEN AT 12

SOLD for

MILLIONS

CHAGALL

TRETCHIKOFF

RENOIR

STERN

As one of the oldest auctioneers in South Africa, Stephan Welz & Co. has a solid track record of obtaining premium value for your treasures, just like the masterpieces above. Work with the real experts. To consign for our next auction, contact stephanwelz@stephanwelzandco.co.za or TM

www.stephanwelzandco.co.za.

SW2293

CATALOGUING TERMS & ETIQUETTE CAPE TOWN | 6 & 7 JUNE 2017 | DOGWOOD AUCTION: “Auction” means any private treaty or auction sale at which a lot is offered for sale by the Company. AUCTIONEER: “Auctioneer” means the representative of the Company conducting an auction. BIDDER: “Bidder” means any person making, attempting or considering to make a bid or offer to buy a lot at an auction, or private treaty sale. BUYER: “Buyer” means the bidder who makes the bid or offer for any lot that is finally accepted by the auctioneer (after determination by the auctioneer of any dispute that may exist in respect thereof) at a sale of that lot, and (where the Buyer is an agent acting for a principal), the Buyer and the Buyer’s principal jointly and severally. BUYER’S PREMIUM: “Buyer’s premium” means the premium payable by the Buyer of a lot to the Company on the sale of that lot, calculated on the hammer price of that lot at the relevant current rates. CATALOGUE: “Catalogue” means any advertisement, brochure, estimate, pricelist, condition report and other publication (in whatever medium, electronically or otherwise) published by the Company in respect of any auction. CIRCA: “Circa” is commonly used when the date of events is not known, such as publication dates or when the artist completed his/her work. HAMMER PRICE: “Hammer price” means the bid or offer made by the Buyer for any lot that is finally accepted by the auctioneer (after determination by the auctioneer of any dispute that may exist in respect thereof) at a sale of that lot, together with VAT thereon (if any). LOT: “Lot” means any item or items to be offered for sale by the Company at an auction or private treaty sale. PURCHASE PRICE: “Purchase price” means the hammer price of any lot at a sale thereof, plus the applicable Buyer’s premium for that lot, plus all recoverable expenses for which the Buyer is liable in respect of that lot. RESERVE: “Reserve” means the confidential minimum hammer price (if any) at which a lot may be sold at an auction as agreed between the Seller of that lot and the Company in writing. SALE: “Sale” means the sale of any lot at an auction, whether done by private treaty or auction sale, and “sell” and “sold” shall have corresponding meanings. SELLER: “Seller” means the person named as the Seller of any lot, being the person that offers the lot for sale. TELEPHONE BIDDER: “Telephone bidder” means any person making, attempting or considering to make a bid or offer to buy a lot at an auction, who is not physically in the auction location at the time of the auction. VAT: “VAT” means value added tax levied in terms of the Value Added Tax Act, 1991.

SPECIALISTS & SERVICES JOHANNESBURG | CAPE TOWN JOHANNESBURG jhb@stephanwelzandco.co.za +27 (11) 880 3125

Alan Demby

Monique Weston

EXECUTIVE CHAIRMAN alan.demby@stephanwelzandco.co.za

SILVER, CARPETS, FURNITURE & CLOCKS

Chris de Klerk OFFICE MANAGER PAINTINGS, DRAWINGS, PRINTS & SCULPTURE

Paula Schreuder

chris.deklerk@stephanwelzandco.co.za

paula.schreuder@stephanwelzandco.co.za

Christa Swart PAINTINGS, DRAWINGS, PRINTS & SCULPTURE christa.swart@stephanwelzandco.co.za

Luke Crossley

CAPE TOWN ct@stephanwelzandco.co.za +27 (21) 794 6461

monique.weston@stephanwelzandco.co.za SILVER, CARPETS, FURNITURE & CLOCKS

Peter Digby BOOKS, MANUSCRIPTS & MAPS peter.digby@stephanwelzandco.co.za

Sharne Edelson

PAINTINGS, DRAWINGS, PRINTS & SCULPTURE luke.crossley@stephanwelzandco.co.za

JEWELLERY & WRISTWATCHES sharne.edelson@stephanwelzandco.co.za

Laurie Sher ADMINISTRATION laurie.sher@stephanwelzandco.co.za

DECORATIVE ARTS & VINTAGE FASHION tanya.demby@stephanwelzandco.co.za

Natalie Randall

Zake Nakedi

Tanya Demby

LOGISTICS natalie.randall@stephanwelzandco.co.za

PAINTINGS & LOGISTICS zake.nakedi@stephanwelzandco.co.za

Anton Welz

Linda Patterson

DIVISION HEAD & AUCTIONEER FURNITURE, COLLECTABLE CARS, CLOCKS & AFRICAN ART anton.welz@stephanwelzandco.co.za

CARPET ADMINISTRATOR & RECEPTION linda.patterson@stephanwelzandco.co.za

Carol Kaufmann PAINTINGS, DRAWINGS, PRINTS & SCULPTURE carol.kaufmann@stephanwelzandco.co.za

Kayleen Wrigley PAINTINGS, DRAWINGS, PRINTS & SCULPTURE kayleen.wrigley@stephanwelzandco.co.za

Rayda Becker PAINTINGS, DRAWINGS, PRINTS & SCULPTURE rayda.becker@stephanwelzandco.co.za

Kerry Hawkins JEWELLERY, WRISTWATCHES, SILVER & METALWARE kerry.hawkins@stephanwelzandco.co.za

Monique Kleynhans Furniture, Clocks & Collectors’ Items & DECORATIVE ARTS

monique.kleynhans@stephanwelzandco.co.za

Sophie-Louise Fröhlich OFFICE MANAGER & AUCTIONEER FURNITURE, PHOTOGRAPHY, CLOCKS & COLLECTORS’ ITEMS

sophie-louise.frohlich@stephanwelzandco.co.za

Susie McRae ADMINISTRATION & SHIPPING susie.mcrae@stephanwelzandco.co.za

Justin Heim PAINTINGS ADMINISTRATOR & LOGISTICS justin.heim@stephanwelzandco.co.za

Lani Roux BOOKS lani.roux@stephanwelzandco.co.za

S|1

CARPETS | BOOKS AFRICAN ART TUESDAY 6 JUNE 2017 | 10H00 | LOTS 1 - 160

S| 1

CARPETS, RUGS & RUNNERS 1 A KESHAN RUG, PERSIA, CIRCA 1950

condition: fair 204 by 132cm ILLUSTRATED

R 10 000 - R 15 000 2 A MESHED CARPET, EAST PERSIA, MODERN 1

condition: fair 382 by 283cm ILLUSTRATED

R 15 000 - R 22 000 3 A KESHAN CARPET, PERSIA, MODERN

condition: fair 392 by 299cm ILLUSTRATED

R 12 000 - R 18 000 4 A QASHQAI RUG, SOUTH WEST PERSIA, MODERN 2

condition: fair, colour runs, repair 206 by 115cm

R 12 000 - R 18 000 5 A TABRIZ CARPET, NORTH WEST PERSIA, MODERN

condition: fair 473 by 303cm

R 18 000 - R 25 000 6 A MESHED CARPET, EAST PERSIA, MODERN

condition: fair 387 by 298cm

R 12 000 - R 18 000 3

7 AN INDO-PERSIAN CARPET, MODERN

condition: fair, ends fraying 385 by 279cm

R 8 000 - R 12 000 8 A KUBA RUG, AZERBIJAN, MODERN

condition: fair 194 by 114cm ILLUSTRATED

R 8 000 - R 12 000 18

CARPETS, RUGS & RUNNERS

S| 1

9 A KURDI KELIM, PERSIA, MODERN

condition: fair, minor wear 320 by 157cm

R 4 000 - R 6 000 10 A KURDI KELIM, PERSIA, MODERN

condition: fair 257 by 140cm

R 3 500 - R 5 500 11 A MIR CARPET, PERSIA, MODERN

condition: fair, minor wear 320 by 204cm

R 8 000 - R 12 000 12 A TURKISH CARPET, EAST TURKEY, MODERN

condition: good, minor wear 251 by 203cm

R 4 000 - R 6 000 13 A KURDI FLATWEAVE, WEST PERSIA, MODERN

condition: good 260 by 123cm

R 3 000 - R 5 000 14 A KURDI KELIM, PERSIA, MODERN

condition: fair, repair 240 by 176cm PART ILLUSTRATED

R 3 500 - R 5 500 15 A CHOUBI CARPET, PAKISTAN, MODERN

condition: fair 208 by 163cm

R 3 000 - R 5 000 16 A PAKISTANI CARPET, MODERN

condition: good, minor staining, missing fringes 204 by 195cm

R 3 000 - R 5 000 17 AN AFGHAN RUNNER, MODERN

condition: fair, minor wear 300 by 70cm

R 3 000 - R 5 000

DETAIL

S| 1

CARPETS, RUGS & RUNNERS

A CHOUBI CARPET, PAKISTAN, MODERN

A HAMADAN CARPET, PERSIA, MODERN

A KESHAN CARPET, PERSIA, MODERN

condition: fair, minor staining 285 by 210cm

condition: fair 290 by 140cm

condition: fair 520 by 350cm

R 4 000 - R 6 000

ILLUSTRATED ON OPPOSITE PAGE

AN INDO-PERSIAN RUG, MODERN

AN AFSHAR FLATWEAVE, PERSIA, MODERN

condition: fair 247 by 168cm

condition: good 300 by 200cm

A QASHQAI CARPET, WEST PERSIA, MODERN

R 4 000 - R 6 000

R 8 000 - R 12 000

A QASHQAI RUG, WEST PERSIA, MODERN

A TEKKE TURKOMAN RUG, PERSIA, MODERN

condition: fair 199 by 194cm

condition: good 175 by 117cm

A MESHED CARPET, EAST PERSIA, MODERN

R 4 000 - R 6 000

R 8 000 - R 12 000

AN INDO-PERSIAN CARPET, MODERN

AN EGYPTIAN SILK RUG, MODERN

condition: fair, minor staining and repair 288 by 175cm

condition: good 140 by 81cm

AN ISPAHAN CARPET, PERSIA, MODERN

R 4 000 - R 6 000

A KURDI KELIM, PERSIA, MODERN

AN AFGHAN CARPET, AFGHANISTAN, MODERN

condition: fair 260 by 155cm

condition: good 222 by 172cm

R 3 500 - R 5 500

ILLUSTRATED

R 4 000 - R 6 000

R 45 000 - R 65 000

condition: fair 308 by 213cm

R 12 000 - R 18 000

condition: fair 485 by 338cm

R 18 000 - R 25 000

condition: fair 407 by 303cm ILLUSTRATED ON OPPOSITE PAGE

R 15 000 - R 22 000 32 AN AFGHAN CARPET, MODERN

condition: good, slightly faded 300 by 200cm

R 5 000 - R 8 000 33 A KURDI KELIM, PERSIA, MODERN

condition: fair, slight colour run 290 by 155cm

R 4 000 - R 6 000 34 A HAMADAN CARPET, PERSIA, MODERN

condition: fair, colour run, repair 285 by 155cm

R 4 000 - R 6 000 35 AN ARDEBIL RUG, NORTH WEST PERSIA, MODERN

condition: fair 220 by 137cm

R 6 000 - R 9 000

CARPETS, RUGS & RUNNERS

S| 1

CARPETS, RUGS & RUNNERS 36 A SUMAK FLATWEAVE, AFGHANISTAN, MODERN

condition: good 264 by 237cm ILLUSTRATED

R 6 000 - R 9 000 37 A SUMAK-AFGHAN FLATWEAVE, MODERN

condition: good 275 by 213cm

R 5 000 - R 8 000 38 A TURKISH SILK RUG, MODERN 36

condition: fair 194 by 126cm ILLUSTRATED

R 15 000 - R 22 000 39 A MESHED CARPET, EAST PERSIA, MODERN

condition: fair 398 by 300cm

R 15 000 - R 22 000 40 A KESHAN CARPET, PERSIA, MODERN

condition: fair 470 by 267cm ILLUSTRATED

R 20 000 - R 30 000

S| 1

BOOKS

41 Timmins, H.

43 Carruthers, Jane

45 Various

TRETCHIKOFF & SIGNED PRINT

MELTON PRIOR: WAR ARTIST IN SOUTHERN AFRICA 1895 to 1900

THIRTEEN DUMPY BOOKS FOR CHILDREN

Howard Timmins, Cape Town, 1969. First edition. Elephant Folio. In fair condition. Unpaginated. Gold dust jacket with one corner torn, covered in plastic. Internally clean with full page colour illustrations throughout. Also includes reproduction of Lemka, signed on back by Tretchikoff in 1975, creasing along the bottom margin.

The Brenthurst Press, Houghton, 1987. Limited edition. 4to. In good condition. Brenthurst Press Second Series No. 3. Half leather with marbled boards and gilded top edge. Remains of a sticker on bottom of spine. Slipcase with minor shelf wear.

R 3 000 - R 5 000

42 Goldblatt, David

44 Nel, P. G. (Editor)

SOME AFRIKANERS PHOTOGRAPHED

J H PIERNEEF: HIS LIFE AND HIS WORK

Murray Crawford, Cape Town, 1975. First edition. Large 4to. In good condition. Black boards. Dust jacket with one 4cm tear in top front corner. Tape residue on ep. Otherwise clean and tightly bound.

Perskor, Cape Town, 1990. First edition. 4to. In good condition. Green boards with dust jacket. Some shelf wear, inscription on ep.

R 12 000 - R 18 000

Grant Richards, London, 1899 - 1904. First and early editions. 16mo. Various conditions. Green striped cloth. Nine of the books are illustrated. The spines of most of the books are cracked. Some loose pages and five books are missing a few pages. Includes The Flamp and Other Stories for Children, Mrs. Turner’s Cautionary Stories, The Bad Family and Other Stories, The Story of Little Black Sambo, The Bountiful Lady, Little White Barbara, Towlocks and His Wooden Horse, The Old Man’s Bag, Dumpy Proverbs, Plain Jane, The Sooty Man, Sammy and The Snarlywink & The Motor Car Dumpy Book. (13) ILLUSTRATED

R 12 000 - R 18 000

R 3 000 - R 5 000

S| 1 46 Potter, B.

49 Ainsworth, W. H.

52 Donne, John

COMPLETE BEATRIX POTTER COLLECTION IN PETER RABBIT BOOKSHELF, 23 vols

SET OF SIXTEEN AINSWORTH’S ORIGINAL ILLUSTRATED NOVELS

COMPLETE POETRY AND SELECTED PROSE

F. Warne & Co. Ltd., London, c 1950. 12mo. In good condition. Small tears in dust jackets, with some browning, five clipped. Bookshelf with some paint chips. Peter Rabbit label aged with one small tear. (23)

George Routledge & Co., London, c 1880. 8vo. In fair condition. Uniformly bound in red cloth with gilt titles to the spine and “The Original Illustrated Edition” in gilt to the front cover. One book is dated; The Lancashire Witches 1882. Spines are discoloured and unsuccessfully repaired in all but one case. Four books missing frontispiece tissue. Foxing on ep. Includes: The Tower of London, Boscobel, Guy Fawkes, Auriol, Rookwood, Jack Sheppard, The Lancashire Witches, The Starchamber, Old Saint Paul’s, Windsor Castle, The Flitch of Bacon, Spendthrift, Ovingdean Grange, Crichton, The Miser’s Daughter, Mervyn Clitheroe. (16)

Nosuch press, New York, 1929. Numbered 621 from a limited edition of 675. 8vo. In good condition. Teal full leather with the spine sunned to brown. Top edges are gilt. The fore and bottom edges are uncut.

R 2 000 - R 3 000 47 Carroll, L.

ALICE’S ADVENTURES IN WONDERLAND & THROUGH THE LOOKING GLASS Macmillan and Co, London [People’s Edition], 1887 & 1887. 8vo. In fair condition. Green cloth boards with red and black illustrations. B&W illustrations by John Tenniel. Alice’s Adventures in Wonderland: Some shelf wear, small tear on edge of spine, and corners bumped, spine cracked. Inscriptions on ep. and name of previous owner on title page. Foxing throughout. One loose page. Through the looking Glass: Some shelf wear and corners bumped. Spine cracked, but no loose pages. Light foxing throughout. This lot also includes CLARA IN BLUNDERLAND by Caroline Lewis (1902) (2)

R 6 000 - R 9 000 48 Timlin, W. M.

THE SHIP THAT SAILED TO MARS George Harrap and Co; London, 1923. First edition. 4to. In good condition. Quarter leather with light green paper covered boards with two stains. Wear to extremities of boards. Bookplate on ep. Foxing to title page and dedication page. Tightly bound, but internal crack between ep and first page; small tears in first three pages close to top of spine. Small tears in bottom corner throughout the book. Tipped in text and illustration pages are complete and clean and bright.

R 15 000 - R 22 000

BOOKS

R 3 500 - R 5 500 50 Various

FOUR SETS OF OXFORD MINIATURE EDITIONS IN A DISPLAY BOX Claredon Press, London, c 1920. First edition, thus. 16mo. In good condition. White vellum boards with India paper. Some fading of text blocks on top edges close to spine. Includes: THE COMPLETE WORKS OF SHAKESPEARE 6 volumes

THE COMPLETE POETICAL WORKS OF SIR WALTER SCOTT - 5 volumes

THE POETICAL WORKS OF WILLIAM WORDSWORTH - 5 volumes THE COMPLETE POETICAL WORKS OF LONGFELLOW - 6 volumes CONTENTS & NOTEBOOK (22) R 7 000 - R 10 000 51 Shakespeare, William

THE PICTORIAL EDITION OF THE WORKS OF SHAKSPERE [SHAKESPEARE], 8 VOLS Charles Knight and Co., London, c 1840. 8vo. In used condition. Quarter bound in green with marbled boards and gilt decoration on spine. Text block with marbled edges. Some shelf wear. Text blocks in good condition with minimal foxing. Previous owner’s name on ep. Ep. damp stained on edges. Binding tight. Histories I: Tear to front hinge. Histories II: 10,16cm tear to front hinge. Comedies I: 5,08cm tear at top of front hinge, and 5,08cm tear at bottom of back hinge. Comedies II: 5,08cm tear at top of front hinge. Tragedies I: Good. Tragedies II: Back hinge loose and inexpertly taped. Anonyma (Doubtful Plays): Good. Life (A Biography): Good. Dated 1843.

R 2 000 - R 3 000

R 2 500 - R 5 000 53 Burgess, Anthony

A CLOCKWORK ORANGE Heinemann, London, 1962. First edition. 8vo. In good condition. Black boards with gilt title to spine. A clean and tight copy. Dustjacket covered with glassine, some small tears on extremities, unclipped, priced 16s.

R 20 000 - R 30 000 54 Boccaccio, Giovanni

THE DECAMERON, 2 VOLS Privately Printed [Lawrence & Bullen], London, 1893. Numbered 14 from the limited edition of 36. 4to. In good condition. Full vellum, stamped and lettered in gilt, edges untrimmed. Illustrated throughout in B&W, including many full-page plates, by Louis Chalon. Vellum intact but shelf worn and discoloured on both volumes. Two or so pages with small stains and in general there is very light discolouration to some of the page edges. Ribbons detached. Vol 1: Foxing on ep. Vol 2: Foxing on ep. and title page. One illustration protecting tissue torn half way along spine edge. Spine opened between two sections but still firmly bound. (2)

R 3 000 - R 5 000 55 Wodehouse, P. G.

MIKE Adam and Charles Black, London, 1909. First edition. 8vo. In good condition. Green boards with red, white and black illustration. Ep. and title page browned. Spine cracked but binding still tight. Light foxing on edges of text block. Frontis page illustration moved to different section in book. Minor adhesive tape repair on foot of spine.

R 40 000 - R 60 000

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BOOKS

56 Mandela, Nelson

THE ILLUSTRATED LONG WALK TO FREEDOM Little Brown Company, Great Britain, 1996. Signed. Numbered 390 from the limited edition of 425. 4to. In fine condition. Deluxe edition. Quarter bound by hand in Wassa goatskin. Orange boards with gilt design and gilt edged textblock. Book in fine unread condition. Slight scuff mark from silk ribbon on front of spine. Black boxcase lined with silk. Some foxing on case. Includes signed portrait of Mandela; dated 6.10.96.

This is a very rare edition of Nelson Mandelaâ&#x20AC;&#x2122;s prize winning biography Long Walk to Freedom. The edition was limited to 425 of which only 100 were sold in South Africa. It includes a laid-in commissioned portrait of Nelson Mandela, taken by Benny Gool, and is signed and dated by Madiba. - Lani Roux

ILLUSTRATED

R 100 000 - R 150 000 NO LOTS 57 - 60 25

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AFRICAN ART

Herzberg family African art collection In early 1933 my father Bernhard Herzberg set foot for the first time in the Cape. A refugee from his native Germany, Bernhard soon found work and a small flat which he shared with two fellow German refugees and immersed himself in Cape Town life. He had a great love of art – both his mother and sister were artists, and his parents had owned an interesting collection of European art. He soon became familiar with the art of Southern Africa – became friendly with many local artists and grew to love the indigenous wood carvings and sculpture of Africa, a love which endured until his death at the age of 97. In 1953, he acquired his first piece of African art – an elongated ebony sculpture of a mother and child – from an African market in Johannesburg. For many years, this stunning woman graced our lounge, travelled to London with my father in the mid-1980s returned to Cape Town, where she resides in my home in the southern suburbs. From the late 1960s and early 70s Bernhard and my mother Lily, painstakingly and lovingly started to put together their own collection. Lily was an enthusiastic and well known

puppeteer. During her time working at Cape Town’s Space Theatre, she coached and encouraged a young Adrian Kohler of Handspring Puppet fame. My father presented her with a small Bambara puppet from Mali, later acquiring its mate. Some of his most striking pieces came from Mali. He loved wooden door locks and in time put together a sizeable collection from West Africa. Nan Ronsheim, Dad’s sister, left the country in the early 1950s to work as a translator in the American Foreign Service. An artist herself, she was also an enthusiastic collector of African art, and during her years in the Ivory Coast, travelled widely in the region. Five Kissi stone figures were some of her earliest acquisitions. On a visit to Ghana, she bought a metal figurative group under an umbrella, which she donated to my parents’ collection, along with many other small, intricate pieces. My mother and I started acquiring brass gold weights from Ghana. Between us, we put together a group of twelve figurative pieces, ten of the human figure in some kind of activity. Causing some hilarity amongst our friends were the two erotic pieces.

Bernhard Herzberg at home in London with his collection

Over the years my husband and I also put together a small collection. My first piece was a gift from a friend when I left South Africa for England in 1978. This wooden soldier from East Africa, was my only bit of African art for many years, and had pride of place on my mantelpiece in North East London, and later back in Cape Town. Both my husband and father bought Shona stone sculptures at an exhibition in Cambridge in the late 1980s. Brian’s “man”, as he named him, was entitled My Brother by Richard Mteki. On a visit to the Contemporary Stone Carving from Zimbabwe exhibition in the Yorkshire Sculpture Park in the UK in 1990 my father bought two pieces. The larger sculpture found a home in my parents’ London garden and the other kept Dad company while he studied for his B.A., and later a Master of Arts Degree in refugee studies. At the age of 88, he started a second African art collection in his Cape Town home with these two soapstone sculptures, which he had shipped from the UK. He continued to purchase new pieces, mainly from London galleries and art shops, some of which he kept in London and others which joined him in the Cape Town he loved so much. - Wendy Lopatin (Herzberg) April 2017

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AFRICAN ART

THE HERZBERG family COLLECTION 61 Richard Mteki (ZIMBABWEAN 1947 - )

MY BROTHER signed serpentine height: 25cm

R 3 000 - R 5 000 62 A SHONA BAKATWA, ZIMBABWE

the knife in a wooden sheath, the blade 24cm long; and A Luba Hand-held Slit Drum, DRC 28cm long (2)

R 3 000 - R 5 000

A small BAMBARA rod PUPPET, MALI

A COLONIAL METAL CRUCIFIX, DRC

the polychrome painted figure wearing a fabric smock 31cm high

the arms of the cross surmounted by seated figures 18cm high

PROVENANCE

Acquired from Michael de Combes, field collected in Mali in the mid-1980â&#x20AC;&#x2122;s

Acquired by Bernhard Herzberg in London

ILLUSTRATED

R 2 000 - R 3 000

R 2 000 - R 3 000 64 A GROUP OF FIVE KISSI CARVED STONE FIGURES, IVORY COAST

distress, restorations the tallest 26cm high (5)

R 2 500 - R 3 500 27

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AFRICAN ART

A CARVED COLON Figure, Kamba,

AN NDENGESI CARVED MALE FIGURE, DRC,

A MALE IBEJI FIGURE, NIGERIA

EAST AFRICA

LATE 20TH CENTURY

in western dress wearing a fez 31cm high

ornately carved with an elaborate coiffure 55cm high

ILUSTRATED

ILLUSTRATED

R 1 200 - R 2 200

R 4 000 - R 6 000

adorned with a necklace of coins, distress, 25cm high; and An Akuaba Figure, Ghana, of atypical form 21cm high (2)

This mid to late 20th century sculpture follows the style and form of earlier figures. The first record of such figures dates to the late 19th century and an early example is in the Royal Museum of Central Africa, Tervuren, Belgium. Jim Ross cites an article that appeared in African Arts (2000) ”The body tatooed and carved, becomes a text. The bust and arms of the figure lengthen to accommodate the symbolic inscriptions that recall the relationship between the chief and those who are subject to his authority”.

A DOGON DOOR LOCK, MALI

the iron-mounted lock carved in geometric patterns surmounted by a horned mask; and Another, the lock carved as a human figure surmounted by a pair of female figures the larger 44cm high (2) PROVENANCE The smaller lock field collected in Dianveil Kessiet, Mali by Michael de Combes

R 4 000 - R 6 000 68 A senufo wooden FEMALE FIGURE, WEST AFRICA

depicted with her hands on her hips 14cm high

R 4 000 - R 6 000 69 A GROUP OF THREE CAST-METAL SCULPTURES

comprising: a goat, a seated female holding a set of twins and a group of three women and one man playing mancala the largest 10cm high (3)

R 3 000 - R 5 000

- Rayda Becker 71 A CAST FIGURATIVE GROUP, GHANA

bearing a palanquin with a figure seated beneath an umbrella, distress 15cm high

PROVENANCE Acquired by Bernhard Herzberg in South Africa and London 1970

R 3 000 - R 5 000 74 A CAST-METAL FEMALE FIGURE, NIGERIA

with clasped hands and an elaborate coiffure 13cm high

R 2 000 - R 3 000 75 AN OGBONI STYLE COUPLE, YORUBA, NIGERIA

each figure seated, the female holding an infant, the bearded male smoking a pipe 30cm high (2) PROVENANCE

R 2 400 - R 3 400

Acquired by Bernhard Herzberg in London in the 1960’s

R 2 500 - R 3 500

A GROUP OF ELEVEN ASHANTI GOLD WEIGHTS, GHANA

comprising: a fish and 10 figures at various pursuits; and An Ashanti Charm, in the form of an elephant the tallest 6cm high (12)

R 6 000 - R 9 000

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AFRICAN ART

Laurie Nathan’s Collection of African Art and Artifacts I’ve been collecting traditional African art and artifacts since high school. The aesthetic attraction is the elegance and simplicity of form, often combined with a texture worn smooth through use. Most appealing is the deliberate beauty of everyday functional objects, like headrests, spoons, pipes, skirts and bowls, which are instruments and symbols of a rich tapestry of practices and beliefs. I’ve travelled throughout Africa as a result of my professional work as a mediator. On every trip I hope to discover at least one wonderful piece to add to the collection. The search itself is thrilling – through dark alleys, on scary taxi trips and into remote countryside – motivated by the optimism that drives all collectors. And when an object of desire comes into sight, there’s the nerve-wracking and thrilling process of bargaining. Don’t appear desperate! Stay cool! Pretend to be ready to walk away! Every object here has a story. Many stories, actually, as the object has moved from maker to users to traders and then to collectors. Some of the stories can be read from the pieces themselves and from our knowledge of the cultures from which they come. But their other stories will remain forever out of reach. - Laurie Nathan, Director of the Centre For Mediation in Africa and Advisor to the Oxford Research Group’s Sustainable Security Programme

THE LAURIE NATHAN COLLECTION 76

TWO XHOSA LONG STEMMED TOBACCO

A MAKONDE shebani SCULPTURE,

PIPES

MOÇAMBIQUE, MODERN

each wooden stopper attached with a beaded lanyard the longest 53cm long (2)

the ebonised carved sculpture depicting three figures, each above the other 63cm high

R 4 000 - R 6 000 77 TWO ZULU POTS

and Another, similar, unknown makers (3)

R 3 000 - R 5 000 78 A MAKONDE HELMET MASK, MOÇAMBIQUE

R 2 500 - R 3 500 82 A shona STOOL

carved depicting a male bust, distress 36cm high

R 1 500 - R 2 500

A HIMBA HEADREST

A KAVANGO WOMEN’S HEADDRESS, NAMIBIA

on a pierced, shaped support, on a plinth base 15cm high; and Another, similar 14cm high (2)

the balding, bearded mask realistically carved 22cm high

the braided wig adorned with buttons and beads 66cm long

R 2 000 - R 3 000

ILLUSTRATED

R 3 000 - R 5 000

R 2 500 - R 3 500

A CHOKWE MWANA PWO MASK, ANGOLA

A BONE ARMBAND

the face carved with scarification, surmounted by a raffia wig 20cm high

79 Douglas Kakaira (ZIMBABWEAN 1968 - )

MAN EMERGING FROM A ROCK serpentine 40cm high

R 6 000 - R 9 000 80 A MAKONDE DRUM, MOÇAMBIQUE

in the shape of a female torso 86cm high

R 1 500 - R 2 500

of oval form, 11cm long; and Another, of circular form 9cm diameter (2)

R 2 200 - R 3 200

R 1 500 - R 2 500 87 A CHOKWE MASK

carved with scarification, the wigged mask with raffia backing 30cm high

R 2 500 - R 3 500 29

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AFRICAN ART

A carved wooden MASK

A MASAI DAGGER, KENYA

A LOZI CERAMIC VESSEL, LATE 20TH CENTURY

elongated and pierced with circular holes 65cm high

in a leather sheath; and A Miscellaneous Collection of Hunting Sticks, approximately 67cm long (5)

the ovoid-shaped vessel with opposing carrying handles, inscribed KAYE, 32cm high; and A Majolica Glazed Pot, the ovoid body below a tapering neck with flared rim, chips on rim, firing crack on base 32cm high

R 1 200 - R 1 800 89 A MASAI BONE PIPE

each end with a beaded leather cover 31,5cm long

R 1 500 - R 2 500 90 A MASAI COW BELL, KENYA

suspended on a plaited leather loop the bell 13,5cm high

R 2 000 - R 3 000

R 2 000 - R 3 000 92 A MASAI BEADED NECKPIECE, KENYA

the circular neckpiece comprising graduating rings of coloured beads 56cm diameter ILLUSTRATED

R 2 000 - R 3 000

95 A CARVED EBONISED FELINE SCULPTURE

depicted as a seated snarling animal 60cm high

R 2 000 - R 3 000

A KUBA CLYSTER

A MANGBETU BONE Carved HORN

the bowl carved in geometric patterns, distress 29cm long

bound with leather thong 62cm long

R 1 500 - R 2 500

R 3 200 - R 4 200

R 1 500 - R 2 500

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AFRICAN ART

102

100

103

A COVERED VESSEL, NIGERIA

AN ETHIOPIAN LYRE

A BEDOUIN CAMEL BLANKET, JORDAN

the cover carved in the form of a duck 19cm high, 21cm wide, 43cm long

the leather and wooden instrument with five strings 84cm long

woven in geometric patterns 380 by 105cm

R 1 500 - R 2 500 98

R 2 000 - R 3 000

R 3 500 - R 4 500 104

101

A SILVER AND BONE MOUNTED BEDOUIN

A MURSI HEADDRESS, ETHIOPIA

CASKET

R 1 500 - R 2 500

the leather head ring adorned with metal rings and warthog tusks 40cm long

the rectangular hinged cover enclosing a leather-lined interior, on bracket feet 19cm high, 28,5cm wide, 16,5cm deep

R 5 000 - R 8 000

R 2 000 - R 3 000

AN ETHIOPIAN SHEEP SHEARING TOOL

the wooden head mounted with obsidian chips 27,5cm long

AN ETHIOPIAN TOBACCO PESTLE AND MORTAR

of typical form the mortar 19cm high, 20,5cm diameter (2)

R 2 000 - R 3 000

102 AN AMARRO SHIELD, ETHIOPIA

the shaped circular leather shield moulded with ribs and knobs, a carrying handle to the reverse 76,5cm diameter PROVENANCE

105 A WOODEN HUNTING CLUB, AUSTRALIAN TERRITORIES

the wedge-shaped head on a wooden shaft 71cm long

R 3 000 - R 5 000

Purchased in Addis Ababa circa 1992

ILLUSTRATED

R 8 000 - R 12 000 31

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AFRICAN ART

106 TWO CHINESE OPIUM PIPES

each bamboo stem with metal bowl and mouthpiece the longest 116cm (2)

R 3 000 - R 5 000

110 Cecil Edwin Frans Skotnes (SOUTH AFRICAN 1926 - 2009)

FIGURES IN A METAPHYSICAL LANDSCAPE signed, dated 88 and numbered 79/150 woodcut printed in colours sheet size: 63 by 41,5cm

R 8 000 - R 12 000

107

111 Bernard Matemera (ZIMBABWEAN 1946 - 2002)

A CHINESE WOODEN HEADREST

block-shaped 13,5cm high

LARGE HEAD

R 1 500 - R 2 500

steatite 62cm high

108 a CHINESE ELONGATED BENCH-SHAPED HEADREST

on splayed feet 113cm long

ILLUSTRATED ON OPPOSITE PAGE

R 50 000 - R 80 000 112 Obert Marime (ZIMBABWEAN 20th century)

R 1 800 - R 2 800

HOPEFUL MAN

109 Vusi Khumalo (SOUTH AFRICAN 1951 - )

jadeite 66cm high

R 8 000 - R 12 000

BUMBANANI signed, numbered 5/10, inscribed with the title and impressed with the Fine Line chopmark monoprint sheet size: 98 by 31,5cm

R 5 000 - R 8 000

various properties

113

113 Lazarus Takariwa (Zimbabwean 1952-)

CONTEMPLATIVE MAN steatite 43cm high ILLUSTRATED

R 8 000 - R 12 000

114 Zimbabwean School

TWINS serpentine 25cm high ILLUSTRATED

R 8 000 - R 12 000 115 TWO ZULU KNIVES, LATE 19TH/ EARLY 20TH CENTURY

each blade mounted on a cut down wooden shaft, one handle wire-bound, the other grass-bound; Another, possibly Xhosa, the wire-bound handle on a cut down wooden shaft; and Another, the blade with a sheet metal bound handle, the longest blade 33cm (4) 114

R 3 000 - R 5 000 NO LOTS 116 - 160

AFRICAN ART

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111

Laurie Nathan after his ascent of Ol Domyo Lengai, August 1994

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PAINTINGS | FURNITURE

TUESDAY 6 JUNE 2017 | 14H00 | LOTS 161 - 380

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161

PAINTINGS

161

168

161 William Cornwallis Harris (BRITISH 1807 - 1848)

164 Kenojuak Ashevak (Canadian 1927 - 2013)

167 John Ndevasia Muafangejo (Namibian 1943 - 1987)

CATOBLEPAS GNOO -THE GNOO and HYAENA CROCUTA: THE SPOTTED HYAENA (sic.), two

HARE SPIRITS

A JEALOUSY MAN IN 1976

signed with the artist’s monogram silkscreen printed in colours 24 by 32cm

signed, dated 1976 and numbered 13/100 linocut sheet size: 68 by 45cm

R 5 000 - R 8 000

Literature

each inscribed with the artist’s name and title hand-coloured linocuts sheet size: 33 by 42,5cm and 33 by 42,5cm respectively (2) ILLUSTRATED

R 5 000 - R 8 000 162 Samuel Daniell (British 1775 - 1811) George French Angus (British 1822 - 1886)

BOOSHUANA WOMEN MANUFACTURING EARTHERNWARE, BUSH-MEN HOTTENTOTS ARMED FOR AN EXPEDITION and ZULU HUNTING DANCE NEAR ENGOOI MOUNTAINS, three each inscribed with the artists’ names, the titles and the publisher’s name hand-coloured linocuts sheet size: 45,5 by 64cm, 38 by 50cm and 29,5 by 37cm respectively (3)

R 5 000 - R 8 000 163 Kenojuak Ashevak (Canadian 1927 - 2013)

TUNDRA HAWK signed with the artist’s monogram silkscreen printed in colours 24 by 31cm

R 5 000 - R 8 000

165 Cecil Edwin Frans Skotnes (SOUTH AFRICAN 1926 - 2009)

MASK signed and numbered 58/100 silkscreen 70 by 50cm

R 5 000 - R 8 000 166 John Ndevasia Muafangejo (Namibian 1943 - 1987)

ELEPHANT IS KILLING A LION IN A FUNNY WAY 1975 signed and dated 1975, numbered 117/200 in pencil in the margin linocut sheet size: 61 by 45cm Literature Levinson, O., I was Lonelyness: The Complete Graphic Works of John Muafangejo, A Catalogue Raisonné 1968 - 1987, Cape Town, Struik, 1992, illustrated on p.125, cat no. 103 Exhibition Catalogue 26 January - 27 March 1994, National Gallery of Nambia, illustrated on p.53 Lilienthal, A., John Ndevasia Muafangejo, Arts Association Heritage Trust, Windhoek, Namibia, 2010, illustrated on p.68

R 6 000 - R 9 000

Levinson, O., I was Lonelyness: The Complete Graphic Works of John Muafangejo, A Catalogue Raisonné 1968 - 1987, Cape Town, Struik, 1992, illustrated on p.138, cat no. 116

R 8 000 - R 12 000 168 John Ndevasia Muafangejo (Namibian 1943 - 1987)

PREPARATION FOR THE FLOOD (NOAH’S ARK) signed and dated 1979 linocut sheet size: 86 by 61cm Literature Levinson, O., I was Lonelyness: The Complete Graphic Works of John Muafangejo, A Catalogue Raisonné 1968 - 1987, Cape Town, Struik, 1992, illustrated on p.159, cat no. 137 EXHIBITED Johannesburg Art Gallery, John Muafangejo Foundation

ILLUSTRATED

R 8 000 - R 12 000 169 Richard Scott (South African 1968 - )

MY VIEW signed and dated 2013 acrylic on canvas 75 by 150cm

R 30 000 - R 50 000 36

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PAINTINGS 170 David Kuijers (SOUTH AFRICAn 1962 - )

174 Walter Whall Battiss (SOUTH AFRICAN 1906 - 1982)

TABLE BAY

A HORSE FUCKING A BUTTERFLY

signed and dated 2002 oil on canvas 100 by 100cm

signed, numbered 25/25 and inscribed with the title in the margin silkscreen printed in colours sheet size: 64 by 45,5cm

ILLUSTRATED

R 12 000 - R 18 000 171 Romero Britto (BRAZILIAN 1963 - )

DANCING COUPLE signed and numbered 193/300 hand embellished giclée print on paper 82 by 101cm ILLUSTRATED

R 15 000 - R 22 000 172 Norman Clive Catherine (SOUTH AFRICAN 1949 - )

SERENADE

Provenance Acquired directly from the artist and thence by descent to the current owner LITERATURE Carman, J., and Isaac, S., Walter Battiss: Gentle Anarchist, Standard Bank Gallery, Johannesburg, 2005, illustrated in colour on p. 155

ILLUSTRATED

R 30 000 - R 50 000 175 Walter Whall Battiss (SOUTH AFRICAN 1906 - 1982)

ICARUS

signed, numbered 8/45 and inscribed with the title in pencil in the margin giclée print 42,5 by 53,5cm

signed with the artist’s initials in the plate and inscribed ‘proof’ in pencil in the margin silkscreen sheet size: 9,5 by 7,5cm

ILLUSTRATED

R 3 000 - R 5 000

R 5 000 - R 8 000 173 Walter Whall Battiss (SOUTH AFRICAN 1906 - 1982)

RED birdman signed and numbered 3/12 silkscreen printed in colours sheet size: 64 by 45,5cm

170

176 Beezy Bailey (South African 1962 - )

171

MUSICIAN signed and dated 07 on the reverse ceramic plate diameter: 29cm

R 5 000 - R 8 000

This edition of only 12 suggests that the print dates to the late 1960’s or early 1970’s. Later silkscreens from the mid 70’s onwards show a larger edition. - Warren Siebrits Provenance 172

Acquired directly from the artist and thence by descent to the current owner

ILLUSTRATED

R 20 000 - R 30 000

173

174

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PAINTINGS

177 Pippa Ann Skotnes (SOUTH AFRICAN 1957 - )

STAR REMOVALS and STRETCHED COVERS, two each signed and numbered 10/20 and 17/20 respectively

each sheet size: 21,5 by 18,5cm (2) R 4 000 - R 6 000

181

178 Bambo Sibiya (South African 1985 - )

SWENKAS, four comprising the following works: Amos; Rebelle de la Mode Hustlers and Shakers Teboho, Saint German Swenka à Paris each signed, dated 2013, inscribed ‘E/A’ and impressed with the Atelier le Grand Village chop mark lithographs embellished with gold leaf sheet size, each: 49,5 by 38cm (4) Provenance Atelier le Grand Village

R 20 000 - R 30 000 In South Africa, during apartheid, men from the rural areas journeyed to the cities in search of work. Hoping to impress the families they left behind, the men would often buy stylish new suits for their visits back home, and practice looking slick for their friends and neighbours. From this the Swenkas evolved and working-class South Africans would meet on a regular basis for competitions in which they would see who could put together the best-looking outfit, and who knew how to move best in it. The men follow certain set values, such as physical cleanliness, sobriety and above all, self-respect. - Atelier le Grand Village

182

181

182

179 Bambo Sibiya (South African 1985 - )

181 John Everett Millais (British 1829 - 1896)

LOVE GONE WILD

LADY AT A CARD TABLE

signed, numbered 8/10, dated 2014, inscribed with the title in pencil in the margin and impressed with the Atelier le Grand Village chop mark lithograph sheet size: 36 by 36cm

signed etching 48 by 23cm

Provenance Atelier le Grand Village

R 3 000 - R 5 000 180 Pieter van der Westhuizen (South African 1931 - 2008)

ALL FLESH IS GROSS signed, dated ‘96, numbered 30/120 and inscribed ‘ets’ hand-coloured etching sheet size: 22,5 by 27,5cm

R 5 000 - R 8 000

ILLUSTRATED

R 8 000 - R 12 000 182 John Lavery (Irish 1856 - 1941)

TWO FIGURES iN A ROWING BOAT signed and dated 1883 twice in graphite; accompanied by a letter of authenticity in the artist’s hand stating it to be the only etching he ever did etching 28 by 15cm (2) ILLUSTRATED

R 10 000 - R 15 000 183 Manner of George Stubbs (British 1724 - 1806)

DOGS, two the larger work bears the inscription ‘G Stubbs RA b 1724 d 1806’ on the reverse oil on panel the larger 13 by 23cm (2) 183

183

ILLUSTRATED

R 6 000 - R 9 000 38

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PAINTINGS 184 Andrew MacCallum (British 1821 - 1902)

190 Peter Clarke (SOUTH AFRICAN 1929 - 2014)

FARMCART AND OXEN

BIRD ROCK

a plaque adhered to the front of the frame bears the artist’s name, the title and the inscription ‘presented by The SA Fine Arts Association’ oil on canvas 48 by 73cm

signed and dated 12/6/1968 monoprint 30 by 24cm

R 6 000 - R 9 000 185 Ugo Manaresi (Italian 1851 - 1917)

BOATS ON A BEACH signed and dated 1872; Italian inscriptions on the reverse in pencil oil on board 38 by 23cm

PROVENANCE Gifted by the artist and thence by descent to the current owner

R 5 000 - R 8 000 191 William Mitcheson Timlin (South African 1893 - 1943)

PIXIE-LED’S and GOSSIP, two each signed and inscribed with the title watercolour and ink on paper the larger: 37 by 28cm (2)

R 8 000 - R 12 000

R 20 000 - R 30 000

186 Ugo Manaresi (Italian 1851 - 1917)

192 Johannes Petrus Meintjes (South African 1923 - 1980)

FISHERMEN AT WORK

FACE

signed and dated 1877; Italian inscriptions on the reverse in pencil oil on board 38 by 23cm

signed and dated 48 charcoal on paper 27 by 21cm ILLUSTRATED

R 8 000 - R 12 000

R 15 000 - R 22 000

187 Frans Martin Claerhout (South African 1919 - 2006)

193 Johannes Petrus Meintjes (South African 1923 - 1980)

MOTHER AND CHILD

RAYMOND VAN NIEKERK

signed oil on paper 49 by 35cm

signed, dated 1956 and inscribed with the title ballpoint pen on paper 30 by 24cm

R 8 000 - R 12 000 188 Frans Martin Claerhout (South African 1919 - 2006)

FIGURE OF A MAN signed charcoal on paper 49 by 37cm

R 6 000 - R 9 000 189 Frans Martin Claerhout (South African 1919 - 2006)

192

ILLUSTRATED

193

R 12 000 - R 18 000 194 Johannes Petrus Meintjes (South African 1923 - 1980)

PORTRAIT OF A LADY signed and dated 1949 mixed media on paper 20 by 19cm ILLUSTRATED

R 8 000 - R 12 000

FIGURE WALKING signed mixed media on paper 28 by 19cm

R 5 000 - R 8 000 194

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PAINTINGS

195

198

195 Hendrik Christiaan Niemann (South African 1941 - )

198 Anne Fischer (South African 1914 - 1986)

202 Charles (Carel Antoon) Gassner (SOUTH AFRICAN 1915 - 1977)

FARM WORKER

AI BEN and FLORINE AND JULIA, two

UNTITLED

signed oil on board 27 by 32cm

silver gelatin prints plate size: 36 by 29cm (2)

signed mixed media on paper 54 by 87cm

ILLUSTRATED

Provenance

R 5 000 - R 8 000

R 15 000 - R 22 000

Estate Late Anne Fischer and thence by descent to the current owner

196 Anne Fischer (South African 1914 - 1986)

ILLUSTRATED

XHOSA MOTHER AND CHILD, XHOSA WOMAN IN PROFILE and JOAN FLORUS, three

199 Selwyn Pekeur (South African 1957 - )

signed and dated 72 oil on board 55 by 65cm

one signed, each inscribed with their respective titles on the reverse silver gelatin prints each plate size: 37 by 29cm (3)

COUPLES DANCING, two

R 5 000 - R 8 000 204 Eleanor Frances Esmonde-White (SOUTH AFRICAN 1914 - 2007)

Provenance

each signed and dated 2004 charcoal and chalk pastel on paper each: 48 by 34cm (2)

R 6 000 - R 9 000

TRANSKEI SCENE

Estate Late Anne Fischer and thence by descent to the current owner

R 4 000 - R 6 000 197 Carl Adolph BÃ¼chner (South African 1921 - 2003)

TWO FIGURES signed mixed media on paper 24 by 19cm

R 5 000 - R 8 000

R 3 000 - R 5 000

200 Selwyn Pekeur (South African 1957 - )

DANCERS IN ORANGE signed and dated 2004 chalk pastel on paper 100 by 70cm

R 6 000 - R 9 000 201 Frank Spears (South African 1906 - 1991)

ABSTRACT PORTRAIT signed oil on board 84 by 69cm

198

R 20 000 - R 30 000

203 Josef Osser (South African 1908 - 1988)

RURAL SCENE WOMAN AND HUT

signed and numbered 35/50 linocut 17 by 13cm PROVENANCE Gifted by a friend of the artist to the current owner

R 3 000 - R 5 000 205 Eli Kobeli (SOUTH AFRICAN 1932 - 1999)

THE FAMILY signed and dated 72 watercolour and pastel on paper 36 by 54cm

R 5 000 - R 8 000

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PAINTINGS 206 Tienie Pritchard (South African 1938 - )

211 Barbara Grace Burry (South African 1909 - 2010)

JOB EN SY VRIENDE OP DIE ASHOOP

STILL LIFE WITH PINK HIBISCUS

signed and numbered 4/7; impressed with the foundry stamp bronze on wooden base height: 13cm (excluding base)

R 8 000 - R 12 000 207 Coert Steynberg (South African 1905 - 1982)

FIGURE OF A WOMAN signed and numbered 130 copper repoussÃ© 19 by 9,5cm

R 3 000 - R 5 000 208 Wessel Marais (South African 1935 - 2009)

STILL LIFE WITH DAISIES signed oil on board 60 by 44cm

R 5 000 - R 8 000 209 Titta Fasciotti (South African 1927 - 1993)

STILL LIFE WITH TULIPS signed F. Scotty oil on board 39 by 49cm ILLUSTRATED

signed oil on board 37 by 28cm

R 5 000 - R 8 000 212 Florence Louise Josephine Zerffi (South African 1882 - 1962)

TULIPS IN A VASE signed and dated 37 oil on canvas 49 by 38cm

213 Florence Louise Josephine Zerffi (South African 1882 - 1962)

TRUMPET VINE signed and dated 42 mixed media on paper

R 5 000 - R 8 000 214 Louis Jansen van Vuuren (South African 1949 - )

STILL LIFE WITH ROSES AND LEMONS

R 6 000 - R 9 000 215 Hennie Griesel (South African 1931 - )

210 Titta Fasciotti (South African 1927 - 1993)

CHRYSANTHEMUMS IN A COPPER VASE

signed F. A. Scotty oil on canvas 33,5 by 45cm ILLUSTRATED

R 5 000 - R 8 000

210

signed and dated 1994 oil on canvas 75 by 100cm

R 5 000 - R 8 000

STILL LIFE WITH ROSES

209

R 5 000 - R 8 000

signed and dated 74 oil on board 79 by 59cm Provenance Acquired directly from the artist and thence by descent to the current owner

ILLUSTRATED

R 8 000 - R 12 000

215

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PAINTINGS 218 Gregoire Johannes Boonzaier (South African 1909 - 2005)

DONKEY CART signed and dated 1977 linocut sheet size: 35,5 by 25cm

R 5 000 - R 8 000 219 Gregoire Johannes Boonzaier (South African 1909 - 2005)

DONKEY CART signed and dated 1978 linocut sheet size: 33 by 25cm

R 6 000 - R 9 000 220 Gregoire Johannes Boonzaier (South African 1909 - 2005)

DISTRICT SIX

216

signed and dated 1979 linocut sheet size: 26,5 by 33cm ILLUSTRATED ON OPPOSITE PAGE

R 6 000 - R 9 000 221 Gregoire Johannes Boonzaier (South African 1909 - 2005)

STREET SCENE, DISTRICT SIX and STREET SCENE WITH CHURCH, two each signed linocuts sheet size: 15,5 by 19,5cm and 18 by 13cm respectively (2) Literature Bekker, M., Gregoire Boonzaier, Human & Rousseau, Cape Town, 1990, illustrated on p. 73

ILLUSTRATED ON OPPOSITE PAGE

217

217 John Kramer (South African 1946 - )

FRANSCHHOEK KAFEE

INDRAF CAFE, WORCESTER

signed and dated 2000 oil on canvas 58 by 78cm

signed; dated 2002 and inscribed with the artistâ&#x20AC;&#x2122;s name and title on the reverse oil on canvas 36 by 59cm

ILLUSTRATED

R 25 000 - R 35 000

R 8 000 - R 12 000

216 John Kramer (South African 1946 - )

ILLUSTRATED

R 20 000 - R 30 000

222 Gregoire Johannes Boonzaier (South African 1909 - 2005)

HEAD (Mogadi Boom) and TREES, two signed linocut each sheet size: 22 by 16cm (2)

R 8 000 - R 12 000

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PAINTINGS

220

221

224 228

225

Linocut was easily adapted to what, by the late 1960s, was Boonzaier’s chosen subject matter: landscapes, cityscapes, flowers, and working class people. He worked in District Six and Bo-Kaap in the days of apartheid, yet he treated these parts of Cape Town no differently from other views of the city. The fact that multiples could be made and that the lino prints could be sold at relatively cheap prices appealed to Boonzaier. Martin Bekker quotes Boonzaier after his successful exhibition at Potchefstroom University in September 1978 “Maybe the most important achievement has been the number of new, less well-off buyers who are now owners of an original painting of mine ... It is more important to me to have a work of mine in the house of a genuine art lover, than just to sell it at a large price”.1 Boonzaier’s prints remain accessible to the less affluent and thus appeal to new collectors wishing to make an entry into the art market. It is the reliance on the actual object or scene that informs all the lino prints whether landscapes of wind-blown trees, bunched up clouds, sunflowers, or donkey carts and people. Boonzaier’s remained recognizable and virtually unchanged throughout lifetime marked only by an increasing simplification which suited his linocut technique admirably. 1

Bekker, M., Gregoire, Human & Rousseau, Cape Town, 1990, p. 79

- Rayda Becker 223 Gregoire Johannes Boonzaier (South African 1909 - 2005)

225 Gregoire Johannes Boonzaier (South African 1909 - 2005)

227 Gregoire Johannes Boonzaier (South African 1909 - 2005)

TREES AND TABLE MOUNTAIN

TRUMPET VINES

SUNFLOWERS

signed and dated 1978 linocut sheet size: 26 by 32cm

signed and dated 1977 hand-coloured linocut sheet size: 35,5 by 25cm

signed and dated 1978 linocut sheet size: 34 by 25cm

R 6 000 - R 9 000

ILLUSTRATED

R 6 000 - R 9 000

224 Gregoire Johannes Boonzaier (South African 1909 - 2005)

STILL LIFE WITH HIBISCUS signed hand-coloured linocut sheet size: 24 by 18cm

R 6 000 - R 9 000 226 Gregoire Johannes Boonzaier (South African 1909 - 2005)

TRUMPET VINES

ILLUSTRATED

signed and dated 1978 linocut sheet size: 33,5 by 25cm

R 5 000 - R 8 000

R 6 000 - R 9 000

228 Gregoire Johannes Boonzaier (South African 1909 - 2005)

SUNFLOWERS signed and dated 1977 hand-coloured linocut sheet size: 35,5 by 25cm ILLUSTRATED

R 6 000 - R 9 000

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233

234

229 Louis Jansen van Vuuren (South African 1949 - )

233 Erich (Ernst Karl) Mayer (South African 1876 - 1960)

238 Willem Hermanus Coetzer (SOUTH AFRICAN 1900 - 1983)

WINTER SCENE IN FRANCE

LANDSCAPE WITH HUTS

signed, dated 2006 and inscribed with the title on the reverse oil on canvas 38 by 46cm

signed and dated 1927 gouache on paper 16 by 24cm

DRAKENSBERG TRANSVAAL, TRICHARDSDAL

Provenance

R 5 000 - R 8 000

Acquired directly from the artist by the current owner

R 5 000 - R 8 000 230 Maud Frances Eyston Sumner (SOUTH AFRICAN 1902 - 1985)

DUCKS AND BOATS ON THE SEINE signed with the artist’s initials and inscribed ‘proof’ in pencil in the margin lithograph 28,5 by 40,5cm

R 3 000 - R 5 000 231 Don (Donald James) Madge (South African 1920 - 1997)

BOLAND STREET SCENE signed oil on board 35 by 50cm

R 5 000 - R 8 000 232 Jean Max Friedrich Welz (South African 1900 - 1975)

RIETKUIL 1957 signed and dated 57 pen and ink on paper 41 by 66cm

R 5 000 - R 8 000

PAINTINGS

ILLUSTRATED

234 Erich (Ernst Karl) Mayer (South African 1876 - 1960)

MOUNTAINOUS LANDSCAPE signed and dated 1950 oil on board 26,5 by 37cm ILLUSTRATED

R 12 000 - R 18 000 235 Erich (Ernst Karl) Mayer (South African 1876 - 1960)

LANDSCAPE WITH ALOES signed gouache on paper 15 by 24cm

235

signed and dated 61; a label adhered to the reverse bears the title oil on board 34 by 44cm ILLUSTRATED ON OPPOSITE PAGE

R 20 000 - R 30 000 239 Zakkie (Zacharias) Eloff (SOUTH AFRICAN 1925 - 2004)

SPRINGBOK IN THE VELD signed oil on board 35 by 55cm

R 6 000 - R 9 000 240 Vera Volschenk (SOUTH AFRICAN 1899 - 1987)

DIE OU GRYS ROTS

ILLUSTRATED

signed and dated 1943; inscribed with the date, title and artist’s name on the reverse oil on board 30 by 45cm

R 5 000 - R 8 000

R 6 000 - R 9 000

236 Edward Roworth (South African 1880 - 1964)

241 Wessel Marais (South African 1935 - 2009)

NEAR SEZELA, SOUTH COAST

LANDSCAPE WITH FIGURES WALKING

signed oil on canvas board 30 by 39,5cm

signed oil on board 40 by 60cm

R 6 000 - R 9 000

R 8 000 - R 12 000

237 Edward Roworth (South African 1880 - 1964)

242 Katherine Wood (South African 1975 - )

PHANTOM PASS

RED ROMANCE

signed oil on canvas 59 by 82cm

signed; inscribed with the title on the reverse oil on canvas 160 by 100cm

R 10 000 - R15 000

R 20 000 - R 30 000

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PAINTINGS

238

243 Lukas van Vuuren (South African 1939 - 2003)

246 Melvin Brigg (South African 1950 - )

249 Christo Coetzee (South African 1929 - 2000)

DARK SKY OVER LIONS HEAD

BEACH SCENE WITH FISHING BOATS

THE ARK

signed and dated June 2001 ink on UHI plastic 63,5 by 64cm

signed and dated indistinctly oil on board 50 by 75cm

signed, dated 83 and numbered 198/250 silkscreen 40 by 28,5cm

R 6 000 - R 9 000

R 10 000 - R 15 000

R 5 000 - R 8 000

244 Lukas van Vuuren (South African 1939 - 2003)

247 Melvin Brigg (South African 1950 - )

250 Christo Coetzee (South African 1929 - 2000)

LANDSCAPE WITH MOUNTAINS, TREES AND A RED FENCE

LANDSCAPE WITH FISHERMENâ&#x20AC;&#x2122;S HOUSEs

PROFILE OF A LADY WITH FLOWER and NO. 32, two

signed and inscribed indistinctly with the title ink on UHI plastic 60 by 58,5cm

signed and dated 79 oil on board 42 by 75cm

Profile of a Lady with Flower signed; No. 32 signed, dated 67 and inscribed with the title mixed media on paper 20,5 by 30cm and 39,5 by 28,5cm respectively (2)

R 6 000 - R 9 000 245 Lukas van Vuuren (South African 1939 - 2003)

THE CLOTH signed and dated 1.03 ink on UHI plastic 59 by 53,5cm

R 6 000 - R 9 000

R 8 000 - R 12 000 248 Cecily Sash (South African 1925 - )

R 6 000 - R 9 000

PALE VIEW WITH HANGING POST signed and dated 95 charcoal and pastel on paper 39 by 49cm

R 6 000 - R 9 000

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PAINTINGS

251

252

251 Ann Lindsell-Stewart (South African 1923 - )

254 Kenneth Baker (South African 1931 - 1995)

257 Frank Eggington (British 1908 - 1990)

EXODUS

abstract landscape

NEAR FALCARRAGH, COUNTY DONEGAL

signed oil on canvas 81 by 76cm

signed and dated 74 oil on board

signed and dated 87, a label adhered to the reverse bears the artists name, title and date of the work watercolour on paper 37 by 53cm

R 5 000 - R 8 000

ILLUSTRATED

R 8 000 - R 12 000 252 Ann Lindsell-Stewart (South African 1923 - )

SEVEN QUEUES signed oil on canvas 80 by 71cm ILLUSTRATED

R 8 000 - R 12 000 253 T Stafford-Smith (South African 20th century)

EXTENSIVE LANDSCAPE signed oil on canvas 33 by 43,5cm

R 5 000 - R 8 000

255 Allerley Glossop (British 1870 - 1955)

Provenance The Scottish Gallery, Edinburgh

MOUNTAINOUS LANDSCAPE WITH CATTLE GRAZING

R 8 000 - R 12 000

signed oil on board 11 by 19cm

258 Frank Eggington (British 1908 - 1990)

R 10 000 - R 15 000

THE BLOODY FORELAND FROM HORN HEAD, COUNTY DONEGAL

256 Alice Goldin SOUTH AFRICAN 1925 - 2016)

signed and dated 87, a label adhered to the reverse bears the artistâ&#x20AC;&#x2122;s name, title and date of the work watercolour on paper 37 by 53cm

ALICEDALE II signed, dated 1969, numbered 6/15 and inscribed with the title in pencil in the margin woodcut printed in colours sheet size: 42 by 51cm

R 5 000 - R 8 000

Provenance The Scottish Gallery, Edinburgh

R 8 000 - R 12 000

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PAINTINGS

258

259

259 Frank Eggington (Brittish 1908 - 1990)

262 Christopher Tugwell (South African 1938 - )

265 Gabriel Cornelis de Jongh (South African 1913 - 2004)

LOCH INAGH CONNENARA, COUNTY GALWAY

FARM LANDSCAPE

THATCHED HOMESTEAD

signed oil on board 23,5 by 31cm

signed and dated 40 watercolour and gouache on paper 43 by 58cm

R 6 000 - R 9 000

263 Tinus (Marthinus Johannes) de Jongh (South African 1885 - 1942)

266 Tinus (Marthinus Johannes) de Jongh (South African 1885 - 1942)

AFTER THE STORM, WORCESTER; KALK BAY & ST JAMES 1924 and MICHELLâ&#x20AC;&#x2122;S PASS, CERES, three

OLD WATER MILL, CERES; STEENBERG, TOKAI and STELLENBERG, KENILWORTH, three

each signed and inscibed with the title in pencil in the margin etchings sheet size: 24,5 by 29cm, 19 by 29,5cm and 23 by 29cm respectively (3)

each signed and inscribed with the title in pencil in the margin etchings sheet size: 22,5 by 27,5cm, 22,5 by 29,5cm and 23 by 27,5cm respectively (3)

signed watercolour on paper 53 by 73cm ILLUSTRATED

R 12 000 - R 18 000 260 Christopher Tugwell (South African 1938 - )

LANDSCAPE WITH TREES signed oil on board 50 by 74,5cm

R 6 000 - R 9 000 261 Christopher Tugwell (South African 1938 - )

LANDSCAPE WITH TREES signed oil on card 46 by 57cm

R 8 000 - R 12 000

R 6 000 - R 9 000 264 Enslin Hercules du Plessis (South African 1894 - 1978)

VENETIAN CANAL SCENE signed oil on board 39 by 29cm

R 15 000 - R 22 000

R 6 000 - R 9 000 267 Roy Taylor (South African 1919 - 2000)

HOUSES NEAR ESTCOURT, NATAL signed oil on board 45 by 60cm

R 5 000 - R 8 000 47

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PAINTINGS

268

268 Adriaan Hendrik Boshoff (South African 1935 - 2007)

270 Wopko Jensma (South African 1939 - )

272 Stuart Valentine-Rambridge (British 1964 - )

FIGURES IN A RURAL SETTING

FIGURE

ABSTRACT SKYSCAPE

signed oil on board 12 by 22cm

signed, dated 73 and inscribed ‘Proof’ in pencil in the margin linocut sheet size: 47 by 40cm

signed oil on canvas 150 by 200cm

ILLUSTRATED

R 18 000 - R 27 000 269 Wopko Jensma (South African 1939 - )

FACE signed, dated 74 and inscribed ‘Artists Proof I/II’ in pencil in the margin woodcut sheet size: 70 by 50cm

R 15 000 - R 22 000

R 7 000 - R 10 000 271 Wopko Jensma (South African 1939 - )

UNTITLED signed and dated 73 in pencil in the margin linocut and watercolour sheet size: 56 by 76cm

R 18 000 - R27 000

R 20 000 - R 30 000

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PAINTINGS

274

273 Otto Klar (BRITISH 1908 - 1994)

275 John Stein (South African 1942 - )

277 Chris Simpson (BRITISH 1952 - )

THE SEASHELL

SOUTH PENINSULA COASTLINE

wood i, ii, III & IV, four

signed and dated 1964 oil on board 66 by 30cm

signed and dated 2015 on the reverse oil on canvas 150 by 211cm

R 5 000 - R 8 000

R 8 000 - R 12 000

signed, numbered 4/20 and inscribed with the titles in the margin black and white giclée prints plate size, each: 41,5 by 41,5cm (4)

274 William Mitcheson Timlin (South African 1893 - 1943)

276 John Stein (South African 1942 - )

PROVENANCE

BUFFALO RIVER, EAST LONDON

KALK BAY HARBOUR

R 3 000 - R 5 000

signed; inscribed with the artist’s name and the title on the reverse pastel on paper laid down on board 33,5 by 51,5cm

signed and dated 2005 on the reverse oil on canvas 91 by 121cm

NO LOTS 278 - 320

Acquired directly from the photographer by the current owner

R 5 000 - R 8 000

ILLUSTRATED

R 10 000 - R 15 000

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FURNITURE

326

321

324

327

A QUEEN ANNE MAHOGANY ARMCHAIR

A GEORGE III MAHOGANY HANGING

A WILLIAM IV extending DINING TABLE

the carved top rail above a vase-shaped splat, curved scrolling arms on curved supports, padded seat, on carved restrained cabriole legs, on pad feet

CORNER CABINET

the moulded outswept pediment above a pair of cockbeaded crossbanded doors enclosing three shaped shelves, on a plinth base 103,5cm high, 66cm wide, 50cm deep

each moulded rounded rectangular top above a plain beaded frieze, on turned gadrooned tapering legs, on foliate-carved feet, on castors, distress, with two-leaf insertions 74cm high, 121cm wide, 244,5cm fully extended

R 4 000 - R 6 000

R 10 000 - R 15 000

AN OAK GEORGE III BUREAU

325

328

the rectangular top above a hinged fall-front enclosing drawers and compartments, in sizes, a long frieze drawer below, flanked by a pair of lopers, three long graduating drawers below, on shaped bracket feet 106cm high, 91cm wide, 48cm deep

A GEORGE III MAHOGANY BUREAU

A SET OF SIX MAHOGANY SIDE CHAIRS,

the rectangular top above a hinged fall-front enclosing drawers and compartments, in sizes, a frieze drawer below, flanked by a pair of lopers above three graduating long drawers, on bracket feet, restorations 106cm high, 92cm wide, 47cm deep

each reeded curved top and bottom rail joined by reeded square-section splats between reeded supports, padded drop-in seat, on tapering square-section legs joined by a box-stretcher (6)

R 1 500 - R 2 500 322

R 3 000 - R 5 000

R 6 000 - R 9 000

A GEORGE III MAHOGANY BOWFRONTED

326

329

CHEST OF DRAWERS

A GEORGE III WALNUT AND UPHOLSTERED

A REGENCY MAHOGANY DROP SIDE TABLE

the crossbanded top above a pair of cockbeaded short frieze drawers, three cockbeaded long graduating drawers below, shaped apron, on outswept bracket feet, distress, restorations 105cm high, 106,5cm wide, 52,5cm deep

SETTEE

the hinged rectangular top above a central plain frieze, on hinged tapering square-section legs 70,5cm high, 164cm wide, 114cm deep

323

R 4 000 - R 6 000

the shaped moulded top rail above a padded back, padded sides within a conforming frame, stuff-over seat, above a reeded frieze, on square-section tapering legs terminating in spade feet, on castors, distress 176cm long ILLUSTRATED

R 12 000 - R 18 000 50

19TH CENTURY

R 6 000 - R 9 000

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FURNITURE 330

339

A WILLIAM IV MAHOGANY, FRUITWOOD AND

A VICTORIAN MAHOGANY AND SATINWOOD

BRASS INLAID CHIFFONIER

DAVENPORT

the stepped rectangular top surmounted by a shelf with a three-quarter gallery, on turned supports surmounted by a finial, a long frieze drawer below, above a pair of panelled doors enclosing a shelf flanked by a pair of gadrooned turned and barley-twist columns, on turned feet, distress 127cm high, 108cm wide, 47cm deep

the crossbanded rectangular top surmounted by a stationary compartment, the hinged sloped lid with a leather-inset writing surface enclosing a long drawer above four short dummy drawers, four short drawers below with opposing dummy drawers, on scrolled and pierced supports, on a shaped plinth base, flat bun feet, on castors, distress, restorations 83cm high, 52cm wide, 54cm deep

R 3 000 - R 5 000

ILLUSTRATED 331

R 4 000 - R 6 000

A FLAME MAHOGANY WRITING DESK

the shaped rectangular top surmounted by a three-quarter gallery above a reeded frieze, a curved beaded central drawer below flanked by a pair of beaded short drawers, each pedestal comprising a beaded door enclosing a shelf flanked by gadrooned tapering columns, on turned tapering feet terminating in brass caps, on castors 86cm high, 136cm wide, 55cm deep

R 9 000 - R 12 000 332 A VICTORIAN WALNUT CREDENZA

the shaped top above a plain frieze, a pair of panelled doors below enclosing a pair of shelves, flanked by a conforming door enclosing shelves divided by columns, on a conforming plinth base 91,5cm high, 166,5cm wide, 47,5cm deep

340 A FLAME MAHOGANY WRITING TABLE

335

the moulded rectangular top with a gilt-tooled leather-inset writing slide, surmounted by two pairs of short drawers, a long frieze drawer below, on turned fluted legs 96cm high, 80cm wide, 48cm deep

A MAHOGANY AND INLAID WRITING TABLE

R 3 000 - R 5 000

339

the hinged crossbanded top enclosing a gilt-tooled leather-inlaid writing surface above a short frieze drawer, the opposing dummy drawer flanked by lopers, a deep drawer below, on square-section tapering legs, stringing throughout 74cm high, 46cm wide, 41cm deep

R 4 000 - R 6 000 336

R 7 000 - R 10 000

A MAHOGANY CORNER CUPBOARD,

333

in two parts, the outswept cornice with canted corners above a cottage-pane glazed door enclosing three shelves, the lower section centered by a panelled door enclosing a pair of shelves, on a plinth base 203,3cm high, 106cm wide, 55cm deep

A SET OF SIX VICTORIAN DINING CHAIRS

each shaped top rail above a reeded carved mid-rail, drop-in seat, on upturned fluted baluster legs (6)

R 4 000 - R 6 000 334 A VICTORIAN WALNUT AND SATINWOOD DAVENPORT

the rectangular inlaid top centered by a stationary holder, surmounted by a pierced brass gallery, the hinged sloped surface centered by a gilt-tooled leather-inset writing surface, enclosing a compartment with four short dummy drawers, a box drawer to the side, four short drawers below with opposing dummy drawers, on a pierced scrolled turned support terminating in stile feet, stringing throughout 82cm high, 53cm square

R 4 000 - R 6 000

19TH CENTURY

R 6 000 - R 9 000 337 A WALNUT WRITING TABLE

the moulded rectangular top with a gilt-tooled leather-inset writing surface above a long frieze drawer, turned fluted tapering legs, on ball feet, distress 73cm high, 80cm wide, 55cm deep

R 3 000 - R 5 000

341 A SET OF FOUR VICTORIAN DINING CHAIRS

each shaped top rail above a reeded caned mid-rail, drop-in seat, on turned tapering legs (4)

R 3 000 - R 5 000 342 A VICTORIAN MAHOGANY DRESSING TABLE

the moulded shaped top surmounted by three short pedestal drawers, an arched bevelled plate within a conforming frame between pierced, foliate-carved and scrolling supports, a central frieze drawer below, on turned gadrooned supports, on a shaped plinth base 169cm high, 122cm wide, 49cm deep

R 3 000 - R 5 000 343 A SET OF FOUR OAK LADDERBACK SIDE CHAIRS

each ladderback between block-and-turned supports surmounted by ball finials, drop-in seat, on upturned baluster legs joined by an H-stretcher, on bun feet (4)

R 2 000 - R 3 000

338 A VICTORIAN WALNUT CARD TABLE

the hinged inlaid top enclosing a baizelined playing surface, swivelling to reveal a compartment, on four turned supports, drum socle surmounted by a finial, on foliate-carved outswept legs terminating in scroll feet, distress 76cm high, 99,5cm wide, 50cm deep

R 4 000 - R 6 000

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FURNITURE 344 A PAIR OF UPHOLSTERED SIDE CHAIRS

each closenailed shaped padded back on turned supports, closenailed padded stuff-over seat, on block turned legs joined by an H-stretcher, on bun feet; and Another Pair, similar (4)

R 2 500 - R 3 500 345 A MAHOGANY AND UPHOLSTERED OTTOMAN

the rectangular closenailed and padded top above a moulded frieze, on turned legs, on bun feet 50cm high, 100cm wide, 70cm deep

R 2 500 - R 3 500 346 A MAHOGANY FOURTEEN-SEATER DINING TABLE, 20TH CENTURY 349

the moulded rectangular top above a plain frieze, on turned fluted tapering legs, on castors, distress 76cm high, 120cm wide, 289,5cm long

R 12 000 - R 18 000 347 A SET OF EIGHT MAHOGANY DINNING CHAIRS

comprising: six side chairs and a pair of carvers, each padded back and stuff-over seat, on carved scrolling supports joined by a shaped and carved H-stretcher (8)

R 4 000 - R 6 000 348 AN ART NOUVEAU STYLE LAMP, 20TH CENTURY

the shaped colourful shade surmounted by a finial, above a metal support, fitted for electricity 45cm high

R 4 000 - R 6 000 349 A FRENCH BOULLE style CARD TABLE, 19TH CENTURY

the hinged shaped top centered by scrolling and floral bronze motifs above a beaded gilt rim enclosing a baize-lined playing surface with a conforming inlaid suround, swivelling to reveal a compartment below, a shaped frieze below centered by a roundel surmounted by a mystical head, conforming sides, on restrained cabriole legs, surmounted by bronze sabots, distress 77cm high, 48cm wide, 90,5cm deep ILLUSTRATED 351

R 8 000 - R 12 000

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FURNITURE

355

357

350

353

357

A FRENCH ROSEWOOD AND INLAID WRITING

A CAPE YELLOWWOOD AND PINE POTTERAK,

A PAIR OF CAPE ROCOCO STYLE STINKWOOD

TABLE, EARLY 20TH CENTURY

19TH CENTURY

SIDE CHAIRS, 19TH CENTURY

the rectangular moulded top above a pair of short shaped frieze drawers, on restrained cabriole legs mounted with gilt-metal sabots, the whole with foliate inlay decoration 76cm high, 132,5cm wide, 73,5cm deep

each graduating shelf between shaped rectangular supports, restorations 120cm high, 132cm wide, 45cm deep

each wavy top rail centred by a foliate carving, caned back and seat above a serpentine apron, on cabriole legs (2)

R 6 000 - R 9 000 351 A FRENCH OAK ARMOIRE, 19TH CENTURY

the rectangular outswept moulded cornice above a scalloped frieze closenailed 1876, a pair of panelled and foliate-carved doors below enclosing a compartment, above three carved panels, panelled sides, shaped apron, on square-section legs 193,5cm high, 147cm wide, 85cm deep ILLUSTRATED ON OPPOSITE PAGE

R 15 000 - R 22 000 352 A CAPE YELLOWWOOD TREK TABLE

the rectangular top on folding X-shaped supports joined by side-stretchers, distress, restorations 85cm high, 122cm wide, 69cm deep

R 3 000 - R 5 000

ILLUSTRATED 354 A CAPE TEAK TABLE

the rounded rectangular top above a plain frieze, on turned tapering legs 72cm high, 130cm wide, 73cm deep

R 4 000 - R 6 000 358 A CAPE BLACKWOOD DINING TABLE

R 5 000 - R 8 000

the rectangular top above a plain frieze, on turned tapering legs, on stile feet 79cm high, 151cm wide, 86,5cm deep

355

R 4 000 - R 6 000

A CAPE REGENCY ARMCHAIR

the shaped curved top rail above a curved mid-rail, curved arms on upturned baluster supports, caned seat, on turned tapering legs; and Another, similar (2) ILLUSTRATED

R 4 000 - R 6 000 356 A CAPE YELLOWWOOD AND STINKWOOD TABLE

the rectangular top with canted corners above a plain frieze, on square-section tapering legs, restorations 74cm high, 90,5cm wide, 53cm deep

R 2 500 - R 3 500

359 A CAPE YELLOWWOOD AND MOTHER-OFPEARL INLAID JONKMANSKAS, 19TH CENTURY

the rectangular top above a pair of short drawers, a pair of panelled doors below enclosing a pair of shelves, on square-section tapering feet 155,5cm high, 103,5cm wide, 46cm deep

R 6 000 - R 9 000 360 A CAPE YELLOWWOOD AND STINKWOOD OCCASIONAL TABLE

the later moulded rectangular top above a plain frieze, on chamfered square-section legs, on chamfered square-section feet joined by a box-stretcher, restorations 76cm high, 79cm wide, 57cm deep

R 2 500 - R 3 500 53

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FURNITURE

362

361

364

366

A REPRODUCTION 670 CHAIR DESIGNED IN

A NORWEGIAN BEECH AND WEBBED FOLDING

A SET OF DANISH BEECH AND TEAK NESTING

CHAIR AND FOLDING OTTOMAN DESIGNED IN

TABLES DESIGNED IN the 1960s BY POUL

the 1970s BY INGMAR RELLING FOR WESTNOFA

HUNDEVAD for NOVY DOMOD

the webbed back and seat on curved folding supports, the ottoman, en suite (2)

the rectangular top above four folding circular nesting tables, on turned tapering legs, on castors 56,5cm high, 62cm wide, 43cm deep (4)

THE 1950s BY CHARLES AND RAY EAMES

the padded button-back and seat between padded arms on a bentwood shell, on a steel swivel base, on circular feet

R 2 000 - R 3 000

ILLUSTRATED 362

R 12 000 - R 18 000

A SET OF TEN LOUIS 20 CHROME AND

R 6 000 - R 9 000

POLYPROPELENE STACK CHAIRS DESIGNED

365

IN 1991 BY PHILIPPE STARCK FOR VITRA

A TEAK MODEL 100 ROCKING CHAIR DESIGNED

each moulded shell on square-section tapering legs, manufacturer’s stamp and paper label (10)

IN the 1960s BY SOREN GEORG JENSEN for KUBUS MØBLER

ILLUSTRATED

the padded back between open shaped arms, on shaped supports joined by a front stretcher

R 25 000 - R 35 000

R 12 000 - R 18 000

363 A REPRODUCTION EGG CHAIR DESIGNED IN

A TULIP SUITE DESIGNED BY EERO SAARINEN FOR KNOLL

comprising: a ‘36’ table and six side chairs, the circular top on a turned support terminating in a circular base, each high back chair with padded back and seat, on a column support, on a circular base the table 70cm high, 100cm diameter (7) ILLUSTRATED

1958 BY ARNE JACOBSEN FOR FRITZ HANSEN

R 12 000 - R 18 000

the upholstered moulded shell, on a chromed swivel base, on four square-section legs

R 5 000 - R 8 000

364 367

367

FURNITURE

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368

369

A W.W. STOOL DESIGNED IN 1990 BY

A BRAZILLIAN JACARANDA AND

PHILIPPE STARCK FOR WIM WENDERS

LEATHER-UPHOLSTERED RECLINER ARMCHAIR

of sculptural sprout form, signed Starck, enamel losses 99cm high

the loose padded neck, back and seat cushions between sling arms, on square-section showwood supports

ILLUSTRATED

R 6 000 - R 9 000

R 50 000 - R 80 000

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FURNITURE

370

372

374

A STINKWOOD AND MAHOGANY HALL TABLE

A STINKWOOD COFFEE TABLE

A CLOSENAILED LEATHER UPHOLSTERED

MANUFACTURED BY RED TROUT, 2017

WINGBACK ARMCHAIR MANUFACTURED BY

the rectangular top above three short frieze drawers, a slatted shelf below, on shaped square-section legs joined by side-stretchers 87cm high, 122cm wide, 36cm deep

the organic shaped top above a slatted shelf on square-section legs 45,5cm high, 97cm wide, 46cm deep

GORDON FRASER

R 6 000 - R 9 000

R 12 000 - R 18 000

373

375

A STINKWOOD COFFEE TABLE

A CLOSENAILED OSTRICH LEATHER AND OAK

ILLUSTRATED

R 10 000 - R 15 000 371

MANUFACTURED BY RED TROUT, 2017

A KIAAT AND YELLOWWOOD SPINDLEBACK BENCH, 21ST CENTURY

the curved top rail above an organic-shaped hard seat, on turned tapering legs, makerâ&#x20AC;&#x2122;s mark 249cm long

R 10 000 - R 15 000

WINGBACK ARMCHAIR

the rectangular top above a V-shaped slatted shelf, on shaped tapering square-section legs joined by side-stretchers 48cm high, 107,5cm wide, 38cm deep

the padded back and sides above a loose seat cushion, on square-section reeded legs joined by side-stretchers

ILLUSTRATED

R 20 000 - R 30 000

R 6 000 - R 9 000

373

the padded button-back between padded arms, loose seat cushion, on square-section legs

ILLUSTRATED ON OPPOSITE PAGE

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FURNITURE

375 376

376

378

379

A CLOSENAILED LEATHER UPHOLSTERED

AN ANGLO-BOER PRISONER-OF-WAR

AN ENGLISH MAHOGANY TEA CADDY

WINGBACK ARMCHAIR MANUFACTURED BY

FRUITWOOD EGG-SHAPED SEWING BOX, 1902

GORDON FRASER

the padded button-back between padded arms, loose seat cushion, on square-section legs

inscribed J. Lacock.K.G.Bermuda.1902, with detachable cover 10cm long

the hinged stepped rectangular top enclosing a compartment, tapering sides applied with ring handles, on bun feet 18cm high, 34,5cm wide, 15,5cm deep

ILLUSTRATED

R 3 000 - R 5 000

R 2 000 - R 3 000

R 12 000 - R 18 000

380 A BRASS SHIPâ&#x20AC;&#x2122;S BELL

377 A KARELIAN BIRCHWOOD FABERGE STYLE STAMP BOX

the hinged lid centred by a silver escutcheon enclosing a compartment 1,5cm high, 8cm wide, 6cm deep

of typical form, inscribed AOTEA 1895 23cm high

R 2 500 - R 3 500

ILLUSTRATED

R 2 000 - R 3 000

377

378

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FURNITURE | PAINTINGS

TUESDAY 6 JUNE 2017 | 19H00 | LOTS 381 - 520

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FURNITURE

381

381 A LOUIS XVI STYLE AMARANTH, TULIPWOOD, MAHOGANY, MARQUETRY AND ORMOLU-MOUNTED CONCERTINA GAMES TABLE, HENRY DASSON, PARIS, 1881

the hinged moulded book-veneered and brass inlaid serpentine-shaped top with floral marquetry, enclosing a shaped baize-lined playing surface with conforming decoration, a mechanised pull system below opening the top to full extension, shaped apron centred by a brass acanthusleaf, decoration, conforming sides and opposing apron, on four restrained cabriole legs adorned with sabots terminating in brass scroll feet, signed and dated 75,5cm high, 87cm wide, 43,5cm deep

R 120 000 - R 180 000 60

Henry Dasson was a celebrated Parisian gilt-bronze maker who specialized in the production of Louis XIV, XV and XVI furniture styles. He was renowned for his fine gilt-bronze mounts and objets d’art, as well as his work as a ciseleur. Dasson furthered his career by acquiring the workshop of Charles-Guillaume Winckelson, a famous ébéniste and renamed the studio Dasson & Cie. He was very popular amongst the elite and before the studio ceased production in 1894 he was made a Chevalier of the Legion d’Honneur (1883) and was awarded the Grand Prix Artistique at the 1889 Paris Exposition Universalle. - Sophie-Louise Fröhlich

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FURNITURE

384

385

382

384

385

A WALNUT CHEST-ON-STAND, 18TH CENTURY

AN AUSTRIAN WALNUT-VENEERED

A FRENCH CHERRYWOOD AND

in two parts, the crossbanded rectangular top above an outswept cornice, a pair of feathered crossbanded short drawers below above three conforming long graduating drawers, the lower section comprising a beaded shaped apron, on restrained cabriole legs terminating in pad feet, restorations 149cm high, 101cm wide, 58cm deep

SECRÉTAIRE-ON-CHEST

SILVER-MOUNTED ARMOIRE, 18TH CENTURY

in two parts, the shaped moulded top surmounted by a short drawer, a hinged door below flanked by four short drawers and one long drawer, the hinged fall-front enclosing a compartment and drawers, in sizes, the lower section comprising three long serpentine shaped drawers, on a conforming plinth base, on flat bun feet, restorations 184cm high, 116cm wide, 71cm deep

the outswept shaped pediment above a plain frieze with rounded corners, a pair of panelled doors below enclosing a removable interior comprising a mirrored back and three glass shelves, a long drawer below, panelled sides, on flat bun feet 223cm high, 178cm wide, 69cm deep

R 14 000 - R 21 000 383

ILLUSTRATED

A DUTCH MAHOGANY DISPLAY CABINET,

R 30 000 - R 50 000

19TH CENTURY

in two parts, the gabled top centred by a key block depicting a young man in profile to dexter flanked by swags, a pair of cottage-pane glazed doors below enclosing a pair of shaped shelves, the lower section comprising a pair of panelled doors enclosing a compartment, canted panelled sides, on bun feet, distress 247cm high, 183cm wide, 38cm deep

R 20 000 - R 30 000

ILLUSTRATED

R 40 000 - R 60 000 386 A BIEDERMEIER SECRÉTAIRE À ABATTANT

the rounded rectangular top above a secrétaire drawer enclosing a compartment flanked by two pairs of short drawers and a writing slope, a hinged fall-front below enclosing an arched compartment and drawers, in sizes, a pair of panelled doors below enclosing a shelf, on a plinth base, on flat bun feet 146cm high, 102cm deep, 50cm deep

R 7 000 - R 10 000

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FURNITURE

387

387 A GEORGE III STYLE CARVED GILTWOOD MIRROR, 19TH CENTURY

the Chinese pagoda cresting above a later oval plate within a conforming surround adorned with leafy pierced branches and C-scrolls, flanked by a pair of ho-ho birds 142cm high LITERATURE cf. Christieâ&#x20AC;&#x2122;s, London, 3 November 2011, lot 79

ILLUSTRATED

R 50 000 - R80 000 62

FURNITURE

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388

388 A WALNUT, ROSEWOOD AND INLAID COMMODE, 19TH CENTURY

the rectangular top above a later secrÃ©taire drawer enclosing two drawers and a leather writing surface, with two long graduating drawers inlaid with female busts enclosed by swags of ribbons below, on tapering legs, restorations 85cm high, 19cm wide, 56,5cm deep PROVENANCE Sold: Strauss & Co, Cape Town, 11 October 2010, lot 57

ILLUSTRATED

R 25 000 - R 35 000 389 A NORTHERN CHINESE SONGMU PAINTING TABLE, GANSU PROVINCE, LATE MING/EARLY QING DYNASTY

the rectangular frame housing a solid plank floating panel, plain apron with three shaped spandrels the central spandrels divided by downward hanging decorative struts, each terminating in lotus bud finials joined by a central stretcher, on rounded legs squared at the back joined by double side-stretchers and front and back stretchers, traces of lacquer remaining, heavy calcification to the feet, heavy patina to the top 85,5cm high, 195,5cm wide, 61,5cm deep

389

ILLUSTRATED

R 15 000 - R 22 000 390 A CHINESE YUMU AND LIUMU BENCH, SHANDONG PROVINCE, QING DYNASTY

the rectangular top housing a floating panel contained within a frame with a stepped concave edge above a plain apron, compressed stylised cloud spandrels above square-section legs with indented corners joined by double side-stretchers, traces of black lacquer remaining 54,5cm high, 190cm wide, 64,5cm deep ILLUSTRATED

R 6 000 - R 9 000

390

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FURNITURE

392

391

393

395

A CAPE stinkwood CABINET-ON-STAND,

A CAPE STINKWOOD AND BEEFWOOD

THREE SERIES 7 CHAIRS DESIGNED BY

LATE 18th/early 19th century

CORNER CUPBOARD, LATE 18TH/EARLY

ARNE JACOBSEN FOR FRITZ HANSEN

in two parts, the outswept moulded cornice above a pair of astragal glazed doors enclosing a shelf, astragal glazed sides, the lower section comprising a pair of cockbeaded linenfold drawers, on barley-twist legs joined by a shaped X-stretcher, on bun feet, distress 179,5cm high, 119cm wide, 57,5cm deep

19TH CENTURY

each plywood shell on four tubular legs terminating in circular feet, maker’s mark (3)

R 12 000 - R 18 000 392 A CAPE TEAK Peg-top GATE-LEG TABLE, LATE 18TH/EARLY 19TH CENTURY

the hinged oval top, above a plain frieze, on turned tapering legs joined by a box-stretcher, on flat bun feet, distress 71cm high, 132cm wide, 183cm fully extended ILLUSTRATED

R 45 000 - R 65 000 64

the rectangular moulded top with canted corners above a pair of panelled doors applied with oval silver escutcheons, enclosing a shelf, canted panelled sides, on later restrained cabriole legs 106cm high, 124cm wide, 60cm deep

R 20 000 - R 30 000 394 A CAPE YELLOWWOOD AND STINKWOOD LOW CUPBOARD, 19TH CENTURY

the later rectangular top above a panelled door enclosing a compartment, panelled sides, on block feet, restorations 81,5cm high, 47cm wide, 35cm deep PROVENANCE The Gavin Watkins Collection

R 6 000 - R 9 000

R 9 000 - R 12 000 396 A SET OF FOUR DANISH TEAK AND VINYL UPHOLSTERED CHAIRS DESIGNED BY JOHANNES ANDERSEN FOR BRØDRENE ANDERSEN MØBELSNEDKERI

each curved back on turned supports, padded seat, on turned tapering legs (4)

R 15 000 - R 22 000

FURNITURE

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397 AN OAK AND CAST-IRON BRAVE NEW WORLD LAMP DESIGNED IN 2008 FOR MOOOI by freshwest

each rectangular cast-iron weight inscribed moooi, the lamp constructed from geometrical blocks with hinged supports, fitted for electricity 158cm high ILLUSTRATED

R 85 000 - R 125 000 The thought of a brave new world without any limitations and conscious thought process is explored in this piece. Whilst pieces of functional material appear to be placed at random, they are designed to show a constructed whole. - Freshwest

397

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FURNITURE 398 A DANISH BEECH AND TEAK DROP-LEAF TABLE DESIGNED BY HANS WEGNER

the hinged rounded rectangular top above a slatted shelf, on turned tapering legs 61cm high, 125cm wide, 48cm deep

R 6 000 - R 9 000 399 A LEATHER AND CHROME LOBBY ARMCHAIR DESIGNED IN 1960 BY CHARLES AND RAY EAMES FOR VITRA

the padded button-back and seat between chromed supports, padded arms, on four rounded square-section legs terminating in circular feet, manufacturer’s label ILLUSTRATED

R 50 000 - R 80 000 400 A LC4 CHAISE LONGUE DESIGNed IN 1928

399

BY LE CORBUSIER, PIERRE JEANNERET AND CHARLOTTE PERRIAND manufactured by target, italy

the chrome-plated tubular steel frame on a black lacquered base, upholstered in black leather, manufacturer’s label 160cm long

R 9 000 - R 12 000 401 A MAPLE PLYWOOD ELEPHANT DESIGNED IN 1945 BY CHARLES AND RAY EAMES FOR VITRA

401

of typical form, anniversary edition 2007, no. 0278 of 1000, manufacturer’s label 41,5cm high, 75cm wide, 38,5cm deep ILLUSTRATED

R 50 000 - R 80 000 402 A reproduction LEATHER AND CHROME BARCELONA CHAIR DESIGNED IN 1929 BY LUDWIG MIES VAN DER ROHE

the loose padded tufted back and seat cushions on a chromed X-frame ILLUSTRATED

R 4 000 - R 6 000

402

FURNITURE

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403

403 A FINNISH BircH EXTENDING DINING SUITE DESIGNED BY ALVAR AALTO FOR ARTEK, CIRCA 1950

comprising: an extending dining table model 92 and six chairs model 62, each padded back and seat on conforming bentwood square-section legs; the table, en suite 75cm high, 89cm wide, 228cm fully extended (7)

“Alvar Aalto (1898-1976) enjoyed an exceptionally rich and varied career as an architect and designer, both at home in Finland and abroad. It was characteristic of Aalto to treat each building as a complete work of art – right down to the furniture and light fittings. In 1935, Artek was formed to promote the growing production and sales of Aalto furniture. The design of his furniture combined practicality and aesthetics with series production, following the main Artek idea of encouraging a more beautiful everyday life in the home.” - Alvar Aalto Museo

ILLUSTRATED

R 100 000 - R 150 000

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FURNITURE

404

405

A LEATHER AND CHROME LC3 SETTEE DESIGNED IN 1928

A GIOCASTA FLOOR LAMP DESIGNED

BY LE CORBUSIER, PIERRE JEANNERET AND CHARLOTTE

BY ANDREA ANASTASIO FOR ARTEMIDE,

PERRIAND MANUFACTURED by CASSINA

20TH CENTURY

model no. 21677, the loose padded back and sides comprising four cushions above a pair of padded loose seat cushions within a chrome-plated tubular cage, on tubular legs terminating in circular feet, accompanied by a certificate of authenticity 168cm long

the chromed steel stand with five arms, three adorned with coloured Murano glass, in various shapes and sizes, the other two terminating in scrolls, on a circular base, fitted for electricity, stamped Relco Italy 210cm high

ILLUSTRATED

R 80 000 - R 120 000

R 20 000 - R 30 000

FURNITURE

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406

406 FOUR POLYURETHANE CLASSIC CHAIRS DESIGNED IN 1967 BY VERNER PANTON FOR VITRA

each of organic form, impressed Verner Panton (4) ILLUSTRATED

R 60 000 - R 90 000

â&#x20AC;&#x153;Verner Panton was one of the most influential figures in the development of design during the 1960s and 1970s. Along with his experimental approach to forms and colours, he was captivated by the potential of plastic, a novel material at the time. His aim was to create a comfortable chair made in one piece that could be used anywhere. After searching for a manufacturer for several years, Panton came into contact with Vitra in 1963. Together they developed the Panton Chair, which was first presented in 1967. Serial production of the Panton Chair commenced in 1967. It was hailed as a sensation and received numerous prizes. One of the earliest models is now in the collection of the Museum of Modern Art in New York. Today the Panton Chair is regarded as a classic of modern furniture design.â&#x20AC;? - VITRA.com

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FURNITURE

408

407

408

A LEATHER AND CHROME LOBBY ARMCHAIR DESIGNED IN

A BAD TEMPERED GLASS CARBON AND KEVLAR FIBRE

1960 BY CHARLES AND RAY EAMES FOR VITRA

RESIN ARMCHAIR DESIGNED IN 1985 BY RON ARAD

the padded button-back and seat between chromed supports, padded arms, on four rounded square-section legs terminating in circular feet, manufacturer’s paper label

MANUFACTURED IN 2003 FOR VITRA

R 50 000 - R 80 000

the four voluminous sheet steel loops folded and screwed to produce a chair, limited edition 11 of 1000, manufacturer’s label ILLUSTRATED

R 70 000 - R 100 000

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FURNITURE

410

409

410

411

A PLYWOOD LCW CHAIR DESIGNED BY

A RED MAPLE PLYWOOD ELEPHANT DESIGNED

A DANISH AND LEATHER MODUS ARMCHAIR

CHARLES AND RAY EAMES MANUFACTURED

IN 1945 BY CHARLES AND RAY EAMES FOR

BY VITRA

VITRA

SOREN WILLADSEN

the curved back and seat on bentwood square-section legs

of typical form, anniversary edition 2007, no. 0303 of 1000, manufacturerâ&#x20AC;&#x2122;s label 41,5cm high, 75cm wide, 38,5cm deep

the padded back between turned upright supports, padded arms on turned supports, loose seat cushion, shaped apron, on turned tapering legs

R 15 000 - R 22 000

ILLUSTRATED

R 50 000 - R 80 000

R 15 000 - R 22 000 NO LOTS 412 - 420

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PAINTINGS 421 Judith Mason (South African 1938 - 2016)

SEAT FOR A SPIRIT mixed media restorations height: 98cm ILLUSTRATED

R 10 000 - R 15 000 In one of her few sculptures, Seat for a Spirit, Mason used a found ready-made object - an ordinary kitchen chair. It was damaged though still useful, but through additions and manipulation it is no longer functional, changed into something much more complex. Shaped wood wings with painted hands have been attached to the back rest and legs. Large nails of different lengths have been hammered into the underpart of each leg so the chair is unstable, angled, ready, it seems, for take-off, an idea supported by the wings. Yet, no passenger can sit on this chair as all the parts that touch the human body, the back rest and seat have been filled with carefully laid out lines of sharp, outward pointing nails. The chairs function has, in surrealist terms, been negated, until we read the work in conjunction with the title. - Rayda Becker

421

422

422 Bridget Baker (South African 1971 - )

THE BLUE COLLAR GIRL, DURBAN, 2006, triptych numbered 2 from the limited edition of 8 accompanied by a certificate of authenticity lambda prints & diasec each plate: 54,5 by 241,5cm (4) ILLUSTRATED

R 20 000 - R 30 000

“The Blue Collar Girl series is a performance installation project that takes place in different locations throughout the world. It culminates in a three piece photographic installation. The project involves the actual placement of the character, The Blue Collar Girl, as both a creative force and a blue-collar worker within a cityscape. The blue collar girl wears a chroma-key blue coat and a black wig that is styled according to the 1950s. In the last shot of the performative documentation the blue-collar girl leaves her uplifting and motivating slogan behind in various ways. “Only you can”, a mark of her existence and also an embodiment of a liberated ethos.” - BB Projects

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PAINTINGS

424

423 Emily Wolfe (New Zealand 1972 - )

425 Maud Frances Eyston Sumner (South African 1902 - 1985)

427 François Krige (SOUTH AFRICAN 1913 - 1994)

LACE, triptych

STILL LIFE WITH ROSES

KLEIN LEEUKOPPIE, HOUT BAY

each signed and dated 2000 on the reverse oil on linen each: 45,5 by 65,5cm (3)

signed oil on canvas 33 by 24cm

signed oil on panel 33 by 36cm

Provenance

R 20 000 - R 30 000

R 15 000 - R 22 000 424 Adriaan Hendrik Boshoff (South African 1935 - 2007)

STILL LIFE WITH COPPER POT AND BLUE AND WHITE BOWL signed oil on board 40 by 50cm

Gifted by the artist and thence by descent to the current owner

R 25 000 - R 35 000 426 Paul Kutscha (German 1872 - 1935)

HAMBURG HARBOUR

ILLUSTRATED

signed; a label adhered to the reverse bears the title, the artist’s name and the medium oil on canvas 58,5 by 78cm

R 85 000 - R 125 000

Exhibited

428 Piet van Heerden (SOUTH AFRICAN 1917 - 1991)

KOKERBOOM NABY BRANDBERG signed and dated ‘78, signed and inscribed ‘Kokerboom Naby Brandberg SWA’ oil on canvas laid down on board 39 by 48cm

R 35 000 - R 55 000

The National Gallery of Rhodesia

R 30 000 - R 50 000 73

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PAINTINGS

429

429 Keith Alexander (South African 1946 - 1998)

NO WAY OUT signed and dated 1993 oil on canvas 37 by 73cm

“Keith Alexander uses a painter’s vocabulary that goes back more than 500 years: the realistic rendering of the observed world. It is a vocabulary which has always accepted that truth is to be found in expressing reality as it is observed. But then he goes all those many steps further: the superimposition of design and composition, of linear and textural patterning; the selection of those details and accents which give meaning to his paintings; the introduction of emotions, mainly feelings of desolation, of drama and mystery; the rendering of a sense of timelessness; and of the external forces of nature at work. In this he has found all the elements of surrealism in reality itself, reality observed by his extremely sensitive vision.”

PROVENANCE Acquired directly from the artist

R 115 000 - R 155 000

- Dr Albert Werth, former director of Museums of Pretoria

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PAINTINGS 430 Erik (Frederick Bester Howard) Laubscher (SOUTH AFRICAN 1927 - 2013)

SWARTLAND signed and dated ‘83, a label adhered to the reverse bears the artist’s name and the title in the artist’s hand watercolour on paper 13 by 18,5cm ILLUSTRATED

R 8 000 - R 12 000 431 Jacob Hendrik Pierneef (South African 1886 - 1957)

PORTRET VAN ‘N VOORTREKKER (NILANT 136) signed in pencil linocut sheet size: 26 by 19cm

430

This ubiquitous image of a Voortrekker was created as the cover illustration for an important volume of poetry entitled Trekkerswee (“Trekkers’ Grief”), written by the Afrikaans poet Totius (Jacob Daniel du Toit 1877-1953).

LITERATURE Nilant, F. E. G., Pierneef Linosneë, A. A. Balkema, Cape Town, 1974, illustrated on p.171, cat no. 136 de Kamper, G. and de Klerk, C. JH Pierneef in Print, 2014, Dream Africa, Limpopo, South Africa illustrated on p.190

ILLUSTRATED

R 15 000 - R 22 000

431

432 Jacob Hendrik Pierneef (South African 1886 - 1957)

BLOEKOMBOME (Nilant 77) signed in pencil linocut sheet size: 30 by 20cm LITERATURE

“Blue gum trees” was reputedly one of the most popular linocuts produced by the artist. Possibly this was by association with the prolific presence of Australian gums in the newly established mining towns, cultivated for their timber to be used in supporting mine stopes.

Nilant, F. E. G., Pierneef Linosneë, A. A. Balkema, Cape Town, 1974, illustrated on p.112, cat no. 77 de Kamper, G. and de Klerk, C. JH Pierneef in Print, 2014, Dream Africa, Limpopo, South Africa illustrated on p.126

ILLUSTRATED

R 10 000 - R 15 000

432

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PAINTINGS

433

433 Jacob Hendrik Pierneef (South African 1886 - 1957)

BUSHVELDT LANDSCAPE signed oil on card 14 by 24cm ILLUSTRATED

R 150 000 - R 220 000

Jacob Hendrik Pierneef (1886 -1957) the highly collectible South African landscape artist, is recognised as one of the first artists of his time to depict the African landscape in a style adapted to his surroundings. This was in contrast to the practices of his contemporaries. Pierneef produced many landscapes of the South African bushveld, which provided a lifelong source of inspiration and income for him. His bushveld works remain in high demand and obtain correspondingly elevated prices, in particular his paintings of Acacia trees. His later style was reduced and simplified the landscape to geometric forms, using flat planes, lines, uninhabited dramatic light and colour, thus revealing his interest in architecture. However, Bushveldt Landscape is a small earlier work , probably created around circa 1920 â&#x20AC;&#x201C; 1930. Horizontal bands of colour mark a pale, dry winter veld with acacia trees set in lilac and deep green bush against a mid-blue mountainous background. Two thirds of the composition is devoted to the sky, illustrating the artistâ&#x20AC;&#x2122;s favourite device of big sky and luminous, billowing cumulus clouds, completing the tranquil and empty landscape. The paint has been applied in short impasto brushstrokes, a technique clearly visible in another landscape entitled Evening Clouds in the Karoo (circa 1930) illustrated as No.53 in Hendrik Pierneef: The Man and his Work by J.F.W. Grosskopf, published by J.L. van Schaik Ltd., Pretoria, 1947. Pierneef set the trend for a unique South African style. Besides extremely successful early exhibitions held in Pretoria, Johannesburg, Bloemfontein and Durban, Pierneef held a solo exhibition in Amsterdam, the Netherlands in 1925 where his bushveld drawings drew great attention. These would later be considered some of his best works. - Carol Kaufmann

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PAINTINGS 434 Thomas William Bowler (South African 1812 - 1869)

CAPE TOWN fROM TAMBOERS KLOOF, LIONS HILL (sic.) signed, dated 1844 and inscribed with the title in the margin watercolour over pencil on paper 25 by 35cm LITERATURE Bradlow, F. R., Thomas Bowler: His Life and Work, Balkema, A. A., Cape Town - Amsterdam, 1967, illustrated on p. 262, cat no. LP5

ILLUSTRATED

R 25 000 - R 35 000

434

435 Agenore Fabbri (ITALIAN 1911 - 1998)

SENZA TITOLO signed and numbered 277/450 bronze with green patina height: 25,5cm

R 12 000 - R 18 000 436 Strijdom van der Merwe (SOUTH AFRICAN 1961 - )

TOTEM wood, oil paint and cattle horn on a metal base height: 202cm PROVENANCE Acquired directly from the artist

437 PART LOT

R 20 000 - R 30 000 437 Brendan Dickerson (SOUTH AFRICAN 20th CENTURY )

THE POLITICIAN mild steel height: 152cm PART ILLUSTRATED

R 80 000 - R 120 000 438 Johannes Petrus Meintjes (South African 1923 - 1980)

ROOI ROTSE signed and dated 1957 oil on board 32 by 27,5cm PROVENANCE Acquired directly from the artist and thence by descent to the current owner LITERATURE This painting appears as entry no. 568 in the Johannes Meintjies painting catalogue

ILLUSTRATED

R 30 000 - R 50 000

438

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PAINTINGS

439

439 William Joseph Kentridge (South African 1955 - )

SLEEPER AND UBU signed and numbered 29/50 etching, aquatint and drypoint, from 2 copper plates and powertool engraved polycarbon sheet for the Ubu white lines on Vélin d’Arches Blanc 300 gsm paper 97 by 193cm PROVENANCE Private collection Rose Korber Art LITERATURE Benezra, N. et al. William Kentridge, Museum of Contemporary Art, Chicago, 2001, illustrated on p. 48 c.f. Ibid. a similar example is illustrated on p. 116 Kentridge, W., William Kentridge Prints, David Krut Publishing, Johannesburg, 2006, illustrated on p. 67

Kentridge thus settled on an imagery that incorporated Jarry’s schematic Ubu, drawn in white line on a black ground, as well as more fleshy figures of Ubu, who was both enveloped by the chalky white lines as well as creating them. Kentridge based these fleshy figures on a series of photographs he took of himself performing the part of Ubu. Each plate in the Ubu series was given a fictitious act and scene number, as though they were scenes from a theatre production. In 1997 Kentridge embarked on a theatre production of Ubu, Ubu & the Truth Commission, which, though it did not use the specific imagery of the etchings, incorporated the schematic white line projected on a screen behind the actor on stage.

Cover of catalogue for the exhibition at Wits Art Museum, 1997

ILLUSTRATED

Following Kentridge’s work on Ubu & the Truth Comission, Kentridge began working on his ever popular Sleeper series. In one of these works, Kentridge revisited the Ubu imagery still fresh in his mind by enclosing the Sleeper in the white Ubu line drawing. This work was used as the poster for the UBU: ± 101 group exhibition with Robert Hodgins and Deborah Bell and the imagery was later developed into an edition of 50 prints, only 30 of which were completed, making the present lot a highly collectible and rare addition to any art collection.

R 400 000 - R 600 000

- Kayleen Wrigley

c.f. Ibid. a similar example is illustrated on p.62

In 1996 William Kentridge, Robert Hodgins and Deborah Bell, after working together on the Hogarth in Johannesburg project, discussed the possibility of doing a series of prints of Ubu together, to coincide with the centenary of Alfred Jarry’s Ubu Roi. The artistic challenge that lay ahead of these three prominent South African artists was how to visualise Ubu in a way that differed from Jarry’s iconic drawings of the character with pointed head and spiralled belly, while not ignoring or alienating this original motif.

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PAINTINGS

441

442

443

440 Peter Clarke (South African 1929 - 2014)

443 Peter Clarke (South African 1929 - 2014)

447 Paul du Toit (South African 1965 - 2014)

CROWING COCK

RICKETT’S GARDENS, MALAY QUARTERS, SIMON’S TOWN

EARLY UNTITLED ABSTRACT PORTRAITS, three

signed and dated AUG 1951 pen and coloured crayon on paper 24 by 31cm

signed and dated 1998 oil on canvas the largest: 26 by 20cm (3)

signed, dated 19/12/1962 and inscribed with ‘artist’s proof’ in pencil in the margin woodcut printed in colours 42,5 by 35cm

R 20 000 - R 30 000 441 Peter Clarke (South African 1929 - 2014)

MOUNTAIN LANDSCAPE WITH GROTTO NEAR KLOOF WATERFALL SIMON’S TOWN signed watercolour and charcoal on paper 13,5 by 24cm

ILLUSTRATED

R 15 000 - R 22 000 444 Harold Voigt (SOUTH AFRICAN 1939 - )

WINTER LANDSCAPE

ILLUSTRATED

signed; signed and inscribed with the title on the reverse mixed media on board 37,5 by 58cm

R 15 000 - R 22 000

R 45 000 - R 65 000

442 Peter Clarke (South African 1929 - 2014)

445 Kate Gottgens (SOUTH AFRICAN 1965 - )

LOOKING DOWN ON THE BACK OF RAMJEE’S SHOE SHOP, MAIN RD, SIMON’S TOWN

ABSTRACT IN WARM TONES

signed pen and coloured crayon on paper 18,5 by 19cm ILLUSTRATED

R 15 000 - R 22 000

signed on the stretcher oil on canvas 100 by 100cm

R 50 000 - R 80 000 448 Kate Gottgens (SOUTH AFRICAN 1965 - )

ABSTRACT IN COOL TONES signed on the stretcher oil on canvas 100 by 100cm

R 45 000 - R 65 000 449 Jules Perahim (ROMANIAN 1914 - 2008)

THREE FIGURES signed and dated ‘76 mixed media on paper 49 by 62,5cm

R 25 000 - R 45 000

R 45 000 - R 65 000 446 Paul du Toit (South African 1965 - 2014)

TWINZ115 signed and inscribed with the title on the base oil-based paint and polymer on wood height: 60cm

R 10 000 - R 15 000

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PAINTINGS

450

450 Kevin Roberts (SOUTH AFRICAN 1965 - 2009)

AN ANNUNCIATION WITH A PINCH OF SALT signed and dated 98 oil on wood 151 by 122cm ILLUSTRATED

R 100 000 - R 150 000

Kevin Roberts’ serene, balanced and carefully constructed artworks with their distinctive style of rhythmic patterns and recurring symbols have won him much acclaim, leading art critics like Ingrid Stevens to boldly proclaim that, “Kevin Roberts affirms the visual, or let us call it the ‘beautiful’ as the essence of his art… His paintings explore beauty, craftsmanship pattern and images as part of an integrated whole. In this he too becomes part of a tapestry of painting stretching from the traditional to the contemporary.” Robert’s oeuvre makes up a dense body of work, many of which refer, in some shape or form to weaving. In the current lot we see this in the interwoven branches that form the dense bush background. The notion of weaving is indeed an apt metaphor for Roberts’ work generally, as in them he draws different threads together into a rich tapestry. The artist was careful, however, never to interpret his own work too closely, believing that there must be space for the viewer to construct their own meanings from his work. He was quick to note that his paintings essentially seek to evoke either a sense of mystery that resonates with the viewer or a suggestion of poetic promise of meaning, but never closure. The art of Kevin Roberts is intrinsically obsessed with contemplation above conclusion. - Kayleen Wrigley

PAINTINGS

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451

451 Eleanor Frances Esmonde-White (SOUTH AFRICAN 1914 - 2007)

PORTRAIT OF A LADY OPENING A CURTAIN signed oil on canvas 39,5 by 34,5cm

Eleanor Esmonde-White is celebrated for her depictions of women in recreational or contemplative postures, brusquely painted in a modest colour palette which favoured warmer tones over their cooler counterparts. During her second year of studies at the Natal University College in Durban, Esmonde-White showed such artistic promise that she was invited by the renowned architect, Sir Herbert Baker, to attend the Royal College of Art in London on a scholarship. During her time in London, she was bestowed the honour of creating the murals inside the South African House as depicted in the accompanying photograph.

LITERATURE Cf. Raymond., Eleanor EsmondeWhite, Main Street Publishing, Paarl 2015 similar examples illustrated on p. vi and p. 183

ILLUSTRATED

R 150 000 - R 220 000

It was upon her return to South Africa in 1949, after 16 years of living and working in London, that Esmond-White developed the style for which she is most celebrated today. David Zetler, a local gallerist, is quoted in the Art Times as saying that Eleanor Esmonde-White was “first and foremost a brilliant graphic artist – a great draughtsman. Everything she did was structurally sound and this translated into her oils and her woodcuts in particular, which are exceptionally sought after.” An example of Esmonde-White’s graphic works can be seen in lot 451.

The artist at work on the murals inside The South African House, London

Once back in South Africa Esmonde-White joined the New Group, which acclaimed art historian, Esmé Berman has recognised as being “undoubtedly the most influential of all artists’ groups that have been active thus far in South African art history.” It was perhaps the influence of this magnanimous group that inspired Esmonde-White’s signature figurative style of curvaceous women. - Kayleen Wrigley

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PAINTINGS 452 Alexander Rose-Innes (SOUTH AFRICAN 1915 - 1996)

RECLINING WOMAN signed pastel on paper 53 by 36cm

R 18 000 - R 27 000 453 Amos Langdown (SOUTH AFRICAN 1930 - )

FOUR YOUNG GIRLS PICKING ARUM LILIES 453

signed oil on board 44,5 by 49,5cm ILLUSTRATED

R 40 000 - R 60 000 454 Amos Langdown (SOUTH AFRICAN 1930 - )

TWO WOMEN AND A CHILD signed oil on board 29 by 21,5cm ILLUSTRATED

R 15 000 - R 22 000 455 Frans Martin Claerhout (South African 1919 - 2006)

FIGURE WITH CATTLE AND FLOWERS signed oil on board 59 by 59,5cm ILLUSTRATED 454

R 30 000 - R 50 000 456 Gregoire Johannes Boonzaier (South African 1909 - 2005)

PORTRAIT OF A LADY signed and dated 1997 chalk pastel on paper 36,5 by 26cm

R 10 000 - R 15 000 457 Gregoire Johannes Boonzaier (South African 1909 - 2005)

PORTRAIT OF A MAN signed and dated 1960 charcoal on paper 46,5 by 30cm

R 10 000 - R 15 000 82

455

PAINTINGS

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458 Irma Stern (South African 1894 - 1966)

THE SCHOLARS signed and dated 1939 charcoal and wash on paper 62,5 by 47cm PROVENANCE Sold: Stephan Welz and Co., Cape Town, 23 February 2010, lot 673

ILLUSTRATED

R 150 000 - R 220 000 A simple charcoal study of two young children at madrassa writing in Arabic script, offers the viewer an intriguing glimpse into the artist’s preparatory technique and methods. Although she is known to have disliked spending any more than a day on a painting, this is one of a series of studies that reveal her careful observation and planning prior to committing brush to canvas. The Irma Stern Museum has an archive of hundreds of sketches and drawings quickly made to inform her subsequent paintings. One of two known preparatory studies of children occupied in Islamic instruction, this charcoal sketch informed what was to become the iconic and luminous oil painting, Children Writing. Extravagantly framed with fragments of an ornately carved Zanzibar door, the work now in a private collection - was on public view in 2003, as part of the Standard Bank Gallery exhibition “Expressions of a Journey”. Reflecting “... both the synthesis of African and a vestment of Indian visual culture. Few artists’ could have used such sumptuous devices to present their work without detracting from their own imagery”.

458

This little vignette focusses on two young girls of primary school age (shown on the right of the completed painting) attending classes where they received instruction in reading and writing Arabic in order to study the holy Quran - a practise that continues in the Cape today. Wearing Salaah prayer robes, one subject has covered hair, yet her companion’s is uncovered, revealing a sleeked back sheen, a detail clearly captured in the charcoal and pencil study. Serene and contemplative, this is a work that would make an important contribution to any collection of southern African art. It is an insightful study into one of Irma Stern’s documented works from her “Golden Period”. At the outbreak of World War II, she was unable to travel to Europe, so seeking an alternative, she made multiple memorable journeys to Zanzibar and Congo that were to inform and inspire her most acclaimed production. - Carol Kaufmann

Children Writing, 1942, oil on canvas

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PAINTINGS 459 Tinus (Marthinus Johannes) de Jongh (South African 1885 - 1942)

MOUNTAINOUS LANDSCAPE WITH COTTAGE signed oil on canvas 33 by 47cm Provenance Gifted by the artist and thence by descent to the current owner

ILLUSTRATED

R 20 000 - R 30 000 460 Tinus (Marthinus Johannes) de Jongh (South African 1885 - 1942)

a CAPE DUTCH house

459

signed oil on canvas 30 by 23cm ILLUSTRATED

R 30 000 - R 50 000 461 Gregoire Johannes Boonzaier (South African 1909 - 2005)

SEASIDE COTTAGE signed chalk pastel on card 23,5 by 29cm

R 12 000 - R 18 000 462 Gregoire Johannes Boonzaier (South African 1909 - 2005)

THREE OAKS, LATE AUTUMN, NEWLANDS, CP signed and dated 1980; signed and inscribed with the title in English and Afrikaans on the reverse gouache and ink on paper 23 by 36cm

R 20 000 - R 30 000 463 Gabriel Cornelis de Jongh (South African 1913 - 2004)

MILL IN THE FOREST signed oil on canvas 60 by 90cm

R 18 000 - R 24 000

460

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PAINTINGS

464

464 Gregoire Johannes Boonzaier (South African 1909 - 2005)

466 Errol Stephen Boyley (South African 1918 - 2007)

468 Carl Walter Meyer (South African 1965 - )

STRAAT MET TWEE FIGURE, LAMPPAAL & TORING, DIST SES.

LANDSCAPE WITH FIGURES AND FARM BUILDINGS

HOUSE BESIDE A ROAD

signed and dated 1980; signed and inscribed with the title on the reverse oil on board 30 by 34,5cm

signed oil on paper 59 by 88,5cm

R 15 000 - R 22 000

ILLUSTRATED

R 30 000 - R 50 000 465 Errol Stephen Boyley (South African 1918 - 2007)

FARM LANDSCAPE signed oil on board 54,5 by 70cm

R 25 000 - R 35 000

467 Errol Stephen Boyley (South African 1918 - 2007)

LANDSCAPE WITH POPLARS AND GRAZING CATTLE signed oil on board 49,5 by 74,5cm

R 25 000 - R 35 000

signed and dated ‘93 oil on canvas 48,5 by 68cm

R 35 000 - R 55 000 469 Errol Stephen Boyley (South African 1918 - 2007)

COWS GRAZING IN THE FIELD signed oil on board 45 by 60cm

R 35 000 - R 55 000 470 Gregoire Johannes Boonzaier (South African 1909 - 2005)

‘N STIL OGGEND OP MAMRE NABY DARLING, KAAP signed and dated 1948 mixed media on board 19 by 41,5cm

R 30 000 - R 50 000

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SCULPTURE PAINTINGS

471

SCULPTURE PAINTINGS

471 Anton van Wouw (South African 1862 - 1945)

THE SCOUT signed, inscribed ‘S.A.’ and ‘Foundry G. Massa Roma’ bronze on a marble base width: 62,5cm Literature Duffey, A.E., Anton van Wouw: The Smaller Works, Protea Book House, Pretoria, 2008, illustrated on p. 84 & 85 Ernst, J., Anton van Wouw: ‘n Biografie deur J Ernst, Corals Publishers, Vanderbijlpark, 2006, illustrated on p. 77

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Van Wouw was an ardent supporter of the Afrikaner and their plight after the South African War (1899 - 1902), even though his biggest supporters were notable Englishmen. In this sculpture he tried to depict the emotional and stressful conditions the Boer Republics underwent during the war. Anton van Wouw was one of a few privileged artists who had financial backing from both family and financiers. In the case of van Wouw it was the Van Wouw Syndicate, a group a high net worth individuals who sponsored the artist. This group paid van Wouw a salary for two years in 1907 and 1908. In return all sculptures produced and the rights thereto, including a few commissioned works, belonged to them. Some of these works were reproduced as many as 37 times up until 1924. This allowed the syndicate to cast as many works as they could sell and the profits thereof were used to pay the artist. Notable members of the syndicate included the Randlords Sir Alfred Cullinan, Sir Abe Bailey and Sir Lionel Phillips among others.

ILLUSTRATED

The Scout, produced in 1910, was never sold to the syndicate, which meant that van Wouw paid for all the castings himself. These casts are therefore limited in number, but the number of casts made of the Scout is unknown. The syndicate only used the Nissini foundry in Rome up until 1926, but after a dispute between van Wouw and Nissini the Massa foundry was used. The quality of a foundry casting lies in the detail that emerges post casting and in the quality of the finish in the fettling. The fine detail of the blanket, the life-like hair and the emotional state of the face is where the true quality of this work can be seen.

R 500 000 - R 800 000

- Chris de Klerk

University of Pretoria, Anton van Wouw: (1862 - 1945), Department of UP Arts, Pretoria 2010, illustrated on p. 29, cat no. 37

471 detail

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PAINTINGS

The art collection of a literary giant: AndrÉ P. Brink (1935 - 2015) Stephan Welz and Company is privileged to be able to offer a rare glimpse into the private visual world of South Africa’s towering literary genius, the late André P. Brink. Through a selection of works from his art collection, formed over a lifetime, his friendships and interests are mirrored. His widow Karina welcomed us into the spacious and serene Cape Victorian villa she shared with her husband and graciously showed his extensive collection. The walls of every room are double hung with an impressive array of art.

such as Jean Welz and Maurice van Essche including multiple works in oils and pastels by the acclaimed British artist Bernard Dunstan and the South African Ryno Swart.

Africa. He is survived by his fifth wife, the writer Karina Magdalena Brink who writes under her maiden name Szczurek, his sons, Anton, Gustav and Danie, and his daughter, Sonja.

On a more serious note a series of three exquisite small etchings by Dan Sefudi Rakgoathe (1937- ) are on offer. Rakgoathe’s work is rarely available, yet much in demand with the distinction of being included in the national collection at the Iziko South African National Gallery.

Immediately, an impression is created of a much admired man with many artist friends, who possessed a joie de vivre and a romantic view of women - as muse. Here we were in the realm of greatness, and an entry into his book lined study was like a pilgrimage – inspirational! Hundreds of books lining the walls mostly first editions and translations of his oeuvre – his life’s work is contained in this space. Karina explains how he wrote - intensely and quickly - in order to accomplish such a brilliant output. However, looking further into the villa, there are playful and political works reflecting aspects of activism, anarchism and humour; some by fellow author and artist Breyten Breytenbach and other works by Hardy Botha and Jan Vermeiren. These artists were all personal friends whose work he collected, admired and in some cases, were gifted to him The author’s romantic and sensual side is revealed through a profusion of nude studies by iconic South African artists

A small but spectacular linear graphic by Victor Vasarely is one of the highlights of the collection, as is a larger mixed-media abstract by Bettie Cilliers-Barnard.

André Brink was the first Afrikaans writer to have a book banned by the South African government in the decades when the National party was in power. The novel Kennis van die Aand (1973) dealt not only with torture under the racial segregation policy of apartheid but also detailed a passionate affair between a mixed-race man and a white woman. Later translated by the author as Looking on Darkness (1974), it ensured that from then on Brink was marked out as a verraaiier, or traitor, to his people.

André and Karina in Europe

André Brink met the Romanian surrealist artist Georges Mazilu (1951 - ) in Paris, the two becoming friends. Mazilu deeply admired André resulting in a substantial presence of Mazilu’s work in the collection and an adaption of several of his works to grace the covers of Brink’s novels such as Duiwelskloof published in 2000 and Voor ek vergeet, published four years later. Twice shortlisted for the Booker prize, recipient of the Martin Luther King Memorial prize and other international awards, in 1992 Brink was made Commandeur de l’Ordres des Arts et de Lettres in France. He received an honorary doctorate at the Catholic University of Louvain, in Belgium, and tragically died after falling ill on the flight back to South

One of the first editions of this novel was illustrated with a commissioned work by his friend the Cape artist Marjorie Wallace (1925-2005). We are delighted to offer two portraits by this artist from the Brink Collection, (lots numbered 472 and 473) Reading with the Cat and Woman with Vegetables. It is through such treasured objects and works of art that collectors have a tangible means of memorializing the legacy of André Brink. His own country will not forget him. André Philippus Brink, writer, born 29 May 1935; died 6 February 2015. - Carol Kaufmann

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PAINTINGS 472 Marjorie Wallace (South African 1925 - 2005)

475 Bernard Dunstan (BRITISH 1920 - )

READING WITH THE CAT

NUDE, DARK MORNING

signed oil on canvas 80,5 by 63,5cm

signed with the artist’s initials; inscribed with the title on the reverse oil on board 20 by 27cm

ILLUSTRATED

R 20 000 - R 30 000 473 Marjorie Wallace (South African 1925 - 2005)

WOMAN WITH VEGETABLES signed oil on canvas on board 72 by 59,5cm ILLUSTRATED

R 20 000 - R 30 000 474 Ryno Swart (South African 1945 - )

INTERIOR SCENE WITH NUDE signed and dated 85 oil on canvas 54 by 74cm

R 40 000 - R 60 000

EXHIBITED A label adhered to the reverse bears the details of Thos Agnew & Sons Ltd, 43 Old Bond Street, London

ILLUSTRATED

R 8 000 - R 12 000 476 Bernard Dunstan (BRITISH 1920 - )

THE STRIPED JERSEY signed with artist’s initials oil on board 28 by 21cm

472

EXHIBITED A label adhered to the reverse bears the details of Thos Agnew & Sons Ltd, 43 Old Bond Street, London

ILLUSTRATED

R 15 000 - R 22 000 477 Peter Graham Webber (South African 1931 - )

MAJORCA MYSTIC signed and dated 76; and inscribed with the title on the reverse mixed media on canvas 55 by 61cm

R 5 000 - R 8 000

475

473

476

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PAINTINGS 478 Georges Mazilu (RomaniaN 1951 - )

LES MUSICIENS signed; signed, inscribed with the title and ‘To André, with my best wishes Georges’ on the reverse acrylic on linen 65 by 54,5cm Provenance Gifted by the artist

ILLUSTRATED

R 40 000 - R 60 000 479 Georges Mazilu (RomaniaN 1951 - )

PORTRAIT OF A LADY and SUSANNE ET LES VIEILLARDS, two

478

each signed in the plate and in pencil in the margin, each inscribed ‘E.A’, Susanne et le Vieillards inscribed with the title and dated 2002 in pencil in the margin giclée prints sheet size: 31 by 23cm and 38,5 by 53cm respectively (2)

R 10 000 - R 15 000 480 Georges Mazilu (RomaniaN 1951 - )

LA CLASSE DE DESSIN signed; inscribed with the artist name and title and ‘To André with my best wishes for your 75th birthday from Georges’ acrylic on linen 52,5 by 71cm 480

Provenance Gifted by the artist Exhibited Turner Carrol Gallery, Santa Fe, New Mexico

ILLUSTRATED

R 20 000 - R 30 000 481 Georges Mazilu (RomaniaN 1951 - )

FLORA signed; signed and inscribed with the title on the reverse acrylic on linen 35,5 by 27cm Provenance Gifted by the artist Exhibited Turner Carrol Gallery, Santa Fe, New Mexico

ILLUSTRATED

R 25 000 - R 35 000 90

481

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PAINTINGS

482

486

482 Christo Coetzee (South African 1929 - 2000)

484 Dan (Daniel Sefudi) Rakgoathe (South African 1937 - 2004)

486 Victor Vasarely (Hungarian 1906 - 1997)

LE HEIGE ROUGE

MOON SHADOW MAGIC, MOON BIRD SPELL and UNTITLED, three

ABSTRACT GEOMETRIC SHAPES

signed, dated 77 and inscribed with the title and ‘Tulbagh, Cape, SA’ mixed media on interwoven paper 63 by 51cm ILLUSTRATED

R 20 000 - R 30 000 483 Bettie Cilliers-Barnard (SOUTH AFRICAN 1914 - 2010 )

ABSTRACT signed and indistinctly dated 63 mixed media on board 44 by 34,5cm

R 20 000 - R 30 000

Moon Shadow Magic inscribed with the title in pencil in the margin; Moon Bird Spell inscribed with the title in the margin; Untitled signed and dated 1977 etching and aquatint sheet size, the largest: 33 by 24cm (3)

R 10 000 - R 15 000

signed, inscribed ‘FV’ and numbered 31/79 silkscreen 20 by 13cm ILLUSTRATED

R 5 000 - R 8 000 NO LOTS 487 - 520

485 Walter Whall Battiss (South African 1906 - 1982)

WOMAN AND CHILD signed, inscribed with the title and ‘artist’s proof’ silkscreen sheet size: 27 by 59cm

R 16 000 - R 24 000

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CLOCKS | WRISTWATCHES | POCKET WATCHES JEWELLERY WEDNESDAY 7 JUNE 2017 | 10H00 | LOTS 521 - 620

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CLOCKS JEWELLERY

526

BUYERS ARE ADVISED THAT A SERVICE IS RECOMMENDED FOR ALL CLOCKS PURCHASED

522

524

A FRENCH BRASS LANTERN CLOCK,

A FRENCH ALABASTER AND GILT-METAL

DU TEMPLE, LATE 18TH/EARLY 19TH CENTURY

MANTEL CLOCK, 19TH CENTURY

521

the 18cm foliate engraved brass dial with Roman hour numerals, inscribed Paris, du Temple, a top mounted bell, with one weight and one counter weight, bop pendulum, the case surmounted by pierced fretwork, on turned tapering legs, lacking bracket, distress the clock 35cm high

the 8cm dial within a gilt surround surmounted by an acanthus-leaf cresting, Roman hour numerals, surmounted by an urn adorned with scrolling foliate handles and surmounted by fleur-de-lys, the backplate stamped Japy Frères & Co. Med d’Or, bell striking movement, the sides of the shaped body applied with female masks and gilt-metal looped strings, on a stepped plinth base centred by an acanthus-leaf, on gilt-metal lion paw feet, on a loose shaped velvet upholstered stepped plinth base, on bun feet, distress the clock 40,5cm high

AN ENGLISH OAK LONGCASE CLOCK, WILL M WAIN, BURSLEM, CIRCA 1790

the 30cm brass dial with brass chapter ring with Arabic minutes and Roman hour numerals, subsidiary seconds dial and date aperture, spandrels to the corners, a cartouche above inscribed Will m Wain Burslem flanked by dolphins, four pillar anchor movement striking on a bell, the arched hood with a broken swanneck pediment surmounted by urns, a shaped panelled door below, on a panelled plinth base with canted fluted corners, on bracket feet 254cm high

R 20 000 - R 30 000

527

524

R 8 000 - R 12 000 523 A FRENCH GILT-METAL AND SÈVRES MANTEL CLOCK, 19TH CENTURY

the 10cm white enamelled dial with Roman hour numerals, inscribed HRY Marc à Paris, the backplate inscribed Japy Frères Grand Winner 1855, surmounted by a pair of birds, flanked by putti with trumpets, supported by caryatid uprights centred by sèvres panels depicting a dancing maiden and blossoms, on a breakfront base centred by a sèvres floral panel, foliate-cast apron, on stile feet, distress 46cm high

R 3 000 - R 5 000

ILLUSTRATED

R 3 000 - R 5 000

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JEWELLERY CLOCKS

525

526

527

A FRENCH BRONZE AND RED MARBLE CLOCK

A FRENCH BRASS REPEATER CARRIAGE CLOCK,

GARNITURE, SAMUEL MARTI, SCULPTURE BY

CHARLES FRODSHAM, LONDON,

EMILE BRUCHON, 1900

MID 20TH CENTURY

the 9cm cream enamelled circular dial with Roman numerals within a pierced acanthusleaf surround, the backplate inscribed Samuel Marti, Medaille d’Or, Paris, 1900, bell striking movement, the marble case adorned with gilt swags, surmounted by an angel holding a trumpet in one hand and a torch in the other, signed Bruchon, inscribed Renommée par Bruchon, on outswept pierced and scrolling acanthus-leaf feet, a pair of conforming garnitures surmounted by a five-light candelabra supported by an urn, en suite the clock 82cm high (3)

the 6cm white enamel circular dial with Roman numerals, within a floral mask, four pillar anchor movement with repeater function, the backplate inscribed Charles Frodsham, London, Made in England, Eleven Jewels, five glass case divided by reeded columns, on a stepped plinth base, on square-section feet, shaped handle 16cm high excluding handle

the 10 by 7,5cm white enamel rectangular dial with Roman numerals inscribed Charles Frodsham, London, four pillar anchor movement with repeater function, the backplate inscribed Made in England, Eleven Jewels, five glass case, on a plinth base, on square-section feet, shaped handle 13,5cm high excluding handle

ILLUSTRATED ON OPPOSITE PAGE

R 25 000 - R 35 000

R 20 000 - R 30 000 NO LOTS 528 - 530

ILLUSTRATED

R 15 000 - R 22 000

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POCKET WATCHES AND WRISTWATCHES

532 Part lot

536 PART LOT

531

538 PART LOT

534

537 533

535 PART LOT

POCKET WATCHES AND WRISTWATCHES

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531

534

537

A 14K YELLOW GOLD OPEN-FACED POCKET

A LADIES STAINLESS STEEL ROLEX

A GENTLEMANS STAINLESS STEEL TAG HEUER

WATCH, CUIVRE

YACHTMASTER

PROFESSIONAL WRISTWATCH

the circular white and pink dial with Roman numerals and foliate gilt surround, subsidiary second dial below, the case flat chased with scrolls and foliage, diameter of bezel 320mm

the circular platinum dial applied with baton hour markers, date aperture at 3 o’clock, the bezel with Arabic numerals on an oyster bracelet, model 168622, accompanied by certificate and warranty

automatic, the circular dial applied with baton hour markers, date aperture at 3 o’clock, calibrated outer minute track, the bezel with Arabic numerals and second markers on a stainless steel oyster strap with folding clasp, diameter of dial approximately 30mm, accompanied by a Tag Heuer international guarantee and case

ILLUSTRATED ON OPPOSITE PAGE

R 3 000 - R 5 000 532 A 9K HALF HUNTER CASED POCKET WATCH, SIREN

the circular white dial with black Roman numerals outer minute track, subsidiary seconds dial below, the hinged cover with a band of enamelled Roman numerals, the case with inscription “G.C.S from C.S.H 16th Sept. 1956” hallmarked 375, diameter of bezel 40mm PART ILLUSTRATED ON OPPOSITE PAGE

R 8 000 - R 12 000 533 A 14K YELLOW GOLD POCKET WATCH,

ILLUSTRATED ON OPPOSITE PAGE

R 80 000 - R 120 000 535 A LADIES 22K YELLOW GOLD VINTAGE OMEGA SEAMASTER DE VILLE

the circular gold dial with hour markers on a 14k yellow gold bracelet strap, impressed 800, with folding clasp, approximately 15mm in diameter PART ILLUSTRATED ON OPPOSITE PAGE

R 40 000 - R 60 000 536 A LADIES 18K WHITE GOLD WRISTWATCH, ETERNA

the circular scroll dial with black Roman numerals, calibrated outer minute track, the case flat chased, impressed Breguet, impressed 14k, diameter of bezel 50mm

automatic, the square gold dial applied with baton hour markers, the conforming surround of claw-set round brilliant-cut diamonds weighing 0.60ct in total, 18k white gold strap, with folding clasp, impressed 750, approximately 13mm square

ILLUSTRATED

PART ILLUSTRATED ON OPPOSITE PAGE

R 15 000 - R 22 000

R 35 000 - R 55 000

BREGUET

PART ILLUSTRATED ON OPPOSITE PAGE

R 23 000 - R 33 000 538 A GENTLEMAN’S STAINLESS STEEL BREITLING WRISTWATCH

reference number: A44359, automatic, the black dial with luminescent baton hour markers, date aperture at 12 o’clock, subsidiary dials for constant seconds, 30-minute and 12hour registers, outer calculating scales, on a brown leather strap, worn, diameter of dial approximately 50mm, accompanied by an international warranty, manual, case, box and outer box Part ILLUSTRATED ON OPPOSITE PAGE

R 45 000 - R 65 000 NO LOTS 539 - 540

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JEWELLERY

541 547

PART LOT

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JEWELLERY

541

543

546

a STRAND OF SEMI-BAROQUE STYLE

a SINGLE STRAND PEARL NECKLACE

an 18K YELLOW GOLD AND SEED PEARL

CULTURED PEARLS

of fifty pearls approximately 7mm to 7,4mm in diameter, the clasp of floral design, impressed 585, approximately 42cm in length

BROOCH

a single row necklet comprising twenty three semi-baroque style cultured pearls on a 9k yellow gold clasp ILLUSTRATED ON OPPOSITE PAGE

R 3 000 - R 5 000 542 a strand of FRESHWATER PEARLS

on a sterling silver clasp

R 1 500 - R 2 500

R 1 500 - R 2 500 544 a STRAND OF CULTURED PEARLS

of 126 cultured pearls with a 9k yellow gold marquise-shaped clasp, comprising a pearl and 4 round amethysts

R 2 500 - R 3 500 545 a DOUBLE STRAND PEARL NECKLACE

irregular half pearls with circular bead spacers the shortest strand approximately 38cm in length

of a crown design, adorned with four seed pearls

R 1 500 - R 2 500 547 A PAIR OF MABÉ PEARL, DIAMOND AND ONYX EAR STUDS, KÖHLER

each centred with a mabé pearl, approximately 14,5mm diameter, within a conforming surround pavé-set with round brilliant-cut diamonds weighing approximately 1.28cts in total, further enhanced with an onyx surround, impressed 18k, with clip-on backs (2) PART ILLUSTRATED ON OPPOSITE PAGE

R 19 000 - R 28 000

R 1 500 - R 2 500

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JEWELLERY

548

100

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JEWELLERY

548

551

553

a PLATINUM AND DIAMOND RING

a pair of 18K WHITE GOLD AND DIAMOND

an 18K WHITE GOLD DIAMOND DRESS RING

solitaire ring containing an old cut diamond weighing 2.46ct, approximately M in colour, clarity VS1

STUD EARRINGS

each with a centre claw-set diamond surrounded by 8 claw-set diamonds approximately 1ct in total (2)

set with a centre diamond of 0.59ct, colour G/H clarity SI, supported by a double row of claw-set diamond half eternity bands and surrounded by a halo of claw-set diamonds approximately 0.50ct in total

R 15 000 - R 22 000

R 10 000 - R 15 000

552

554

A pair of white gold and diamond

a DIAMOND DRESS RING

earstuds

set with 150 diamonds, colour G/H, clarity VS/ SI weighing approximately 1.40ct in total in overlapping oval design

ILLUSTRATED ON OPPOSITE PAGE

R 100 000 - R 200 000 549 an 18K WHITE GOLD TRILOGY RING

centered with a 1.15ct round brilliant-cut diamond colour K clarity SI1 (Certified by IGI no 175558058) flanked by two 0.15ct colour I/J clarity VS/SI

R 40 000 - R 60 000 550 a REPLICA CARTIER PANTHÈRE RING

pavé-set with diamonds approximately 7cts in total and two pear shaped emeralds as eyes, white gold tested as 18k

R 65 000 - R 95 000

each with three tube-set diamonds approximately 0.15ct in total (2)

R 3 000 - R 5 000

R 18 000 - R 27 000 555 an 18K WHITE GOLD “CIRCLE OF LIFE” PENDANT ON CHAIN

pavé-set with approximately 1ct of “8-cut” diamonds on a thin chain

R 8 000 - R 12 000

101

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JEWELLERY

556

102

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JEWELLERY

556

560

563

a victorian OPAL, DIAMOND AND RUBY

an 18K WHITE GOLD AND DIAMOND DISC

an 18k yellow gold, RUBY AND DIAMOND

BROOCH

PENDANT

RING

with a large heart-shaped opal, surrounded by a single row of rubies then finished with a scalloped, pavÃ©-set garland of diamonds and a dangling loose pearl

with diamonds set in a spiral design

R 9 000 - R 12 000

the approximate 2ct oval ruby, embellished with 12 claw-set diamonds approximately 0.75ct in total, shaped to resemble an offset flower

561

R 30 000 - R 50 000

ILLUSTRATED ON OPPOSITE PAGE

R 30 000 - R 50 000 557 a VINTAGE GOLD AND DIAMOND RING

with an old cut diamond, approximately 0.70ct, surrounded by 8 smaller old mine-cut diamonds, approximately 2ct in total set in white and yellow gold

R 10 000 - R 15 000 558 a victorian DIAMOND BROOCH

in a floral design set with old cut diamonds in white and yellow gold

R 35 000 - R 55 000

a pair of 18k white gold, RUBY AND DIAMOND cluster EARRINGS

each ruby surrounded by eight old cut diamonds with one diamond set as a drop, total estimated weight of the diamonds 0.54ct (2)

R 2 500 - R 3 500 562 an 18k yellow gold, RUBY AND DIAMOND NECKPIECE

the approximate 3ct oval ruby surrounded by 13 claw-set diamonds, suspended from two trilliant-cut diamonds and two oval cut diamonds approximately 1ct in total, on a flat cable chain

R 35 000 - R 55 000

564 a pair of 18k yellow gold, RUBY AND DIAMOND earstuds

each with an approximate 2ct oval ruby, surrounded by 12 claw-set diamonds 0.40ct in total (2)

R 8 000 - R 12 000 565 an 18K WHITE GOLD, RUBY AND DIAMOND RING

with 9 rubies, laser-set to shape a heart approximately 3ct in total, surrounded by diamonds approximately 0.60ct in total

R 8 000 - R 12 000

559 a DIAMOND AND SAPPHIRE BROOCH

a delicate brooch set with old cut diamonds and sapphires in a scroll like design, in yellow and white gold

R 2 500 - R 3 500

103

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104

JEWELLERY

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566 an 18k white gold and diamond collar neckpiece

with a row of alternating pear and round brilliantcut diamonds, suspending a row of â&#x20AC;&#x153;tip-to-tipâ&#x20AC;? marquise-cut diamonds, suspending a fringe of pear-cut diamonds, 88 round brilliant-cut diamonds equalling approximately 7.72cts in total, 132 pear-shaped diamonds equaling approximately 25.31cts in total and 125 marquise-cut diamonds equalling approximately 14.71cts in total ILLUSTRATED

R 700 000 - R 800 000

105

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JEWELLERY

567

568

569 PART LOT

570

571 PART LOT

572

573

574

106

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JEWELLERY

567

570

573

A PLATINUM RUSSIAN WEDDING RING OF

an 18K WHITE GOLD BAGUETTE FULL

A PLATINUM TENSION-SET DIAMOND

ETERNITY BANDS

ETERNITY RING

SOLITAIRE ring

designed as three interlinking full eternity diamond rings approximately 2ct in total

set with 47 baguette-cut diamonds approximately 1.20ct in total

certified (EGL 140207439/519699) “Hearts and Arrows” diamond, colour G clarity SI2

ILLUSTRATED on opposite page

R 15 000 - R 22 000

R 25 000 - R 35 000

R 15 000 - R 22 000

568

571

574

an 18K WHITE GOLD CLAW-SET FULL

an 18K WHITE GOLD TENNIS BRACELET

an 18K WHITE GOLD CLAW-SET FULL ETERNITY

ETERNITY RING

the claw-set diamonds totalling approximately 2.20ct, colour I, clarity SI

RING

the diamonds totalling approximately 1ct, size ‘O’ ILLUSTRATED on opposite page

R 10 000 - R 15 000

Part ILLUSTRATED on opposite page

the diamonds totalling approximately 1ct, size ‘S’

R 22 000 - R 32 000

ILLUSTRATED on opposite page

572

569

an 18K WHITE GOLD CLAW-SET FULL ETERNITY

an 18K WHITE GOLD AND DIAMOND

RING

BRACELET

the diamonds totalling approximately 1.20ct, size ‘P’

20 approximate 0.10ct diamonds, each surrounded by 12 0.01ct each, and separated by two tube-set and milgrained 0.015ct, diamonds totalling approximately 9ct

R 10 000 - R 15 000

ILLUSTRATED on opposite page

R 12 000 - R 18 000

Part ILLUSTRATED on opposite page

R 90 000 - R 120 000

107

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JEWELLERY

581

575 PART LOT

582 PART LOT

108

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JEWELLERY

575

578

580

an 18K WHITE GOLD, EMERALD AND

a VINTAGE EMERALD AND DIAMOND

a pair of 18K WHITE GOLD, DIAMOND AND

DIAMOND NECK PIECE

PENDANT

JADE-LIKE EARRINGS

with 2.03ct claw-set square emerald-cut emerald, surrounded by two rows of claw-set diamonds on a pavéd bale, attached to a single row line neck piece of claw-set diamonds, totalling approximately 6ct

tube-set emerald surrounded by a row of pavéset diamonds encased by an art deco style frame of pavé-set diamonds and finished with tube-set round emeralds, metal test inconclusive and plated

each jade-like bead capped and tipped with pavé-set 18k white gold

part ILLUSTRATED on opposite page

R 9 000 - R 12 000

R 90 000 - R 120 000

(2)

R 30 000 - R 50 000 581

579

A SET OF FOUR UNMOUNTED EMERALDS

576

a DIAMOND RING

an 18K WHITE GOLD, EMERALD AND

of wishbone design embellished with brilliantcut diamonds weighing approximately 0.12cts in total in 9k white gold; and A Diamond and Emerald Ring, of Claddagh design channel set with alternating circular cut emeralds and brilliant-cut diamonds weighing approximately 0.12cts in total, in 14ct white gold (2)

sandawana type natural emeralds, slight bluish green in colour, 1.618ct in total (4)

DIAMOND RING

a pear-shaped emerald surrounded by claw-set old mine-cut diamonds

R 17 000 - R 26 000 577 a Jenna Clifford white and yellow gold dress ring set

with a cabochon emerald weighing approximately 7.60ct surrounded by 74 pavé-set round brilliant-cut diamonds weighing approximately 1.60ct in total

R 2 000 - R 3 000

ILLUSTRATED on opposite page

R 5 000 - R 8 000 582 A MISCELLANEOUS COLLECTION OF EMERALDS

of circular rose-cut emeralds, approximately 4ct in total part ILLUSTRATED on opposite page

R 2 000 - R 3 000

R 90 000 - R 120 000

109

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JEWELLERY

590 PART LOT

588

589 PART LOT

587 PART LOT

583

Part lot

110

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JEWELLERY

583

586

589

a 4.60ct TRILLIANT-CUT DIAMOND

a YELLOW GOLD AND TANZANITE DRESS RING

AN ASSORTMENT OF UNMOUNTED PARAIBA

GIA certified Modified Triangular BrilliantCut Diamond, colour Natural Fancy Brownish Yellowish Orange with even distribution

a Jenna Clifford dress ring set with a mixed cushion-cut tanzanite 4.90ct surrounded by a channel of brilliant-cut diamonds, weighing approximately 0.60ct in total

TYPE TOURMALINE’S, 10.966CT IN TOTAL

PART ILLUSTRATED ON OPPOSITE PAGE

R 400 000 - R 600 000 584 an 18K WHITE GOLD TANZANITE AND DIAMOND PENDANT ON a 9K CHAIN

with an oval tanzanite, approximately 3ct, surrounded by two rows of claw-set diamonds, weighing approximately 1.2ct on a 9k box chain (2)

R 60 000 - R 90 000 587 a CERTIFIED 1.573CT unmounted PARAIBA TYPE TOURMALINE

a pear mixed-cut Paraiba type tourmaline in a greenish blue hue, accompanied by a Gem Lab certificate ID16022100M part ILLUSTRATED on opposite page

R 17 000 - R 26 000

R 45 000 - R 65 000

585

588

an 18K WHITE GOLD TANZANITE AND

a CERTIFIED 0.917ct unmounted PARAIBA

DIAMOND RING

26 oval shaped cabochon Paraiba type tourmaline’s in an assortment of greenish blue hues and sizes PART ILLUSTRATED on opposite page

R 100 000 - R 150 000 590 UNMOUNTED TSAVORITEs AND LAPIS LAZULI

two round tsavorite cabochons weighing approximately 2.27cts in total and a pair of unmounted flat rectangular lapis lazuli, weighing approximately 11.2cts in total (4) PART ILLUSTRATED ON OPPOSITE PAGE

R 1 000 - R 1 500

TYPE TOURMALINE

with an oval tanzanite, approximately 2.5ct, surrounded by 12 claw-set diamonds, approximately 0.75ct in total

an oval mixed cut Paraiba type tourmaline in a greenish blue hue, accompanied by a Gem Lab certificate ID16022101M

R 15 000 - R 22 000

ILLUSTRATED on opposite page

R 25 000 - R 35 000

111

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JEWELLERY

591

112

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JEWELLERY

591

594

an 18K YELLOW GOLD AND DIAMOND RING

an INTERCHANGEABLE PETER GILDER

an 18k yellow and white gold PETER

the diamond approximately 1.50ct, colour K/L clarity SI, size “I”

NECK PIECE

GILDER “BEAUTIFUL LADY” STICK PIN BROOCH

comprising: a central oval emerald weighing approximately 2.30ct supported by 8 channel set diamonds weighing approximately 0.70ct in total and 35 pavé-set round brilliant-cut diamonds weighing approximately 1.48ct in total, set in 18k yellow gold; A Marquise Shaped Ruby, supported by 8 small round rubies and finished with two pear shaped rubies all weighing approximately 1.20ct in total, finished with 14 pavé-set round brilliant diamonds weighing approximately 0.14ct in total, set in 18k yellow gold; and A Fancy Link Neck Chain of 14 fixed links and an extension section of four links in 18k yellow gold (4)

with central trilliant-cut emerald weighing approximately 0.35ct supported by 19 pavé-set round brilliant diamonds weighing approximately 0.19ct in total

ILLUSTRATED ON OPPOSITE PAGE

R 60 000 - R 90 000 592 an 18K YELLOW GOLD BRACELET

of mesh-like design with interlinking bars

R 12 000 - R 18 000 593 a yellow GOLD BRACELET

of mesh-like chainmail design impressed 800, acid tested 22k

R 25 000 - R 35 000

R 50 000 - R 80 000

596

R 5 000 - R 8 000 597 a 9K YELLOW GOLD AND DIAMOND BANGLE

a hinged bangle with a tube-set round brilliantcut diamond weighing approximately 0.75ct, J/K in colour and SI in clarity and eight pavé-set round brilliant-cut diamonds weighing 0.50ct in total, colour H/I, clarity VS-SI

R 15 000 - R 22 000

595 an 18K YELLOW GOLD DIAMOND AND RUBY PETER GILDER BANGLE

a hinged bangle comprising two pear shaped rubies, 15 old cut rubies and 14 brilliant-cut diamonds channel and pavé-set in rows

R 10 000 - R 15 000

113

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JEWELLERY

598

114

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JEWELLERY

598

601

603

a 9K YELLOW GOLD, SAPPHIRE AND DIAMOND

A miscellaneous COLLECTION OF RINGS

A BOX OF gold and garnet SHIRT STUDS

BROOCH

AND CUFFLINKS

AND CUFFLINKS, 18th century

resembling a ribbon, comprising 11 round blue sapphires weighing approximately 2.50ct in total, supported by 13 pavé-set “8 cut” diamonds, weighing approximately 0.13ct in total and 11 channel-set baguette-cut sapphires weighing approximately 0.55ct in total

comprising: two 9k yellow gold dress rings, one set with a cubic zirconia approximately 1ct and the other a rectangular topaz approximately 9ct; and A Pair of 10k Rose Gold Cufflinks (4)

tube-set garnet cabochons designed as typical form shirt studs and cuff links

R 3 000 - R 5 000

ILLUSTRATED ON OPPOSITE PAGE

R 20 000 - R 30 000 599 an 18k GOLD CHAIN

vintage, with (plated) signet stamp

R 5 000 - R 8 000 600 a ladies VINTAGE yellow gold and diamond WATCH RING

a watch with a hinged cover set with three small diamonds, set as a ladies ring

602 A vintage DIAMOND AND GARNET NECKLACE, RING AND EARRING SuiTe

comprising: an ornate necklace, earrings and a ring, metal test inconclusive, stabilisers impressed 750 (4)

R 10 000 - R 15 000

R 20 000 - R 30 000 604 A BOX OF gold and garnet SHIRT STUDS, 18th century

tube-set garnet cabochons designed as typical form shirt studs

R 7 000 - R 10 000 605 An 18k YELLOW GOLD SOLITAIRE ring

tube-set, approximately 0.65ct, colour J, clarity SI1

R 25 000 - R 35 000 NO LOTS 606 - 620

R 5 000 - R 8 000

115

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SILVER | DECORATIVE ARTS

WEDNESDAY 7 JUNE 2017 | 14H00 | LOTS 621 - 730

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SILVER

628

621

626 PART LOT

621

623

625

AN OLD SHEFFIELD PLATE ENTRÉE DISH AND

A GEORGE II SILVER MARROW SCOOP, MAKER’S

A GEORGE III SILVER DOG NOSE TABLE SPOON,

STAND, EARLY 19TH CENTURY

MARK INDISTINCT, PROBABLY MARMEDUKE

MARKS INDISTINCT, MAKER GEORGE SMITH III,

rectangular with flowerhead and scrolling foliate rim, the cover and detachable handle with conforming decoration, the stand with turned wooden handles, raised on four shell-and-leaf bracket feet, pierced liner, some distress to handle 15cm high, 35,5cm wide over handles

DAINTREY, LONDON, 1749

CIRCA 1774

of typical form, repair, 34g; A King’s Pattern Silver Basting Spoon, John Deakin & William Deakin, Sheffield, 1924, engraved with initial D, 223g, 34,5cm long; A Silver Waiter, marks rubbed, maker probably Nathan & Hayes, late 19th Century, shaped circular, the centre engraved with initials, raised on three fluted pad feet, 163g, 16,5cm diameter; A Silver Salt, H. Woodward & Co., Birmingham, 1881, of circular fluted form with beaded border and raised on three ball feet, 12g; A Pair of Victorian Silver Sugar Nips, marks indistinct, with diamond registry mark for 1874, with stylised foliate decoration, 18g; and A Silver-mounted Glass Toilet Jar, William Adams Ltd, Birmingham, 1926, circular, 3cm high (7)

59g; and Three Conforming Examples, marks rubbed and indistinct (4)

ILLUSTRATED

R 3 000 - R 5 000 622 A PAIR OF GEORGE II SILVER SALTS, SIMON JOUET, LONDON, 1736

each circular with rolled rim, the sides chased with flowerheads and foliage, raised on three lion-mask capped pad feet 217g, 4cm high (2)

R 2 000 - R 3 000

R 3 500 - R 5 500 624 A GEORGE II SILVER TANKARD, FULLER WHITE, LONDON, 1755

of plain baluster form with leaf-capped scroll handle, on a circular spreading footrim, the base engraved with initials 320g, 12cm high ILLUSTRATED ON OPPOSITE PAGE

R 7 000 - R 10 000 118

R 3 500 - R 5 500 626 A NEAR PAIR OF GEORGE III SILVER BERRY SPOONS, PETER & WILLIAM BATEMAN, LONDON, 1805 AND 1806

of ‘Old English’ pattern, the bowls with floriform rims, chased and moulded with fruit and scrolling foliate decoration,106g; and A Pair of Victorian Silver Salts, James and Josiah Williams, Exeter, 1853, circular with gadrooned rim, the body chased with flowerhead and latticework decoration enclosing a vacant cartouche, gilt interior, raised on three bracket hoof feet, one with a blue glass liner, the other a later replacement 135g, 4cm high (4) PART ILLUSTRATED

R 1 500 - R 2 500

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SILVER

624

629

630

627

629

631

A GROUP OF FOUR GEORGE III SILVER

A WILLIAM IV SILVER SALVER, MAKER’S MARK

A PAIR OF LATE VICTORIAN SILVER BUTTER

‘OLD ENGLISH’ PATTERN SPOONS, DUNCAN

INDISTINCT, PROBABLY JONATHAN HAYNE,

DISHES, WILLIAM HUTTON & SONS, LONDON,

URQUHART & NAPTHALI HART, LONDON, 1811

LONDON, 1830

1894

Another Pair, Thomas Barker, London, 1810; and A Pair of George III Silver ‘Old English’ pattern Sauce Ladles, Thomas James, London, 1813, 202g all inclusive (8)

of shaped circular form with flowerhead and scroll border, the centre chased with flowers and foliage enclosing an engraved inscription, raised on three bracket feet moulded and chased with roses 1000g, 40cm diameter

of shell form, and A Pair of Silver Teaspoons, William Hutton & Sons, London, 1894 41g all inclusive, the butter dish 6cm long (4)

ILLUSTRATED

632

R 2 500 - R 3 500 628 A GEORGE IV IRISH SILVER TWO-HANDLED

R 8 000 - R 12 000

SUGAR BASIN, EDWARD TWYCROSS, DUBLIN,

630

1827

A WILLIAM IV SILVER ENTRÉE DISH AND COVER,

of lobed, baluster form with a flowerhead rim, the whole profusely chased with flowerheads, fruit and acanthus leaves enclosing a cartouche on each side, one engraved with a crest, leaf-capped scroll handles, raised on four leaf-capped paw feet, one handle repaired, gilt interior 459g, 12cm high, 22,5cm wide over handles

LONDON, 1835

ILLUSTRATED ON OPPOSITE PAGE

R 12 000 - R 18 000

R 3 000 - R 5 000

shaped rectangular with gadrooned rim, the cover with conforming decoration and engraved on either side with an armorial, one showing The Royal Coat of Arms 'Des Drot et Mon', lacking handle, erased marks 1000g, 28cm long (2) ILLUSTRATED

R 2 000 - R 3 000

AN EDWARDIAN CASED SET OF SIX SILVER TEASPOONS AND SUGAR NIPS, JOSEPH RODGERS & SONS, SHEFFIELD, 1901

the angular terminal engraved with 'bright cut' flowerheads and scrolling foliage, 90g; A George V Silver Pepperette, William Henry Sparrow, Birmingham, 1911, cylindrical, the body with a reeded band on a circular spreading footrim, with detachable pierced cover and urn finial, some pitting to rim, 34g, 8,5cm high; Another, Birmingham, 1913, tapering cylindrical with a geometric pierced flared rim, on a circular spreading footrim, with detachable pierced cover and bud finial, 48g, 9,5cm high; A Cased Set of Six Silver Butter Knives, Sheffield, plain with reeded terminal maker’s mark J.S in oval, 1914,160g; and A Silver Crown Dish, Garrard & Co., London, 1978, plain circular, the centre engraved with the Royal Coat of Arms, cased, with certificate numbered 49 of 300, issued to mark the Silver Jubilee of Her Majesty The Queen (16)

R 3 000 - R 5 000

119

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SILVER

634

633

635

637

AN EDWARDIAN SILVER ÉPERGNE, W. AITKEN,

A GEORGE VI ART DECO STYLE SILVER TEAPOT,

A PAIR OF DUTCH SILVER SERVING SPOONS,

BIRMINGHAM, 1908

E. W. HAYWOOD, BIRMINGHAM, 1945

MAKER’S MARK PH, .835 STD, SCHOONHOVEN,

the plain cylindrical column applied with three scroll arms, surmounted by a detachable circular, beaded and pierced basket, with three detachable smaller hanging conforming baskets, flared base, loaded 19,5cm high

the plain rectangular body with a fluted band on a spreading rectangular foot, with leafcapped composite handle and finial, 613g, 15cm high; and A Conforming Hot Water Pot, E. W. Haywood, Birmingham, 1946 611g, 21cm high (2)

1973

ILLUSTRATED ON OPPOSITE PAGE

R 2 000 - R 3 000

ILLUSTRATED

R 6 000 - R 9 000 634

R 7 000 - R 10 000

the circular bowl with angular handles, terminating in a rampant lion holding an armorial cartouche, one engraved 'A.C.W', the other engraved 'M.W.v.B', 89g; and An American Silver Pepper Castor, Sterling STD (2)

638

636

A MISCELLANEOUS GROUP OF SILVER ITEMS,

A SET OF DUTCH SILVER ITEMS, MAKER’S MARK

VARIOUS MAKERS AND DATES

SON, BIRMINGHAM, 1923

PH, .835 STD, SCHOONHOVEN, 1970

each column raised on a square stepped and beaded base, acanthus-leaf sconce and detachable beaded nozzle, the base with inscription, nozzles dated 1922, loaded 24,5cm high (2)

comprising: a tray, a sugar bowl and milk jug, of oval form with a band of bulbous decoration, the milk jug and sugar bowl raised on a similar foot rim and applied with dragon-capped double C-scroll handles 443g, the tray 25,5cm wide (3)

comprising: a sugar castor, London, 1895, 326g; A Hip Flask, of flattened ovoid form; and A Group of Five Silver Pepperettes, various shapes and sizes 115g all inclusive (7)

A PAIR OF GEORGE V SILVER CORINTHIAN COLUMN CANDLESTICKS, FERGENBAUM &

ILLUSTRATED

R 10 000 - R 15 000

120

633

R 2 200 - R 3 200

R 2 000 - R 3 000

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SILVER

635

639

641

A SILVER SOMMELIER CUP, GRANT MCDONALD

A CAPE BRASS KONFOOR AND TESSIE,

KNIGHTSBRIDGE, LONDON, 1973

19TH CENTURY

A CAPE COPPER IRON, 19TH CENTURY

circular with applied side handle, the centre mounted with a copy of a Saxon coin of King Edgar, commemorating the 1000th anniversary of his coronation in Bath in 973, one side engraved '973 â&#x20AC;&#x201C; 1973' 135g, 12cm wide over the handle

the pierced round konfoor applied with loop handles, with removable tray, raised on three outswept feet, the cylindrical urn with moulded bands, applied with a loop handle and spout, detachable domed cover with scrolling finial, stamped F van As 1883, distress, restorations 39cm high

with pierced sides, the closing plate with hook, iron supports and wooden grip, the body stamped J Lawton 21,5cm high

R 2 500 - R 3 500 640 A BRASS AND COPPER TOBACCO BOX,

R 4 000 - R 6 000

R 3 000 - R 5 000 NO LOTS 644 - 660

642

18TH CENTURY

A CAPE BRASS KONFOOR AND TESSIE,

the hinged oblong lid engraved with a male figure above a coat of arms, enclosing a compartment, the reverse depicting a female figure above a coat of arms, the body depicting animals in pursuit, inscriptions indistinct; and Another, oval, similar 15,5cm long (2)

the pierced round konfoor applied with wooden handles, on three lion paw feet, the cylindrical urn with moulded bands, applied with a loop handle and spout, detachable domed cover, stamped F van As, lacking removable tray, restorations 38cm high

R 3 500 - R 5 500

643

19TH CENTURY

R 4 000 - R 6 000

121

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122

DECORATIVE ARTS

part lot 669 part lot 670

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DECORATIVE ARTS

661

664

668

CLOVIS EDMOND MASSON (1838-1913)

A PAIR OF BAVARIAN TWO-HANDLED URNS,

A PAIR OF LOUIS XV/LOUIS XVI TRANSITIONAL

A BRONZE SCULPTURE OF TWO HUNTING

19TH CENTURY

STYLE ORMOLU CHENETS

DOGS

each adorned with an ewer, above scrolling acanthus-leaves, graduating moulded leaf and floral sprays below, joined onto a shaped plinth base, distress 46,5cm high (2)

662

each with flaring trumpet mouth, applied with handles, figurative panels below reserved against a white ground, divided by bands of scrolling foliage, raised on a circular foot, on a square base, gilt highlights throughout, repairs, chips, painted factory mark 29,5cm high (2)

A PAIR OF ART NOUVEAU EARTHENWARE

R 8 000 - R 12 000

on a marble base, signed C. Masson, slight chips to base 25cm high

R 8 000 - R 12 000

TWO-HANDLED VASES, 19TH CENTURY

each tapering ovoid body with elongated neck and angular handles variously painted with flowers and foliage against a mottled ground, the neck and circular foot with stylised flowers and foliage, one against a puce ground, the other russet, gilt highlights, signed and dated, restoration, impressed factory mark 63cm high (2)

R 2 500 - R 3 500 663 A ROYAL CROWN DERBY IMARI STYLE TEA AND DINNER SERVICE, 19TH CENTURY

comprising: 16 dinner plates, 8 side plates, 10 fish plates with varied pattern, 6 soup bowls, 4 consommé cups and saucers, 2 ramkins, 2 oval platters, a round vegetable dish, a soup tureen lacking lid, 4 oval serving dishes, 2 oval lidded vegetable dishes, a gravy boat and saucer, a sauce dish fixed to the saucer with lid, 4 demitasse cups and saucers, hairline cracks, some loss to gilding, minor chips the larger platter 55cm wide (65)

R 6 000 - R 9 000

665 A MEISSEN STYLE MIRROR

the oval plate within a conforming frame, adorned with rose buds and scrolling foliage, surmounted by a pair of putti joined by a garland, the apron with bow and trailing ribbon, painted factory mark 32cm high

R 2 000 - R 3 000 666 A KPM WHITE AND GILT PAINTED PART TEA AND DINNER SERVICE, 20TH CENTURY

each with gold lines on gold bands, comprising: 6 tea cups, 6 saucers, a milk jug, a sugar bowl with lid, a tea pot with lid, a coffee pot with lid, 5 egg cups, 6 cake plates, 6 dinner plates, 6 soup plates, a gravy boat with saucer, a tureen with lid, an oval serving dish, 2 serving bowls, printed factory mark, some loss to gilding the largest serving dish 28cm wide (44)

R 3 000 - R 5 000 667 A MEISSEN TWO-HANDLED URN, EARLY 20TH CENTURY

the raised lip above a baluster-shaped body with floral decoration, applied with snake handles, on a fluted foot, painted factory mark 27cm high

R 6 000 - R 9 000 669 A ROSENTHAL ZAUBERFLÖTE PATTERN DINNER & COFFEE SERVICE DESIGNED BY BJÖRN WIINBLAD, GERMANY, 20TH CENTURY

each piece moulded in gilded relief with scenes from Mozart's opera against a white ground, the underside bearing the relevant passage in gold from the liberato, comprising: 12 dinner plates, 12 soup bowls, 11 saucers, 2 salad bowls, 2 oval platters, 2 covered ragout dishes with underplates, 1 sauciére, 18 coffee cups, 18 saucers, 18 cake plates and a coffee pot, printed factory mark, signed the platter 38cm wide (97) PART ILLUSTRATED ON OPPOSITE PAGE

R 12 000 - R 18 000 670 A ROSENTHAL ZAUBERFLÖTE PATTERN PART GLASS SUITE DESIGNED BY BJÖRN WIINBLAD, GERMANY, 20th CeNTURY

each piece gilded with scenes from Mozart's opera and the relevant passage from the liberato, comprising: 12 white wine glasses, 12 red wine glasses, 10 water glasses, 10 champagne glasses, 9 port glasses, printed factory mark, signed (53) PART ILLUSTRATED ON OPPOSITE PAGE

R 6 000 - R 9 000

R 2 500 - R 3 500

123

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DECORATIVE ARTS

674 671

124

671

672

674

A PAIR OF LOUIS XVI ORMOLU EWERS

A WEDGEWOOD BLACK BASALT BOWL,

A PAIR OF FRENCH ORMOLU FOUR-LIGHT

each spout with moulded griffins, the slender shaped handle adorned with acanthus leaves and a bacchanalian mask, the baluster-shaped body applied with vine and grape motifs, centered by a bust of a maiden, terminating in a circular foot, mounted on a shaped stepped red-veined marble plinth base 60cm high (2)

20TH CENTURY

CANDELABRAS, 19TH CENTURY

the exterior with incised chevron design and ribbed sides, impressed factory mark 26cm diameter

673

each swirled acanthus-leaf moulded arm terminating in a leaf drip tray, surmounted by a detachable pomegranate finial, on a scrolled and turned support, terminating in a circular shaped and stepped base 60,5cm high (2)

A SEAGRASS GLAZED BULL DESIGNED BY

illustrated

ALVINO BAGNI FOR RAYMOR, CIRCA 1950

illustrated

R 20 000 - R 30 000

of typical form, impressed Italy 53cm high

R 3 000 - R 5 000

R 8 000 - R 12 000

R 18 000 - R 25 000

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DECORATIVE ARTS

675 PART LOT

677 PART LOT

675

676

677

A LARGE CHINESE FAMILLE ROSE ‘NINE PEACH’

A PAIR OF CHINESE FAMILLE ROSE TRUMPET-

A PAIR OF CHINESE FAMILLE ROSE ‘ROOSTER

CHARGER, LATE MÍNGUÓ PERIOD, 1912 - 1949

NECKED ‘MAGPIE AND PRUNUS’ VASES

PLATES’, QING DYNASTY, 18TH CENTURY

the underside enamelled with a pair of bats above two branches bearing four ripening peaches, the design extending over the rim to cover the interior, painted with three bats in flight amidst two branches yielding five ripe peaches with crabapple and peach blossoms, the base with a pseudo iron red Qianlong mark 47,2cm diameter

each of tapered cylindrical form, the neck terminating in a rolled lip, enamelled with flowering peonies issuing from rockwork before a pair of magpies resting atop a blossoming prunus tree, the reverse with calligraphy and seals, the base with a pseudo four character Yongzheng mark 23cm high (2)

each brightly enamelled with a pair of roosters perched on a rocky outcrop within a lush garden setting of pink peonies beneath a flowering magnolia tree, the cell diaper and flowerhead cavetto on a lime-green ground, the pink rim decorated with a fine diaper pattern interspersed with blossoms amongst fruiting branches, fine hairline cracks, star crack to the base of one, substantial wear in areas 22,5cm diameter (2)

PART illustrated

R 7 000 - R 10 000

R 2 500 - R 3 500

PART illustrated

R 8 000 - R 12 000

125

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DECORATIVE ARTS

678

680

679

678

680

682

A PAIR OF CHINESE ‘COPPER-RED’ BOWLS,

A CHINESE ‘EGG-YOLK’ BOWL

A CHINESE GUAN WARE ‘MALLOW’ DISH

QING DYNASTY, LATE 19TH CENTURY

robustly potted with steep rounded sides rising from a slightly tapered foot to a flared rim, dressed overall in an egg-yolk yellow glaze, the interior glazed white, the base with a pseudo underglaze-blue Guangxu mark 13,2cm diameter

heavily potted with eight mallow petals flaring from a recessed circular foot, the stoneware body covered overall in a thick opaque glaze of pale greyish-ivory tone, suffused with a network of russet crackles thinning to a brown rim 19,5cm diameter

illustrated

illustrated ON OPPOSITE PAGE

R 3 000 - R 5 000

681

683

A CHINESE FAMILLE ROSE ‘PHEASANTS’ VASE,

A CHINESE GUAN WARE ‘LOTUS’ BOWL

MÍNGUÓ PERIOD, 1912 – 1949

the curved sides divided into eight facets rising from a high foot to a foliate rim, applied overall with an ivory-grey glaze suffused with a network of russet and black crackles, the glaze stopping neatly above the footring revealing the dark stoneware body, chips 19,2cm diameter

each with deep rounded sides and slightly flaring rim, the exterior under a rich purple-red glaze thinning to a white rim, the interior glazed white edged in soft grey, the base with a pseudo underglaze-blue Qianlong mark, hairlines cracks to one 12cm diameter (2) illustrated

R 6 000 - R 9 000 679 A CHINESE ‘RUBY-BACK’ SAUCER DISH

the shallow rounded sides rising from a slightly tapering foot into a flared rim, the exterior enamelled in pinkish-red, the interior glazed white, the base with a pseudo underglaze-blue Guangxu mark, minor wear 15,8cm diameter illustrated

R 4 000 - R 6 000

126

the pair of pheasants perched on a large rock, the male crouching forward, his head turned showing his prominent crest and elaborate plumage, the female resting beneath her mate at the base of a blossoming tree, the reverse inscribed with script amongst delicate magnolia and peony blossoms, the base marked with a pseudo four character Yongzheng mark 29,2cm high

R 4 000 - R 6 000

R 2 000 - R 3 000

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DECORATIVE ARTS

682

684

685

687

A CHINESE INK AND WATERCOLOUR ‘PRUNUS

A TIBETAN WOODBLOCK-PRINTED THANGKA

A CHINESE CARVED BAMBOO BRUSH POT,

AND INSECT’ SCROLL ATTRIBUTED TO YUAN

OF BUDDHA, LATE 18TH/EARLY 19TH CENTURY

EARLY 20TH CENTURY

HONGSONG, 1910 - 2012

the central figure of Buddha highlighted by a large halo and nimbus, seated in dhyanasana on a lotus throne, his left hand in meditation, the right raised in vitarka mudra, enclosed by script and various scenes from the Jātaka tales, laid down on archival Japanese tissue, distress, losses mainly to the edges 98cm high, 63cm wide

carved in relief with a continuous festive scene of figures performing a dragon dance amongst musicians, set within a landscape of pine trees and script 16cm high

the gnarled moss-covered branches painted with clusters of white prunus blossoms amongst early spring leaves, a red dragonfly atop a bare branch with a cricket descending towards another within the lower register of the painting, inscribed with script and two iron red seals, the ivory silk border woven with phoenixes amongst clouds, the seals reading Mian Sheng, a pseudonym adopted by Yuan Hongsong, the calligraphy loosely translating to, ‘following the style of Ju Lian, painted in the autumn of the Gui Chou Year (1973) by Mian Sheng 157cm high, 43cm wide

R 8 000 - R 12 000

PROVENANCE By repute, acquired in Tibet between 1920 – 1930 Sold: Sotheby’s, London, 28th June 1955, part lot 237

R 8 000 - R 12 000 686 A SET OF SIX CHINESE INK CAKES, MÍNGUÓ PERIOD, 1912 – 1949

of various shapes, each moulded with figures and animals within landscape settings, the reverse with calligraphy and floral sprays in gold and pistachio, set in a fitted silk-lined box with inscribed cover, chipping throughout, restorations to one, distress the largest 9cm long (6)

R 2 000 - R 3 000

R 2 000 - R 3 000 688 A PAIR OF CHINESE CARVED AND PAINTED IVORY FIGURES OF AN OFFICIAL AND a MAIDEN

NOT SUITABLE FOR EXPORT each standing dressed in flowing robes, the official holding a gnarled staff in his right hand, his hair tied into an elaborate top-knot, carved with a ram at his side sniffing a lingzhi cluster, the maiden holding a fan in her right hand and a spray of peonies in the left, her hair tied into a high chignon supported by a coronet, polychrome pigment throughout, repair, cracks, pigment loss, chips 23cm high (2)

R 1 500 - R 2 500 127

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DECORATIVE ARTS

689

690

692

A PAIR OF CHINESE BLUE AND WHITE VASES

A CHINESE BLUE AND WHITE BOWL,

A PAIR OF CHINESE BLUE AND WHITE DISHES,

AND COVERS, EARLY 20TH CENTURY

MING DYNASTY, 1368 - 1644

QING DYNASTY, QIANLONG, 1736 - 1795

each of baluster form, the rim with scrolling flowerheads above a key border, the body profusely painted with sweet pea flowers and vines surrounding Shuangxi characters, all above a loosely painted ‘leaf and lozenge’ lappet base, each cover similarly decorated with a compressed finial, scratches, wear 44cm high (2)

the interior painted with a double vajra encircled by a band of stippled waves and drooping garlands, the exterior painted with a tortoiseshell pattern above a band of lappets, chips 15cm diameter

each rectangular dish with a shaped rim, the centre painted with a pair of Feng-hu birds, one perched on a rocky outcrop viewing its mate resting behind a balustrade fence enclosed by flowering tree peonies and a pine tree, the cavetto painted with a scrolling spearhead border, the rim with a cell diaper and floral design 34cm wide (2)

PROVENANCE

R 4 000 - R 6 000

Acquired from Global Heritage, Cape Town, 2005

LITERATURE c.f. Goddio, F. Lost at Sea: The Strange Route of the Lena Shoal Junk, London, Periplus Publishing, 2002, 229pp

British private collection

691

693

illustrated

A CHINESE BLUE AND WHITE PLATTER, QING

A MISCELLANEOUS COLLECTION OF THREE

R 15 000 - R 22 000

DYNASTY, QIANLONG, 1736 – 1795

JAPANESE PLATES

rectangular with canted corners, painted with sprays of bamboo and flowering tree peonies within an embankment, the cavetto with a scroll and spearhead border, the rim with cell diaper and butterfly pattern, fritting chips, minor wear 32cm diameter

one painted with a pair of carp swimming amongst aquatic plants under a willow; Another similarly painted with a single carp underneath iron-red clouds; and Another painted with chrysanthemums before a garden fence in underglaze blue the largest 32cm diameter (3)

R 3 000 - R 5 000

128

R 10 000 - R 15 000

R 2 000 - R 3 000

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DECORATIVE ARTS

701 700

699

694

697

700

A JAPANESE COPPER YATATE, MEIJI PERIOD,

A JAPANESE IVORY OKIMONO OF AN

A CHINESE CELADON JADE ‘LOCK-SHAPED’

1868 - 1912

ENTERTAINER, MEIJI PERIOD, 1868 – 1912

PLAQUE, LATE 19th/EARLY 20th CENTURY

of smoking-pipe shape, the hollow brush-tube applied with a rat holding a fan, the hinged cover concealing the circular inkpot, heavy patina, wear 20cm long

NOT SUITABLE FOR EXPORT

the rectangular border incised with archaic scrolls, the base centred by a pierced and carved wan emblem below a rectangular cartouche carved with a pine tree within an architectural landscape, the reverse similarly decorated with script 8,7cm wide

695

the stooping figure supporting a clothed monkey on his back, his left hand placed on a toad supported by a pair of monkeys at his feet, his right foot resting on a toad, all raised on a low oval base 13cm high

A CHINESE GILT-LACQUER FIGURE OF AN

R 2 500 - R 3 500

R 2 000 - R 3 000

IMMORTAL, QING DYNASTY, 19TH CENTURY

seated on a shaped base, his left leg raised supporting his left arm, his face with contemplative expression, his chin resting on the back of his left hand, distress, re-lacquered and gilded 32cm high

R 1 500 - R 2 500 696 A CHINESE EXPORT IVORY CARVED PUZZLE BALL AND STAND, QING DYNASTY, LATE 19TH CENTURY

NOT SUITABLE FOR EXPORT the pierced concentric ball carved with dragons amongst lingzhi shaped clouds enclosing multiple balls pierced with geometric patterns, the stand supported by a boy holding a peach in his right hand, the raised circular base pierced and carved with scrolling foliage, distress, chips 22cm high

R 6 000 - R 9 000

698 A PAIR OF CHINESE HARDSTONE TOAD SEALS

each square seal surmounted with a toad, the stubby body carved with coarse skin and bulging eyes, the base with carved script, the greenish stone with russet inclusions 6,5cm high (2)

R 2 000 - R 3 000 699 A CHINESE CELADON JADE ‘BIRD AND

illustrated

R 3 000 - R 5 000 701 A CHINESES CELADON JADE ‘CHILONG’ PLAQUE, LATE 19TH/EARLY 20TH CENTURY

the edge pierced and carved with a pair of archaic Chilong coiling around a shaped concave frame enclosing a further pair of long-bodied dragons 6,8cm long illustrated

R 2 000 - R 3 000

FLOWER’ PLAQUE, LATE 19TH/EARLY

702

20TH CENTURY

A CHINESE CARVED HARDSTONE 'BOY AND

the centre pierced and carved with a bird and flower amongst foliage, all enclosed within an oval bamboo carved surround, the top with a pair of confronting dragons, chips 4,6cm wide

BUFFALO' GROUP

illustrated

R 1 500 - R 2 500

the child astride a buffalo, gripping onto a rope tied through the animals nose, the boy reading a book with a wide brimmed straw-hat dangling about his back, all raised on a conforming rectangular base, the milky green stone with darker green and black inclusions, chips, minor scratches 24cm high

R 8 000 - R 12 000 129

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DECORATIVE ARTS

704 707 706

705

703

705

706

A FRENCH BROWN AMBER GLASS

A MOSER GLASSWORKS VASE DESIGNED BY VLADIMÍR

A ŠKRDLOVICE GLASSWORKS VASE

DEMIJOHN, 19TH CENTURY

MÍKA, CIRCA 1960

of typical form 41cm high

the cased ovoid shape with a join to the interior aperture, pattern number 53959 17cm high

with pulled lobes and blue cased, pattern number 5988; and A Škrdlovice Glassworks Bowl Designed By Jan Beránek, 1959, with pulled lobes and pink cased, pattern number 5954 the vase 25cm high (2)

PROVENANCE The Laurie Nathan collection

R 6 000 - R 9 000 704 A ŠKRDLOVICE GLASSWORKS ‘RAINBOW SNOW’ VASE DESIGNED BY PETR HORA, 1979

the layered clear and smoky glass with bubble inclusions, pattern number 7911 24cm high LITERATURE c.f. Bevan-Jones, R. Škrdlovice & Beránek: Legends of Czech Glass, London, Mark Hill Publishing Ltd, 2014, 128pp

illustrated

R 5 000 - R 8 000

This vase comes from a very scarce range that won a Gold Medal at the important Liberec trade exhibition in 1967. Profiled in the State’s trade publication Czechoslovak Glass Review in February 1968, it went on to be exhibited at the International Exposition in Osaka, Japan, in 1970. The range was a departure for the internationally renowned company of Moser, who are best known for their heavily cut and faceted designs. The curving forms and use of the traditional technique of casing recall the sommerso designs produced by Flavio Poli for Seguso from the 1950s onwards. The major difference is the join in the interior aperture which accentuates the form and layers, and showcases the talents of Czech glassmakers. This hallmark feature also forces flower stems to either side. Although sold as a practical vase, it is equally successful as a stand-alone sculptural object. Few hard facts are known about Vladimír Míka, but it appears that he studied glass painting amongst other skills at the glassmaking school in Novy Bor. He began his career just after World War II when he joined the Mštisov glassworks, which began to become known for its hot-worked coloured glass from 1958. LITERATURE c.f. Hill, Mark. Czech Glass Design from the 1950s-70s, London, Mark Hill Publishing Ltd, 2017, 223pp

illustrated

130

R 9 000 - R 12 000

LITERATURE c.f. Bevan-Jones, R. Škrdlovice & Beránek: Legends of Czech Glass, London, Mark Hill Publishing Ltd, 2014, 128pp c.f. Hill, M. Czech Glass Design from the 1950s-70s, London, Mark Hill Publishing Ltd, 2017, 223pp c.f. Hill, M. Hi Sklo Lo Sklo: Post War Czech Glass Design from Masterpiece to Mass-produced, London, Mark Hill Publishing Ltd, 2008, 148pp

illustrated

R 6 000 - R 9 000

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DECORATIVE ARTS

711 708 709

710

707

709

711

A ŠKRDLOVICE GLASSWORKS VASE DESIGNED

A BERANEK GLASSWORKS VASE DESIGNED BY

A GLASSWORKS VASE MADE BY ALEŠ VALNER,

BY JAN BERÁNEK, 1980

JERONIM TIŠLJAR, 1996

DESIGN ATTRIBUTED TO FRANTIŠEK VÍZNER

the cobalt blue core suspended in a transparent glass casing with controlled air bubbles, pattern number 8044 29cm high

the turquoise blue core and single air bubble suspended in a transparent glass casing, signed, pattern number 9626 23cm high

the blue core suspended in a transparent glass casing with controlled bubbles throughout, signed 30cm high

LITERATURE

illustrated

LITERATURE

c.f. Bevan-Jones, R. Škrdlovice and Beránek: Legends of Czech Glass, London, Mark Hill Publishing Ltd, 2014, 128pp

R 6 000 - R 9 000

c.f. Bevan-Jones, R. Škrdlovice & Beránek: Legends of Czech Glass, London, Mark Hill Publishing Ltd, 2014, 128pp

c.f. Hill, M. Czech Glass Design from the 1950s-70s, London Mark Hill Publishing Ltd, 2017, 223pp c.f. Hill, Mark. Hi Sklo Lo Sklo: Post War Czech Glass Design from Masterpiece to Mass-produced, London, Mark Hill Publishing Ltd, 2008, 148pp

illustrated ON THE OPPOSITE PAGE

R 5 000 - R 8 000 708 A BERÁNEK GLASSWORKS VASE DESIGNED BY JERONIM TIŠLJAR, 1996

the pink core and single air bubble suspended in a transparent glass casing, signed, pattern number 9626 24cm high

710 A GLASSWORKS VASE DESIGNED BY ALEŠ VALNER, 20TH CENTURY

the golden core suspended in a transparent glass casing, signed 25cm high LITERATURE c.f. Bevan-Jones, R. Škrdlovice and Beránek: Legends of Czech Glass, London, Mark Hill Publishing Ltd, 2014, 128pp

c.f. Hill, M. Czech Glass Design from the 1950s-70s, London, Mark Hill Publishing Ltd, 2017, 223pp c.f. Hill, M. Hi Sklo Lo Sklo: Post War Czech Glass Design from Masterpiece to Mass-produced, London, Mark Hill Publishing Ltd, 2008, 148pp

illustrated

R 7 000 - R 10 000

illustrated

R 6 000 - R 9 000

illustrated

R 6 000 - R 9 000

131

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DECORATIVE ARTS

721 PART LOT

719

717

718

712

715

717

DAVID READE (1960 - )

A MISCELLANEOUS COLLECTION OF

HENNIE MEYER (1965 - )

A COBALT BLUE, GREEN AND CLEAR GLASS

LINN WARE, 20TH CENTURY

A COLLECTION OF SEALED VESSELS ON STANDS

PLATTER

comprising: 2 consommé bowls and 2 saucers in sea green glaze, a globular jug in turquoise glaze, and a tapering jug in blue glaze, impressed and painted marks 15cm high (6)

each black terracotta pot on a bronzed and green square base with “HIV” awareness decoration, signed and numbered (9)

of organic form, signed and dated 2002, 57cm wide

R 3 000 - R 5 000 713 DAVID READE (1960 - ) A LARGE COBALT BLUE, GREEN AND CLEAR GLASS BOWL

signed and dated 2004, minor scuff marks 32,5cm high

R 4 000 - R 6 000 714 A LINN WARE BOWL, 20TH CENTURY

covered in a cloudy apple-green glaze thinning to an iron-oxide rim, impressed studio marks, footrim reduced, chips 36cm diameter

R 2 500 - R 3 500

R 2 500 - R 3 500 716 A RORKE’S DRIFT VASE BY EURIEL MBATHA, 1980s

the angular incised body with floral decoration, repairs, signed, 19cm high; A Rorke’s Drift Jug, the body with raised beaded and floral decoration, dated 3/7/1982, 13cm high; A Rorke's Drift Vase By A. E. Mbatha, 20th Century, of baluster form with long tapering neck, blue and white oxide decoration, 29cm high; and A Linn Ware Turquoise Glazed Jug with globular body, 10cm high (4)

R 2 000 - R 3 000

PROVENANCE Rust en Vrede

An interesting concept is shown by Meyer as each potted cup although reminiscent of giving life, is depicted with a life threatening disease. Randomly put together as knots and crosses, it shows the fragility of life, which is highlighted by the application of names incised on each cup. illustrated

R 3 000 - R 5 000 718 WIEBKE VON BISMARCK (1941 - ) AN INCISED SLIP-COVERED STONEWARE VESSEL

the compressed globular body incised with fine grooves, the shoulder applied with raised bands, signed 20cm high illustrated

R 3 000 - R 5 000

132

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DECORATIVE ARTS

722

723 720

724

719

721

724

ANN MARAIS (1948 - )

SARAH WALTERS (1978 - )

HENNIE MEYER (1965 - )

"MARTYR 1"

A CONTEMPORARY PORCELAIN VASE

A BLACK CLAY GRID

a white porcelain figure, on a black base 38cm high

of ovoid form, rising into a black glazed ribbedneck with rounded lip, the body carved to reveal leafy branches and buds 27cm high

the pierced rectangular grid curving upward at both ends, the centre with fifteen filled cells, painted with textured polychrome pigment ranging in shades of blue, yellow and red 26cm wide

"The Titles “Victim or Martyr” question our attitudes. All of us, when assessing an artwork, bring our personal world view, culture, background, social ethics and morals as well as our religious persuasion. This title gives the viewer the option to judge which side of the divide we stand and in this process suggests that others have equally valid arguments on their side that may be in opposition to what we think. The extension to this would be that we should allow others their opinions, to be heard. We do not necessarily own the only truth. We should respect the truth of others – even if we do not agree with it."

PART illustrated ON OPPOSITE PAGE

R 2 000 - R 3 000 722 RALPH JOHNSON (1943 - ) A CONICAL PORCELAIN BOWL

the wide flaring bowl rising from a high foot, covered overall in a mottled volcanic glaze ILLUSTRATED

R 5 000 - R 8 000

- Ann Marais

723

illustrated ON OPPOSITE PAGE

DAVID WALTERS (1950 - )

R 5 000 - R 8 000

A CONTEMPORARY PORCELAIN VASE

720 ANN MARAIS (1948 - ) "MARTYR 2"

a white porcelain figure, on a black base 34cm high

illustrated

R 12 000 - R 18 000 725 Clementina Van Der Walt (1952 - ) THREE CERAMIC MASKS

each painted with a face, applied with a metal bracket, signed the larger 22cm high (3)

R 5 000 - R 8 000 NO LOTS 726 -730

of ovoid form, the white agateware body streaked in green and brown, the inside covered with a lustrous black glaze, signed 33cm high illustrated

R 2 500 - R 3 500

illustrated

R 5 000 - R 8 000

133

IMPORTANT NOTICE TO PROSPECTIVE BUYERS Stephan Welz & Co., a division of Scoin Trading (Pty) Limited (“The Company”)

Glossary of Cataloguing Terms The following are examples of the terminology used in this catalogue. Please note that any statement made in this catalogue as to authorship, attribution, period, date, age, culture, source, provenance, condition or origin for any property are qualified statements, not to be taken as a statement of fact, and are made subject to the provisions of the Conditions of Business and Terms of Sale by Auction printed in this catalogue. We reserve the right in forming our opinion, to consult and rely upon any expert or authority considered by us to be reliable. Ceramics Fine Meissen Cup and Saucer; circa 1735 This title states three things: the cup and saucer are in excellent condition, both pieces were made at the Meissen factory, and they were made around the year 1735. The adjective ‘fine’ is the only adjective used in a title to describe condition of important lots. Meissen Cup and a Saucer, circa 1735 This states that the cup and saucer were made at the Meissen factory around 1735, but it also indicates that the cup and saucer may not have been ‘born’ together. Meissen Cup and Saucer, 1730-50 This states that the cup and saucer were made at the Meissen factory some time between 1730 and 1750. Meissen Cup and Saucer, dated 1735 This states that the cup and saucer were made at the Meissen factory and that the date 1735 appears within the decoration, although it may not be the actual year of manufacture. Only in the case of factories such as Sêvres, Frankenthal and Vienna, which incorporated date letters or numbers into their marks, does the term ‘dated’ mean the actual year of manufacture. Meissen Cup and Saucer, 19th Century This states that the cup and saucer are of Meissen type, and although of the date specified, not necessarily made at the Meissen factory. Meissen Cup and Saucer This title without a date simply states that the pieces were made at the Meissen factory, but does not specify when, implying that their age is questionable. Works of Art 1 Thomas Baines In our opinion, a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named. 2 A ttributed to Thomas Baines In our opinion, probably a work by the artist, but less certainty as to authorship is expressed than in the preceding category. 3 Studio of Thomas Baines In our opinion, a work by an unknown hand in the studio of the artist which may or may not have been executed under the artist’s direction.

134

4 Circle of Thomas Baines In our opinion, a work by an as yet unidentified but distinct hand, closely associated with the named artist, but not necessarily his pupil. 5 Style of ...: Follower of Thomas Baines In our opinion, this is a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil. 6 Manner of Thomas Baines In our opinion, a work in the style of the artist and of a later date. 7 After Thomas Baines In our opinion, a copy of a known work of the artist. 8 The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist. 9 The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand. 10 Dimensions are given height before width. 11 Pictures are executed in oil on canvas and framed unless otherwise stated. Sculpture Casts in bronze, terracotta and other material are catalogued with the full name and dates of the artist who created the original model. In most cases, however, this does not mean that the cast is by the hand of the artist of that precise date, but rather cast after the model by that artist. Upholstered Furniture Whilst every care is taken in cataloguing these items, no guarantee can be given to the originality of the timber covered by upholstery or fabric. Condition of Lots Offered for Sale We are pleased to give a condition report on request. Nevertheless, prospective buyers are reminded that all lots are sold as shown and their attention is drawn to Clause B.5 of the Conditions of Business. The absence of reference to condition of the lot in the catalogue description does not imply that the lot is free from faults or imperfections. OVERSEAS BIDDERS Overseas bidders are advised that courier companies such as RAM, Fedex and DHL do not insure jewellery being sent between South Africa and overseas countries. Insurance will therefore become the responsibility of the buyer.

Stephan Welz & Co., a division of Scoin Trading (Pty) Limited (“The Company”) Registration number 2006/028395/07

Bidder Number

(for office use only)

Sale: Fine Art & Design – Cape Town Sale Name: DOGWOOD Sale No.: SA1703 Sale Date: 6 & 7 June 2017

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telephone BIDder

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Please fax or email my invoice to: Bids should be submitted in SA Rands by close of business on Monday, 5 June 2017 First time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and the back of a valid credit card. A sum of R5 000 may be reserved prior to the auction.

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EXCELLENCE LASTS

136

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SW2414

GUIDE FOR ABSENTEE / TELEPHONE BIDDERS Stephan Welz & Co., a division of Scoin Trading (Pty) Limited (“The Company”)

If you are unable to attend an auction in person, you may give the Company’s Bid Department instructions to bid on your behalf by completing the Absentee/Telephone Bid form. This service is confidential and available at no additional cost. Before the auction Buyers are solely responsible to satisfy themselves prior to the auction as to the condition of each lot and should exercise and rely on their own judgement as to whether the lot accords with the description or not. The Buyer, before buying, must read the Rules of Auction. Please request condition reports from the respective department prior to finalising your absentee/telephone bids. The Company takes no responsibility for any incorrect, inaccurate or defective description of the goods listed for auction in the catalogue or in any condition report as per the terms and conditions of business. Please place your bids as early as possible, as in the event of identical absentee bids the earliest received will take precedence. Bids must be submitted at least 24 hours before the auction. Cites Permits, Import, Export, Copyright Restrictions & Licences TheThCompany suggests that buyers check with their own government regarding wildlife import requirements prior to placing a bid. It is the Buyer’s sole responsibility to identify and obtain any necessary export, import, endangered species or other permit for the lot. Completing The Form The Absentee/Telephone bid form should be used for one sale only. Please tick the appropriate box – Absentee Bidder or Telephone Bidder. Please record accurately the lot numbers, descriptions and the maximum hammer price you are willing to pay for each lot. Instructions to “buy” or unlimited bids will not be accepted. Bids must be numbered in the same order as the lots appear in the catalogue. Alternate bids for items can be made by placing the word “OR” between lot numbers. This means if your bid on an early lot is successful, we will not continue to bid on subsequent lots for you. Or, if your early bids are unsuccessful, we will continue to execute bids for the remaining lots listed on your absentee bid form. If you are arranging a telephone bid, please clearly specify the telephone numbers on which you can be reached at the time of the sale, including the country code. We will call you from the sale room shortly before the relevant lot is offered. We will try and purchase the lot(s) of your choice for the lowest price possible (dependent on the reserve price and other bids) and never for more than the maximum bid amount you indicate. Where appropriate, your bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. Telephone Bids – we suggest you leave a maximum bid which we will execute on your behalf in the event that we are unable to reach you by telephone. Because this method cannot be entirely free from risk of communication breakdown, the Company cannot be held responsible for losses arising from missed bids. The Company reserves the right to record telephone bidding and all bidders consent to such recording. 138

Client Information Anyone that intends to bid at the auction as an absentee or telephone bidder must register on the absentee/bidder bid form prior to the commencement of the auction and such registration must meet the requirements of FICA (Financial Intelligence Centre Act, 2001) in respect of the establishment and verification of identity of the person and the person must sign the registration entry and in particular must include the following information: Your full names; identity/passport number; physical address; postal address; contact numbers; fax number; email address; copy of your identity document, as per requirement of the Consumer Protection Act 68 of 2008. First-time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and back of a valid credit card. A sum of R5,000 may be reserved prior to the auction. Any person who intends to bid on behalf of another person (i.e. on behalf of a company) must produce a letter of authority that expressly authorises him or her to bid on behalf of that person and that person and the person bidding on his or her behalf must meet the requirements set out above. Where a person is bidding on behalf of a company the letter of authority must appear on the letterhead of the company and must be accompanied by a certified copy of the resolution authorising him or her to bid on behalf of the company. Conditions of Absentee and Telephone Bidding Such bids are executed at the bidder’s risk and undertaken subject to the Company’s other commitments at the time of the auction. The Company therefore cannot accept liability for any error or failure to place such bids. All bids are subject to the Conditions of Business applicable to the sale printed in the sale catalogue. Buyer’s premium, at the stated current rates will be added to the hammer price, plus VAT and any other applicable expenses. All bidders are deemed to have read the Rules of Auction prior to any bidding. After the auction and payment In the event that you are successful, payment is due immediately after the sale unless otherwise agreed in advance. Successful absentee/ telephone bidders will receive an invoice detailing their purchases together with the Company’s banking details for payment. Payment is due immediately after the auction and may be made by the following methods: Electronic Funds Transfer – only bank transfers or electronic funds transfer will be accepted. No cheque or cash payments will be accepted. Wire Transfer Credit Cards – we accept all major credit cards.

ON THE OTHER SIDE OF THE WORLD

COME AUCTION DAY?

NOT TO WORRY… WE HAVE THE SOLUTION Register for our Absentee Bidder service and never miss another auction again. Our telephone and absentee bidder service ensures you always get what you want. Find the Absentee Bidder Form on our website or in this catalogue. You can also bid live online with the-saleroom.com . or invaluable.co.uk.

Online bidding managed by www.invaluable.co.uk

How do I register to bid for an upcoming auction?

system will place your bids automatically, one increment

To register to bid for an upcoming auction, please follow

higher than the last in-room bid, until we have reached your maximum bid.

the steps below: 1.

How to leave an absentee bid:

Go to the Upcoming Auctions page to see a list of all future sales.



maximum amount you are willing to pay for that lot and

Click the Bid Now button next to the auction

submit with the Leave Bid button.

you’re interested in. This will take you to the

catalog page where you can view all items in



already logged in, you will be taken directly to the next

Click the Register to Bid link that is displayed

step.

at the top of the page or next to each lot.

You are now on the Sign-In/Register page. If



If you have already been approved to bid in this auction,

you already have an Invaluable account,

you will just need to review and confirm your bid. If you

enter your email address and password to

have not yet been approved you’ll be taken to a page where you are asked to enter registration info, agree to the

continue to the registration page. 5.

If you are not logged in, you will be taken to a page where you may either log in or create a new account. If you are

the catalog.

When you find a lot you’d like to bid on, enter the

Online bidding managed by ATG Media SA through www.the-saleroom.com Europe’s leading portal for live art and antiques auctions. auction house and be sure to check off the confirmation box at the bottom of the

139

terms and conditions, and review your bid.

Provide the information requested by the



When you submit the bid you are also registering for the auction.

registration page to agree to the house’s How do I bid in real-time during a Live auction? terms and conditions. Then click Register to

SWSW2266

Once a live auction begins, Invaluable bidders gain access Bid. The auction house will review your

to an exclusive online bidding console that simulates all of request to bid and notify you if you have been

the aspects of being at the auction house in person. If you approved.

CELEBRATING AFRICA

GOING GLOBAL LEADING CONVERSATIONS

FROM THE CONTINENT ARTAFRICA

ART M A R C H 2 017 I S S U E 0 7

A LUTA CONTINUA

ZAR 130 VAT INCLUSIVE

ISSN 16846133

09 ISSN 16846133

06 ISSN 16846133

ZAR 130 VAT INCLUSIVE

ISSN 16846133

ISSUE 07

ZAR UK EUR USA

R185 (incl VAT) £12 €14 $16

A LUTA CONTINUA

A LUTA CONTINUA GUEST EDITED BY KENDELL GEERS

2017/02/16 1:32 PM

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Find us in the bookstore or to subscribe to ART AFRICA magazine please visit: www.artafricamagazine.org

LEARN THE BUSINESS OF ART MASTER’S DEGREES • SEMESTER IN LONDON • SUMMER STUDY SHORT COURSES • EXECUTIVE EDUCATION • ONLINE COURSES

SOTHEBYSINSTITUTE.COM 141 SOTHEBY’S INSTITUTE OF ART IS A DIVISION OF CAMBRIDGE INFORMATION GROUP

Learn to Draw, Connect with your Family and Learn more about African art and Artists at Wits Art Museumâ&#x20AC;&#x2122;s Monthly Public Education Programme

2nd Saturday of the month Drop in Drawing (An adult drawing class with an experienced art educator) 3rd Saturday of the month Family Talkabout (Activities for families with children between the ages of 4 and 12) 4th Saturday of the month Adult Talkabout in our latest exhibition with a curator, artist, or academic. Entrance to the museum is free and there is no charge for any of these programmes. For more info check www.wits.ac.za/wam To book email info.wam@wits.ac.za Call 011 717 1365 for more information WAM is open Wednesdays to Sundays 10h00-16h00. Located in Braamfontein on the corner of Jan Smuts Avenue and Jorissen Street. On street parking available. 142

Tucked into the exquisite Knorhoek Valley north of Stellenbosch, Muratie Wine Estate, under the stewardship of Rijk Melck and his family, has been at the heart of a lot of passionate debate. This debate is centred largely around the desire to protect a centuryâ&#x20AC;&#x2122;s old wine experience that is a magnet for wine lovers around the world. The farm itself dates back to 1685 when it was granted by Governor Simon van der Stel who was Governor of the Cape of Good Hope at the time. This makes Muratie one of the oldest estates in South Africa and along with that age come many characters and truly fascinating stories. Muratieâ&#x20AC;&#x2122;s rich history is captured in every nook and cranny. Wherever you are on the estate you cannot help being moved by a sense of the many generations that have lived and worked here. The buildings, the artifacts and even the shrubs and trees exude an aura of the colourful past reaching towards an even more fruitful future. Then once you have experienced this absorbing atmosphere, you will literally taste it in the Tasting Room where our wines can be savored every day of the week. And Wednesday to Sunday you can relish authentic farm platters and other traditional cooking in our Farm Kitchen. We also offer accommodation, mountain bike and running trails as well as an art gallery. So do take time out to explore our world. We Look forward to hosting you.

TASTING HOURS Monday to Sunday: 10h00 to 17h00 FARM KITCHEN HOURS (Lunch) Wednesday to Sunday: 12h00 to 15h00 MURATIE WINE ESTATE Knorhoek Road/R44, Koelenhof, Stellenbosch Tel: 021 865 2330 Fax: 021 865 2790 Email: info@muratie.co.za Website: www.muratie.co.za

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A. HOW TO GET STARTED ON THE-SALEROOM.COM 1.

Create an account on www.the-saleroom.com

You can do this by clicking on the ‘Create Account’ link on the site.

lease enter all your details, including your email address and a 3. P password. Please remember to fill in all your address correctly. 4.

he next screen will advise you that an email has been sent T to your chosen email address – once you check this email you can complete the registration process and can log into the Saleroom site using your details.

5. Once you are back on the site, click on the ‘Auctions’ link on the top left of the page. ou will see a list of all ‘Live’, ‘Timed’ and ‘Catalogue’ Auctions 6. Y available on the site. ption 1: You will see a ‘Country’ link on the left of your page 7. O – if you click on ‘South Africa’ you can see a list of upcoming South African auctions. The Stephan Welz & Co. auction listed will be listed here. Option 2: You will see a smaller list of auctions on the left hand side of the page – these are listed in alphabetical order. Select Stephan Welz & Co. near the bottom of this list.

13. First time buyers must provide Stephan Welz and Co. with a copy of their identity document or passport and a photocopy of the front and back of a valid credit card. Email the above to ct@stephanwelzandco.co.za. A sum of R5 000 will be reserved prior to the auction.

C. BIDDING ‘LIVE’ DURING THE AUCTION 1. Once you have entered the live auction bidding page (by following the afore-mentioned instructions) you will be able to view a list of the lots on the right hand side of the small bidders screen. 2. On the left panel of the bidding screen you can see the Lot number, Lot picture, Estimate and Description. 3. Once the auction starts you will see the words ‘New Lot’ appear on this screen. 4. Once an ‘Asking’ price has been entered you will see a blue ‘Bid’ button appear on your screen. 5. This button will be blue in colour and will have the word ‘Bid’ in white lettering with the next Auctioneer’s Increment/Asking amount visible.

B. SIGNING UP TO BID AT THE AUCTION

6. If you want to bid the amount being asked on your blue bid

1. C lick into the catalogue of the auction you wish to sign up to bid for.

7. Once you click on this button you will hear the auctioneer

2. Click on the green ‘Sign Up To Bid’ button in this catalogue.

button, you need to click on this button.

acknowledging your bid, your ‘Bid’ button will disappear and you will see red lettering advising ‘You are in the lead’.

3. Y ou will be prompted to ‘Add Card’ – you need to select and add a card which is accepted by the auction house.

8. However, if someone at the venue or someone else on the

4. O nce you ‘Complete’ the registration process, you will be returned to the original page.

if you wish to bid at the next increment amount. If you wish to

5. I f you are approved to bid by the auctioneer you should now have a green ‘Bid Live’ button. 6. Click on the green ‘Bid Live’ button.

internet bids against you, your ‘Bid’ button will reappear asking bid at the next amount you will need to click on this button again. 9. If you bid the same amount at the same time as a person at the venue, the ‘Room’ will get priority over any internet bid.

7. A smaller page will open which gives you the option to ‘Bid Live’ or ‘View Live’.

10. When this happens you will see your bid button reappear

8. P lease click on ‘Bid Live’ – you will be prompted to enter a password, which will be the password you have set for your new account.

You will again be given the opportunity to bid at the ‘Asking’

9. You will now enter the live auction bidding page. 10. Please note if you click ‘Watch Live’ or ‘View Live’ you will only be able to view as a guest and will not be able to bid. 11. I f your screen shows a grey ‘Bid Live’ button it means you are pending approval to bid from the auctioneer.

and will see a message saying ‘Sorry the bid is in the room’. amount if you wish. 11. If you are the winning bidder on the Lot, you will see a red message advising ‘You have won this lot’ once the Auctioneer’s hammer goes down and the lot is closed. 12. Please try to bid early and often to ensure the Auctioneer is aware of your interest in the lot. 13. If you have any technical issues or problems logging in to

12. You simply need to contact the auction house via telephone to request approval to bid at their auction.

bid, please contact our support team on 0044 207 420 6671 or support@atgmedia.com. We can assist you with any issue that you might be experiencing.

144

YOU WORK HARD FOR YOUR MONEY

PROTECT IT WITH ALTERNATIVE ASSETS Coins • Medallions • Art • Collectables

We can now protect your coins in our

SafeGold facilities in South Africa, United Kingdom and Norway.

www.stephanwelzandco.co.za

www.scoinshop.com

145 SAG1003

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GPS Coordinates: Latitude: S 34º 0’ 32.24” | Longitude: E 18º 26’ 52.7”

GENERAL INFORMATION CAPE TOWN Stephan Welz & Co. a division of Scoin Trading (Pty) Limited (“The Company”) Registration Number 2006/028395/07 Street Address The Great Cellar • Alphen Estate Alphen Drive • Constantia 7806 Postal Address PO Box 818 • Constantia 7848 Telephone 021 794 6461 Fax 021 794 6621 Email ct@stephanwelzandco.co.za Website www.stephanwelzandco.co.za

Absentee & Telephone Bid Requests Bids should be submitted in SA Rands by close of business on Monday, 5 June 2017 ct@stephanwelzandco.co.za

Executive Chairman

Mr Alan Demby Director (British) B. Com (Hons)

Catalogue Credits Photography Design Printing

Carol Kaufmann, Kayleen Wrigley, Rayda Becker, Laurie Nathan, Wendy Lopatin, Warren Siebrits, Chris de Klerk and Sophie-Louise Fröhlich Lukas Nel Gina Lodewijks Paarl Media

Please note that all lots are sold subject to our Terms and Conditions of Business and Rules of Auction on pages 154 - 158 Local: R250 • Overseas: R350

Payments accounts@stephanwelzandco.co.za Laurie Sher 011 880 3125 Linda Patterson 021 794 6461 Shipments Please email/fax shipping instructions by midday on Thursday, 8 June 2017 to: email: ct@stephanwelzandco.co.za fax: +27 (0) 21 794 6621 The company will arrange competitive quotations for your perusal and approval. Buyers preferring to make use of their own shipping arrangements should advise us accordingly. SHIPPING AND ADMINISTRATION COSTS: The packing and transport costs will be calculated as follows (one bulk shipment between offices): Invoice value over R100 000 – free Invoice value below R100 000 – minimum of R500 + VAT Insurance is included.

GENERAL INFORMATION Johannesburg

Stephan Welz & Co. a division of Scoin Trading (Pty) Limited (“The Company”)

Registration Number 2006/028395/07 Street Address 4th Floor • South Tower • Nelson Mandela Square Cnr. Rivonia Road & 5th Street • Sandton Postal Address PO Box 52431 • Saxonwold 2132 Telephone 011 880 3125 Fax 011 880 2656 Email jhb@stephanwelzandco.co.za Website www.stephanwelzandco.co.za forthcoming auction

26 & 27 July 2017 Call the relevant specialist for an obligation-free auction appraisal.

147

TM 148 TM

‘67 VINTAGE HAS NEVER BEEN THIS SOUGHT AFTER

1oz 1967 VINTAGE PROOF KRUGERRAND In celebration of the 50th anniversary of the most traded bullion coin in the world, the Krugerrand, The South African Mint has launched the 1oz 1967 Vintage Proof Krugerrand. With a limited edition of just 1967 globally, this should be the most sought-after coin to commemorate this milestone in South Africa’s history. To own this piece of history, SMS your name and city to 44080 today. Standard rates apply.

www.scoinshop.com

AUTHORISED DISTRIBUTOR OF THE SOUTH AFRICAN MINT

149

SW2413A

HEAD AND SHOULDERS ABOVE THE REST...

Works of art in their own right, our new hardcover catalogues give insight into all of our upcoming auctions, ensuring you get exactly what you want. Apart from its glossy new exterior, each catalogue features a description of each lot, images, estimates, essays and all the information you could need to help you get the best out of every auction.

SUBSCRIBE TO OUR CATALOGUE TODAY Fill in our order form on the reverse of this page.

F I N E A RT & D E S I G N AU C T I O N E E R S

FINE ART & COLLECTABLES 20 & 21 OCTOBER 2015 | CAPE TOWN

FINE ART & COLLECTABLES 10 - 11 November 2015 | JOHANNESBURG

www.stephanwelzandco.co.za

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DISCOVER A NEW WORLD DISCOVER ATODAY NEW WORLD SUBSCRIBE SUBSCRIBE TODAY Yes, I would like to subscribe to: (Please tick inside appropriate box) Yes, I would like to subscribe to: (Please tick inside appropriate box)

1. All Fine Art & Design auctions 1. in AllJohannesburg. Fine Art & Design auctions in Johannesburg. 2. All Fine Art & Design auctions

CATALOGUE SUBSCRIPTION ORDER FORM CATALOGUE SUBSCRIPTION ORDER FORM VAT Registration 4670236019

Catalogues per year Catalogues per year 3 3

VAT Registration 4670236019

South Africa South Africa R750 R750

Rest of World Rest of World R1 050 R1 050

2.in AllCape Fine Town. Art & Design auctions in Cape Town. 3. All Fine Art & Design auctions

3 3

R750 R750

R1 050 R1 050

and Cape Town for 1 year. 3.in AllJohannesburg Fine Art & Design auctions and Cape Town for 1 year. 4. in AllJohannesburg Fine Art & Design auctions

6 6

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and auctions Cape Town for 2 years. 4. in AllJohannesburg Fine Art & Design in Johannesburg and Cape Town for 2 years. 5. Free cellphone notifications via sms

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5. Free Free email cellphone notifications via sms 6. notifications (lectures, auctions etc.) 6. Free email notifications (lectures, auctions etc.) Send catalogues to:

Send catalogues to: Title: ……….............. Initials: …………………………… First Names: ………………………….........................................................................………………………… Title: ……….............. Initials: …………………………… First Names: ………………………….........................................................................………………………… Surname: …………………………......................................................................................................................................................................………………………… Surname: …………………………......................................................................................................................................................................………………………… Delivery Address: ............................................................................................................................................................. Code: .................................... Delivery Address: ............................................................................................................................................................. Code: .................................... Postal Address: ...................................................................................................................………………………………………… Code: …........................……… Postal Address: ...................................................................................................................………………………………………… Code: …........................……… Tel (Work): ………………..................................…………………………………… Home: …………………….....................................................……………………………… Tel (Work): ………………..................................…………………………………… Home: …………………….....................................................……………………………… Cell: …………………………............................................................……...……… Emails: ………..........................................................…………………………………….. Cell: …………………………............................................................……...……… Emails: ………..........................................................…………………………………….. Company/Trade Name: ……………......................................................................................................... Fax No.: ............……………………………………… Company/Trade Name: ……………......................................................................................................... Fax No.: ............……………………………………… VAT No: …………….........................................................................................................................................................................……………………………………… VAT No: …………….........................................................................................................................................................................……………………………………… PLEASE WRITE IN BLOCK LETTERS PLEASE WRITE IN BLOCK LETTERS Please debit my credit card with the full amount due. Please tick: VISA

MASTERCARD

DINERS

AMEX

Please debit my credit card with the full amount due. Please tick: VISA MASTERCARD DINERS AMEX Name on Card:………………………............................................................................................................................................................…………………………… Name on Card:………………………............................................................................................................................................................…………………………… ID no. of cardholder: .......................................................................................................... ID no. of cardholder: .......................................................................................................... Nationality and Passport no. of cardholder (Foreign buyers only): ………………………….................................................………………………… Nationality and Passport no. of cardholder (Foreign buyers only): ………………………….................................................………………………… EFT – Electronic Transfer Card No.: Card No.: Expiry Date: Expiry Date: 3 or 4 digit code on reverse: 3 or 4 digit code on reverse:

It is also possible Transfer to do an electronic transfer EFT – Electronic to account. Please your proof of payment It isour also possible to doemail an electronic transfer to subs@stephanwelzandco.co.za to us ourat: account. Please email your proof of payment to us at: subs@stephanwelzandco.co.za Stephan Welz & Co. Banking Details: STEPHAN WELZ & COMPANY Stephan Welz & Co. Banking Details: STANDARD BANK&OF SA LIMITED STEPHAN WELZ COMPANY

Signature: ….........…………........….……..............………… Date: …………………………................. Signature: ….........…………........….……..............………… Date: …………………………................. Please forward your completed catalogue subscription form to: subs@stephanwelzandco.co.za Fax: +27subscription (0)11 880 2656 Please forward your completed or catalogue form to: subs@stephanwelzandco.co.za or Fax: +27 (0)11 880 2656

SW CATALOGUE ORDER FORM / AD.indd 1

BRANCH: ROSEBANK, JOHANNESBURG STANDARD BANK OF SA LIMITED BRANCH 004305 BRANCH:CODE: ROSEBANK, JOHANNESBURG ACCOUNT NUMBER: 402-328-213 BRANCH CODE: 004305 SWIFT CODE: SBZAZAJJ ACCOUNT NUMBER: 402-328-213 Reference yourSBZAZAJJ name and surname SWIFT CODE: Reference your name and surname

151 2016/09/08 4:05 PM

IMPORTANT ANNOUNCEMENTS

1. All business undertaken at the sale of the auction is subject to the terms and conditions of business which are published in the catalogue, and the Rule of Auction as required by the CPA Act, which are published at the entrance of the auction room. 2. The purpose of the auction, as required by the CPA Act, is a general purpose auction of the clients’ goods. The buyer by bidding for any goods at the auction, 3. irrespective of whether or not the buyer has signed the buyer’s card, is deemed to have understood, agreed and consented to the terms and conditions of the business. 4. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. 5.

he auctioneer may further bid on behalf of the seller, up T to the amount of the reserve, by placing responsive bids for a lot.

6. 7.

Buyer’s Premium: 14% plus VAT for items selling over R 10 000 17% plus VAT for items selling for R 10 000 or less 10% plus VAT for Collectable Cars 14% plus VAT or 17% plus VAT for auto memorabilia Overseas bidders Overseas bidders are advised that courier companies such as RAM, Fedex and DHL do not insure jewellery being sent between South Africa and overseas countries. Insurance will therefore become the responsibility of the buyer 8. Shipping and Administration Costs The packing and transport costs will be calculated as follows (one bulk shipment between offices): Invoice value over R100 000 – free Invoice value below R100 000 – minimum of R500 + VAT Insurance is included.

PAYMENTS

Value Added Tax (“VAT”) he Company acts as agent on behalf of the Seller and should T the Seller be registered as a South African VAT vendor and has informed the Company that his lots must be charged with VAT, then such lots will be indicated in the catalogue with the symbol “†” and VAT at the prescribed rate will be charged on the hammer price and will be payable by the Buyer. Payment is due immediately after the sale in order to meet our commitments timeously with the seller and may be made by the following methods:

2. Wire transfer 3.

We accept all major credit cards

First time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and back of a valid credit card. A sum of R5,000 may be reserved prior to the auction.

5. Post auction shipping between CT and JHB offices will be for the buyer’s account.

1. The Company no longer accepts cash and cheque payments from 1 August 2016.

THE COMPANY MAKES NO REPRESENTATIONS

Stephan Welz & Co., a division of Scoin Trading (Pty) Limited, makes no representations or warrantees as to whether any lot is subject to import, export, copyright and licence restrictions including permission from SAHRA.

required by law, including licences required under the Convention of the International Trade in Endangered Species (CITES). The permit application costs R800.

Endangered Species - any item made of or incorporating animal material such as bone, etc irrespective of value, will require a specific permit from the Department of Nature Conservation prior to exportation. It is the buyer’s sole responsibility to obtain any copyright clearances or any necessary import, export or other licence

152

The refusal of an export permit shall not permit the recission of a sale. Customs have placed a ban on the importation of ivory worldwide. Lots which include ivory are therefore not suitable for export.

PAYMENT & DESPATCH OF PURCHASES Stephan Welz & Co., a division of Scoin Trading (Pty) Limited (“The Company”)

Methods of Payment Payment is due immediately after the sale and may be made by the following methods: Wire Transfer and accepted Credit Cards. 1. Electronic Funds Transfer Only bank transfers or electronic funds transfer will be accepted. No cheque or cash payment will be accepted. First-time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and back of a valid credit card. A sum of R5,000 may be reserved prior to the auction. 2. Bank transfers in South African Rands These should be transferred to: Stephan Welz & Co STANDARD BANK OF SOUTH AFRICA LIMITED Branch: Rosebank, Johannesburg Branch code: 00 4305 Current account: 402 328 213 Swift code: SBZAZAJJ Please include your name and invoice number as a reference with your instructions to your bank. Purchases will not be released until payment has been cleared by the bank. 3. Credit Cards We accept all major credit cards. Despatch of Purchases All purchases must be removed by 12 noon on the day following the sale, after which all purchased lots will be placed in storage and will be subject to removal, handling and storage charges. Purchases will be despatched as soon as possible upon receipt of the buyer’s written despatch instructions, full payment for the lots bought, and any export licences that may be required. Despatch costs will be at the buyer’s expense. Estimates and advice on all methods of despatch can be provided upon request and enquiries should be marked for the attention of our Shipping Department. Insurance cover must be arranged by the buyer and will be at the buyer’s expense. Lots will be released to the buyer or his/her authorised representative, herein duly authorised under deed of power of authority, only if full payment has been received by us together with settlement of any removal, handling and storage charges due. 1. Methods of despatch for overseas and neighbouring countries Buyers After an auction, only limited assistance with packing and/or loading of purchases is available from the staff of Stephan Welz & Co. Where such assistance is rendered, no liability will devolve on Stephan Welz & Co. or its staff for any damage that may arise, from whatever cause, during such packing and/or loading.

Customs have placed a ban on the importation of ivory worldwide. Lots which include ivory are therefore not suitable for export. Overseas bidders Overseas bidders are advised that courier companies such as RAM, Fedex and DHL do not insure jewellery being sent between South Africa and overseas countries. Insurance will therefore become the responsibility of the buyer. Airmail Despatch via this method will depend upon the size and weight stipulated by the postal authorities. Quotations for packing and postage are available upon request. Surface mail Despatch is as for airmail but at a cheaper rate. Purchases take considerably longer to arrive at their destinations. Quotations for packing and postage are available upon request. Airfreight This is suitable for all items, worldwide. Unless otherwise specified, despatch is arranged by our nominated agent. Quotations for packing and despatch are available upon request. Seafreight This is often more economical for larger consignments, such as furniture. Unless otherwise specified, despatch is arranged by our nominated agent at your risk. Quotations for packing and despatch are available upon request. 2. Methods of despatch for local buyers After an auction, only limited assistance with packing and/or loading of purchases is available from the staff of Stephan Welz & Co. Where such assistance is rendered, no liability will devolve on Stephan Welz & Co. or its staff for any damage that may arise, from whatever cause, during such packing and/or loading. Air and surface mail Despatch via this method will depend upon the size and weight stipulated by the postal authorities. Quotations for packing and postage are available upon request. Road This is suitable for all items too large or fragile for despatch by mail. Unless otherwise specified, despatch is arranged by our nominated agent at your risk. Quotations for packing and despatch are available upon request.

Applications for export permits The Buyer shall be responsible for obtaining any export licence that may be required. Endangered species Any item made of or incorporating animal material such as ivory, irrespective of value, will require a specific permit from the Department of Nature Conservation prior to exportation. The Buyer shall be responsible for obtaining the CITES certificates. 153

TERMS & CONDITIONS OF BUSINESS AND RULES OF AUCTION Stephan Welz & Co., a division of Scoin Trading (Pty) Limited (“The Company”)

The Company carries on its business as auctioneers in accordance with these Terms and Conditions of Business and Rules of Auction. A. DEFINITIONS In these conditions of business, headnotes are for convenience only and shall not be used in their interpretation, any expression which denotes any gender shall include the other genders, any expression which denotes the singular shall include the plural (and vice versa), any expression which denotes a natural person shall include a juristic person (and vice versa) and the following terms shall have the following meanings: 1. “auction” means any private treaty or auction sale at which a lot is offered for sale by the Company; 2. “auctioneer” means the representative of the Company conducting an auction; 3. “bidder” means any person making, attempting or considering to make a bid or offer to buy a lot at an auction, or private treaty sale; 4. “Buyer” means the bidder who makes the bid or offer for any lot that is finally accepted by the auctioneer (after determination by the auctioneer of any dispute that may exist in respect thereof) at a sale of that lot, and (where the Buyer is an agent acting for a principal), the Buyer and the Buyer’s principal jointly and severally; 5. “Buyer’s premium” means the premium payable by the Buyer of a lot to the Company on the sale of that lot, calculated on the hammer price of that lot at the relevant current rates; 6. “catalogue” means any advertisement, brochure, estimate, pricelist, condition report and other publication (in whatever medium, electronically or otherwise) published by the Company in respect of any auction; 7. “current rates” means the Company’s current rates of commission, premiums and other amounts payable to the Company for the time being, together with VAT thereon (if any), all as published by the Company (whether in a catalogue or otherwise) or as agreed between a prospective Buyer or Seller (as the case may be) and the Company; 8. a “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source, which is not shown to be such in the description in the catalogue and which at the date of the sale had a value materially less than it would have had if it had been in accordance with that description and includes any misrepresentation made with intention of deceiving as to authorship, origin, date, age, period, culture or source; 9. “hammer price” means the bid or offer made by the Buyer for any lot that is finally accepted by the auctioneer (after determination by the auctioneer of any dispute that may exist in respect thereof) at a sale of that lot, together with VAT thereon (if any); 10. “lot” means any item or items to be offered for sale by the Company at an auction or private treaty sale; 11. “prime rate” means the publicly quoted base rate of Interest (percent, per annum compounded monthly in arrears and calculated on a 365 day year, irrespective of whether or not the year is a leap year) from time to time published by RMB Private Bank, or its successor-in-title, as being its prime overdraft rate, as certified by any manager of such bank, whose appointment, authority and designation need not be proved; 12. “private treaty” means the sale of any lot other than by auction sale at a price privately agreed on by the Buyer and Seller; 13. “purchase price” means the hammer price of any lot at a sale thereof, plus the applicable Buyer’s premium for that lot, plus all recoverable expenses for which the Buyer is liable in respect of that lot; 14. “recoverable expenses” includes all fees, taxes (including VAT), charges and expenses incurred by the Company in relation to any lot that the Company is entitled to recover from a Buyer or Seller; 154

15. “reserve” means the confidential minimum hammer price (if any) at which a lot may be sold at an auction as agreed between the Seller of that lot and the Company in writing; 16. “sale proceeds” means the amount due by the Company to the Seller of a lot in respect of the sale of that lot, made up of the hammer price of the lot, less the applicable Seller’s commission for that lot, less all recoverable expenses for which the Seller is liable in respect of that lot and any other amounts due to the Company by the Seller in whatever capacity and howsoever arising. 17. “sale” means the sale of any lot at an auction, whether done by private treaty or auction sale, and “sell” and “sold” shall have corresponding meanings; 18. “Seller” means the person named as the Seller of any lot, being the person that offers the lot for sale; 19. “Seller’s commission” means the commission payable by the Seller to the Company on the sale of a lot that is calculated on the hammer price of that lot at the relevant current rate; 20. “VAT” means value added tax levied in terms of the Value Added Tax Act, 1991. B. GENERAL TERMS AND RULES OF AUCTION Every auction and/or sale shall be governed by these terms, section 45 of the Consumer Protection Act 68 of 2008 (“the Act”) and the rules of auction and in accordance with the laws of South Africa. The provisions of section 45 reads as follows: 1. Auctions 1.1 In this section, “auction” includes a sale in execution of or pursuant to a court order, to the extent that the order contemplates that the sale is to be conducted by an auction. 1.2 When goods are put up for sale by auction in lots, each lot is, unless there is evidence to the contrary, regarded to be the subject of a separate transaction. 1.3 A sale by auction is complete when the auctioneer announces its completion by the fall of the hammer, or in any other customary manner, and until that announcement is made, a bid may be retracted. 1.4 Notice must be given in advance that a sale by auction is subject to – (a) A reserved or upset price; or (b) A right to bid by or on behalf of the owner, in which case the owner or auctioneer, or any one person on behalf of the owner or auctioneer, as the case may be, may bid at the auction. 1.5 Unless notice is given in advance that a sale by auction is subject to a right to bid by or on behalf of the owner or auctioneer: (a) The owner or auctioneer must not bid or employ any person to bid at the sale; (b) The auctioneer must not knowingly accept any bid from a person contemplated in paragraph B.1.5 (a); and (c) The consumer may approach a court to declare the transaction fraudulent, if this subsection has been violated. 1.6 The Minister may prescribe requirements to be complied with by an auctioneer, or different categories of auctioneer, in respect of: (a) The conduct of an auction; (b) The records to be maintained with respect to property placed for auction; and (c) The sale of any such property by auction. 2. The rules of the auction are those promulgated in terms of the Regulations promulgated by the Minister of Trade and Industry dated 23 November 2010 under Government Gazette No. 33818 on 1 April 2011 and any subsequent amendment and/or variation to the rules and these terms. 3. In the event of there being a discrepancy between the rules and

TERMS & CONDITIONS OF BUSINESS AND RULES OF AUCTION The Company carries on its business as auctioneers in accordance with these Terms and Conditions of Business and Rules of Auction.

4. 5.

the terms herein, the rules shall be operative and overriding. Every bid constitutes an offer, open for acceptance by the Auctioneer and such acceptance shall be signified by the fall of the hammer, or by the acceptance of the offer by the Company in the event of a private sale. Buyers are solely responsible to satisfy themselves prior to auction/ private treaty sale as to the condition of each lot and should exercise and rely on their own judgement as to whether the lot accords with the description or not. 5.1 Neither the Company, its servants, its employees, its agents and/or the Auctioneer shall be responsible whether directly or indirectly for any errors, omissions, acts of negligence, incorrect and/or inadequate descriptions or defects or lack of authenticity and/or inadequate descriptions or defects or lack of authenticity or lack of ownership or genuineness in any goods auctioned and sold. The Company 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, provenance, 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 thereout. 5.2 No warranty, whether express, implied or tacit is given by the Company, its servants, its agents, or its employees, or the Auctioneer or the Seller or the Buyer of any lot shall be binding or legally enforceable. 5.3 Any lot which proves to be a ‘deliberate forgery’ (which will only be the case if an expert appointed by the Company for such purposes confirms same in writing) may be returned by the Buyer (as his sole remedy hereunder or at law) to the Company within 21 days of the date of auction in the same condition in which it was at the time of the auction, accompanied by a statement of defects, the number of the lot, and the date of the auction at which it was purchased. If the Company is satisfied that the item is a ‘deliberate forgery’ and that the Buyer has and is able to transfer a good and marketable title to the lot, free from any third-party claims, the sale will be set aside and any amount paid in respect of the lot will be refunded, subject to the express condition that the Buyer will have no rights or claims against the Company if: 5.3.1 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 5.3.2 the only method of establishing at the date of publication of the catalogue that the lot was a ‘deliberate 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. 5.4 Buyer’s claiming under this condition will be limited to any amount paid in respect of the lot and will not extend to any loss or damage of whatsoever nature suffered, or expense incurred by him/her. 5.5 The benefit of this condition will not be assignable and will rest solely and exclusively in the Buyer who, for the purpose of this condition, will be and only be the person to whom the original invoice is made out by the Company in respect of the lot sold. 6. The Company will have the sole, exclusive and absolute right, at its discretion, to refuse admission to any person to its premises or any other premises at which such auction is to be conducted. 7. The Company has the sole and absolute discretion without having to give any reasons therefore, to refuse any bid, withdraw or reoffer

lots for auction (including after the fall of the hammer), cancel any sale if the Auctioneer and/or the Company 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. Any notice required to be given in connection with this agreement: 8.1 if given by the Company, shall be delivered by hand, or sent by registered post; or by telefax or by email, provided such address is given in which event such address shall constitute the domicilium citandi et executandi of the person to whom notice must be given. Notice shall be deemed to have been received by the person who is required to receive such notice, whether given personally or to a third party or any other manner as envisaged by this clause: 8.1.1 on the date of delivery if delivered by hand or telefax or email; 8.1.2 on the fourth (4th) day from the date of posting, including the date of posting if posted by prepaid registered post from within the Republic of South Africa, which postage shall be deemed to have been sent on receipt of the post office of proof of posting. 8.2 if required by the Company, such written notification must be given to the Company at its telefax number and/or email address as published in the brochure, alternatively the Company’s published address and/or fax number. 9. The Seller submits to the non-exclusive jurisdiction of the South African courts. 10. The Buyer and/or Seller, as the case may be, hereby pledges the goods either sold and/or bought as security to the Company for all amounts which are owing to it. 11. No variation, alteration, consensual termination, representation, condition, term or warranty, relaxation or waiver or release by the Company, or estoppel against the Company, or the suspension by the Company, in respect of these terms and conditions of business, or any part thereof, shall be of any force or effect unless reduced to writing and signed by the Company and the Buyer. 12. The Buyer shall be responsible for the payment of the Company’s legal costs, calculated on the scale as between attorney and client incurred by the Company in enforcing any of its rights of its principal whether such rights are exercised by way of legal proceedings or not. 13. Notwithstanding the nature or amount of the claim by the Company, the Company and the Buyer hereby consent to the jurisdiction of the Magistrate’s Court otherwise having jurisdiction; this consent is without prejudice to the right of the Company to institute proceedings and to obtain judgment or any order in the High Court of competent jurisdiction, the Company nevertheless still being entitled to claim on the High Court scale of costs and expenses, all as set out in this agreement.

C. TERMS RELATING TO BUYERS OF GOODS AT AN AUCTION OR BY PRIVATE TREATY 1. Buyer’s Registration 1.1 Buyer bidders must prior to the commencement of an auction register his/her identity on the Company’s Buyer’s card and such registration must with the necessary changes meet the requirements of Chapter 1 of the regulations in terms of the Financial Intelligence Centre Act, 2011, published in Notice No. R. 1595 in Gazette No. 24176 of 20 December 2002, in respect of establishment and verification of identity, and sign that entry. First time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and back of a valid credit card. A sum of R5,000 may be 155

TERMS & CONDITIONS OF BUSINESS AND RULES OF AUCTION The Company carries on its business as auctioneers in accordance with these Terms and Conditions of Business and Rules of Auction.

reserved prior to the auction. 1.2 A Buyer who intends to bid on behalf of another Buyer must produce a letter of authority expressly authorising him/her to bid on behalf of that Buyer. 1.3 If a Buyer will be bidding on behalf of a company, a letter of authority must appear on the letterhead of the Buyer company and must be accompanied by a certified copy of the resolution authorising him/her to do so. 2. Auction Bids 2.1 The goods (lots) sold shall be to the highest bidder whether the sum bid be equivalent to the real value or not. Where the sale is announced to be with reserve, the goods shall be sold to the highest bidder, either on or in excess of the reserve price. 2.2 No person shall, at any bid, advance less than the amount fixed for that purpose by the Auctioneer. Bids can be retracted before the fall of the hammer but the Auctioneer may refuse any bid. 2.3 Should there be a dispute as to the highest bid, even after the fall of the hammer, the auctioneer shall in his sole and absolute discretion, determine which bid shall be accepted and the Company and/or the Auctioneer shall be absolved of any liability of any nature whatsoever in regard thereto. In the event of a dispute the Auctioneer may determine the dispute in his absolute discretion, or the property may, at the Auctioneer’s option, either be put up again at the last undisputed bid, or be withdrawn. 3.

Minimum Bid The auctioneer shall have the sole and absolute discretion and right to refuse any bid which does not exceed the previous bid by at least 5% (five percent) or such other percentage as the Auctioneer, in his/her discretion deems acceptable.

Buyer’s Premium A Buyer’s premium, calculated at the applicable current rate of the hammer price, shall be payable by the Buyer to the Company in respect of the sale of each lot. The Buyer acknowledges that the Company, when acting as agent for the Seller of any lot, may also receive a Seller’s commission and/or other fees for or in respect of that lot. VAT at the prevailing rate is applicable on such Buyer’s premium.

Value Added Tax (“VAT”) The Company acts as agent on behalf of the Seller and should the Seller be registered as a South African VAT vendor and has informed the Company that his lots must be charged with VAT, then such lots will be indicated in the catalogue with the symbol “†” and VAT at the prescribed rate will be charged on the hammer price and will be payable by the Buyer.

6. Absentee Bids 6.1 Upon request, the Company shall execute absentee bids on behalf of intending Buyers. Absentee bids are a service provided by the Company for the Buyers’ benefit and the Company cannot be held responsible for errors or omissions with respect to the bidding process. Lots will be bought as cheaply as is allowed by other bids placed and the Seller’s reserves. In the event of identical bids, the earliest will take precedence. When absentee bids are placed by telephone they are accepted at the Buyer’s risk, and must be confirmed prior to the sale by letter or facsimile. 6.2 All absentee bids shall be registered with the Company in accordance with the Company’s procedures and requirements not less than twenty-four (24) hours before the auction and/or the private treaty sale. The Company reserves its rights, at its 156

6.3

sole and absolute discretion, to receive and/or reject such absentee bids and/or to receive and/or reject absentee bids if given less than twenty-four hours before the auction and/or private sale. Absentee bidders must register his/her identity as per clause C.1 above.

7. Telephone Bids 7.1 Subject to a Buyer arranging with the Company at least twenty-four hours before the published time of the auction and subject to a Buyer completing such documentation as the Company may require it to do, whether it be by fax or by electronic transmission, or any other form of transmission a Buyer, on making such telephone call, is deemed to accept these Terms and Conditions and to be bound thereby and shall be permitted to bid by means of a telecommunication. The right of a Buyer to bid is subject to a telecommunication line being available, fully functional and operative. The person who makes the bid on the telephone shall be deemed to be the Buyer and shall be deemed to be personally liable for the payment of the purchase price and other amounts as are required to be paid. In executing bids on the telephone, the Buyer waives and abandons any claim howsoever or whatsoever arising against the Company and/or the Auctioneer, including any act or omission and/or act of negligence and/or any act on the part of the Company and the Auctioneer, or in failing to have regard or failing to take cognisance of such bid. 7.2 The Company reserves its rights, at its sole and absolute discretion, to receive and/or reject such telephone bids and/ or to receive and/or reject telephone bids if given less than twenty-four hours before the auction and/or private treaty sales. 7.3 The Company reserves the right to record telephone bidding and the telephone bidder consents to such recording. 8. Payment 8.1 The hammer price as defined in clause A.9 above, including further amounts payable in terms hereof such as Value Added Tax and the Buyer’s premium, shall forthwith become due, owing and payable to the Company in full immediately upon the knock down of the hammer and/or acceptance of the offer. 8.2 Any payment by a Buyer to the Company shall be applied by the Company towards any sums owing by the Buyer to the Company on any account whatever without regard to any directions of the Buyer or his/her agent, whether express or implied. 8.3 The purchase price shall be paid in South African rands. Foreign Buyers are required to make arrangements with their banking houses to transfer forex funds equivalent to the Rand value as stated on the purchase tax invoice. All fees relating to this transfer of funds from the foreign bank to the Company’s RSA account shall be for the account of the Buyer. 8.4 The Company accepts the following methods of payment: 8.4.1 Electronic Funds Transfer Only bank transfers or electronic funds transfer will be accepted. No cheque or cash payment will be accepted. 8.4.2 Bank Transfers in South African Rands Stephan Welz & Cott STANDARD BANK OF SOUTH AFRICA LIMITED Branch: Rosebank, Johannesburg Branch code: 00-4305-17 The 8 digit branch code is required for international banking.

TERMS & CONDITIONS OF BUSINESS AND RULES OF AUCTION The Company carries on its business as auctioneers in accordance with these Terms and Conditions of Business and Rules of Auction.

The first 6 digit (00-4305) code is required for online banking. Swift code: SBZAZAJJ Current account number: 402-328-213 8.4.3 Credit Cards Payment by all major credit cards will be accepted. 9. Credit terms No credit shall be given to any Buyer unless prior to the auction the Company has in its absolute discretion agreed in writing in response to a request to grant the Buyer credit. The Buyer shall make payment of such amounts of interest and other charges as are permitted in terms of the National Credit Act 34 of 2005. Ownership of the goods sold shall not vest and/or pass to the Buyer until such time as the full purchase price including VAT thereon and any other amounts have been paid in full. 10. Collection of goods 10.1 Ownership of the goods purchased by a Buyer whether credit or cash sales shall remain vested in the principal (and/ or the Company under circumstances where the Company sells its own goods), until such time as the Buyer has made full payment to the Company which payment includes the payment of the purchase price of the goods, the Company’s commission, Value Added Tax on the sale and any other amounts as provided for herein. 10.2 The Buyer shall, at his/her/its expense, collect the goods (“take delivery”) purchased by it at the auction and/or sale immediately after the auction, unless such goods due to their size and/or weight cannot immediately be removed in which event such goods shall be collected from the auction site by no later than 16h00 on the day following the auction unless such day is a Saturday or a Sunday or a public holiday in which event such goods will be collected by no later than 16h00 on the following business day. The Company shall not render any assistance to the Buyer to pack, remove, transport or store such goods on the Buyer’s behalf. The Buyer will be responsible for all packing, removal, insurance and storage charges. Goods not collected within 30 days of the auction will be dealt with as per clause C.11. 10.3 Should the Company render any assistance at all of any nature whatsoever to a Buyer in removing the goods from the auction site then and in such event the Company’s employees shall be deemed to be the agents and/or servants and/or employees of the Buyer and the Company is exempt from any liability or any culpability in respect of the Company’s employees and/or servants executing such work. 11. Uncollected Goods The Buyer will be responsible for the collection of all goods purchased on auction or private treaty and such collection of goods must be made within 30 days of the auction or private treaty sale. Goods not collected will be dealt with as follows: The Company will notify the Buyer that the goods must be collected within 30 days of such notice. The notice required to be given shall be in terms of clause B.8.1. 11.1 Should the Buyer not have collected the goods within 30 days of notification, the Buyer hereby irrevocably transfers ownership of such goods to the Company who shall retain ownership of such goods, whose ownership shall be indisputable. The Company shall then, in its sole and absolute discretion, dispose of such goods at the best price it can obtain from a willing and able Buyer. 11.2 Subject to paragraph C.11.1 above, if the Company is able to sell the lot at an auction and/or private treaty sale, the Company shall dispose of such goods at the best available price and shall deduct from the proceeds of such

sale, all amounts as were expended by the Company in insuring, storing, carrying, transporting, retaining and/or keeping such goods after the deduction of its commission, VAT, and any other expenses it incurred in respect of such goods. Should there be a shortfall, then and in such event the Buyer shall make payment to the Company, on demand, of such shortfall and all costs incurred by the Company in recovering such shortfall, including attorney and client costs shall be for the account of the Buyer. 11.3 The Company reserves the right to charge R25 (twenty five rand) plus VAT per day to store any one item not collected from the Company’s place of business from the time the Buyer has been notified and until such time as the item has been collected. 12.

The Buyer’s Risk The Buyer shall be solely responsible for any loss of and/or damage to and/or diminution in value of and/or deterioration to any goods (lots) purchased at the auction or at a private treaty sale immediately upon the knock down by the Auctioneer to the Buyer of the hammer price.

13. Import, export, copyright restrictions and licenses and quality in the goods sold 13.1 The Company makes 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 including permission from SAHRA. Endangered Species – any item made of or incorporating animal material such as ivory, bone, etc irrespective of value, will require a specific permit from the Department of Nature Conservation prior to exportation. It is the Buyer’s sole responsibility to obtain any copyright clearances or any necessary import, export or other licence required by law, including licences required under the Convention of the International Trade in Endangered Species (CITES). The refusal of an export permit shall not permit the rescission of a sale. 13.2 The sale of any firearm is subject to the express conditions of the Firearms Control Act 60 of 2000 and any amendments promulgated thereunder. No firearm will be delivered to any Buyer until he/she/it has produced a valid firearm license or a collector’s permit or any other document as required by the said Act. No sale shall be cancelled without proof to the Company’s satisfaction that the Buyer has the authority and license to receive such firearm. The onus to comply with the provisions of the said Act is solely on the Buyer. 14.

Breach by the Buyer 14.1 Should the Buyer breach any of the terms and conditions thereof, alternatively not make payment in full or collect the items bought as provided herein, or should there be any other breach, the Company, agent for the Seller (alternatively the Company in the event of it being the Seller of its own goods) will, and at its absolute and sole discretion, and without prejudice to any other rights it may have in law, be entitled to exercise on or more or all of the following remedies: 14.1.1 to institute proceedings against the Buyer for payment and/or damages for breach of contract; 14.1.2 to cancel the sale of that or any other lots sold to the defaulting Buyer at the same time or at any other auction; 14.1.3 to resell the goods (lot) or cause it to be resold by public auction or private sale;

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TERMS & CONDITIONS OF BUSINESS AND RULES OF AUCTION The Company carries on its business as auctioneers in accordance with these Terms and Conditions of Business and Rules of Auction.

14.1.4 to remove, store and insure the goods at the sole expense of the defaulting Buyer and if such goods are stored either at the Company’s premises or any other place as the Company may require such goods to be stored at, the Buyer shall be responsible for all charges associated therewith; 14.1.5 to charge interest on such monies as are due, owing and payable in an amount of two percent (2%) above the prime rate granted to a customer by the Company’s bankers; 14.1.6 to retain that or any other lot sold to the same Buyer at the same time, or at any other auction and to allow the Buyer to take delivery of such goods after all amounts due, owing and payable have been paid by the Buyer to the Company in terms of this agreement, including interest, storage charges and any other charges; 14.1.7 to reject any bid made by or on behalf of the defaulting Buyer at any future auction/sale; 14.1.8 to exercise a right of retention over the goods sold and not to release such goods to the Buyer until full payment has been made to the Company in terms of this agreement. For such purpose and in so far as ownership of goods may have passed to the Company, the Buyer hereby pledges such goods to the Company as security for the Company’s claim; 14.1.9 to charge a rental charge of R25 plus VAT per day for each item stored by the Company from the date of auction until the time of collection. 14.2 In the event of the Company reselling the goods at a subsequent auction or by way of private treaty sale and should such goods be sold for a lesser amount than the amount sold, the Buyer shall be liable for any loss (if any) being the difference between the initial sale price and the resale price if lower than the initial price and the Company shall be entitled forthwith to proceed against the Buyer for a claim for damages. 15. Rescission of the sale If before 21 days after the auction or within 48 hours of a private treaty sale, the Buyer makes a claim to rescind the sale under the definition of deliberate forgery or otherwise and the Company is of the opinion of the claim is justified, the Company reserves the right in its sole discretion to rescind the sale and refund the Buyer any amounts paid to the Company in respect of that sale and the Seller authorises the Company to do so. 16. Treatment and Condition of Gemstones The Buyer acknowledges that gemstones and precious stones and/or semi-precious stones have been treated by a variety of techniques to enhance their colour, appearance and clarity. These or other techniques, such as dyeing, irradiation, coating and impregnation, may be used on other gemstones. Although it is widely believed that heat treatments are permanent, Buyers should assume that any treatment may not be permanent and that over time special care of the stone may be required. Prospective Buyers are reminded that, unless the catalogue description specifically states that a stone is natural, the Company have assumed that some form of treatment may have been used and that such treatment may not be permanent. To the extent that the Company has laboratory reports containing specific information on the treatment of a stone, these reports are made available for review by potential Buyers. Available reports from internationally recognised gemmological laboratories will be noted in the description of the item. New forms of treatments and new scientific methods to discern them are 158

constantly being developed. Consequently, there may be a lack of consensus among laboratories as to whether gemstones have been treated, the extent of the treatment or the permanence of the treatment. References in the catalogue descriptions to certificates or reports issued by gemmological laboratories are included only for the information of Buyers, and the Company accepts no responsibility for the accuracy, terms or information contained in such certificates or reports. Statements in the catalogue regarding the condition of lots in this sale usually appear in the description. However, the absence of any such reference does not imply that a lot is in perfect condition or completely free from wear or imperfections. The Company will be pleased to offer condition reports on all lots of the sale to potential Buyers.

17. Wristwatches All wristwatches are sold as viewed and cannot be returned on the grounds that repairs have been carried out or parts supplied by anyone other than the named makers. Watches may not be taken apart whilst on view. Prospective Buyers or their agents wishing to do so should make an appointment with the Watch Department for a private view the week before the sale. Although condition reports may be given on request, such reports are statements of opinion only and may not specify all mechanical replacements or imperfections in the movement, case and dial. All dimensions are approximate. The Company offers no guarantees with regard to the working order of wristwatches, and will not be liable for any losses which may be incurred in this respect. As with all items included in the sale, it is the prospective Buyer’s responsibility to conduct a full inspection of the lot prior to the sale. Water-resistant cases may have been opened and no warranty is offered with regard to the water resistance of any watches. The Company does not guarantee the authenticity of any individual component parts, such as wheels, hands, crowns, crystals, screws, bracelets and leather bands, since subsequent repairs and restoration work may have resulted in the replacement of original parts. Straps made of material derived from endangered or otherwise protected species (i.e. alligator and crocodile) are not sold with the watches and are for display purposes only. The Company reserve the right to remove these straps prior to shipping. Furthermore, in reference to watch bands, the Company does not guarantee the material of manufacture. 18. Overseas Bidders Overseas bidders are advised that courier companies such as RAM, Fedex and DHL do not insure jewellery being sent between South Africa and overseas countries. Insurance will therefore become the responsibility of the buyer.

159

Lalela provides educational arts for at-risk youth to spark creative thinking and awaken the entrepreneurial spirit! Lalela connects the arts to everything important in a child's life, from core academics to critical life skills. Our curriculum of arts education develops imagination and creativity that leads to innovation and solution-thinking. Primary communities of operation are Hout Bay and Masiphumelele in Cape Town, and Maboneng Precinct in Johannesburg. It is here where we develop our model, measure our impact, and work directly with the core communities.Â Lalela also works in partnership with other youth development organisations in the communities of Mfuleni, Blue Downs & Nyanga in Cape Town, and Wentworth & Rorkeâ&#x20AC;&#x2122;s Drift in KwaZulu-Natal.

160

BRING OUR NATION TOGETHER

With 67 Blankets for Nelson Mandela Day Drop off your handmade blankets or knitted squares at the Stephan Welz & Co. and The Scoin Shop head offices or any Scoin Shop nationwide to be a part of 67 Blankets for Nelson Mandela Day. To locate your nearest drop-off point visit www.stephanwelzandco.co.za and www.scoinshop.com

ITâ&#x20AC;&#x2122;S IN YOUR HANDS TO MAKE A DIFFERENCE

GOLD FOR LIFE EST. 1984

161 SW2297

AUCTION RESULTS: 21 & 22 FEBRUARY 2017, CAPE TOWN Prices given are inclusive of Buyerâ&#x20AC;&#x2122;s Premium and VAT. Unlisted lots were withdrawn, passed or not sold.

162

LOT

RANDS

1 2 3 4 5 6 7 8 9 10 12 13 14 16 17 18 19 23 24 26 28 29 30 35 36 38 42 43 44 45 51 52 53 55 56 59 61 64 68 70 71 76 78 80 81 83 84 85 86 88 92 95 101 103 104 107 114 116 122 123 275 276 277 278 279 280 281 282 284 289 290 295 303 304 305 308 309 310 311 312 314 315 318 319

R 16,654 R 9,550 R 2,388 R 8,954 R 5,969 R 11,938 R 2,865 R 10,147 R 3,581 R 6,566 R 4,536 R 4,775 R 15,075 R 2,684 R 3,581 R 8,357 R 44,065 R 17,394 R 7,163 R 11,938 R 4,775 R 2,626 R 3,581 R 11,938 R 5,969 R 23,192 R 13,915 R 3,820 R 2,388 R 19,713 R 9,550 R 6,219 R 3,581 R 1,791 R 3,581 R 1,958 R 5,969 R 1,552 R 25,511 R 1,194 R 3,731 R 2,388 R 3,581 R 1,952 R 1,791 R 2,268 R 1,244 R 2,029 R 7,760 R 2,388 R 2,149 R 2,268 R 69,576 R 1,791 R 119,000 R 9,550 R 1,552 R 716 R 1,552 R 1,074 R 9,150 R 4,178 R 18,240 R 7,163 R 19,713 R 10,147 R 20,873 R 16,234 R 3,581 R 7,163 R 8,357 R 8,357 R 5,969 R 10,147 R 7,760 R 4,456 R 13,915 R 5,969 R 3,581 R 3,581 R 10,744 R 10,744 R 10,744 R 5,969

320 321 322 329 330 331 335 336 337 338 339 340 341 342 344 350 351 352 354 357 358 401 402 404 406 407 408 409 410 411 412 413 414 415 417 419 421 423 426 427 428 429 431 432 433 436 438 439 440 441 442 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 472 473 478 479 480 485 489 490

R 10,147 R 8,357 R 11,938 R 5,969 R 7,163 R 5,969 R 6,566 R 7,760 R 7,163 R 5,850 R 8,333 R 7,090 R 5,969 R 5,969 R 5,969 R 4,775 R 9,550 R 4,975 R 9,550 R 6,000 R 4,178 R 4,775 R 5,372 R 8,357 R 19,713 R 7,163 R 10,147 R 8,954 R 1,194 R 2,865 R 3,104 R 5,372 R 7,760 R 3,581 R 4,775 R 5,969 R 1,433 R 2,865 R 3,343 R 7,163 R 3,581 R 1,074 R 13,915 R 6,566 R 5,372 R 5,014 R 3,581 R 3,581 R 3,581 R 3,104 R 13,915 R 8,954 R 12,756 R 17,394 R 3,581 R 1,552 R 11,938 R 3,581 R 2,388 R 4,775 R 7,163 R 6,566 R 7,163 R 2,388 R 4,178 R 5,372 R 4,775 R 13,915 R 12,756 R 13,915 R 17,394 R 6,566 R 4,536 R 3,343 R 5,372 R 3,343 R 5,372 R 4,775 R 27,830 R 25,511 R 16,234 R 8,954 R 3,800 R 4,536

491 492 532 534 535 536 541 542 545 546 552 553 554 555 556 557 559 560 561 564 566 569 570 571 572 576 578 579 581 582 583 584 585 586 587 588 589 590 591 594 595 599 603 604 641 642 643 644 645 646 647 648 649 652 655 701 721 722 723 724 726 729 732 733 735 736 739 740 742 744 747 748 752 753 754 759 760 761 762 764 766 767 768 769

R 16,234 R 7,760 R 5,969 R 20,873 R 14,275 R 47,584 R 11,938 R 11,938 R 1,194 R 1,194 R 19,354 R 8,357 R 10,402 R 25,511 R 38,067 R 5,014 R 4,178 R 5,730 R 8,357 R 57,980 R 3,581 R 16,654 R 4,775 R 4,775 R 15,075 R 3,581 R 4,775 R 3,104 R 2,388 R 6,000 R 1,194 R 4,895 R 6,841 R 2,388 R 4,000 R 11,938 R 12,756 R 107,064 R 47,584 R 12,756 R 2,388 R 5,969 R 4,775 R 7,760 R 19,713 R 20,223 R 32,469 R 8,355 R 9,469 R 30,150 R 18,554 R 46,788 R 55,700 R 32,469 R 15,465 R 16,234 R 33,869 R 55,700 R 20,873 R 28,964 R 20,052 R 23,192 R 33,420 R 55,661 R 30,150 R 34,788 R 30,150 R 208,728 R 17,394 R 111,400 R 18,938 R 17,824 R 33,420 R 17,844 R 23,192 R 34,788 R 32,469 R 32,469 R 157,248 R 57,980 R 556,608 R 57,980 R 105,830 R 9,550

774 775 776 778 780 781 783 784 786 787 789 790 791 795 796 798 799 801 805 807 808 809 811 812 814 815 816 819 821 823 851 853 855 856 864 866 868 878 880 882 885 886 887 888 889 892 893 894 895 896 897 898 899 901 902 903 904 905 906 907 908 909 910 911 912 919 920 923 925 926 927 928 932 936 938 940 943 944 945 946 949 951 952 953

R 913,480 R 55,700 R 7,798 R 33,420 R 139,250 R 8,912 R 15,596 R 4,456 R 33,420 R 20,563 R 30,150 R 9,550 R 10,744 R 55,661 R 34,788 R 30,240 R 8,357 R 33,309 R 3,581 R 30,150 R 30,150 R 30,150 R 20,873 R 637,780 R 150,748 R 37,107 R 57,980 R 17,394 R 150,748 R 8,758 R 10,147 R 2,865 R 955 R 2,746 R 6,219 R 1,791 R 1,194 R 2,149 R 17,394 R 13,915 R 27,830 R 16,234 R 6,566 R 2,388 R 11,938 R 597 R 597 R 9,550 R 3,343 R 7,043 R 2,149 R 3,296 R 5,014 R 3,671 R 8,357 R 4,178 R 2,239 R 2,388 R 4,178 R 2,626 R 2,626 R 3,110 R 5,969 R 2,149 R 4,536 R 5,014 R 2,865 R 3,581 R 1,990 R 4,775 R 13,915 R 30,150 R 30,150 R 3,343 R 4,775 R 18,554 R 6,731 R 6,731 R 8,000 R 17,394 R 92,768 R 9,179 R 7,760 R 18,554

954 955 956 957 958 959 960 981 982 983 984 1,031 1,032 1,034 1,035 1,036 1,037 1,038 1,039 1,040 1,041 1,042 1,046 1,047 1,048 1,051 1,052 1,053 1,054 1,055 1,057 1,058 1,059 1,060 1,061 1,062 1,063 1,065 1,068 1,071 1,072 1,074 1,075 1,076 1,077 1,078 1,080 1,082 1,083 1,084 1,092 1,093 1,094 1,096 1,097 1,099 1,100 1,101 1,102 1,103 1,104 1,105 1,106 1,107 1,108 1,110 1,122 1,123 1,124 1,126 1,128 1,132 1,135 1,136 1,137 1,144 1,145 1,146 1,147 1,148 1,150 1,152 1,156 1,157

R 2,692 R 57,980 R 81,172 R 2,985 R 33,309 R 4,283 R 1,910 R 2,388 R 4,178 R 3,343 R 3,581 R 17,394 R 30,150 R 8,954 R 2,626 R 48,384 R 11,938 R 3,581 R 3,820 R 1,671 R 3,581 R 2,029 R 1,433 R 2,149 R 6,566 R 2,149 R 2,626 R 12,176 R 3,581 R 11,938 R 4,679 R 2,626 R 1,433 R 4,775 R 1,194 R 2,149 R 1,910 R 58,061 R 1,103 R 40,586 R 6,127 R 7,760 R 3,581 R 4,775 R 3,581 R 4,775 R 25,511 R 4,775 R 7,798 R 1,791 R 278,304 R 11,700 R 3,581 R 15,075 R 9,550 R 11,341 R 52,182 R 4,775 R 11,938 R 22,032 R 32,469 R 20,873 R 10,744 R 44,065 R 17,394 R 3,104 R 11,115 R 5,730 R 2,626 R 6,566 R 13,000 R 13,915 R 38,000 R 23,192 R 60,299 R 104,364 R 8,954 R 40,586 R 6,566 R 4,178 R 11,341 R 521,820 R 28,990 R 4,775

1,159 1,182 1,183 1,184 1,185 1,191 1,194 1,195 1,196 1,197 1,198 1,199 1,201 1,202 1,203 1,204 1,205 1,206 1,208 1,209 1,210 1,211 1,212 1,213 1,214 1,215 1,218 1,219 1,221 1,229 1,230 1,231 1,232 1,233 1,234 1,235 1,236 1,237 1,238 1,239 1,240 1,241 1,242 1,243 1,245 1,246 1,247 1,248 1,249 1,250 1,251 1,254 1,256

R 9,550 R 16,234 R 17,394 R 18,554 R 18,554 R 16,234 R 10,744 R 15,075 R 17,394 R 3,343 R 1,433 R 23,192 R 3,104 R 3,820 R 2,388 R 3,581 R 18,554 R 12,540 R 3,581 R 14,820 R 1,791 R 3,581 R 1,791 R 597 R 17,394 R 20,873 R 10,147 R 3,581 R 8,357 R 30,150 R 716 R 1,791 R 1,194 R 3,104 R 7,760 R 2,268 R 4,178 R 5,730 R 9,550 R 3,104 R 3,343 R 3,104 R 4,536 R 1,433 R 9,550 R 10,744 R 13,915 R 34,788 R 2,029 R 15,075 R 15,075 R 9,790 R 17,394

AFFORDABLE LIMITED EDITION COLLECTOR'S PRINTS EXPAND YOUR COLLECTION WITH WORKS BY NOTED SOUTH AFRICAN ARTISTS

GERALD MACHONA . MILLENNIUM BAR II . 2010 . C-PRINT ON FUJI CRYSTAL ARCHIVE PAPER . PAPER SIZE 35,7 X 45,6 CM . EDITION OF 100 +2AP

RIENDS OF THE S.A. NATIONAL GALLERY

New works by acclaimed South African artists, represented in the permanent collection of the Iziko South African National Gallery, are offered by the Friends. Please contact the Friends office by telephoning 021 481 3951 or by emailing sangfriends@iziko.org.za.

163

ARTISTS’ INDEX

A Alexander, K Ashevak, K

429 163, 164

B Baker, B 422 Baker, K 254 Bailey, B 176 Battiss, W W 173, 174, 175, 485 Boonzaaier, G J 218 - 228, 456, 457, 461, 462, 464 470 Boshoff, A H 268, 424 Bowler, T W 434 Boyley, E S 465 - 467, 469 246, 247 Brigg, M Britto, R 171 197 Büchner, C A Burry, B G 211 C Catherine, N C Cilliers-Barnard, B Claerhout, F M Clarke, P Coetzee, C Coetzer, W H

172 483 187 - 189, 455 190, 440 - 443 249, 250, 482 238

D Daniell, S 162 De Jongh, G C 265, 463 De Jongh, T M J 263, 266, 459, 460 Dickerson, B 437 264 Du Plessis, E H 446, 447 Du Toit, P Dunstan, E 475, 476 E Eggington, F 257, 258, 259 Eloff, Z 239 Esmonde-White, E F 204, 451

164

F Fabbri, A Fasciotti, T Fischer, A

435 209, 210 196, 198

G Gassner, C C A Glossop, A Goldin, A Gottgens, K Griesel, H

202 255 256 445, 448 215

H Harris, WC

161

J Jensma, W

269, 270, 271

K Kentridge, W J Klar, O Kobeli, E Kramer, J Krige, F Kuijers, D Kutscha, P

439 273 205 216, 217 427 170 426

L 453, 454 Langdown, A Laubscher, E F B H 430 Lavery, J 182 Lindsell-Stewart, A 251, 252 M MacCallum, A Madge, D J Manaresi, U Marais, W Mason, J Mayer, E K Mazilu, G Meintjes, J P Meyer, C W Millias, J E Muafangejo, J N

184 231 185, 186 208, 241 421 233 - 235 478 - 481 192 - 194, 438 468 181 166 - 168

N Niemann, H C

195

O Osser, J

203

P Pekeur, S 199, 200 Perahim, J 449 Pierneef, J H 431 - 433 Pritchard, T 206 R Rakgoathe, D S Roberts, K Rose-Innes, A Roworth, E

484 450 452 236, 237

S Sash, C 248 Scott, R 169 Sibiya, B 178, 179 Simpson, C 277 Skotnes, C E F 165 Skotnes, P A 177 Spears, F 201 Stafford-Smith, T 253 Stein, J 275, 276 Stern, I 458 Steynberg, C 207 Stubbs, Manner of G 183 Sumner, M F E 230, 425 Swart, R 474 T Taylor, R Timlin, W M Tugwell, C

267 191, 274 260 - 262

V Valentine-Rambridge, S 272 Van Der Merwe, S 436 Van Der Westhuizen, P 180 428 Van Heerden, P Van Vuuren, L 243 - 245 Van Vuuren, L J 214, 229 Van Wouw, A 471 Vasarely, V 486 444 Voigt, H Volschenk, V 240 W Wallace, M Webber, P G Welz, J M F Wolfe, E Wood, K Z Zerffi, F L J

472, 473 477 232 423 242

212, 213

The Great Cellar | Alphen Estate Alphen Drive | Constantia www.stephanwelzandco.co.za