Freesia Auction Catalogue Nov 2016

Conor Mccreedy (South African 1987 -) THE DANCING BALLERINA AND THE LIMMAT SWAN signed oil on linen 100 by 200cm (1) Sold for R 212 800

JOHANNESBURG 22 & 23 NOVEMBER 2016 #FREESIA

“You can't cross the sea merely by standing and staring at the water.”

Rabindranath Tagore

www.stephanwelzandco.co.za

FINE ART & DESIGN AUCTION JOHANNESBURG | 22 & 23 NOVEMBER 2016 | FREESIA Property of various owners 4th Floor South Tower Nelson Mandela Square Cnr Rivonia Road & 5th Street Sandton TUESDAY | 22 NOVEMBER 2016 Session 1 | 10h30 Lots 1 - 200 Books Session 2 | 14h00 Lots 201 - 400 Carpets and Rugs Clocks Furniture Paintings

FRONT COVER Jacob Hendrik Pierneef (SOUTH AFRICAN 1886 - 1957) COTTAGE IN A KAROO LANDSCAPE Lot 548

INSIDE FRONT COVER Conor Mccreedy (South African 1987 -) THE DANCING BALLERINA AND THE LIMMAT SWAN

PAGE 2 George Mnyalaza Milwa Pemba (SOUTH AFRICAN 1912 - 2001) VILLAGE SCENE WITH ELDERS Lot 536

Gregoire Johannes Boonzaier (SOUTH AFRICAN 1909 - 2005) DISTRICT SIX SCENE IN GREYS Lot 563

PAGE 12 Frans David Oerder (SOUTH AFRICAN 1867 - 1944) FLORAL STILL LIFE Lot 564

INSIDE BACK COVER Angel Haro (SPANISH 1958 - ) ANDANTES Lot 446

Session 3 | 19h00 Lots 401 - 570 Collectable Cars Paintings WEDNESDAY | 23 NOVEMBER 2016 Session 4 | 10h30 Lots 571 - 740 Decorative Arts Silver Session 5 | 14h00 Lots 741 - 918 Wristwatches Jewellery EXHIBITION | VIEWING 18th - 20th November | 10h00 - 17h00 21 November | 10h00 - 13h00 Jewellery, Wristwatches & Silver viewing will close at 16h30 each viewing day Buyer’s premium is calculated at 14% plus VAT at the prevailing rate for items selling over R10 000 and 17% for items selling R10 000 or less plus VAT at the prevailing rate Shipping Costs between our Johannesburg and Cape Town offices 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.

This catalogue may be referred to as (SA1606) - FREESIA

2

CONTENTS 2

AUCTION DETAILS

4

WHO WE ARE

5

ANTON WELZ

6

HIGHLIGHTS FROM PREVIOUS AUCTION

14 SESSION

1

38 SESSION

2

60 SESSION

3

128 SESSION

4

146 SESSION

5

Africana Pictures & Documents, Military Memorabilia, Anglo-Boer War Memorabilia, Books, Miscellaneous

Carpets and Rugs, Clocks and & Thermometer, English, Continental, Colonial, Oriental, South African & 20th Century Furniture, South African & International Paintings & Works on Paper

Collectable Cars, South African & International Paintings and Works on Paper, Prints and Printmaking, South African Sculpture, South African and International Paintings & Works on Paper

European, English, South African & Oriental Ceramics, Glass, Collectors’ Items & Works of Art, Electroplate, Cape, English & Foreign Silver

Wristwatches, Antique, Period & Contemporary Jewellery, Unmounted Gemstones, Diamonds with Certificates

172

Important Notice to Prospective Buyers

173

Absentee and Telephone Bidders Form

174

Guide for Absentee/Telephone Bidders

176

General Information Johannesburg

178

General Information Cape Town

183

Catalogue Subscription Order Form

184

Important Announcements

185

Payment and Despatch of Purchases

186

Terms & Conditions of Business and Rules of Auction

194

Auction Results

196

Artists' Index

3

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 the most experienced auction house in Africa, making us the premium choice when looking to get the best offers on your valuables.

Specialising in a variety of departments 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 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 clients the opportunity for our specialists to valuate their corporate art collections. We have a team on standby to travel throughout South Africa to help our clients in finding the true value of their collections.

House sales Our specialists will travel to your house and valuate your items.

Stephan Welz & Co. strives to make every auction experience as enjoyable and hassle free as possible.

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 jhb@stephanwelzandco.co.za 4th Floor South Tower Nelson Mandela Square Cnr Rivonia Road & 5th Street Sandton 2196

4

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

ANTON WELZ Division Head & Auctioneer Dear Collector, As we approach our final sale for 2016, it is worth reflecting on some of the highlights we have seen in our salerooms during the course of the year.

The most exciting result was undoubtedly Picasso’s Au Cirque, the first original Picasso drawing we have offered in over twenty years, which fetched R3 478 800 after some heated bidding while simultaneously creating a lot of attention from the media. Other notable results include Tretchkoff’s Hindu Dancer which achieved R1 391 520, Maud Sumner’s Still Life With Yellow Flowers which achieved R695 760 and Nelson Makamo’s Girl With Balloon which at R347 880 set a world record for the artist. Notable results from other departments include a diamond necklace sold in Cape Town which achieved R811 720, an earthenware dish by Picasso which sold for R92 768, a limited edition Zanzibar book by Irma Stern which sold at R44 064 after some intense bidding, a rare 1973 Maserati Khamsin which sold at the top estimate of R1 559 600, a Lavinia lamp by Artemide which also sold above the top estimate eventually selling at R46 384 and a 19th century rosewood grand piano by Erard which achieved R173 940.

The fact that this piano was used in the motion picture ‘The Giver’ and played by Jeff Bridges and Taylor Swift added to the appeal.

A feature of the upcoming sale will be a selection of works on paper. Prints and printmaking are a great means of introduction to the world of collecting. The art of printmaking is not an easy one and we are happy to be able to present a range of works which will make worthy additions to your collection.

With the end of the year approaching all of us at Stephan Welz and Co. would like to wish you and your family a safe and happy festive season. We thank you for your support this year and look forward to being able to bring you many more items in 2017 to pique your interest and add to your collections.

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JOHANNESBURG | 30 & 31 AUGUST 2016 | Auction Highlights

Lot 658 A ŠKRDLOVICE CLEARGLASS ‘STELA’ SCULPTURE, DESIGNED BY FRANTISEK VIZNER SOLD R 37 107

6

Lot 474 Fanie Eloff SITTING WOMAN SOLD R 266 708

Lot 567 Adriaan Hendrik Boshoff HOUSE BENEATH THE TREES SOLD R 34 788

JOHANNESBURG | 30 & 31 AUGUST 2016 | Auction Highlights

Lot 565

Adriaan Hendrik Boshoff CHILDREN PLAYING IN THE STREET SOLD R 40 586

Lot 497 George Coutouvidis VENUS, NOTHING IS NEW SOLD R 17 394

Lot 437 Gerard Bhengu YOUNG GIRL IN RED Sold R 19 713

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JOHANNESBURG | 30 & 31 AUGUST 2016 | Auction Highlights

Lot 527 Jacob Hendrik Pierneef A VIEW THROUGH THE TREES SOLD R 666 770

Lot 626 A CHINESE FAMILLE ROSE VASE, LATE 19TH CENTURY SOLD R R 115 960

JOHANNESBURG | 30 & 31 AUGUST 2016 | Auction Highlights

Lot 413 A 1955 BENTLEY S1 SALOON SOLD R 1 058 300

Lot 414 A 1973 MASERATI KHAMSIN SOLD R 1 559 600

SEEN AT

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, SMS your name to 45766 today and one of our specialists will contact you or visit: www.auctionit.co.za

SW2249

CATALOGUING TERMS & ETIQUETTE JOHANNESBURG | 22 & 23 NOVEMBER 2016 | FREESIA 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.

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

Alan Demby

Monique Weston

MANAGING DIRECTOR alan.demby@stephanwelzandco.co.za

SILVER, CARPETS, FURNITURE & CLOCKS

Chris de Klerk

Peter Digby

JHB OFFICE MANAGER PAINTINGS, WATERCOLOURS, DRAWINGS, PRINTS & SCULPTURE chris.deklerk@stephanwelzandco.co.za

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

Christa Swart

Sharne Edelson

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

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

Jack Rosewitz

Tanya Demby

COLLECTABLE CARS jack.rosewitz@stephanwelzandco.co.za

CERAMICS, GLASS & WORKS OF ART & VINTAGE FASHION tanya.demby@stephanwelzandco.co.za

monique.weston@stephanwelzandco.co.za

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

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

Anton Welz

Kayleen Wrigley

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

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

Catherine Bernicchi

Linda Patterson

PAINTINGS, WATERCOLOURS, DRAWINGS, PRINTS & SCULPTURE catherine.bernicchi@stephanwelzandco.co.za

CARPETS linda.patterson@stephanwelzandco.co.za

Justin Heim

Sophie-Louise Fröhlich

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

CT OFFICE MANAGER FURNITURE, PHOTOGRAPHY, CLOCKS & COLLECTORS’ ITEMS sophie-louise.frohlich@stephanwelzandco.co.za

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LOT 98

BOOKS TUESDAY 22 NOVEMBER 2016 | 10H30 | LOTS 1 - 200

S| 1

AFRICANA PICTURES & DOCUMENTS

Africana Pictures 1 Battiss, Walter W.

MR ICARUS I PRESUME AND BIRD FLIGHT np: n.p., n.d.

First edition. A print run of 125.

42,5 by 30cm, unframed.

Two silkscreens produced side by side, printed in colour, each signed by Battiss and numbered 14/125.

ILLUSTRATED

R 8 000 - R 12 000 2 Landsberg, Otto

VILLAGE OF CALEDON: VIEW OF A FARM “WHERE INVALIDS GO TO BE CURED”

1

Circa: 1827 34 by 25cm.

This early watercolour was executed when Landsberg was 24.

Unframed.

Information and signature of Landsberg appear in faded ink on the border of the mount to the picture. and a copy of the book by DE VILLIERS, S. A. - Otto Landsberg 1803 - 1905, 19th century South African artist, 1974, poor dustjacket.

ILLUSTRATED

R 5 000 - R 10 000

Africana Documents 3

By Authority

LAND GRANT SIGNED BY GOVERNORS RYK TULBAGH AND SWELLENGREBEL Cape Town: Colonial Office, 1752 41 by 32,5cm.

Land grant to Burger Dirk van der Schijf and signed by Land Surveyor P. D. Wentzel.

Framed, document is age browned and foxed but all text clear and dark. On the reverse of the land grant 6 very old paper strips to reinforce the folds of the document.

2

ILLUSTRATED

R 3 000 - R 6 000

4 Various

OFFICIAL JOHANNESBURG PROGRAMME OF AS & T BROADCASTING COMPANY (ASSOCIATED SCIENTIFIC AND TECHNICAL SOCIETIES) Johannesburg: AS & T Broadcasting Co Ltd, 20 September 1924 to 19 July 1925 First edition.

Small 8vo.

This set is a full run of the first year of broadcasting. A rare survival of early broadcasting in South Africa. Radio came to South Africa in 1923. In 1927 the AS & T B. Co. Ltd became the African Broadcasting Company and in 1936 the S.A.B.C. (Qty)

R 2 000 - R 4 000

16

3

S| 1

MILITARY MEMORABILIA Military Memorabilia 5 Wright, D. K.

THE MIDSHIPMAN D. K. WRIGHT RN COLLECTION OF NAVAL MEMORABILIA Journal for the use of Midshipman as compiled by Mr D. K. Wright, Midshipman R.N. on H. M. S. Renown began on 22nd May 1943 with almost daily entries in clear handwriting until 1st June 1944 and signed off by Captain B. C. B. Brooke with many hand drawn coloured maps and diagrams etc and drawings including those of Japanese and other battleships. Clear descriptive narrative approx. 160 pages, 22 by 34cm, bound in cloth and half buckram.

A second volume ‘Work Book for Navigating Officers of His Majesty’s Ships’. Wright calls it ‘Miscellany, Charivaria and Extravaganza’ with a note that ‘the portraits of those extinguished officers that appear on the preceding few pages were executed at a lunch time gin session in ‘Saga’ by first Lieutenant of O.R.P. Garland’ on July 10 1946 at Invergordon’. and a book that belonged to Wright’s Great Great Grandfather duly inscribed by the owner John Wright Bulphan Esq 5th Feb 1787. The book ‘The Practical Navigator and Seaman’s New Daily Assistant Being a Complete System of Practical Navigation’ 8th Edition was published in London

by G. Robinson, 1784 bound in original full calf with wear to covers.

(31)

R 8 000 - R 15 000

7 Anon

DARK WOOD CEYLON LETTER OPENER 1900 - 1901 Ceylon: 1901 35 by 3,75cm.

One end of the letter opener is finely decorated with a carved portrayal of the South African Republic Coat of Arms in relief. 3cm chip below scroll under coat of arms with inscription in old English script “Gen Buller relieved Ladysmith Natal 28th Feby 1900” and a similar portrayal of the OFS Coat of Arms at the other end. On the handle is the inscription ‘Boer Camp 1900 Ceylon 1901 CR Prisoner of War’. The underside of the opener is blank.

8

9 Botha, D. F. THE DANIEL FRANCOIS BOTHA COLLECTION OF ANGLO-BOER WAR MEMORABILIA

St Helena: 1901 - 1902 Cabinet photograph of Daniel Francois Botha on photographer’s mount ‘A. L. Innes, St Helena’.

Photo taken of Botha while a P.O.W. Botha was born 30 June 1845 and died in Sept 1906 at Bultfontein, O.V.S. Two St Helena keepsakes carved from white compound: the first a brooch in the form of an anchor with “Bettie” engraved and the other a small napkin ring engraved “D. J. Botha, St Helena”, diameter: 3,5cm Two pale wooden pen holders: the one decorated and engraved ‘J. Botha, St H 1901’ and the other “St Helena”, length of each 19cm ±34 foolscap page diary of Botha before and after he was taken Prisoner of War graphically detailing his service in the field during the War Most unusual and rare coloured panoramic map decorated with building and figures with legend ‘Ter Gedachtenis van Groenepunt van D. F. Botha na Mrs G. M. Botha 20de October (sic) 1900’, size 47 by 35cm.

R 1 000 - R 3 000 8 Bello, A. A. S.

PAUL KRUGER CERAMIC MEDALLION Portugal: Galdas, circa 1900 First edition.

Diameter: 5,97cm.

Bust of Paul Kruger with hole at 12 o’clock through which a suspending cord could be threaded.

Manufacturer’s details impressed into the clay of the reverse of the medallion.

Of highest rarity because of the material of the medallion, few survived.

ILLUSTRATED

R 3 000 - R 6 000

ILLUSTRATED

Anglo-Boer War Memorabilia

R 8 000 - R 20 000

6 Anon BRITISH CAVALRY OFFICER’S LEATHER RIFLE HOLSTER AND SLING

Circa 1899 – 1900 Length: 114cm.

The brown leather is age scuffed but would be brought to life with some Dubbin and military tan polish. Deeply stencilled in black on the side of the holster is the legend ‘Capt.

H. J. Williams (K(ings) D(ragoon) Gds (Guards).

‘Capt Williams was captured at Hamelfontein by men of Chief-Cmdt Christiaan R. de Wet’s commandos who were invading the Cape Colony on 12 February 1901. Williams was attached to a reconnoitering squadron of the Imperial Light Horse commanded by Capt G. T. M. Bridges. Capt. Williams was deprived of his rifle and holster by his captors who released him later. Hamelfontein is a farm 35km east of Philipstown in the Colesberg district.

R 1 000 - R 3 000 9

17

S| 1

ANGLO-BOER WAR MEMORABILIA

10 Carruthers, Jane

15 Lines, G. W.

18 Mellish, A. E.

MELTON PRIOR: WAR ARTIST IN SOUTHERN AFRICA 1895 – 1900

LADYSMITH SIEGE 2ND NOVR 1899 TO 1ST MARCH 1900

Johannesburg: The Brenthurst Press, 1987 First edition.

4to.

B/w illustrations in profusion.

Cloth in good dustjacket. 850 copies bound in cloth, bookplate.

Pietermaritzburg: P. Davis & Sons, 1900 First edition.

4to.

Includes 10 nominal rolls and a complete copy of the Ladysmith Bombshell with b/w cartoons and illustrations and pages of Ladysmith traders’ advertisements.

Original pictorial paper covers, frittering to right edges of cover page, clean and bright contents.

OUR BOYS UNDER FIRE OR FIRST CANADIAN CONTINGENT MARITIME (PROVINCES) VOLUNTEERS (OF CANADA) IN SOUTH AFRICA

R 600 - R 1 600 11 Fairbairn, John (Hon. Secretary)

R 2 000 - R 4 000

REPORT OF THE GOOD HOPE SOCIETY FOR AID TO SICK AND WOUNDED IN WAR SOUTH AFRICAN WAR 1899 - 1902

WAR IMPRESSIONS (OF THE SOUTH AFRICAN WAR): A RECORD IN COLOUR London: Adam and Charles Black, 1901 First (Deluxe) Edition. Limited to 350 copies of which this is no. 121. Signed by Mortimer Menpes, the artist.

4to.

Col. & b/w illustrations in profusion.

White buckram cover boards. A good copy.

R 1 000 - R 2 000 12 Fremantle, F. E.

R 1 500 - R 3 000

IMPRESSIONS OF A DOCTOR IN KHAKI

20 Orr, Trooper A.S.

London: John Murray, 1901 First edition.

8vo.

B/w illustrations.

Cloth with pictorial panel on front cover board.

A good copy, bookplate of W. de W. Abney.

13 Greenwood, T. J.

FIGHTING THE BOERS

SCOTTISH YEOMANRY IN SOUTH AFRICA 1900 - 1901: A RECORD OF THE WORK AND EXPERIENCES OF THE GLASGOW AND AYRSHIRE COMPANIES 13

16 Lowther, Lt Col. H. C.

Glasgow: James Hedderwick & Sons, 1901 First edition.

Large 8vo.

B/w illustrations from original sketches and photographs.

Pictorial cloth. A tight clean copy.

Nominal rolls of the 17th and 18th Companies.

Bloemfontein: Argus Printing & Publishing Co Ltd, 1900 First edition.

Small 8vo.

Stippled red cover boards, spine age darkened, foxing in a few places.

A rare war correspondent’s account of the Natal Campaign 1899 - 1900.

FROM PILLAR TO POST London: Edward Arnold, 1912 Third Impression of first edition.

Large 8vo.

B/w illustrations.

Pictorial cloth, cover boards bright.

4 chapters on the Anglo-Boer War and 8 chapters on big game hunting in Africa, etc.

ILLUSTRATED ON OPPOSITE PAGE

ILLUSTRATED

R 900 - R 1 800

London: Review of Reviews Office, 1900 First edition.

8vo.

Pictorial cloth with The Vierkleur. A good copy.

Reitz was State Secretary of the South African Republic.

ILLUSTRATED OPPOSITE PAGE

R 6 000 - R 12 000 14 GSM

18

R 2 000 - R 4 000 19 Menpes, Mortimer

Cape Town: Central Good Hope Red Cross Committee, 1902 First edition.

4to.

B/w photographs, foldouts.

Paper covered boards with insect scarring, cover boards detached from spine.

A rare book.

R 500 - R 1 500

Charlottetown: The Examiner Office, 1900 Second edition.

8vo.

B/w sketches and photographs, 43 full page illustrations, nominal rolls and casualty lists.

Stippled red cloth, small stain at top edge of front cover board, a tight clean copy.

A rare regimental history.

17 Lunderstedt, Steve

DARK WOOD RIDING CROP MADE BY A BOER PRISONER OF WAR

SUMMER OF 1899: THE SIEGE OF KIMBERLEY 14 OCTOBER 1899 TO 15 FEBRUARY 1900

Ceylon: 1902 Length: 52cm.

The top end terminates in a fetlock and shod horses hoof while the other end still has its original leather looped strap to fit round the wrist.

Kimberley: Kimberley Africana Library, 1999 First edition.

4to.

Col. & b/w photographs in profusion.

Cloth in mint dustjacket in fine unread condition.

Limited printing.

R 400 - R 1 000

R 1 400 - R 2 800

R 1 500 - R 2 500 21 Reitz, F.W.

A CENTURY OF WRONG

R 400 - R 1 200

S| 1

BOOKS

20

22 Rew, Capt. H. G. McKenzie

24 Stalker, John (Editor)

26 Agar-O’Connell, R. M.

RECORDS OF THE ROUGH RIDERS, XXTH BATTALION IMPERIAL YEOMANRY

THE NATAL CARBINEERS, 1855 - 1911

L’INTSOMI: BANTU FOLK STORIES

Pietermaritzburg: P. Davis & Sons, 1912 First edition.

4to.

B/w illustrations in profusion, nominal rolls, etc.

384 pages.

Original pictorial cloth, spine age darkened, internal hinge split.

One of the earliest and most sought after South African Regimental Histories.

Lovedale: The Lovedale Press, n.d., circa 1930 First edition.

4to.

B/w illustrations by G. M. Pemba and others.

Original grey marbled pictorial card covers with frittering to paper cover edges.

Xhosa translations by B. A. Bangeni. A very rare publication.

Bedford: Brown & Wilson, 1907 First edition.

8vo.

B/w illustrations and map.

Buff pictorial cloth, spine slightly faded, a nice copy of this.

A very rare Anglo-Boer War regimental history.

R 1 000 - R 2 000 23 S. A. G. I.

SOUTH AFRICAN GARRISON INSTITUTE GLAZED GINGER BEER BOTTLE Roberts Heights: Pretoria, 1911 Height: 17cm; Diameter: 6,5cm.

These cream and brown glazed bottled were made in England for use by the S. A. Garrison Institute Canteen to contain ginger beer to be sold to British Soldiers stationed at Roberts Heights after the Anglo-Boer War 1905 - 1914.

R 400 - R 1 400

R 1 500 - R 3 000 25 Williams-Wynn, Lt-Col. R. W.

THE HISTORICAL RECORDS OF THE YEOMANRY AND VOLUNTEERS OF MONTGOMERYSHIRE 1803 - 1908 Oswestry: Woodall Minshall Thomas & Co, 1909 First edition.

Large 8vo.

B/w photographs and plates in colour. All illustrations present.

Red cloth with regimental badge.

Coverage of the Anglo-Boer War.

R 300 - R 400 27 Alexander, F. L. (Author of text)

SOUTH AFRICAN BOOKPLATES FROM THE PERCIVAL J. G. BISHOP COLLECTION Cape Town: A. A. Balkema, 1955 First edition.

8vo.

Examples of bookplates tipped in.

Cloth.

R 800 - R 1 000

R 1 500 - R 2 000

19

S| 1

BOOKS

28

28 Andrews, H. C.

COLOURED ENGRAVINGS OF HEATHS London: by the author and printed by T. Bensley, Vol. 1; R. Taylor, Vol II; 1802 and 1805 First edition.

27 by 43cm.

The hand-coloured drawings were taken from living plants with full description and details of the plant. Text in Latin and English.

Full red leather with ruled and foliated decoration to cover boards, spine has heavily foliated decorated panels with dark red labels and banded spines, marbled endpapers, internal hinge crack, foxing to title page of Vol. 1, sparkling gilt edges.

Each figure is accompanied by dissections of several parts of the plant, magnified where necessary, according to the Linnaen System. A magnificent pair of books.

(2) ILLUSTRATED

R 50 000 - R 70 000

20

S| 1

BOOKS

29

29 Andrews, Henry Charles

30 Angas, George French

COLOURED ENGRAVINGS OF HEATHS

THE KAFFIRS ILLUSTRATED

London: by the author and printed by T. Bensley (Vol. I); R. Taylor (Vol. II), 1802 and 1805 First edition.

43,2 by 27,8cm.

The hard coloured drawings were taken from living plants with full description and details of the plant. Text in Latin and English.

Contemporary brown calf, blindstamped and gold edged decorated ruling to cover boards.

The spines have been replaced with modern leather with raised bands in sympathy with the original binding. Bookplate of Samuel Bradshaw.

Scuffing to extreme edges of cover boards, gilt edges, some foxing to Vol. 1 less in Vol. 2. Vol. 2 has a neat repair to front cover at the top edge of the spine.

Each figure is accompanied by dissections of several parts of the plant, magnified where necessary, according to the Linnaen system.

(2)

Cape Town: A. A. Balkema, 1974 A facsimile reprint of the original 1849 edition of hand coloured lithographs. No. 433 of 450 numbered copies.

58 by 39cm.

Col. & b/w illustrations.

Rexine, slight insect scarring to endpapers, damage to bottom edge of spine.

ILLUSTRATED

R 30 000 - R 40 000

R 2 000 - R 2 500 31 Anon

THE UNION OF SOUTH AFRICA AND THE GREAT WAR 1914 - 1918 OFFICIAL HISTORY, GENERAL STAFF, DEFENCE HEADQUARTERS, PRETORIA Pretoria: The Government Printing and Stationery Office, 1924 First edition.

4to.

B/w illustrations and maps.

Cloth, cover very slightly rubbed.

R 2 000 - R 4 000

32 Baker, Sir Samuel W.

ISMAILIA: A NARRATIVE OF THE EXPEDITION TO CENTRAL AFRICA FOR THE SUPRESSION OF THE SLAVE TRADE London: Macmillan & Co, 1879 Second edition.

8vo.

With maps, over 50 full page b/w illustrations.

Decorated cloth, rear cover board a bit rubbed, 2 bookplates, slight internal foxing in places.

R 700 - R 1 400 33 Baker, Sir Samuel W.

THE NILE TRIBUTARIES OF ABYSSINIA

London: Macmillan & Co, 1871 Third edition.

8vo.

25 illustrations from original sketches by the author.

Contemporary full calf, highly decorated spine panels, gold ruled cover boards, marbled edges and endpapers with gold armorial shield on front cover board. A most decorative copy. Slight foxing to prelims and endpapers.

R 1 300 - R 3 000 21

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BOOKS

34 Ballentyne, R. M.

36 Barttelot, Walter George

38 Best, Anthony A.

SIX MONTHS AT THE CAPE OR LETTERS TO PERIWINKLE FROM SOUTH AFRICA

THE LIFE OF EDMUND MUSGRAVE BARTTELOT, BEING AN ACCOUNT OF HIS SERVICES FOR THE RELIEF OF KANDAHAR, OF GORDON AND OF EMIN

ROWLAND WARD’S RECORDS OF BIG GAME, XVIITH EDITION AFRICA

London: James Nisbet & Co, 1880 Not stated.

8vo.

B/w illustrations by S. E. Waller from sketches by the author.

Decorated cloth, a clean bright copy.

R 300 - R 3 000 35 Barrow, John

TRAVELS IN CHINA London: T. Cadell and W. Davies, 1804 First edition.

4to. folio; 22 by 27cm.

8 engraved plates, 2 are double page frontis and 4 others are hand-coloured.

Full leather, corners and edges to spine rubbed.

Slight foxing to prelims, internal hinge crack.

Bookplate of Thomas Onesiphorus Tyndall.

Otherwise a clean bright copy.

This account of Barrow’s China travels was acknowledge to be the most valuable and interesting description of China and the China era at the start of the 19th Century.

ILLUSTRATED

London: Richard Bentley & Son, 1890 Second edition.

Large 8vo.

B/w illustrations and 2 maps.

Red cloth with armorial shield on front cover board, a good copy.

From his letters and diary on the Congo.

R 400 - R 1 000 37 Bent, Theodore, J.

THE RUINED CITIES OF MASHONALAND London: Longmans, Green & Co., 1892 First edition.

8vo.

Profusely illustrated with 2 maps and 3 plans.

Pictorial cloth in bright condition, initial foxing to prelims and first 4 pages as is usual with this book.

A record of Excavation and Exploration in 1891 with chapter on the Orientation and Mensuration of the Temples.

Hartfield: Rowland Ward Publications Ltd, 1977 Seventeenth edition.

4to.

Cloth with two small stains, in poor dustjacket.

R 400 - R 1 000 39 Beverley, R. M. (Justus pseudonym)

THE WRONGS OF THE CAFFRE NATION London: James Duncan, 1837 First edition.

Small 8vo.

In original drab boards, spine replaced with paper tape. Bookplate of Edward Philip Solomon, Rossleigh, Parktown, Johannesburg.

Solomon was minister of Public Works of the Transvaal Colony before 1910.

Scarce and important contribution to the debate on this subject from its beginning. A rare book.

Appendix contains Lord Glenelg’s dispatches to the Governor of the Cape of Good Hope.

R 1 500 - R 3 000

R 600 - R 1 200

R 30 000 - R 50 000 35

22

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BOOKS 40 Bird, John

44 Boon, Martin James

48

By Authority

THE ANNALS OF NATAL 1495 - 1845, 2 VOLS

THE HISTORY OF THE ORANGE FREE STATE

Cape Town: T. Maskew Miller, 1888 First edition.

Large 8vo.

Original blue cloth on sparkling unread condition. Small tear to edge of front free endpaper.

(2)

London: William Reeves, 1885 First edition.

8vo.

Pictorial cloth with edge bleaching to rear cover board, yet a good tight copy with new endpapers, slight foxing to title page and pre title page.

DUTIES OF FIELD-COMETS: SELECTIONS FROM THE ORDINANCES AND ACTS OF PARLIAMENT OF THIS COLONY RELATING TO THE DUTIES OF FIELD CORNETS

R 1 500 - R 2 500

R 1 600 - R 4 500

41 Bolus, H.

45 Brinton, Wilfred

ICONES ORCHIDEARUM AUSTROAFRICANARUM ETC EXTRA TROPICAL SOUTH AFRICAN ORCHIDS, Vol. 1 Part 1; Vol 1, Part 2, Vol. 3

HISTORY OF THE BRITISH REGIMENTS IN SOUTH AFRICA 1795 - 1895

London: William Wesley & Son, 1898 First edition.

4to.

Col. & b/w illustrations.

Cloth, damage to side edge of Vol. 1 Part 1, pages are loose in Vol. 1 Part 1 and Part 2, foxing to prelims, sello tape stain to endpapers of Vol. 3.

(3)

Cape Town: University of Cape Town, Department of Extra-Mural Studies, 1977 First edition.

Large 8vo.

Detailed information as to the service and movements of British Regiments.

Hardback.

One of the rarest and most sought after reference works on the subject. The previous owner has penned on the front free endpaper ‘Copy not for sale’.

R 2 000 - R 3 000

R 1 400 - R 2 500

42 Bolus, H.

46 Bryden, H. Anderson

THE ORCHIDS OF THE CAPE PENINSULA

GUN AND CAMERA IN SOUTHERN AFRICA

Cape Town: Darter Bros & Co, 1918 Second edition.

4to.

Col. & b/w illustrations.

Cloth, rather grubby, endpapers age browned with a bit of scattered foxing.

London: Edward Stanford, 1893 First edition.

Large 8vo.

A Year of Wanderings in Bechuanaland, The Kalahari Desert and the Lake River Country, Ngamiland with notes on Colonisation, Natives, Natural History and Sport. Numerous b/w illustrations and a map.

Half leather, marbled boards and endpapers, gold ruled banded spine. A fine copy.

R 2 000 - R 3 000 43 Bolus, H. and two others

A BOOK OF SOUTH AFRICAN FLOWERS Cape Town: Juta & Co Ltd, 1925 First edition.

4to.

Col. & b/w illustrations.

Pictorial cloth in poor dustjacket. and another of related interest BOLUS, H. M. L. AND TWO OTHERS - A Second Book of South African Flowers, 1936, slight foxing to endpapers with dustjacket frittered at spine edges.

Interesting correspondence to the vendor loose in first item.

(2)

R 500 - R 1 000

R 1 000 - R 1 500 47 Buchan, John

PRESTER JOHN London: Thomas Nelson & Sons Ltd, 1910 First edition.

8vo.

Frontis map.

Decorated cloth.

R 800 - R 1 000

Cape Town: Saul Solomon & Co., 1877 First edition.

8vo.

Included in text is a table of contents and index.

Original black morocco, spine a bit rubbed with wear at extreme top edge, foxing to endpapers and title page.

A very scarce book published at the start of the 9th Kaffir War.

R 1 200 - R 1 900 49

By Authority

REPORT FROM THE SELECT COMMITTEE ON THE KAFIR TRIBES TOGETHER WITH THE PROCEEDINGS OF THE COMMITTEE MINUTES OF EVIDENCE London: The House of Commons, 2 August 1851 First edition.

Heavy 8vo.

With appendix and index.

Half leather, marbled endpapers.

R 1 800 - R 2 400 50 Chamberlain, W. H. J. and Toylerson, A. W. F.

REVOLVERS OF THE BRITISH SERVICES 1854 - 1954 Bloomfield, Ontario: Museum Restoration Service, 1989 First edition, limited printing.

4to.

B/w photos in profusion and detailed text.

Simulated leather with ‘W. D’ and arrowhead on front cover board.

R 800 - R 1 500 51 Chapman, Charles Captain

A VOYAGE FROM SOUTHAMPTON TO CAPE TOWN IN THE UNION COMPANY’S MAIL STEAMER ‘SYRIA’ AND TWO THOUSAND MILES JOURNEY THROUGH KAFFIRLAND AND THE DIAMOND FIELDS London: George Berridge & Co., 1872 First edition.

8vo.

Sepia illustrations.

In quarter leather blue solander box, original paper covers faded.

The trip back was through the Griqua Territory.

An extremely rare publication.

R 1 600 - R 3 000

23

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BOOKS

52 Coillard, Francois

54 Daniell, Samuel

55 Darroll, Gail (Paintings) & MacLean, G. L. (Text)

ON THE THRESHOLD OF CENTRAL AFRICA: A RECORD OF TWENTY YEARS’ PIONEERING AMONG THE BAROTSI OF THE UPPER ZAMBEZI

ORIENTAL SCENERY, 3 VOLS

DUCKS OF SUB-SAHARAN AFRICA

London: T. & W. Daniell, 1812 - 1816 First edition.

28 by 38cm.

150 views of architecture, antiquities and landscapes of Hindoostan.

Half leather, marbled boards and endpapers and gilt edges highly decorated banded spines. Vol. I - has damp stains at the bottom of book, but not on engravings. Back hinge split at the back bottom, about two inches and spine and front cover and first pages loose, but spine and boards intact. Vol. 2 - top front corner of front board has bumped corner and some of marbling of the board has been ripped off and there is foxing to the frontispiece and damp stain to the bottom front corner of the pages. Vol. 3 - corners bumped and slight wear to bottom of front board, damp stain to bottom of frontispiece and some foxing to it. Small quarter inch tear to bottom front hinge and slight wear to bottom front board edge. Some browning to last engraving. The binding is loose of all 3 Vols.

This is Daniell’s major work.

(3)

Johannesburg: Acorn Books, 1986 First edition. No. 1507 of 2700 copies.

Folio.

Col. plates.

Cloth in very good dustjacket.

London: Hodder and Stoughton, 1897 First edition.

4to.

Forty four b/w illustrations from photographs by the author.

Pictorial cloth, slight wear to spine edges, internal hinge split.

R 700 - R 1 200 53 Cuming, E. D.

A GAME RANGER’S NOTE BOOK London: Nisbet & Co Ltd, 1927 Second reprint of 1924 first edition.

8vo.

B/w illustrations.

Cloth, a clean copy.

R 600 - R 900

ILLUSTRATED

R 60 000 - R 80 000

54

24

R 800 - R 1 500

BOOKS

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56 DETAIL

56

56 Dawkins and Wood

RUINS OF BALBEC (OTHERWISE HELIOPOLIS, IN COELOSYRIA) London: The Authors, 1757 First edition.

55,7 by 38,5cm.

47 copper-engraved plates (1 unnumbered), many double page or folding, one engraving of inscriptions in text.

Original half leather, marbled cover boards, with slight wear, leather age darkened. Slight foxing to perimeters of some pages. A good copy.

The plates were engraved by Fourinier after drawings by Borra, an Italian architect.

ILLUSTRATED

R 40 000 - R 60 000

25

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57 Dawkins and Wood

THE RUINS OF PALMYRA OTHERWISE TEDMOR IN THE DESERT London: The Authors, 1753 First edition. Limited to 1000 copies.

Folio, 58,4 by 39,8cm.

57 engraved plates.

Full leather with magnificent foliated border decoration to cover boards in gold, gold gartered Stafford Coat of Arms on front cover board, banded decorated spine, slight wear to extreme edges of cover boards, marbled endpapers.

Bookplate of the Marquis of Stafford.

Unlike earlier antiquarian works, Wood measured and recorded proportions of columns and remnants of friezes and ceilings - a pioneering approach that influenced British and French architects throughout the 18th century.

ILLUSTRATED

R 40 000 - R 60 000

57

26

RUINS OF PALMYRA BEFORE ISIS ATTACK

RUINS OF PALMYRA AFTER ISIS ATTACK

SOURCE: http://www.sallyandalice.com/syria-lebanon/

SOURCE: http://edition.cnn.com/2015/05/21/middleeast/syria-palmyra-watson/

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BOOKS 58 Delavoye, Alex M.

63 Du Val, Charles

67 Fitzsimons, F.W.

RECORDS OF THE 90TH REGIMENT (PERTHSHIRE LIGHT INFANTRY)

WITH A SHOW THROUGH SOUTHERN AFRICA AND PERSONAL REMINISCENCES OF THE TRANSVAAL WAR, 2 VOLS

SOUTH AFRICAN NATURE STUDY: BIRDS, 2 VOLS

London: Richardson & Co, 1880 First edition.

Large 8vo.

Details of the 8th and 9th Kaffir Wars and Zulu War. Nominal rolls of officers etc, 1795 - 1880.

Pictorial decorated cloth with slight wear to edges of spine and very slight foxing to title page edge.

London: John Murray, 1918 First edition.

8vo.

With b/w photographs of the campaign.

Cloth, bookplate, slight foxing to endpapers.

A rare book.

London: Tinsley Bros, 1884 Second edition.

8vo.

B/w engraved sketches, many based on photographs by H. Gros, the Pretoria photographer during the Siege.

Decorated cloth, slight wear to spine edges, foliated spine decoration, slight scattered foxing.

Du Val was editor of the ‘News of the Camp’ the newspaper he edited during the Siege of Pretoria 1880 - 1881, first Anglo-Boer War including unknown accounts of the Battle of Swartkopjes, the only British victory of the War, the Battle of Bronkhorstspruit and other actions round Pretoria. A very rare set.

(2)

R 900 - R 1 500

R 1 600 - R 3 000

R 1 000 - R 1 400 59 Dolbey, Capt. R. V.

SKETCHES OF THE EAST AFRICA CAMPAIGN

60 Drayson, Capt. A. W.

TALES AT THE OUTSPAN OR ADVENTURES IN THE WILD REGIONS OF SOUTHERN AFRICA London: Saunders, Otley & Co., 1865 First edition.

Large 8vo.

Eight b/w illustrations.

Blindstamped decorated cloth, endpapers have been replaced. Very slight foxing to prelims.

R 1 000 - R 1 400 61 Drayson, A. W. Maj-Gen.

EARLY DAYS AMONG THE BOERS OR THE DIAMOND HUNTERS OF SOUTH AFRICA London: Griffith Ferran Browne & Co, circa 1889 First edition.

8vo.

B/w illustrations.

Original red pictorial cloth, a clean copy.

R 500 - R 900

R 400 - R 700 68 Goldblatt, David

SOME AFRIKANERS PHOTOGRAPHED Cape Town: Murray Crawford, 1975 First edition.

Large 4to.

Superb col. & b/w plates.

Cloth in good dustjacket in broidart cover with a few old stains on dustjacket, internal flaps.

ILLUSTRATED

64 Dyer, Anthony

R 14 000 - R 28 000

THE EAST AFRICAN HUNTERS

69 Gorges, Brig-Gen. E. Howard

New Jersey: The Amwell Press, 1979 First edition.

8vo.

B/w illustration and col. frontis.

Pictorial grained cover boards in slipcase.

History of the East African Professional Hunters. An African Hunting Heritage Book.

THE GREAT WAR IN WEST AFRICA London: Hutchinson & Co Ltd, 1930 First edition.

Large 8vo.

With frontis, 191 other illustrations and 15 maps, nominal rolls of regiments, etc.

Cloth, part of old dustjacket included at back of book.

A rare World War I history, seldom offered for sale.

R 900 - R 2 000 65 Finch-Davies, C. G.

R 800 - R 1 600

GAMEBIRDS AND WATERFOWL OF SOUTHERN AFRICA Johannesburg: Winchester Press, 1986 First edition, No. 2710 of 5000 subscriber’s copies.

4to.

68 Col. plates as printed by Finch-Davies.

Cloth, in very good dustjacket in slipcase, in unread condition, bookplate on free front endpaper.

62 Drummond, W. H.

R 400 - R 900

THE LARGE GAME AND NATURAL HISTORY OF SOUTH & SOUTH EAST AFRICA

66 Finch-Davies, C. G.

Salisbury: the Pioneer Head, 1972 Facsimile Reprint.

8vo.

B/w illustrations.

Pictorial hardback in good dustjacket - a few tears to top spine edge of dustjacket.

And another of related interest FIORENZA, PIERRE - Encyclopedia of Big Game Animals in Africa, 1983, in very good dustjacket.

(2)

THE BIRD PAINTINGS OF C. G. FINCHDAVIES

R 400 - R 1 000

Cape Town: Geo Winderley & Co, 1927 Re-issue of 1923 edition.

8vo.

Col. plates and numerous illustrations from photographs.

Cloth, a bright clean set, slight wear to extreme top edges of spines.

(2)

Johannesburg: Winchester Press, 1984 First edition.

Large 4to.

Col. & b/w illustrations. 100 col. plates.

Cloth with laid down plate on front cover board in similarly decorated cloth covered slipcase, bookplate, slipcase and spine water stained.

R 700 - R 1 200

68

27

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BOOKS

70 Gregory, Theodore

72 Harris, Captain W. Cornwallis

75 Hilliard, O. M. and Burtt, B. L.

ERNEST OPPENHEIMER AND THE ECONOMIC DEVELOPMENT OF SOUTH AFRICA

PORTRAITS OF THE GAME AND WILD ANIMALS OF SOUTHERN AFRICA

DIERAMA: THE HAIRBELLS OF AFRICA

Cape Town: Oxford University Press, 1962 First deluxe edition. Signed by the author. One of the especially bound Presentation Copies limited to 150. On a specially bound in page signed by Harry Oppenheimer is the legend.

‘Presented to Sarah Gertrude Millin by H. F. Oppenheimer’.

4to.

B/w illustrations, maps and foldouts.

Full black leather with ruled spine with geometric gold edged squares, marbled endpapers in fine unread condition, gilt edges.

A very rare presentation copy.

R 2 000 - R 5 000 71 Harris, Captain William Cornwalli

THE WILD SPORTS OF SOUTHERN AFRICA BEING THE NARRATIVE OF A HUNTING EXPEDITION FROM THE CAPE OF GOOD HOPE London: Pelham Richardson, Cornill, 1844 Fourth edition.

4to.

Col. illustrations, bright and clean, a very fine copy.

Contemporary half leather, marbled boards and endpapers, gold banded spine, bookplate of Colin Graham Botha.

ILLUSTRATED

R 20 000 - R 30 000

Mazoe, Rhodesia: Frank Reed Press, 1976 Facsimile reprint No. 405 of 540 subscriber’s copies.

43 by 61cm.

Col & b/w illustrations.

Half leather, publisher’s signature, bookplate, fishmoth damage to endpapers which could be replaced for a modest fee.

Johannesburg: Acorn Books, 1991 First edition.

4to.

Col. & b/w illustrations.

Hardback in very good dustjacket, foxing to endpapers.

With inscription by the artist of illustrations and signed by both authors and artist on the title page. Paper cuttings included with book.

R 1 800 - R 3 000

R 500 - R 1 000

73 Henkel, Margot & Skawran, Karin

76 Horsbrugh, B. R.

IRMIN HENKEL

THE GAMEBIRDS AND WATERFOWL OF SOUTH AFRICA

Durban: Butterworths, 1982 First edition.

4to.

Col. & b/w illustrations.

Cloth in mint dustjacket in fine unread condition.

R 6 000 - R 8 000 74 Herne, Brian

DESERT SAFARIS New Jersey: The Armwell Press, 1984 First edition.

8vo.

B/w illustrations.

Grained pictorial hardback in slipcase.

An African Hunting Heritage Book.

R 400 - R 800

Johannesburg: Winchester Press, 1978 Facsimile reprint. No. 212 of 400 Subscriber’s Volumes.

4to.

65 Col. plates.

Quarter leather with marbled cover boards.

R 700 - R 1 400 77 Jenkinson, T. B.

AMAZULU, THE ZULUS: THEIR PAST HISTORY, MANNERS, CUSTOMS AND LANGUAGE London: W. H. Allen & Co., 1884 Second edition. Inscribed by the author to ‘Winifred Lovel Jenkinson, Farway Rectory, Honiton of Devon. Given to her on her 16th Birthday in token of her birthplace in Natal and of her mother’s visit to Zululand in 1889. Thomas B. Jenkinson’.

8vo.

Ruled cloth cover board, spine slightly faded, a clean tight copy, bookplate of Myles E. Bourke.

R 1 500 - R 4 000

71

28

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BOOKS 78 Keane, A. H.

82 Kirby, F. V.

84 Koeman, C

THE BOER STATES LAND AND PEOPLE

IN HAUNTS OF WILD GAME: A HUNTER NATURALIST’S WANDERINGS FROM KAHLAMBA TO LIBOMBO

TABULAE GEOGRAPHICAE COLONIAL BONAE SPEI EIGHTEENTH CENTURY CARTOGRAPHY OF CAPE COLONY

Edinburgh: William Blackwood & Sons, 1896 First edition.

4to.

With portrait of author and numerous b/w illustrations and foldout coloured map.

Half leather with marbled cover boards, a handsome copy.

Cape Town: N. V. Hollandsch-Afrikaansche Uitgevers Maatschappij, 1952 First edition.

41 by 31cm, oblong folio.

Col. & b/w illustrations. 10 plates of maps of the Cape Colony 1752 - 1812 and companion map of Governor van de Graaff of 1795 in rear pocket.

Full leather VOC monogram on front cover board.

London: Methuen & Co, 1900 First edition.

8vo.

Map. Half leather, logo of USSCO Steamers Library on front cover board. Double bookplate of Library of Turbine Steamer ‘Loongana’ on front endpaper and the rest of the library bookplate list on rear endpapers. The full listing of the steamer’s ‘in house’ library is given. A remarkable piece of ‘mail ship’ memorabilia.

R 3 000 - R 6 000

R 400 - R 700

83 Kirby, Frederick Vaughan

79 Kearton, Richard

HAUNTS OF WILD GAME: A HUNTER - NATURALIST’S WANDERINGS FROM KAHHAMBA TO LIBOMBO

WITH NATURE AND A CAMERA BEING THE ADVENTURES AND OBSERVATIONS OF A FIELD NATURALIST

London: William Blackwood & Sons, 1896 First edition.

4to.

B/w illustrations in profusion.

Pictorial cloth, spine age darkened, wear to extreme edges of spine. Map lacking from this very sought after book. Bookplate of Abel Chapman. A little wear to corners.

London: Cassell & Co Ltd, 1898 First reprint of 1898.

4to.

180 illustrations.

Bookplate of G. Carleton Jones and Pershouse. Half leather, banded and highly decorated foliated panels to spine. A very good copy. No foxing, scuffing to leather at extreme edges of spine.

R 1 500 - R 3 000

R 1 200 - R 2 500 85 Labillardiere

ATLAS POUR SERVIE A’ LA RELATION DU VOYAGE A’ LA RECHERCHE DE LA LA PEROUSE, FAIT PER ORDRE D L’ASSEMBLEE CONSTUANTE PENDANT LES ANNEES 1791 92 DE LA REPUBLIQ1UE FRANCAISE Paris: H. J. Jansen, 1800 First edition.

54 by 36cm.

Marbled untitled paper covered boards, hand cut pages.

Labillardiere was correspondent for the Academy of Sciences in Paris and a member of the Natural History Society.

ILLUSTRATED

R 40 000 - R 60 000

R 500 - R 1 200 80 Kemp, A. C. (Text)

CLAUDE GIBNEY FINCH-DAVIES 1875 - 1920: OBSERVER, STUDENT AND HIGHLY SKILLED ILLUSTRATOR OF SOUTHERN AFRICAN BIRDS: A BIOGRAPHY Pretoria: Transvaal Museum, 1976 First edition.

Large 4to.

Col. & b/w illustrations.

Hardback in good dustjacket.

R 400 - R 900 81 King, Capt. W. R.

CAMPAIGNING IN KAFFIRLAND: SCENES AND ADVENTURES IN THE KAFFIR WAR OF 1851 - 2 London: Saunders and Otley, 1853 First edition.

8vo.

B/w illustrations.

Pictorial blindstamped cloth, spine slightly rubbed. A clean copy. Illustrations bright slight discolouration to extreme edges of plates, internal hinge crack.

85

R 5 000 - R 10 000 29

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BOOKS

86 Lagden, Sir Godfrey

90 Lloyd, A.B

94 Marloth, Rudolph

THE BASUTOS: THE MOUNTAINEERS AND THEIR COUNTRY, 2 VOLS

IN DWARF LAND AND CANNIBAL COUNTRY: A RECORD OF TRAVEL AND DISCOVERY IN CENTRAL AFRICA

THE FLORA OF SOUTH AFRICA WITH SYNOPTICAL TABLES OF THE GENERA OF THE HIGHER PLANTS

London: T. Fisher Unwin, 1899 First large edition limited to 1000 copies.

4to.

One hundred and forty six illustrations and maps.

Bright pictorial cover boards, deep crack to internal hinge, bookplate of I. & F. Hosken.

Cape Town: Darter Bros & Co, 1913 - 1915 First edition.

4to.

Col. & b/w plates in profusion.

Cloth, foxing, and scattered foxing, sello tape stains to endpapers from old plastic covers that were removed, 5 of the 6 books have average to good dustjackets, insect scarring to cloth cover boards.

(6)

London: Hutchinson & Co, 1909 First edition.

8vo.

70 illustrations and 9 maps.

Cloth, slight, very occasional scattered foxing.

Bookplate of A. J. Ballantine, hinge split to Vol. 1.

A narrative of events relating to the tribe from its formation early in the 19th century to the present day.

(2)

R 1 000 - R 1 800 87 Le Caron, H. Major

TWENTY-FIVE YEARS IN THE SECRET SERVICE: THE RECOLLECTIONS OF A SPY London: William Heinemann, 1892 Sixth edition.

8vo.

B/w illustrations.

Half leather, marbled boards, banded spine with slight scuffing to edges. Bookplate of Sir Liege Hulett, marbled endpapers, scattered foxing because of the Natal humidity. The present Kersney College is sited in his ‘sugar baron’ mansion.

R 400 - R 1 000 88 Le Vaillant

NEW TRAVELS INTO THE INTERIOR PARTS OF AFRICA BY THE WAY OF THE CAPE OF GOOD HOPE 1783, 1784 AND 1785, 3 VOLS London: G. G. & J. Robinson, 1796 English Edition.

8vo.

All maps, foldouts and illustrations present.

Half leather, original cover boards but with titled new leather spines and corners, and new endpapers, text slightly age browned in places.

(3)

R 1 000 - R 1 600 91 Lydekker, R.

THE GAME ANIMALS OF AFRICA London: Rowland Ward Ltd, 1900 First edition.

4to.

B/w illustrations in profusion.

Top two corners bumped, with slight rubbing to spine tops. Internal hinge cracks with nick to front free endpaper. Bookplate of Einar Lönnberg. Internally clean and tight. Small smudges to pre title page.

R 1 000 - R 2 000 92 Lydekker, Richard

THE ROYAL NATURAL HISTORY, 6 VOLS London: Frederick Warne & Co., 1893 - 1896 First edition.

4to.

Illustrated with 72 coloured plates and 1600 engravings.

Half brown leather with patterned cloth boards, marbled endpapers, slight foxing to front free endpapers Vols 1 & 2: Mammals; Vol. 3: Mammals & Birds; Vol. 4: Birds; Vol. V: Reptiles and Fishes; Vol. VI: Invertebrates.

(6)

95 Millais, J. G.

LIFE OF FREDERICK COURTENAY SELOUS DSO London: Longmans, Green & Co., 1918 First edition.

Large 8vo.

16 full page b/w illustrations.

Cloth, slight foxing to prelims and title page.

R 500 - R 1 000 96 Musick, J. A. and others (Editors)

THE BIOLOGY OF LATIMERIA CHALUMNAE AND EVOLUTION OF COELACANTHS Dordrecht: Kluwer Academic Publishers, 1991 First edition.

4to.

B/w illustrations.

Hardback with pictorial laminated cover boards.

Pre-title page signed by two of the authors and inscribed to Marjorie Courtenay-Latimer.

R 1 000 - R 1 500

R 2 500 - R 4 000

97 Parke, Thos Heazle

R 6 000 - R 12 000

93 Marloth

89 Leyds, Dr W.J.

THE FLORA OF SOUTH AFRICA WITH SYNOPTICAL TABLES OF THE GENERA OF HIGHER PLANTS, 6 IN 5 VOLS

MY PERSONAL EXPERIENCES IN EQUATORIAL AFRICA AS MEDICAL OFFICER OF THE EMIN PASHA RELIEF EXPEDITION

THE FIRST ANNEXATION OF THE TRANSVAAL London: T. Fisher Unwin, 1906 First edition.

8vo.

Roll of Cape Governors, State Secretaries for Colonies, Premiers, etc and Governors of Natal.

Foldout map in very good condition.

Cloth, rubber stamp on title page endpapers of the Cape Argus Library. A nice association copy.

R 600 - R 700

Cape Town: Darter Bros & Co., 1913 - 1915 First edition.

4to.

Col. & b/w illustrations.

Please note: Vols. 1 and 4 are bound together and were bound without full page plates.

Cloth, scattered foxing. The cover boards are insect scarred. Only Vol. III parts 1 and 2 have dustjackets. Dustjackets poor. Sello tape stains on endpapers from old plastic covers that were removed, faded gilt edges.

(5)

R 1 500 - R 2 000 30

R 2 000 - R 3 000

London: Sampson Low, Marston & Co. Ltd, 1891 First edition.

Large 8vo.

Eighteen b/w illustrations and map.

Decorative cloth, very slight wear to spine edge, slight internal hinge split.

R 1 200 - R 2 000

BOOKS

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98

98 Pilleau, H.

SKETCHES IN EGYPT London: Dickinson & Son Publishers, 1845 First edition.

37 by 54cm.

12 hand-coloured lithographed plates.

Half leather with leather titled label laid down on front cover board, foxing to pre-title pages, title page and plates in excellent condition.

Pilleau was a surgeon in the 16th Lancers in India and Afghanistan and travelled up the Nile while accompanying Lt Col George Everest, former surveyor general of India.

ILLUSTRATED

R 100 000 - R 150 000

Henry Pilleau was a skilled British artist. He was educated at the Westminster School after which he entered the Army Medical Corps – it was here that he became the Deputy Inspector-General of hospitals. He continued working in oil and watercolour well into his retirement, producing especially striking landscape watercolours. He was a well-respected Victorian artist and often exhibited at the Royal Academy in London, he was also inaugurated by the Royal Institute of Painters in Watercolours in 1882.

References: • www.thewallingtongallery.co.uk ACCESSED ON THE 13/10/2016 • Wood, C. The Dictionary of Victorian Painters, 2nd Edition. 1978. Published by the Antique Collectors’ Club. Woodbridge, Suffolk, England.

31

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BOOKS

99

99 Potocki, Count Joseph

SPORT IN SOMALILAND BEING AN ACCOUNT OF A HUNTING TRIP TO THAT REGION London: Rowland Ward Ltd, 1900 First limited edition. No. 44 of 200 copies signed

by Rowland Ward.

40 by 32,5cm.

Coloured portrait of the author, 58 coloured illustrations, 18 pages photogravures, 7 text figures and fold out map at back.

Pictorial cloth, spine age browned, top edges gilt, imitation cobra skin end papers, 4 small gouges to cloth of back cover board. A clean copy.

Probably one of the rarest hunting books.

ILLUSTRATED

R 80 000 - R 100 000 32

SPORT IN SOMALILAND BEING AN ACCOUNT OF A HUNTING TRIP TO THAT REGION, 1900 is one of the rarest of all African big game hunting books. It profiles a specific safari that the Polish aristocrat, Count Joseph Potocki undertook in 1895 to the autonomous region of Somalia.

Being of aristocratic descent the Count Potocki was extremely wealthy; among many of his feats he also ordered a private railroad to be built to Pilawin - where his privately owned deer-park was situated in the historic region of Volhynia, Russia.

References: • https://www.forumauctions.co.uk/146/Africa.Potocki-Count-Joseph-Sport-in-SomalilandBeing-an-Account-of-a-Hunting-Trip-to-thatRegion-1900?auction_no=1002&view=lot_detail ACCESSED ON THE 13/10/2016 • http://www.trophyroombooks.com/pages/ books/4178/joseph-potocki/sport-in-somaliland ACCESSED ON THE 13/10/2016

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BOOKS 100 Pringle, Thomas

NARRATIVE OF A RESIDENCE IN SOUTH AFRICA London: Edward Moxon, 1835 A new edition.

8vo.

1 map.

Half leather, edges of spine and corners rubbed, marbled cover boards, which are rubbed, modern inscription on endpaper, age browning to prelims, initial foxing, frontis map age browned and stained.

Included in the book are related letters and paper cuttings.

102 Skinner, J. D. and Smithers, R. H. N.

104 Society for the Diffusion of Useful Knowledge

THE MAMMALS OF THE SOUTHERN AFRICAN SUBREGION

MAPS

Pretoria: University of Pretoria, 1990 New edition.

4to. A heavy book.

Col. & b/w illustrations.

Cloth in good dustjacket. Inscription on reverse of frontis piece.

Signed by John D. Skinner who brought out the new edition.

R 700 - R 1 000

R 500 - R 900

103 Society for the Diffusion of Useful Knowledge

101 Selous, Frederick

COMPLETE ATLAS OF MODERN, CLASSICAL AND CELESTIAL MAPS

TRAVEL AND ADVENTURE IN SOUTH-EAST AFRICA London: Rowland Ward & Co Ltd, 1893 Third edition.

8vo.

B/w illustrations in profusion and map.

Pictorial cloth with original spine skillfully laid down, remains of old label on reverse of frontis.

R 400 - R 900

London: Edward Stanford, 1857 First edition.

42 by 36cm.

Also include are plans of principal cities of the world.

Vol. 1 - Europe & Asia; Vol. 2 - Africa, America, Australia and plans.

Half leather with Society logo on front cover board, marbled endpapers. A bit of wear to spine and spine edges and corners, maps clean and bright, some pages are loose, minor foxing to blank reverse of some maps.

(2)

London: Chapman & Hall, 1844 First edition.

36 by 42,5cm.

Col. & b/w maps and plans of cities.

Half leather, marbled endpapers, leather worn, spines have been replaced with sturdy buckram and a few remaining fragments of the original leather spine have been laid down on the ‘new’ spine. This repair was probably undertaken 70 years ago. Vol. 1 has marbled cover boards, Vol. 2 has black patterned cloth. Very slight foxing to title page and rear of front free endpaper. Maps clean and bright. Corners of both vols bumped.

R 20 000 - R 30 000

ILLUSTRATED

R 30 000 - R 40 000

103

33

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BOOKS

WM STANLEY MEETING DR LIVINGSTONE

105 Stanley, Henry M.

106 Stanley, Henry M.

IN DARKEST AFRICA OR THE QUEST RESCUE AND RETREAT OF EMIN, GOVERNOR OF EQUATORIA, 2 VOLS

IN DARKEST AFRICA OR THE QUEST, RESCUE AND RETREAT OF EMIN GOVERNOR OF EQUATORIA

London: Sampson Low, Marston, Searle and Rivington Ltd, 1890 Unknown.

Large 8vo.

150 woodcut b/w illustrations and maps.

Pictorial cloth, corners bumped, wear to spine edges, cover boards age darkened, foxing, small nick on Vol. 1 p103, internal hinge cracks, magic tape repair to foldout maps.

(2)

London: Sampson Low, Marston, Searle & Rivington, 1890 First edition.

4to.

170 woodcut illustrations and maps.

Gilt edges, the two large foldout maps in both volumes have some folds reinforced with sello tape, minimal intrusion of tape to front of map, simulated half leather with Stanley’s facsimile signature on front cover boards in gold, foxing to endpapers and previous owner’s label on front free endpaper.

R 900 - R 1 500

R 1 200 - R 2 000

34

Doctor Livingstone, I presume?

His first African expedition in 1840 made David Livingstone a national hero, capturing the public’s imagination through his writings. Upon his return to Africa in 1864, he achieved true international stardom.

However, little was known about Livingstone’s expedition and by 1871 there was still no word from the great explorer. Rumours spread that he was held captive, lost or either dead. Newspaper headlines around the world read “Where is Livingstone?”

The great Henry Stanley took up the challenge of discovering Livingstone. Leading an expedition of approximately 200 men, Stanley headed into the interior from the eastern shore of Africa on 21 March 1871. After nearly eight months he found Livingstone in Ujiji, a small village on the shore of Lake Tanganyika on 10 November 1871.

It was here where Stanley uttered his famous words “Doctor Livingstone, I presume?” and the rest is history.

SOURCE: www.eyewitnesstohistory.com

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BOOKS 110 Sykes, Frank W.

WITH PLUMER IN MATABELELAND London: Archibald Constable & Co., 1897 First edition.

Large 8vo.

An account of the operations of the Matabeleland Relief Force during the Matabele Rebellion of 1896.

Pictorial cover board, slight foxing to prelims, b/w illustrations/photographs in profusion many full page plates, slight foxing to cover boards. Initial pages loose.

R 1 000 - R 1 400 111 The Society of Dilettanti

SPECIMENS OF ANTIENT (SIC) SCULPTURE, 2 VOLS 107

107 Stark, Arthur C. (Completed by W. L. Sclater)

109 Sutherland, Lieut-Col.

THE BIRDS OF SOUTH AFRICA, 4 VOLS

MEMOIR RESPECTING THE KAFFIRS, HOTTENTOTS AND BOSJEMANS

London: R. H. Porter, 1901 First edition.

Large 8vo.

B/w illustrations.

Half leather, banded decorated spines in fine unread condition, marbled endpapers, bookplate of Cecily Niven, daughter of Sir Percy Fitzpatrick who wrote ‘Jock of the Bushveld’. A beautiful set. Marginal annotations in pencil in places.

(4)

Cape Town: Pike & Philip, 1846 First edition.

Large 8vo.

Half leather, banded spines, gilt top edges, gold ruling of covers; marbled endpapers. The front cover board of Vol 2 is detached but this could be secured very easily at little cost by a bookbinder (details available), otherwise a very clean bright, tight set. A few marginal pencil notes, slight foxing to prelims and title page.

(2)

R 4 000 - R 5 500

R 1 200 - R 2 000

London: T. Payne and J. White: Vol. 1 - published 1809; Vol. 2 - published by Payne & Foss in 1835 First edition.

38 by 55cm, elephant folio.

B/w plates - specimens of ancient sculpture. 1 of ‘Aegyptian, Etruscan, Greek and Roman statuary from selected collection in Great Britain.

Vol. 1 - full leather, cover boards ruled in gold; banded spine; slight wear to leather of spine edges; marbled endpapers gilt edges. Vol. 2 has a buckram fitted spine, drab cover boards with wear to corners, plain endpapers. The reason for the different binding is the large gap in the publication date of the two volumes.

Some foxing in margins of a few plates but basically a clean fine set.

(2) ILLUSTRATED

R 10 000 - R 20 000

108 Steyn, Peter

EAGLE DAYS: A STUDY OF AFRICAN EAGLES AT THE NEST Johannesburg: Purnell & Sons South Africa (Pty) Ltd, 1978 Special collector’s edition, No. 95 of a limited edition of 200, signed by Peter Steyn.

4to.

Col. & b/w illustrations with a copy of the pamphlet by Prout-Jones, D. V.: An Introduction to the Birds of Prey of South Africa, 1973.

Full leather.

R 600 - R 1 400

111

35

S| 1 112 Theal, George McCall

WILLEM ADRIAN VAN DER STEL AND OTHER HISTORICAL SKETCHES Cape Town: Thomas Maskew Miller, 1913 First edition.

8vo.

Cloth in fine unread condition.

R 800 - R 1 200 113 Turnley, V. S. (Photographer)

ALBUM OF INSTANEOUS VIEWS OF DURBAN Durban: The photographer, circa 1899 First edition.

28 by 21cm.

7 original cabinet photographs, 17 by 11cm, set in decorated window frames with lower window containing a caption written in ink; inscription on reverse of title page.

Blindstamped titled cloth.

R 1 200 - R 2 500 114 van der Sandt, B. J. (Compiler)

RULES, ORDERS &c TOUCHING THE FORMS AND MANNER OF PROCEEDINGS IN CIVIL AND CRIMINAL CASES BEFORE THE SUPREME, CIRCUIT & RESIDENT MAGISTRATE COURTS OF THE COLONY OF THE CAPE OF GOOD HOPE Cape Town: The Compiler, 1835 8vo.

Half leather, rubbed cover boards. Bookplate of Martin Russell Lindsay, paper money values and interest table also glued in on front endpapers, small tears to front free endpaper. Book has a Proclamation of Governor Benjamin D’Urban and transcription in blue ink of the case Brink versus Cloete and two others and The Executors Guide

by Clerke Burton printed by The Government Press, Cape of Good Hope, 1834, is also bound in. Marginal notes in ink.

An interesting ‘Cape’ document.

R 1 000 - R 2 000

BOOKS 115 Van Riebeeck Society

119 Ward, Harriet

FIRST SERIES, VOL. 1 - 50

FIVE YEARS IN KAFFIRLAND WITH SKETCHES OF THE LATE WAR IN THAT COUNTRY, 2 VOLS

Cape Town: Van Riebeeck Society, 1920 - 1969 First edition.

8vo.

Col. & b/w illustrations.

Cloth. A very good clean set.

This complete set includes the early numbers from No. 1. No Africana collector of note should be without such a set.

(50)

R 15 000 - R 20 000 116 Various

ONS KUNS 1 + 2 Pretoria: S. A. Vereniging vir die Bevordering van Kennis en Kultuur, 1961 First edition.

4to.

Col. & b/w illustrations.

Card covers with plastic cover enclosing both vols, a good set.

With another of related interest FRANSEN, HANS - Drie Eeue Kuns in Suid-Afrika: beeldende kuns, boukuns, toegepaste kuns, card cover, 1981, b/w illustrations.

(2)

R 500 - R 900 117 Various

ONS KUNS I & ONS KUNS II Pretoria: S. A. Vereniging vir die Bevordering van Kennis en Kultuur, 1961 First edition.

4to.

Col. & b/w illustrations.

Card covers with thick plastic covering. A good set in unread condition.

(2)

R 400 - R 800 118 Vinnicombe, Patricia

PEOPLE OF THE ELAND: ROCK PAINTINGS OF THE DRAKENSBERG BUSHMEN AS A REFLECTION OF THEIR LIFE & THOUGHT Pietermaritzburg: University of Natal Press, 1976 First edition.

Oblong 4to.

Col. & b/w illustrations in profusion.

Grained cover board with bookplate in good dustjacket, front endpaper a bit age browned with a few marks. Otherwise a very good copy.

R 2 000 - R 3 400

36

London: Henry Colburn Publisher, 1848 First edition.

8vo.

B/w illustrations. Very slight foxing to frontis.

Bright cloth cover boards. Rebound approximately 50 years ago. A clean bright, tight set.

(2)

R 1 200 - R 2 500 120 Ward, Roland

ROLAND WARD’S AFRICAN RECORDS OF BIG GAME, XIX EDITION San Antonio, Texas: Roland Ward Publications, 1984 First edition. One of 250 copies, inserted “Steve Smith Field Edition” with inscription.

4to.

Col. illustrations.

Full black leather with gilt plaque set in front cover, matching slipcase, internal hinge split.

R 1 200 - R 2 500 121 Watt, J. M. & Breyer-Brandwijk, M. G.

THE MEDICINAL AND POISONOUS PLANTS OF SOUTHERN AND EASTERN AFRICA Edinburgh: E. & S. Livingstone Ltd, 1962 Second edition.

Thick 4to.

Col. & b/w illustrations.

Cloth, very slightly rubbed.

The second edition is regarded as the ‘best edition’.

R 3 000 - R 6 000 122 Whittall, W. Lt-Cdr.

WITH BOTHA AND SMUTS IN AFRICA London: Cassell & Company Ltd, 1917 First edition.

8vo.

2 b/w illustrations and 2 maps.

Cloth, spine sunned, a tight clean copy, very slight wear to bottom edge of spine.

Whittall served with the Royal Navy Armoured Car Division. The books cover the German-South West Africa Campaign 1914 - 15 and the German East Africa Campaign of 1916.

R 500 - R 900

BOOKS

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123 Anon

SOUTH AFRICAN AIRWAYS POSTER IN GERMAN “FLY TO SOUTH AFRICA WITH SOUTH AFRICAN AIRWAYS BOEING STRATOJET” Leeden: Rotogravure, circa 1960 First edition.

Published by order of and at the expense of the South African Tourist Corporation Poster shows, a beautiful South African “Meisie”.

Appropriately framed with cut-out mount.

A rare survival most topical at the moment, in fine condition with certificate of authenticity from Antikbar of London.

(2) ILLUSTRATED

R 20 000 - R 30 000

124 Anon

123

UNION CASTLE SOUTH AFRICA AND EAST AFRICA VINTAGE London: Union Castle Line, circa 1930 First edition.

An image of a black child holding a wild flower.

Appropriately framed in cut-out mount, laid down on museum quality canvas backing sheet.

A most nostalgic survival of an age that has passed with a certificate of authenticity from Antikbar of London.

(2) ILLUSTRATED

R 26 000 - R 30 000 No lots 125– 200

124

37

LOT 298

CARPETS AND RUGS CLOCKS • FURNITURE • PAINTINGS TUESDAY 22 NOVEMBER 2016 | 14H00 | LOTS 201 - 400

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202

40

203

CARPETS AND RUGS

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CARPETS AND RUGS 206 A JOSHEGHAN RUG, PERSIA

the blue field with an overall design of multicoloured stylised flowerheads, within a red “Josheghan” border, single guardstripe condition: good 211 by 137cm

R 3 000 - R 4 000 207 AN AFGHAN CARPET

the red field with three rows of six guls and side guls depicted in orange, red and ivory within a red stylised vine-and-leaf border, four inner and outer guardstripes condition: good 288 by 192cm

R 5 000 - R 8 000

204

208

CARPETS & RUGS 201 A KESHAN RUG, PERSIA, CIRCA 1940

the dark indigo-blue field with a madder and ivory floral medallion, madder spandrels, all with polychrome flowering vines, within a similar madder-red border, three inner and four outer guardstripes condition: fair, re-fringed 200 by 125cm

R 7 500 - R 9 500 202 A TABRIZ CARPET, NORTH WEST PERSIA, CIRCA 1950

the rose field with a dark indigo-blue floral star medallion, sky-blue spandrels, all with scrolling vines ending in multi-coloured palmettes, leaves and arabesques within a pale blue palmette border, one inner and two outer guardstripes condition: good 432 by 350cm

204

A TABRIZ CARPET, NORTH WEST PERSIA

A BAKHTIARI CARPET, WEST PERSIA,

the terracotta-red field with a dark blue and ivory medallion and pendant, similar spandrels all with multi-coloured “herati” pattern, within a dark blue palmette and leaf border, five inner and six outer guardstripes condition: fair, minor moth damage 304 by 200cm

CIRCA 1960

the field divided into squares, each enclosing multi-coloured “Garden Design” floral devices, within an ivory palmette and leaf border, single guardstripe condition: fair 470 by 400cm ILLUSTRATED

R 20 000 - R 25 000

ILLUSTRATED

R 14 000 - R 20 000 209

205

A QUM SILK RUG, PERSIA

A JOSHEGHAN CARPET, PERSIA, CIRCA 1960

the pale-green field with a gold floral star medallion, dark blue spandrels, all with arabesques and flowering shrubs within an indigo-blue palmette and vine border, two inner and four outer guardstripes condition: good 160 by 100cm

the indigo-blue field with a stepped diamond medallion and similar blue spandrels, all with multi-coloured stylised flowerheads within an ivory border depicting geometric palmettes and arabesques, triple guardstripes condition: fair, areas of slight wear 330 by 220cm

R 8 000 - R 12 000

R 6 000 - R 9 000

ILLUSTRATED ON OPPOSITE PAGE

R 25 000 - R 40 000 203 A BAKHTIARI CARPET, WEST PERSIA, CIRCA 1960

the field with an overall design of diamondshaped medallions depicted in ivory, blue and black, each enclosing leaves and “Garden Design” floral devices, within an ivory floral cartouche border, single guardstripe condition: good 565 by 395cm ILLUSTRATED ON OPPOSITE PAGE

R 25 000 - R 35 000

208

41

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CARPETS AND RUGS

210

210 A FINE PERSIAN SILK CARPET

the madder-red field with a floral dark blue and ivory medallion, ivory spandrels, all with polychrome flowering vines ending in leaves and flowerheads within an indigo-blue border, three inner and four outer similar guardstripes condition: fair 395cm by 295cm ILLUSTRATED

R 80 000 - R 120 000 42

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CARPETS AND RUGS

211

211

214

215

A FINE PERSIAN SILK CARPET

A KASHGAI RUG, SOUTH-WEST PERSIA

AN INDO-PERSIAN SILK PRAYER RUG

the ivory field with a floral terracotta and blue medallion, blue and ivory spandrels, all with multi-coloured scrolling vines with leaves and flowerheads, within a floral terracotta border, three inner and four outer guardstripes condition: good 300 by 200cm

the red field with a blue stepped diamond medallion, similar spandrels all with scattered floral devices within three narrow floral borders condition: good 248 by 162cm

the madder “mehrab” with a directional design of flowering shrubs and perching birds, green spandrels within a black floral border, one inner and two outer guardstripes condition: good 194 by 135cm

R 3 000 - R 4 500

ILLUSTRATED

R 6 000 - R 9 000 NO LOTS 216 - 240

R 40 000 - R 60 000 212 A KESHAN CARPET, PERSIA

the red field with a floral dark blue medallion, similar spandrels all with polychrome flowering vines and arabesques, within an indigo-blue palmette, leaf-andbird border, one inner and two outer guardstripes condition: good, ends slightly reduced 370 by 230cm ILLUSTRATED

R 15 000 - R 20 000 213 AN AFGHAN CARPET

the gold field with a dark blue medallion, madder spandrels, all with polychrome floral devices, within a madder-red “crab” border, single guardstripe condition: good 192 by 250cm

R 6 000 - R 9 000

212

43

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CLOCKS

CLOCKS BUYERS ARE ADVISED THAT A SERVICE IS RECOMMENDED FOR ALL CLOCKS PURCHASED 241 AN ENGLISH MAHOGANY LONGCASE CLOCK, EMMANUEL HOPPERTON, LEEDS, CIRCA 1755

the 28cm brass dial with a silvered chapter ring with Arabic minutes and Roman hour numerals, inscribed ‘Emmanuel Hopperton, Leeds’, a seconds dial below, spandrels to the corners, four pillar eight-day weight driven movement striking on a bell, the arched hood above a glazed door flanked by columns, the trunk with a shaped door, on a panelled plinth base, on bracket feet, distress 232,5 cm high ILLUSTRATED 241

44

R 25 000 - R 35 000

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CLOCKS

242

242

243

245

A FRENCH BRASS CARYATIDS CARRIAGE

AN ANSONIA RAILWAY STATION EIGHT-DAY

AN OAK ANEROID BAROMETER WITH

CLOCK, LATE 19TH CENTURY

WALL CLOCK

THERMOMETER, EARLY 20TH CENTURY

maker almost certainly Japy Freres at Badevel, the 10cm by 6,5cm rectangular white dial with Roman hour numerals, cylinder escapement striking on a bell, the stepped top above a glazed door, canted sides profusely decorated and applied with caryatids, on a stepped base on a pierced and leaf intertwined bracket feet, the carrying handle in the form of two intertwined mermaids, stamped “BOLVILLER A PARIS 605 W”, the case 15cm high excluding the shaped handle 21cm high

comprising: a medium oak case with a brass bezel and having an ivory-coloured dial with black Roman numerals, painted dial with Roman numerals, four pillar movement with anchor escapement, in a conforming frame, distress

the carved oak base with floral terminations to the top, middle and bottom, blue steel hand and brass screws, it has a white porcelain enamelled dial, a solid bevelled glass and a gilded bezel, the thermometer is set over a white opaline porcelain that has an enamelled scale both in Centigrade and Fahrenheit 81cm high

ILLUSTRATED

R 18 000 - R 28 000

R 2 000 - R 3 000 244 A SPRING DRIVEN VIENNA TYPE WALL HANGING CLOCK, 20TH CENTURY

the 14cm brass dial with Roman numerals with a glazed panel door, the mahogany case with a foliate carved pediment, flanked by two columns terminating in drop finials and a central pediment

R 4 000 - R 6 000 NO LOTS 246 - 280

85cm high R 3 000 - R 6 000 45

S|2 ENGLISH FURNITURE 281 AN OAK SPICE CUPBOARD, LATE 17TH/ EARLY 18TH CENTURY

the outswept cornice above a carved frieze, a pair of carved and panelled doors below enclosing a shelf and drawer, in sizes, on a plinth base 74cm high, 69cm wide, 29cm deep

FURNITURE 285

289

A REGENCY MAHOGANY SETTEE

A PAIR OF MAHOGANY GUéRIDONS,

the padded back within a conforming moulded frame, padded scrolling arms above a carved apron, on carved outswept feet 208cm long

19TH CENTURY

ILLUSTRATED

R 25 000 - R 45 000

R 1 500 - R 2 500

286

282

A SET OF SIX MAHOGANY UPHOLSTERED

AN OAK GATE LEG TABLE, 18TH CENTURY

the hinged oval top above a plain apron, barley-twist supports, on square-section legs, on flat bun feet, distress, restorations 69cm high, 114cm wide, 146cm fully extended

R 3 000 - R 5 000 283 A GEORGE III MAHOGANY BUREAU BOOKCASE

in two parts, the outswept cornice above a dentil frieze, a pair of astragal glazed doors below enclosing a pair of shelves, the lower section comprising a hinged fall-front enclosing a leather inset writing surface, drawers and compartments, in sizes, a central frieze drawer below flanked by lopers, three long graduating drawers below, on bracket feet, restorations 214cm high, 53,5cm wide, 55cm deep

R 8 000 - R 12 000 284 A GEORGE III MAHOGANY PEMBROKE TABLE

the hinged oval top above a frieze drawer and opposing dummy drawer, on square-section tapering legs, on spade feet, on castors 73cm high, 95,5cm wide, 76,5cm deep

R 3 000 - R 5 000

CHAIRS, 19TH CENTURY

each arched carved top rail centred by a vacant cartouche, each arched padded-button back within a conforming frame, stuff-over seat, on turned tapering legs, on castors (6)

R 3 000 - R 5 000 287 A VICTORIAN WALNUT GAMES TABLE

the hinged rectangular top enclosing a baizelined playing surface, a long drawer below flanked by a pair of deep drawers, a deep drawer below, on fluted tapering turned and knopped supports, on outswept scroll feet joined by a turned stretcher, on castors, distress 71,5cm high, 75,5cm wide, 45cm deep

R 2 000 - R 3 000

each pie-crust dish on a turned, tapering and gadrooned support, on hipped outswept legs, on pad feet, distress, restorations 107cm high (2)

R 1 200 - R 1 500 290 A LATE VICTORIAN MAHOGANY THREETIERED WHAT-NOT

each rectangular shelf united by turned tapering spindles, the top shelf surmounted by turned finials, on turned feet, distress, restorations 90cm high, 55cm wide, 34,5cm deep

R 1 000 - R 2 000 291 A VICTORIAN MAHOGANY FOUR-POSTER BED

the carved and shaped head and foot board centred by a foliate-carved cresting, each post turned and carved, on block-and-turned feet, the posts joined by a U-shaped stretcher 255cm high, 153cm wide, 210cm long

R 9 000 - R 12 000 292

288

A MAHOGANY DEMI-LUNE TABLE,

A VICTORIAN MAHOGANY TABLE

19TH CENTURY

the moulded oval top above a plain frieze on a tapering faceted support, drum socle, on three hipped outswept scrolling legs, on castors 75cm high, 140cm wide, 104cm deep

R 3 000 - R 5 000

the plain top above a short central frieze drawer, on square-section tapering legs, distress 71cm high, 124cm wide, 61cm deep

R 3 000 - R 5 000 293 AN EDWARDIAN DISPLAY CABINET

the rectangular top above a plain frieze, an astragal glazed door below enclosing a pair of shelves, glazed sides, on square-section legs, stringing throughout 113cm high, 60cm wide, 29cm deep

R 2 500 - R 3 000 294 A MAHOGANY BUREAU CABINET, EARLY 20TH CENTURY

the hinged fall-front enclosing a gilt-tooled leather inset writing surface, drawers and compartments, in sizes, a pair of panelled doors below enclosing a shelf, on bracket feet 112cm high, 126cm wide, 62cm deep

R 4 000 - R 6 000 285

46

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FURNITURE

298

CONTINENTAL FURNITURE

295

297

A DEAL CHEST OF DRAWERS,

A MAHOGANY CHEST OF DRAWERS,

EARLY 20TH CENTURY

20TH CENTURY

298

the rectangular top above five pairs of short drawers, on a plinth base 97cm high, 130,5cm wide, 69,5cm deep

the moulded rectangular top above three pairs of graduating short drawers, a long drawer below, on turned flat bun feet 94cm high, 112cm wide, 49cm deep

A DUTCH ROSEWOOD AND EBONY

R 3 000 - R 5 000 296 A DEAL KIST, 20TH CENTURY

the hinged rectangular top enclosing a compartment, panelled front and sides, the sides applied with opposing brass handles, on bun feet 44cm high, 125cm wide, 46cm deep

R 2 000 - R 3 000

R 3 000 - R 5 000

KUSSENKAS, LATE 17TH/EARLY 18TH CENTURY

the outswept cornice above a stepped plain frieze, centred by a carved lion-mask flanked by cherubs and lion-masks, a foliate-carved panel above a pair of carved panelled doors enclosing a pair of shelves and secret compartments, a long drawer below, on bun feet 223cm high, 238cm wide, 92,5cm deep ILLUSTRATED

R 50 000 - R 80 000

47

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FURNITURE

299

299 AN ITALIAN ROSEWOOD AND INLAID COMMODE, 18TH CENTURY AND LATER

the rectangular inlaid top with canted corners above three graduating drawers, on later restrained cabriole legs, restorations 97cm high, 132cm wide, 60cm deep ILLUSTRATED

R 60 000 - R 80 000

48

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FURNITURE

300 DETAIL

300 300 DETAIL

300

302

304

A DUTCH MAHOGANY EXTENDING DINING

AN EMPIRE STYLE OAK CUPBOARD,

A GILT-METAL MARBLE-TOPPED CONSOLE

TABLE, CIRCA 1835

19TH CENTURY

TABLE, EARLY 20TH CENTURY

each D-end above a plain frieze on squaresection tapering legs, the central faceted and tapering support, on a plinth base, on flat bun feet, with four leaf insertions 74cm high, 126cm wide, 324cm fully extended

in two parts, the moulded pediment above a plain frieze, a pair of panelled doors below flanked by ebonised columns enclosing a pair of shelves and drawers, the lower section comprising three long graduating drawers, on square-section legs, restorations 183,5cm high, 126cm wide, 51cm deep

the shaped marble top above a pierced foliate and scrolling apron centred by a shell motif, on cabriole legs joined by a stretcher 87cm high, 105cm wide, 28cm deep

ILLUSTRATED

R 45 000 - R 75 000 301 A FLAME MAHOGANY ARMOIRE, 19TH CENTURY

in two parts, the outswept cornice above a plain frieze, a pair of panelled doors below enclosing three shelves and three short drawers, the lower section comprising three long graduating drawers, on outswept square-section legs, distress 214cm high, 157cm wide, 56,5cm deep

R 6 000 - R 10 000 303 A FRUITWOOD AND BRASS-BOUND KIST, 19TH CENTURY

the hinged rectangular top enclosing a compartment, the sides with opposing carrying handles, on flat bun feet 57,5cm high, 80cm wide, 40cm deep

R 2 000 - R 3 000 305 A CONTINENTAL WALNUT CUPBOARD, 20TH CENTURY

the rectangular top above a long panelled frieze drawer, a pair of panelled doors below enclosing three shelves, canted corners adorned with carvings, on bun feet, restorations 134cm high, 96cm wide, 45cm deep

R 2 500 - R 3 500

R 3 000 - R 5 000

R 10 000 - R 15 000

49

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FURNITURE

308 PART LOT

COLONIAL FURNITURE 306 A MAURITIAN PLANTERS CHAIR, CIRCA 1900

the caned back and seat within a conforming frame, fold-out arms on ring-turned feet

R 7 000 - R 9 000

307 A FRUITWOOD LOUNGER, EARLY 20TH CENTURY

the curved slatted base between carved arms on spindle supports, on turned tapering feet, distress 161cm long

R 4 000 - R 6 000

ORIENTAL FURNITURE 308 A CHINESE TEN PANEL FRUITWOOD SCREEN, QING DYNASTY

each pierced geometric panel below a carved cartouche, three panelled cartouches below, restorations 306cm high, 68cm wide, 680cm fully extended (10) PART ILLUSTRATED

R 40 000 - R 60 000

50

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FURNITURE

309

SOUTH AFRICAN FURNITURE 309

20TH CENTURY CONTEMPORARY DESIGN 311

314

LATE 18TH/EARLY 19TH CENTURY

A DANISH ROSEWOOD EXTENDING DINING

A YEW WOOD PARTNERS DESK

the arched top rail above four caned backs within conforming frames, carved shaped arms on shaped supports, caned seat above a serpentine apron, on restrained cabriole legs 191cm long

each D-end on turned tapering legs, two leaf insertions, manufacturer’s label 71,5cm high, 114cm wide, 242cm fully extended

A CAPE STINKWOOD LOUIS XV RUSBANK,

TABLE, FRANCE & SON, MID 1960S

R 30 000 - R 40 000

ILLUSTRATED

R 25 000 - R 35 000

312 A GEORGE III STYLE YEW WOOD BOOKCASE

310 A CAPE TEAK WALL CUPBOARD, LATE 18TH/EARLY 19TH CENTURY

the gabled pediment centred by a pierced and foliate-carved keyblock, a pair of cottage-pane glazed doors below enclosing four shaped shelves above a shaped apron, on restrained cabriole legs, distress 193cm high, 143cm wide, 37cm deep

R 5 000 - R 7 000

MANUFACTURED BY GORDON FRASER, 20TH CENTURY

in three parts, the central open bookcase comprising a dentil frieze above a pair of shelves, a pair of panelled doors below enclosing a compartment, flanked by a pair of conforming bookcases, each with astragal glazed doors 213cm high, 278cm wide, 51,5cm deep

R 12 000 - R 18 000 313 AN UPHOLSTERED CHESTERFIELD, LATE 20TH CENTURY

MANUFACTURED BY GORDON FRASER, 20TH CENTURY

the moulded rectangular top with a gilt-tooled leather inset writing surface, each pedestal with opposing stationery slides above three short graduating drawers and opposing doors, each enclosing a compartment, 77cm high, 152cm wide, 92cm deep; A Yew Wood Credenza, same maker, the moulded top with a gilt-tooled leather inset writing surface above a stationery slide, compartments and drawers, in sizes, 77cm high, 115cm wide, 50cm deep; A Yew Wood Coffee Table, same maker, the oval top on baluster supports, on outswept legs, joined by a shaped stretcher, 44cm high, 123cm wide, 70cm deep; A Vinyl Swivel Chair, same maker, the padded button-back between padded arms, on curved reeded supports, padded seat, on castors; And A Regency Style Armchair, same maker, the curved reeded top rail above a carved mid-rail, padded tufted seat between scrolling arms, on turned tapering legs (5)

R 8 000 - R 10 000

the padded button-back between padded tufted arms, loose seat cushions, on turned feet 220cm long

R 5 000 - R 7 000 51

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FURNITURE

315 A SET OF EIGHT DANISH ROSEWOOD CHINA CHAIRS DESIGNED IN 1944 BY HANS WEGNER FOR FRITZ HANSEN

each curved arm above a curved splat on shaped supports, loose seat cushion, webbed seat, on turned tapering legs, manufacturer’s label (8) ILLUSTRATED

R 120 000 - R 150 000 Fritz Hansen was founded in 1872, when Fritz Hansen, a Danish carpenter, founded his own furniture company and in 1915 introduced his first chair in steam bent wood.

The China Chair™ was designed by Hans J. Wegner – a cabinet-maker, furniture designer and one of the principals of ’Danish Modern’, in 1944 for the Fritz Hansen collection.

He found inspiration for this classic chair in Chinese chairs from the 17th and 18th Centuries. In Wegner’s modern interpretation of ancient Chinese chairs, he unfolds his talent as a wood craftsman along with his flair for expressive and sculptural functionalism.

NO LOTS 316 - 340

52

315

FURNITURE

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53

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PAINTINGS

344

South African and International Paintings and Works on Paper 341 Zakkie (Zacharias) Eloff (South African 1925 - 2004)

344 Murray Urquhart (British 1880 - 1972)

346 Catherine Walton (British 1898 - 1935)

IMPALA and ZEBRAS, two

HORSE

PORTRAIT and MOTHER AND CHILD, two

signed watercolour on paper each 46,5 by 60cm (2)

signed oil on canvas 40 by 50,5cm

each signed watercolour on paper 26 by 17cm and 32 by 24cm (2)

R 5 000 - R 8 000 342 Dorothy Kay (South African 1886 - 1964)

BABOON signed charcoal and heightening on paper 51 by 36cm, unframed

R 8 000 - R 12 000 343 Dorothy Kay (South African 1886 - 1964)

MONGOOSE signed charcoal and heightening on paper 51 by 36,5cm, unframed

54

R 8 000 - R 12 000

Provenance This painting was found rolled in a steel canister in the rubble of demolished old Johannesburg home by the owner. When viewed under infrared light there is evidence of an inscription reading ‘an early sketch’. It is unclear if this inscription relates to the ‘Horse’ or to an earlier work that has been painted over by the artist.

ILLUSTRATED

R 10 000 - R 20 000 345 Nils Severin Andersen (South African 1897 - 1972)

NAVY FRIGATES signed charcoal and chalk on paper 28 by 39cm

R 5 000 - R 8 000

R 5 500 - R 8 000 347 Avinoam Kosowsky (Israeli 1949 - )

NUDE and ARTIST AND NUDE, two signed pencil and gouache on paper 28 by 20cm and 26,5 by 21,5cm

R 5 000 - R 7 000 348 Dorothy Kay (South African 1886 - 1964)

EXPLORER signed charcoal and heightening on paper 51 by 36cm, unframed

R 8 000 - R 12 000

PAINTINGS

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349 Franรงois Krige (South African 1913 - 1994)

KRISJAN signed and dated 71 charcoal on paper 50 by 70cm ILLUSTRATED

R 7 000 - R 10 000 350 Pieter Willem Frederick Wenning (South African 1873 - 1921)

KAFFER LOKASIE II signed, inscribed with the title and indistinctly dated pencil on paper laid down on card 24,5 by 31,5cm ILLUSTRATED

R 8 000 - R 12 000

349

351 Pieter Willem Frederick Wenning (South African 1873 - 1921)

KAFFER LOKASIE I signed, inscribed with the title and indistinctly dated pencil on paper laid down on card 24,5 by 31,5cm ILLUSTRATED

R 8 000 - R 12 000 352 Erich (Ernst Karl) Mayer (South African 1876 - 1960)

FORT NAPIER I signed and dated 1914 watercolour on paper 15 by 21cm

R 8 000 - R 12 000

350

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

FORT NAPIER II signed and dated 1914 watercolour on paper 15 by 21cm

R 8 000 - R 12 000 354 Erich (Ernst Karl) Mayer (South African 1876 - 1960)

DORINGBOOM signed and dated 1934 pencil on paper 15 by 20cm

R 5 000 - R 7 000 351

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PAINTINGS

356

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

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

361 Leon Peckwell (South African 20th Century - )

DIE KLIPSPRUIT BY NELSPRUIT, TVL

CAPE LANDSCAPE

signed and inscribed with the title watercolour over pencil on paper 11 by 17cm

signed watercolour over pencil on paper 21,5 by 33cm

OLD NECTAR, STELLENBOSCH, JONKERSHOEK, two

R 6 000 - R 8 000

R 7 000 - R 10 000

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

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

TREES IN WINTER, THE WOODS and TWO TREES, three

LANDSCAPE

each signed watercolour over pencil on paper each 15 by 10cm (3) ILLUSTRATED

R 10 000 - R 15 000 357 Otto Klar (South African 1908 - 1994)

PEOPLE IN AN INFORMAL SETTLEMENT signed oil on board 12,5 by 45cm

R 8 000 - R 12 000

56

signed and dated 1944 watercolour on paper 11 by 15cm

R 5 000 - R 7 000 360 Ted (Tjeerd Adrianus Johannes) Hoefsloot (South African 1930 - 2013)

COTTAGE AT SLANGKOP signed oil on canvas laid down on board 45 by 60cm

R 5 000 - R 10 000

each signed oil on board each 59 by 49cm (2)

R 5 000 - R 8 000 362 Nasim Shams Bijari (Iranian 1981 - )

LATE AFTERNOON STREET SCENE signed watercolour on paper 34,5 by 45cm

R 7 000 - R 10 000 363 Don (Donald James) Madge (South African 1920 - 1997)

BUILDINGS signed, inscribed “No 36 ‘Buildings’ 509ns Don Madge (sic)” on the reverse oil on board 54 by 77cm

R 12 000 - R 18 000

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PAINTINGS 369 Willem Hermanus Coetzer (South African 1900 - 1983)

FARM NEAR MONDEOR signed oil on board 22 by 29cm

R 5 000 - R 7 000 370 Christiaan St Patrick Nice (South African 1939 - )

MOUNTAIN LANDSCAPE AND HOUSE signed oil on canvas laid down on board 13,5 by 29,5cm

R 8 000 - R 12 000 371 Edward Roworth (South African 1880 - 1964) 371

MOUNTAINS

364 Andre de Beer (South African 1933 - )

368 Johan (Johannes) Oldert (South African 1912 - 1984)

SUBURBAN STREET

HOUSES IN A LANDSCAPE

signed oil on canvas laid down on board 34 by 44cm

signed oil on board 24 by 34cm

R 10 000 - R 15 000

R 5 000 - R 7 000

signed oil on board 38 by 55,5cm ILLUSTRATED

R 10 000 - R 15 000 372 Christiaan St Patrick Nice (South African 1939 - )

HOUSE AND CHICKENS

365 Christiaan St Patrick Nice (South African 1939 - )

signed oil on board 15,5 by 21,5cm

HOUSE AND MOUNTAINS

ILLUSTRATED

signed oil on canvas laid down on board 22 by 29,5cm

R 10 000 - R 15 000

R 10 000 - R 15 000 366 Nils Severin Andersen (South African 1897 - 1972)

GOLDEN OAK, SIMONSBERG signed oil on board 60 by 90cm

R 10 000 - R 15 000 367 Christiaan St Patrick Nice (South African 1939 - )

HOUSE IN RED SHADOWS signed oil on board 15,5 by 21,5cm

R 8 000 - R 12 000 372

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PAINTINGS 378 Walter Gilbert Wiles (South African 1875 - 1966)

BREAKERS AT KNYSNA HEADS signed oil on board 49,5 by 75cm

R 5 000 - R 8 000 379 Michael Maimane (South African 1961 - )

SEA POINT signed and dated 2009; inscribed “Coul Mima 008, Sea-point-Cape Town” (sic) on the reverse oil on board 19 by 39,5cm

R 5 000 - R 7 000 380 Kobus Louw (South African 1933 - )

375

373 Gian-Piero Garizio (South African 1931 - )

377 Christiaan St Patrick Nice (South African 1939 - )

AUTUMN LANDSCAPE

BOATS

signed oil on canvas laid down on board 39,5 by 49cm

signed oil on canvas laid down on board 29,5 by 44cm

R 5 000 - R 8 000

ILLUSTRATED

374 Johan (Johannes) Oldert (South African 1912 - 1984)

R 12 000 - R 16 000

R 5 000 - R 7 000 381 Gino Fasciotti (South African 1883 - 1961)

PORTRAIT OF GIUSEPPE VERDI

R 5 000 - R 8 000

signed oil on board 21,5 by 16,5cm

R 5 000 - R 7 000 375 Christiaan St Patrick Nice (South African 1939 - )

TREES AND RIVER signed oil on canvas laid down on board 22 by 29,5cm ILLUSTRATED

R 10 000 - R 15 000 376 Leonard Anton Benzon (South African 1944 - )

FOREST STREAM signed oil on canvas laid down on board 44,5 by 59cm

R 7 000 - R 10 000

signed oil on canvas laid down on board 34 by 49cm

signed oil on canvas 56 by 43,5cm, unframed

LARGE TREE

58

HOUSES BY THE SEA

377

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PAINTINGS 382 Dorothy Kay (South African 1886 - 1964)

388 Kagiso Patrick Mautloa (South African 1952 - )

394 Michael Maimane (South African 1961 - )

MINERS

PURPLE

ABSTRACT FIGURE

signed on reverse gouache on card 51 by 35cm, unframed

signed and dated 09 mixed media on paper 76,5 by 109,5cm

signed oil on canvas laid down on board 43,5 by 36,5cm

R 8 000 - R 12 000

R 8 000 - R 12 000

R 8 000 - R 12 000

383 Henk Serfontein (South African 1971 - )

389 Samson Mnisi (South African 1971 - )

395 Gino Fasciotti (South African 1883 - 1961)

CHILDHOOD MEMORIES

UNTITLED IX

PINK GLADIOLI

signed and dated ‘91 mixed media on board 89,5 by 81cm

archival digital print with pins, signed, dated 2008 and numbered 1/7 in pencil on the reverse sheet size: 52 by 74cm

signed oil on board 60 by 42,5cm

R 6 000 - R 9 000

R 5 000 - R 7 000

R 4 000 - R 6 000

384 Sydney Carter (South African 1874 - 1945)

CHILDREN FLYING A KITE signed oil on canvas 59 by 43cm

R 6 000 - R 9 000 385 Peter Sibanda (South African 1972 - )

WOMAN IN TRADITIONAL DRESS signed and dated 2012 oil on canvas laid down on board 58 by 37cm

R 7 000 - R 10 000 386 Mbongeni Fakudze (Swazi 1982 - )

DARING THE MEDIA, TASHA SMITH

390 Andre Naudé (South African 1950 - )

DOMESTIC SURVEILLANCE II signed and dated 04 oil on canvas 60 by 60cm, unframed

R 5 000 - R 7 000 391 Sue-Pam Grant (South African 1962 - )

DRESS PATTERN signed with the artist’s initials found objects and acrylic on board 79,5 by 50cm

R 5 000 - R 7 000 392 Tamara Osso (South African 20th Century - )

signed and dated 2016; signed, dated and titled on the reverse mixed media on canvas 158 by 152cm

DIPTYCH

R 8 000 - R 12 000

R 6 000 - R 9 000

387 Mbongeni Fakudze (Swazi 1982 - )

signed and dated 2013 on the reverse oil on canvas each 100 by 80cm

393 Manolo Belzunce (Spanish 1944 - )

RUMINATIONS

CONVERSATION V

signed and dated 16 mixed media on canvas 143 by 155cm

signed and dated 2010 mixed media on paper 74 by 54,5cm

R 8 000 - R 12 000

R 7 000 - R 10 000

396 Gino Fasciotti (South African 1883 - 1961)

CARNATIONS signed oil on board 60 by 42,5cm

R 4 000 - R 6 000 397 Nasim Shams Bijari (Iranian 1981 - )

STILL LIFE WITH FLOWERS signed watercolour on paper 40 by 49,5cm

R 7 000 - R 10 000 398 Marie Vermeulen Breedt (South African 1954 - )

FLORAL STILL LIFE signed and dated 79 oil on canvas laid down on board 60 by 29,5cm

R 12 000 - R 18 000 399 Michael Maimane (South African 1961 - )

STILL LIFE signed and dated 2014 oil on canvas laid down on board 52 by 44cm

R 8 000 - R 12 000 NO LOT 400

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LOT 521

COLLECTABLE CARS • PAINTINGS TUESDAY 22 NOVEMBER 2016 | 19H00 | LOTS 401 - 570

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COLLECTABLE CARS

COLLECTABLE CARS 401 A COBRA RACE CAR

Fitted with an Edelbrock 400 Chev engine, hardtop, roll cage and an extra set of racing tyres, registration DV49Y GP. The car was raced by South Africa’s famous cricketer Clive Rice and was his personal car. The AC Cobra Shelby cars were inspired by Carol Shelby to “beat the Corvettes”.

ILLUSTRATED

R 220 000 - R 280 000

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COLLECTABLE CARS

402 A 1969 MERCEDES-BENZ 280SL PAGODA

5-speed ZF gearbox, manual, 2778cc engine, 4-wheel independent suspension with hardtop, California version, fully restored, in superb condition, colour: red with tan colour interior. Engine was fully restored by qualified German technician. Compression test indicates factory standard engine. All injectors were replaced as well as the injector pump which was overhauled together with a spare fuel pump. The exhaust is new. Registration DCL764L. ILLUSTRATED

R 1 800 000 - R 2 500 000

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403 A 1980 MINI CLUBMAN

Leyland 1275cc engine, body colour orange/red with fawn/tan interior, in excellent condition. A three owner car. All matching numbers, full owner’s provenance and a Leyland Blackheath, Cape manufactured car. A full workshop manual and data/log book accompanies the car. Significantly it is possibly the oldest known production example of this marque by British Leyland and Sigma Motor Corporation in South Africa.

R 75 000 - R 95 000

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COLLECTABLE CARS

EXCLUSIVE AND SOUGHT AFTER NUMBER PLATE COLLECTION FOR SALE SOUTH AFRICA’S MOST VALUABLE NUMBER PLATES TO BE SOLD Motorists in South Africa and abroad have, in the name of

A few years ago we sold CA3 in Cape Town for R378,000.

aestheticism, pride and astuteness, attached increasing importance to the appearance and selection of their

In the United Kingdom, the number plate K1NGS sold

motor car number plates. This international trend has

for £ 231 000 and RR1 sold for £ 75 000. Royalty and Rolls

emphasised the motor car registration number plate as a

Royce number plate combinations have commanded high

possession with status-, social- and investment value.

prices for their status and branding appeal.

Since 2000, the Personalised Registration Number (PRN)

In Dubai, on the first public auction of number plates,

plate has been an essential motor vehicle accessory for

the number plate “2” sold for the equivalent of R2.73m,

the South African motoring public with over 500 000

while the number plate “6” sold for R1.78m and “11” for

plates already sold. These figures have exceeded even

R1.85m.

the most optimistic projections by the Department of Transport and have generated more than R500 million in

In 1989 in New Zealand, the single character number

revenue.

plate “1” sold at the first auction of its kind for NZ$34 100.

In 1991 it was resold for NZ$ 111 375 and in 1995 it was

Investment savvy enthusiasts are now invited, for the first

resold again for a staggering NZ$630 000. The sale of the

time, to purchase a collection of South Africa’s “most

single character number plate “N” for NZ$157 500 in 1994

valuable and sought after plates”. These include the

seems modest in comparison.

rarest and most unique 8 single digit Gauteng number plates - out of a possible 78 billion combinations which

The number plate market in South Africa is in its infancy

have achieved impressive selling prices globally, with the

with number plates having been traded for over 40 years

trend set to follow in South Africa.

in Hong Kong, Australia, Dubai and the United Kingdom.

The world record price for a number plate sale was set in

1 – GP to 8 – GP is available with 9 – GP already

1994 in Hong Kong with the sale of the number plate “8”

purchased by Joost van der Westhuizen (his rugby jersey

for $1 million (US), almost R14million.

number). The price of SA’s most valuable plate (1- GP) is expected to fetch well over the R1m mark with SA’s top

A PRN is a luxury, motor vehicle accessory. A consumer

business elite, royalty, investors and even Government

pays a premium for its personalisation and communication

officials vying for one of these prized possessions. A PRN

value. A PRN’s value is based on (1) its display value - the

is a vehicle registration number comprising a combination

personal & branding value derived from displaying a PRN,

of 1 to 7 alpha and / or numeric characters followed by

and (2) its tradeable value - the value derived from the

the Provincial Coat of Arms and the Provincial suffix.

relative demand for a specific PRN combination.

Just as exotic cars, art and rare stamps are collectables,

With the largest motoring population and wealth

so too are distinctive PRNs. The world over, PRNs have

concentrated in Gauteng, high demand for these

captured the curiosity and attention of the motoring

premium and distinguished Personalised Plates is

population and astute investors, who have identified the

already buoyant with astute investors managing to

speculative value of holding a portfolio of PRNs, and

secure in excess of R50 000 – R500 000 for desirable PRN

have invested in this unusual asset class. PRNs also have

combinations.

practical value to those motor enthusiasts that attach importance to the aesthetic and branding value that a 64

PRN plate affords to their vehicles.

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COLLECTABLE CARS

404 NUMBER PLATE 1GP

All costs to transfer the certificates into the buyer’s name will be paid by the seller (N.B.: not the car to be registered).

ILLUSTRATED

R 400 000 - R 500 000 404

405 NUMBER PLATE 2GP

All costs to transfer the certificates into the buyer’s name will be paid by the seller (N.B.: not the car to be registered).

ILLUSTRATED

R 300 000 - R 400 000 405

406 NUMBER PLATE 3GP

All costs to transfer the certificates into the buyer’s name will be paid by the seller (N.B.: not the car to be registered).

ILLUSTRATED

R 240 000 - R 340 000 406

407 NUMBER PLATE 4GP

All costs to transfer the certificates into the buyer’s name will be paid by the seller (N.B.: not the car to be registered).

ILLUSTRATED

R 200 000 - R 300 000 407

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COLLECTABLE CARS

408

NUMBER PLATE 5GP All costs to transfer the certificates into the buyer’s name will be paid by the seller (N.B.: not the car to be registered).

ILLUSTRATED

R 180 000 - R 250 000

408

409 NUMBER PLATE 6GP

All costs to transfer the certificates into the buyer’s name will be paid by the seller (N.B.: not the car to be registered).

ILLUSTRATED

R 150 000 - R 200 000 409

410 NUMBER PLATE 7GP

All costs to transfer the certificates into the buyer’s name will be paid by the seller (N.B.: not the car to be registered).

ILLUSTRATED

R 130 000 - R 150 000 410

411 NUMBER PLATE 8GP

All costs to transfer the certificates into the buyer’s name will be paid by the seller (N.B.: not the car to be registered).

ILLUSTRATED

R 130 000 - R 150 000 411

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COLLECTABLE CARS

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412

412 NUMBER PLATE 911GP

All costs to transfer the certificates into the buyer’s name will be paid by the seller (N.B.: not the car to be registered).

ILLUSTRATED

R 120 000 - R 140 000

Source: http://www.caranddriver.com

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413

413 MANDELA GP

All costs to transfer the certificates into the buyer’s name will be paid by the seller (N.B.: not the car to be registered).

ILLUSTRATED

R 90 000 - R 120 000

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COLLECTABLE CARS

COLLECTABLE CARS

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414 A 1988 ROLLs-ROYCE SILVER SPIRIT

Chassis Number H23105, colour: charcoal grey with magnolia interior, mileage 144,000km, in good condition.

The Silver Spirit is a British saloon motor car that was produced by RollsRoyce Motors, in Crewe, England. It was launched in 1980 as the first model in the SZ series.

This is a great British royal luxury handmade car which for the person who knows this car, is always appreciated. It is a very safe car and it is made the old fashion way with real metal, steel and chrome. When you are driving this car you feel the luxury and safety, sometimes we have to experience the sheer quality of the ride.

The Spirit was the first car to feature the retractable Spirit of Ecstasy. The spring-loaded Mascot sank into the radiator shell if dislodged from its position.

ILLUSTRATED

R 270 000 - R 370 000

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COLLECTABLE CARS

415 A 1965 FORD MUSTANG CONVERTIBLE

V-8 automatic 289 engine, Pony series, Shelby instruments/dash, colour: candy apple red, seats are original Pony in black leather, also in black, with tools and new “Fooser” wheels, power steering.

This car has been meticulously restored to concourse condition and is superb.

The first-generation Ford Mustang was manufactured by Ford from March 1964 until 1973. The introduction of the Mustang created a new class of automobile known as the pony car. The Mustang’s styling, with its long hood and short deck, proved wildly popular and inspired a host of imitators. It was initially introduced as a hardtop and convertible with the fastback version put on sale in August 1965.

With each revision, the Mustang saw an increase in overall dimensions and in engine power.

Ford’s new Mustang still looked like nothing ever seen before when it burst onto the scene in April 1964. More than 417,000 were sold within a year, a new Detroit record. Bucket seats and a floor shifter were standard, and either six-cylinder or 289-cid V-8 power was available under that long hood. Ford’s K-code High Performance 289, rated at 271 horsepower, remained the hottest optional engine up through 1966.

Unveiled right after the so-called “1964½” run morphed into the traditional 1965 model year, the even sportier 2+2 fastback pushed the Mustang’s body count to three, joining the carryover coupe and convertible. Another choice offered in all three shapes, the Mustang GT, debuted in April 1965 to help mark the first birthday of a new genre called the “pony car”. Various details set a 1965 Mustang apart from its 1964½ predecessor. The easiest to remember was Ford’s switch from archaic generator to a modern alternator.

ILLUSTRATED

R 1 200 000 - R 1 400 000

70

COLLECTABLE CARS

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COLLECTABLE CARS

416 A 1959 CHEVROLET CORVETTE

3-speed manual transmission, Hi Lift camshaft, dual four barrel carburettors, Vin: J5955106076, Engine: FO209CU. In original condition which is outstanding in black and black interior with a white soft-top.

Mileage: 101,000km.

ILLUSTRATED

R 1 400 000 - R 1 500 000

72

COLLECTABLE CARS

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PAINTINGS

424

424

423

South African and International Paintings and Works on Paper 421 Otto Klar (South African 1908 - 1994)

424 Frans Martin Claerhout (South African 1919 - 2006)

SEASCAPE

FIGURES, HOUSES AND DONKEY

signed oil on board 27 by 32,5cm

signed, signed and dated 10.9.2002 on the reverse oil on paper 41 by 58cm

R 8 000 - R 12 000

ILLUSTRATED 422 Christopher Tugwell (South African 1938 - )

FISHING ON THE BEACH signed oil on board 50 by 74,5cm

R 7 000 - R 10 000 423 Frans Martin Claerhout (South African 1919 - 2006)

FISHERMAN signed oil on paper 75 by 54cm ILLUSTRATED

R 20 000 - R 30 000

R 15 000 - R 25 000 425 Hendrik Christiaan Niemann (South African 1941 - )

CLOWN signed and dated 16 oil on handmade paper 29 by 20cm

R 7 000 - R 10 000 426 Carl Walter Meyer (South African 1965 - )

PORTRAIT OF PROFESSOR M WIEGERS signed; signed, dated 2009 and inscribed with the title on the reverse oil on canvas 49,5 by 39cm ILLUSTRATED

74

R 10 000 - R 15 000

426

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PAINTINGS 427 Carl Adolph Büchner (South African 1921 - 2003)

WHITE HAT signed oil on board 40 by 28,5cm

R 7 000 - R 10 000 428 Carl Adolph Büchner (South African 1921 - 2003)

BOY signed oil on board 38,5 by 28cm

428

ILLUSTRATED

R 15 000 - R 25 000 429 Carl Adolph Büchner (South African 1921 - 2003)

HARLEQUIN signed oil on board 40,5 by 28,5cm ILLUSTRATED

R 20 000 - R 30 000 430 Marie Vermeulen Breedt (South African 1954 - )

SUMMER GIRLS signed oil on paper 68,5 by 48,5cm ILLUSTRATED

R 20 000 - R 25 000

429

430

431 Gregoire Johannes Boonzaier (South African 1909 - 2005)

TREE WITH HOUSES signed and dated 1978 watercolour on paper 40 by 59cm ILLUSTRATED

R 25 000 - R 30 000 432 Jacob Hendrik Pierneef (South African 1886 - 1957)

GOLDEN GATE signed, inscribed with the title and dated 1934 watercolour over pencil on paper 19 by 25,5cm

R 10 000 - R 15 000 431

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433

433 Jacob Hendrik Pierneef (South African 1886 - 1957)

RUSTENBURG, BETHANIE signed, titled and inscribed “aan Norman van Henk Pierneef” in pencil watercolour over pencil on paper 55,5 by 45cm ILLUSTRATED

R 50 000 - R 70 000 Photo by: Konrad Voges

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434

439

434 Alexander Rose-Innes (South African 1915 - 1996)

438 Christiaan St Patrick Nice (South African 1939 - )

442 Diederick (George) During (South African 1917 - 1999)

LANDSCAPE

CART AND CATTLE

ABSTRACT FIGURE

signed pastel on paper 35,5 by 48cm

signed oil on canvas board 30,5 by 45cm

signed oil on board 33,5 by 23cm

ILLUSTRATED

R 12 000 - R 16 000

R 15 000 - R 20 000

439 Colbert Mashile (South African 1972 - )

443 Angel Haro (Spanish 1958 - )

MAIMA

IN MY GARDEN III

signed and dated 08 acrylic and watercolour on paper 99,5 by 70cm

signed and dated 12 mixed media and collage on paper 70 by 50cm

ILLUSTRATED

R 7 000 - R 10 000

R 20 000 - R 30 000 435 Christiaan St Patrick Nice (South African 1939 - )

HOUSE AND GOAT signed oil on canvas board 22 by 29cm

R 10 000 - R 15 000 436 Christopher Tugwell (South African 1938 - )

CATTLE signed oil on canvas laid down on board 37 by 47cm

R 10 000 - R 15 000 437 Christiaan St Patrick Nice (South African 1939 - )

COWS IN A FIELD signed oil on canvas laid down on board 22 by 29,5cm

R 10 000 - R 15 000

R 18 000 - R 24 000 440 Colbert Mashile (South African 1972 - )

KOSA YA BAHLOLOGADI signed and dated 08 acrylic and watercolour on paper 75 by 105cm

R 12 000 - R 18 000 441 Jules Perahim (Romanian 1914 - 2008)

TWO SURREAL FIGURES signed and dated 79 mixed media on board 12 by 34cm

444 Angel Haro (Spanish 1958 - )

IN MY GARDEN VI signed and dated 12 mixed media and collage on paper 70 by 50cm

R 7 000 - R 10 000 445 Angel Haro (Spanish 1958 - )

IN MY GARDEN VIII signed and dated 12 mixed media and collage on paper 70 by 50cm

R 7 000 - R 10 000

R 15 000 - R 25 000

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PAINTINGS 446 Angel Haro (Spanish 1958 - )

ANDANTES signed ink on paper ILLUSTRATED

R 30 000 - R 40 000 447 Armando Baldinelli (South African 1908 - 2002) 446

RECLINING FIGURE signed and dated 1953 ink and watercolour on paper 29,5 by 38,5cm

R 15 000 - R 25 000 448 Jules Perahim (Romanian 1914 - 2008)

THE SURREAL BATTLE signed and dated 75 mixed media on card 33 by 47cm

R 15 000 - R 25 000

450

449 Jules Perahim (Romanian 1914 - 2008)

TWO FIGURES signed ceramic 19 by 19cm

R 18 000 - R 24 000 450 Jules Perahim (Romanian 1914 - 2008)

THREE FIGURES signed and dated 76 mixed media on paper 49 by 62,5cm 452

ILLUSTRATED

R 25 000 - R 45 000 451 NO LOT 452 Kagiso Patrick Mautloa (South African 1952 - )

PRIMARIES signed and dated 11 mixed media on paper 76 by 109cm ILLUSTRATED

78

453

R 25 000 - R 30 000

PAINTINGS

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453 Kagiso Patrick Mautloa (South African 1952 - )

GREY LOOKING BACK signed and dated 11 mixed media on paper 76 by 109cm ILLUSTRATED ON OPPOSITE PAGE

R 25 000 - R 35 000 454 Kagiso Patrick Mautloa (South African 1952 - )

BLUE LOVE LETTER signed and dated 11 mixed media on paper 76 by 109cm ILLUSTRATED

R 25 000 - R 35 000

454

455 Kagiso Patrick Mautloa (South African 1952 - )

BLUE GHOST signed mixed media on paper 76 by 109cm ILLUSTRATED

R 25 000 - R 35 000 456 Kagiso Patrick Mautloa (South African 1952 - )

VIOLET HAT signed and dated 11 mixed media on paper 76 by 109cm ILLUSTRATED

R 25 000 - R 30 000

455

457 Angel Haro (Spanish 1958 - )

TYPOLOGY archival digital print, signed, dated 08 and numbered 2/10 in pencil in the margin sheet size: 110 by 87,5cm

R 10 000 - R 15 000 458 Robyn Penn (South African 1973 - )

TARRED AND FEATHERED signed ink on paper 89,5 by 77,5cm

R 18 000 - R 24 000 456

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PRINTS & PRINTMAKING

IN SOUTH AFRICA Printmaking has been, and continues to be, a core

copy of an artwork, but rather the result of a skilled

technique within the history and development of South

and collaborative process culminating in a series of

African art. With its origins centuries ago as a medium

editioned artworks, which in turn can also be utilised in

of communication, printmaking has evolved into one of

the creation of unique artworks.

the most democratic media within art with myriad uses and interpretations, limited only by the imagination of

The increasing sophistication of print workshops within

an artist.

South Africa and the growing numbers of printers and printmakers is fuelling the growing appreciation of the

The history of modern South African art can be traced

medium. The tireless effort and ability of the printers

through printmaking. From Wenning and Pierneef

and workshops such as David Krut Print Workshop,

working together on prints in the nascent modern

Caversham Press, The Artist’s Press and Artist Proof

South African art scene, to Muafangejo, Rakgoathe

Studios has created a base for printmaking to reach new

and Shilakoe among other artists from the Rorke’s Drift

heights in South Africa in the twenty first century.

Art Centre whose embrace of printmaking techniques such as linocut and aquatint initiated a new voice for

What follows in this section is a collection of prints

disenfranchised artists who, alongside personal and

with short texts that explain the various techniques

delicate works, would embrace prints and printmaking

as an entry point into the wider world of printmaking.

as a platform for protest art. To the graphic works

Of particular note are a series of works from William

from artists such as Walter Battiss, Norman Catherine

Kentridge’s Nose suite, based on the short story by

and Cecil Skotnes, to perhaps two of the most adept

Nikolai Gogol; a selection of works from the mercurial

contemporary exponents of printmaking in South Africa,

and enigmatic Wopko Jensma; Marc Chagall’s delicate

namely: William Kentridge and Diane Victor.

lithograph of Daphne and Chloë; Diane Victor’s work from the series, Birth of a Nation, which reinterprets

From a printmaking audience and collector’s point of

Greek and Roman mythological stories within a

view, prints are the best way to begin collecting art, as

contemporary South African context; Deborah Bell’s

well as a more accessible way to incorporate artworks

Parsifal, created at David Krut Print Workshop with

by artists whose work may otherwise be unobtainable.

Master Printers Jillian Ross and Phil Sanders; Walter

It is hoped that even a modest understanding of

Battiss’ ebullient screenprints; and Cyprian Shilakoe’s

printmaking techniques will engender an ongoing

brooding aquatint.

passion and appreciation for the medium. Particularly the important realisation that a print is not simply a

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459

PHOTOGRAPHY 459 David Goldblatt (South African 1930 - )

THE SPORTSFIELD AT HONDEKLIPBAAI digital print on archival paper, signed, dated 14/9/03 and numbered 39/60 in pencil in the margin sheet size: 42,5 by 53cm, unframed ILLUSTRATED

R 10 000 - R 15 000 460 Alf Kumalo (South African 1930 - 2012)

OUMA archival print, signed, dated 08 and numbered 1/15 in pencil in the margin sheet size: 100 by 80,5cm ILLUSTRATED

R 10 000 - R 15 000

460

Woodcuts and Linocuts Woodcuts and Linocuts involve carving into a wooden or linoleum tile. The artist uses a variety of tools to carve into the surface of the tile. The areas that are carved form the negative space of the artwork. Woodcuts and linocuts have played a fundamental part in the development of South African art due to the accessibility of the technique and the simple, graphic imagery that can be achieved.

461 Ezekiel Madiba (South African 1948 - )

464 Senzo Shabangu (South African 1985 - )

FAMILY

UVUTHIWE

linocut, signed, dated 2010 and numbered 46/50 in pencil in the margin sheet size: 28 by 22cm

linocut, signed, dated 13, inscribed with the title and numbered E/V 6/15 in pencil in the margin sheet size: 73 by 53cm

R 4 000 - R 8 000

R 3 000 - R 5 000

462 Kweti Ndzube (South African 1943 - )

465 Cecil Edwin Frans Skotnes (South African 1926 - 2009)

THE DANCING GROOM AND BRIDE IN A TRADITIONAL WEDDING

FEMALE FIGURE

linocut, signed, dated 96 and numbered 18/100 in pencil in the margin sheet size: 60 by 70cm

R 3 000 - R 6 000 463 Lucky Madlo Sibiya (South African 1942 - 1999)

ABSTRACT FIGURES woodcut, signed, dated ‘74 and inscribed ‘Artist Proof’ in pencil in the margin sheet size: 62 by 71cm

linocut, signed, dated 70, inscribed ‘Artist Proof II/III’ in pencil in the margin sheet size: 20 by 15cm

R 5 000 - R 9 000 466 Armando Baldinelli (South African 1908 - 2002)

EX SICCO VIRIDAT woodcut, signed sheet size: 11 by 14,5cm

R 5 000 - R 8 000

R 5 000 - R 10 000

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468

467 Gregoire Johannes Boonzaier (South African 1909 - 2005)

468 Jacob Hendrik Pierneef (South African 1886 - 1957)

469 Jacob Hendrik Pierneef (South African 1886 - 1957)

CORNER SHOP IN DISTRICT SIX

UNION BUILDINGS FROM PRINSHOF (NILANT 36)

DAM AND BUSH (NILANT 59)

linocut, signed sheet size: 20 by 28cm

R 4 000 - R 8 000

linocut, signed, inscribed with the title, ‘impr’ and dated 1925 in pencil in the margin sheet size: 33 by 40cm Literature Nilant, F.E.G. Pierneef Linosneë, A.A. Ballkema, Cape Town, 1974, illustrated on p 66, no. 36 De Kamper, G. and De Klerk, C. J.H. Pierneef In Print, Dream Africa Production and Publishing, Bella Bella, 2014, illustrated on p 28

ILLUSTRATED

R 25 000 - R 50 000

82

linocut laid down on card, signed and dated 1918 in pencil in the margin sheet size: 14 by 20,5cm Literature Nilant, F.E.G. Pierneef Linosneë, A.A. Ballkema, Cape Town, 1974, illustrated on p 94, no. 59 De Kamper, G. and De Klerk, C. J.H. Pierneef In Print, Dream Africa Production and Publishing, Bella Bella, 2014, illustrated on p 124

R 10 000 - R 15 000

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SCULPTURE PRINTS

470

473

470 Wopko Jensma (South African 1939 - )

472 Wopko Jensma (South African 1939 - )

474 Vusi Khumalo (South African 1951 - )

FACE

FIGURE

BARRACKS

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

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

collograph, signed, dated 2013 and numbered EV III/XV in pencil in the margin sheet size: 65,5 by 88cm

ILLUSTRATED

R 7 000 - R 10 000

R 7 000 - R 12 000

473 Wopko Jensma (South African 1939 - )

475 Armando Baldinelli (South African 1908 - 2002)

WAIL FOR THE BEAST I

FIGURE

linocut, signed, dated 74 and numbered 5/55 in pencil in the margin sheet size: 63,5 by 47,5cm

woodcut and monotype, signed, dated 1952 and inscribed ‘Woodcut Monotype’ in pencil sheet size: 24,5 by 20cm

ILLUSTRATED

R 5 000 - R 8 000

R 15 000 - R 20 000 471 Wopko Jensma (South African 1939 - )

FACE AND FORMS woodcut, signed, dated 75 and numbered 37/75 in pencil sheet size: 42 by 66,5cm, unframed

R 7 000 - R 10 000

R 10 000 - R 15 000

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478

482

Monotypes Monotypes are often described as the painter’s print. This is due to the artist not needing an etched or worked surface (plate) from which to print. Instead, the ink is applied directly to the bed of the printing press, or a Perspex sheet, and is worked from there into the desired image.

The artist either adds more ink in a painterly manner or by removing ink with brushes, rags or fingers. Monotypes are predominantly unique works as the ink is transferred from the press to the paper when it is run through the press.

ALBINO BARB watercolour monotype, signed, dated 11 and inscribed with the title in pencil sheet size: 60,5 by 46cm

R 6 000 - R 10 000

476 Bronwen Findlay (South African 1953 - )

478 Bronwen Findlay (South African 1953 - )

481 Bronwen Findlay (South African 1953 - )

INCA LILIES I

PLANT LANDSCAPE V

BLANKET PART 5

monotype, signed, dated 2011, inscribed with the title and numbered 1/1 in pencil sheet size: 34 by 40cm

monotype, signed, dated 2011, inscribed with the title and numbered 1/1 in pencil sheet size: 55,5 by 76,5cm

monotype, signed and dated 2005 in pencil sheet size: 76 by 111,5cm

R 6 000 - R 12 000

ILLUSTRATED

477 Bronwen Findlay (South African 1953 - )

AGAPANTHUS IV monotype, signed, dated 2011, inscribed with the title and numbered 1/1 in pencil sheet size: 34,5 by 39,5cm

R 6 000 - R 12 000

R 12 000 - R 18 000 479 Colbert Mashile (South African 1972 - )

ROBO-HORSE watercolour monotype, signed, dated 2011 and inscribed with the title in pencil sheet size: 60,5 by 45,5cm

R 6 000 - R 9 000

84

480 Colbert Mashile (South African 1972 - )

R 7 000 - R 10 000 482 Wopko Jensma (South African 1939 - )

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

R 18 000 - R 24 000

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Drypoint Prints Drypoint prints are created by the artist drawing with a needle, or other sharp tools, directly into the polished surface of a copper plate. No acids are involved in this technique. The needle bites into the surface of the copper and lifts very small burrs to either side of the track of the needle.

When the plate is inked and wiped, the ink remains in the lines drawn by the needle and is trapped beneath the burrs, creating a soft, warm halo around the line. A skilled artist can use the drypoint technique to create a range of lines of varying thickness and depth.

491

493

483 Dorothy Kay (South African 1886 - 1964)

487 Willem Hermanus Coetzer (South African 1900 - 1983)

491 Christiaan Diedericks (South African 1965 - )

YOUNG GIRL

SHEEP SHEARER

TWO CHEERS FOR DEMOCRACY

drypoint, signed in pencil in the margin sheet size: 37,5 by 27cm

drypoint, signed and inscribed ‘Best Xmas & New Year Wishes 1945-49’ (sic), signed and dated 41 in the plate sheet size: 15 by 19cm

drypoint, softground and watercolour, signed, dated 1998, inscribed with the title and numbered ‘Proof IV’ in pencil in the margin sheet size: 103 by 70cm

R 5 000 - R 8 000

ILLUSTRATED

R 5 000 - R 8 000 484 Diane Victor (South African 1964 - )

LEDA AND THE WHITE-BACKED VULTURE drypoint, signed, inscribed with the title and numbered 11/30 in pencil in the margin sheet size: 37,5 by 47,5cm, unframed

R 7 000 - R 10 000 485 Diane Victor (South African 1964 - )

THE DEATH OF ADONIS drypoint, signed, inscribed with the title and numbered 15/30 in pencil in the margin sheet size: 37,5 by 47cm, unframed

R 7 000 - R 10 000 486 Diane Victor (South African 1964 - )

MINOTAUR drypoint, signed, inscribed with the title and numbered 16/30 in pencil in the margin sheet size: 38 by 47cm

R 7 000 - R 10 000

488 Christiaan Diedericks (South African 1965 - )

SEEING THE TRUTH drypoint, signed, stamped, dated 2005 and numbered 1/2 in pencil in the margin sheet size: 34 by 31cm

R 4 000 - R 6 000 489 Allerley (Joe) Glossop (South African 1870 - 1955)

BANTU WOMAN and MAN ON A HORSE, two drypoint, one signed in the plate sheet size: 26 by 17cm and 27 by 19,5cm (2)

R 8 000 - R 12 000 490 Victor Archipovich Ivanoff (South African 1909 - 1988)

VOORTREKKER WOMAN and VOORTREKKER, two drypoint, each signed and inscribed with the title, signed and dated 42 in the plate sheet sizes: 30 by 21cm (2)

R 4 000 - R 8 000

R 8 000 - R 12 000 492 Gunther van der Reis (South African 1927 - )

CONVERSATION drypoint, signed, dated ‘56 and numbered 3/5 in pencil in the margin, signed in the plate sheet size: 27 by 38cm

R 4 000 - R 6 000 493 David Nthubu Koloane (South African 1938 - )

STUDIO INSIDE/OUT spitbite aqautint and sugarlift, signed, dated 08, inscribed with the title and numbered 11/35 in pencil in the margin sheet size: 65 by 79cm, unframed ILLUSTRATED

R 8 000 - R 12 000 494 David Nthubu Koloane (South African 1938 - )

BORDERS AND BARBED WIRE drypoint, signed, dated 09, inscribed with the title and numbered 15/25 in pencil in the margin sheet size: 61,5 by 80cm, unframed

R 8 000 - R 12 000 85

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SCULPTURE PRINTS 495 David Nthubu Koloane (South African 1938 - )

COMMUTERS drypoint, signed, dated 08, inscribed with the title and numbered 22/25 in pencil in the margin sheet size: 55,5 by 65,5cm

R 6 000 - R 9 000 496 Pieter van der Westhuizen (South African 1931 - 2008)

MEMORIES OF A HOLIDAY hardground and watercolour, signed, stamped, dated ‘96, inscribed ‘Ets’ and numbered 61/120 in pencil in the margin sheet size: 52 by 62cm

R 5 000 - R 8 000 497 Cyprian Mpho Shilakoe (South African 1946 - 1972)

GROUP III aquatint and drypoint, signed, dated 1970, titled and numbered 2/30 in pencil in the margin sheet size: 70 by 49,5cm

R 10 000 - R 15 000 498 Deborah Margaret Bell (South African 1957 - )

PARSIFAL II drypoint, spitbite and sugarlift aquatint, signed, dated 2014, inscribed with the title and numbered 19/20 sheet size: 120,5 by 89,5cm ILLUSTRATED 498

R 40 000 - R 60 000

Etching Etching is the general term for the process of using acids to cut into a metal surface to create an image that can be printed. Within the field of etching techniques such as spitbite, sugarlift, hardground, softground and aquatint are the most commonly used techniques.

Sugarlift is the painting of a solution of sugar or condensed milk on to the surface of a copper plate. The copper plate is then coated in an acidresistant varnish. The plate is placed into warm water that dissolves the sugar and lifts away the varnish allowing the image to be revealed. When the plate is placed in an acid bath the acid eats into the areas that have been exposed by the sugar lifting away from the copper.

Spitbite is a technique where a brush is dipped into a liquid which can break the surface tension of an acid solution, the brush is then dipped into the acid and ‘painted’ on to a copper plate which has already been prepared with aquatint. The aim of spitbite is to achieve an effect similar to a watercolour wash on paper. The acid can be allowed to sit on the plate over time to create a deeper bite and therefore a darker area in the printed image. In the past the acid was painted on to the plate with a brush that had been dipped in saliva as it was the most readily available fluid.

Aquatint is used to create tonal areas in a print, from pale greys to deep blacks. The plate is evenly covered in a powdered resin which is adhered to the plate through heat. The plate is then placed in a bath of acid. The acid bites into the plate between the tiny particles of the resin to create a pitted area that holds ink. The depth of the bite, and therefore the darkness of the inked area in the final print, is determined by the length of time that the plate is left in the acid. Tonal variations are created by leaving the plate in the acid bath for different lengths of time with certain areas masked with a ‘stop out’ varnish that protects the copper from the acid to produce gradations of tone.

Hardground and softground is the process of covering the surface of a plate in an acid resistant ground. The artist then breaks through the surface of the ground while creating the desired artwork. When the plate is placed in an acid bath, the acid eats into the plate in the areas that have been exposed through the ground, while leaving the protected areas unblemished. Hardground, as the name implies, needs force to break the ground, whereas a softground can be utilised for creating impressions with materials as light as fabric.

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499

500

501

502

503

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499 William Joseph Kentridge (South African 1955 - )

ODALISQUE sugarlift aquatint, drypoint and engraving, signed and numbered 37/40 in pencil in the margin sheet sze: 40 by 35,5cm ILLUSTRATED ON PREVIOUS PAGE

R 20 000 - R 40 000 500 William Joseph Kentridge (South African 1955 - )

CHAISE LONGUE sugarlift aquatint, drypoint and engraving, signed and numbered 3/50 in pencil in the margin sheet size: 35 by 40cm, unframed ILLUSTRATED ON PREVIOUS PAGE

R 25 000 - R 40 000 504

501 William Joseph Kentridge (South African 1955 - )

504 Penny (Penelope) Siopis (South African 1953 - )

MIRROR

SIESTOG

sugarlift aquatint, drypoint and engraving, signed and numbered 4/30 in pencil in the margin sheet size: 35 by 40cm, unframed

spitbite, etching, hand-colouring and burnishing, signed, dated 2004 and numbered 5/15 in pencil sheet size: 69 by 98cm

ILLUSTRATED ON PREVIOUS PAGE

ILLUSTRATED

R 20 000 - R 40 000

R 20 000 - R 30 000

502 William Joseph Kentridge (South African 1955 - ) 505

EL LISSITZKY sugarlift aquatint, drypoint and engraving, signed and numbered 2/30 in pencil in the margin, sheet size: 40 by 35cm ILLUSTRATED ON PREVIOUS PAGE

R 20 000 - R 40 000 503 William Joseph Kentridge (South African 1955 - )

NOSE ON A WHITE HORSE

506

sugarlift aquatint, drypoint and engraving, signed and numbered 3/40 in pencil in the margin sheet size: 35 by 30cm ILLUSTRATED ON PREVIOUS PAGE

R 20 000 - R 30 000 88 88

Screenprint Screenprint is a technique where the existing artwork or image is photographically transferred on to an extremely fine fabric fixed to a metal framework. The ink is dragged down the screen and passes through the unblocked pores of the fabric much like a stencil. Each colour in an artwork requires a separate screen allowing scope for layering, collaging and assembling new artworks from pre-existing imagery.

505 Norman Clive Catherine (South African 1949 - )

MIRROR, MIRROR screenprint signed, numbered 4/30 and inscribed with the title in pencil in the margin sheet size: 50 by 65cm ILLUSTRATED

R 8 000 – R 12 000

SCULPTURE PRINTS

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506 Norman Clive Catherine (South African 1949 - )

HOMO OPUNTIA screenprint signed, numbered 4/30 and inscribed with the title in pencil in the margin

sheet size: 74 by 105,5cm ILLUSTRATED oN OPPOSITE PAGE

R 10 000 – R 15 000 507 Norman Clive Catherine (South African 1949 - )

HODGE PODGE screenprint signed, numbered 14/30, and inscribed with the title in pencil in the margin sheet size: 75 by 105,5cm

507

ILLUSTRATED

R 10 000 – R 15 000 508 Norman Clive Catherine (South African 1949 - )

IDENTIKIT screenprint signed, dated 83, numbered 10/40 and inscribed with the title in pencil in the margin sheet size: 55 by 62cm ILLUSTRATED

R 8 000 – R 12 000 509 Lehlogonolo Mashaba (South African 1983 - )

THEY ESCAPE MY MIND AND BODY III screenprint, signed, dated 2009 and inscribed ‘State Proof I/I’ in pencil in the margin sheet size: 55 by 77cm

508

R 6 000 - R 9 000 510 Walter Whall Battiss (South African 1906 - 1982)

ATTIC SEA screenprint, signed and numbered 3/10 in pencil in the margin sheet size: 48,5 by 67,5cm ILLUSTRATED

R 10 000 - R 20 000

510

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515

512

511

511 Walter Whall Battiss (South African 1906 - 1982)

513 Cecil Edwin Frans Skotnes (South African 1926 - 2009)

516 Kozo Inoue (Japanese 1937 - )

ARCHAIC VENUS: WITH A CATALOGUE OF DESIRES IN HER THIGHS

FIGURE ON YELLOW

FLEUR DU NUIT PORTFOLIO

screenprint, signed, inscribed ‘Screenprint’ and numbered 61/65 in pencil in the margin sheet size: 67,5 by 47,5cm

a signed portfolio of nine screenprints published by the artist’s studio, numbered 78/135 on the title page, each print signed and numbered 78/135 in the margin 39 by 29,5cm

screenprint, signed, titled and numbered 3/10 in pencil in the margin sheet size: 48,5 by 67,5cm ILLUSTRATED

R 10 000 - R 20 000 512 Walter Whall Battiss (South African 1906 - 1982)

BIRD AND BOY screenprint laid down on card, signed, titled, and inscribed ‘Special Proof’ and ‘To Munirah Nazli wishing her great happiness’ in pencil in the margin sheet size: 57,5 by 43cm Literature Colour and title variations featured in Siebrits, W. Walter Battiss: I Invented Myself, The Ampersand Foundation, Johannesburg, p. 87

ILLUSTRATED

R 12 000 - R 20 000

90 90

R 5 000 - R 8 000 514 Fred Schimmel (South African 1928 - 2009)

R 5 000 - R 8 000

RED ABSTRACT

Lithographs are based on the principle that oil and water cannot mix. The artist draws an artwork on to a smooth stone or metal plate with a greasy crayon or pencil. An oil-based ink is then drawn on to the stone and bonds with the crayon. Water is wiped on to the untouched areas of the stone or plate to prevent the ink from smearing. Paper is laid over the inked surface and both are placed in a press that applies pressure equally across the surface. Different colours are applied and printed separately, building up the image through layering through repeated uses of the printing press.

screenprint, signed, dated ‘76 and numbered 75/75 in pencil in the margin sheet size: 67,5 by 47cm

R 5 000 - R 7000 515 Lionel Abrams (South African 1931 - 1997)

THREE SQUARES and INTERIOR, two screenprint, signed, dated 74 and numbered 59/75 and 116/250 in pencil in the margin sheet size: 47,5 by 67cm and 67 by 47,5cm

R 3 000 - R 6 000

Lithograph

SCULPTURE PRINTS

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517 Norman Clive Catherine (South African 1949 - )

SLEEPWALK lithograph, signed, numbered 12/30 and inscribed with the title in pencil in the margin sheet size: 43,5 by 58cm ILLUSTRATED

R 8 000 – R 12 000 518 Senzo Shabangu (South African 1985 - )

BOXED BELONGINGS lithograph, signed, dated 15, inscribed with the title and numbered 7/10 in pencil in the margin sheet size: 76,5 by 56,5cm

R 5 000 - R 8 000 519 Christiaan Diedericks (South African 1965 - )

517

I HAVEN’T SAID ANYTHING ABOUT MY SOUL lithograph, signed, stamped, dated 1996, inscribed with the title and numbered AP in pencil in the margin sheet size: 53 by 43cm

R 5 000 - R 8 000 520 Armando Baldinelli (South African 1908 - 2002)

UNTITLED lithograph, signed and inscribed ‘Original Lithograph’ in pencil in the margin sheet size: 60 by 48cm ILLUSTRATED

R 10 000 - R 15 000

520

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SCULPTURE PRINTS 521 Marc Chagall (French/Russian 1887 - 1985)

DAPHNIS AND CHLOÉ lithograph, signed and numbered 72/75 in pencil sheet size: 48 by 34,5cm Literature Marc Chagall: The Light of Origins: Paintings, Works on Paper, Tapestries, Lithographs: 1949 - 1977, Standard Bank and SA National Gallery, 2000, p.112

ILLUSTRATED

R 50 000 - R 100 000

521

The lithograph entitled DAPHNIS AND CHLOÉ was featured in the exhibition at the Standard Bank Gallery, Johannesburg, from 18 October to 25 November 2000. Daphnis et Chloé is a well-known ballet created by Maurice Ravel. The theme was adapted by Michel Fokine from an eponymous romance written by the Greek writer Longus; it is thought to date from around the 2nd Century AD and was first published in 1559. The story is about the love between the goatherd Daphnis and the shepherdess Chloé. This work by Marc Chagall is in every way representative of the mythological allegories and folkloric elements that usually characterises his work.

Reference: • Standard Bank Gallery, Johannesburg. Marc Chagall: La Lumière des Origines / The Light of Origins. Paintings, Works on Paper, Tapestries, Lithographs 1949 - 1977, Standard Bank and SA National Gallery, 2000, p.112 • Wikipedia: https://en.wikipedia.org/wiki/Daphnis_et_Chlo%C3%A9 Accessed on: 5 October 2016.

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SCULPTURE South African Sculpture

522 Anton Smit (South African 1954 - )

MOONDANCE II signed, dated 92 and numbered 20/24 stonecast height: 180cm (excluding base) ILLUSTRATED

R 200 000 - R 300 000 Anton Smit was born in 1954 in Boksburg, South Africa. He began his career as a self-taught artist and achieved his breakthrough in 1979 when he was awarded first place in the Sasol New Signatures competition. In the succeeding years his work has been exhibited locally and internationally, and has been included in numerous private and corporate collections worldwide.

Reference: • Website: www.antonsmit.co.za Accessed on the: 13/10/2016

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GHEMO SPEED signed and dated 89 stonecast height: 75cm (excluding base) ILLUSTRATED

R 400 000 - R 600 000

SCULPTURE

According to Anton Smit; “man emulates and assimilates nature, producing poetry in word and form.” GHEMO SPEED depicts the reclining nude figure of a woman abstracted in curves and embossed with lines that visually personifies an abstract philosophy of speed. The artist creates a play on words with the title that can only be described as poetic. The sculpture conveys an imaginative and symbolic fusion of word and form that captures the viewer’s attention.

Reference: • Website: www.antonsmit.co.za Accessed on the: 13/10/2016

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524 Anton Smit (South African 1954 - )

COLOSSAL YOUTH signed, dated 2014 and numbered 1/7 glass reinforced polymer height: 183cm (excluding base) ILLUSTRATED

R 250 000 - R 350 000 Anton Smit’s artistic practice often comprises towering human figures, nudes, heads and masks, hands, angels, floating figures, and abstracted forms utilising bronze, glass reinforced polymer, stone and steel, amongst other materials. His works attempt to portray and embody a range of spiritual and mystical ideas around existence and transcendence. “Creation continues incessantly though the medium of man,” says Smit. “Man himself, then, is the mouthpiece, medium and meaning all in one. His challenge as an artist is to create himself over and over again, finding new connotations and new concepts in given shapes, figures and faces.

Reference: • Website: www.antonsmit.co.za Accessed on the: 13/10/2016

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525 Gerard de Leeuw (South African 1912 - 1985)

MARABOU signed bronze height: 78cm (excluding base) Literature Strydom, M.J. Gerard de Leeuw, Suidkaap-Uitgewery, George, 1979, illustrated on pages 36 and 38

ILLUSTRATED

R 200 000 - R 300 000 Gerard De Leeuw (1912 – 1985) remains one of South Africa’s lesser known bronze sculptors; this may be due to the fact that he was a very modest artist who never really approached art dealers to exhibit his artworks. Instead he found greater pleasure in formulating stories and mythologies that he could present alongside his works to his friends. In his lifetime however he did enjoy the positive and endearing encouragement from his friends and academics in the arts like Dr. F.P. Scott, Prof Lippy Lipshitz and Uys Krige among others. According to them De Leeuw was a purist, who valued fundamental approaches to modeling that could be compared to that of Auguste Rodin and Marino Marini.

According to Federico Freschi Gerard De Leeuw believed he could actively make rain – his theory was loosely based on the observation that every time he fired the furnace in his backyard foundry in Orange Grove, Johannesburg, it would rain in the nearby vicinity. He took the theory so far that he formally presented it to Dr. Meiring Naudé, the head of the council for Scientific and Industrial research in 1970. Despite extensive criticism, De Leeuw made three sardonic sculptures during 1972; MARIBOU was one of the three works, described as “he who listens to everything but never gives an opinion” (De Leeuw in Strydom, 1973:37) as quoted in (Freschi, F 2012:8). The sculpture formed part of an informal collaboration with the South African Weather Bureau that the artist titled Project Modjadji to allude to the rain-queen of the Balobedu people of Limpopo. However after the media caught wind of the story and his demonstration failed, De Leeuw abandoned the project, never to speak of it again.

References: • Freschi, F. The Rainmaker: Pragmatism, Myth, and Magic in the work of Gerard de Leeuw. Published in Gerard de Leeuw: A Centenary Exhibition – 100.

2012. Published by the University of Johannesburg Art Gallery & Sanlam Art Gallery, Belville.

• Strydom, M, J. Gerard de Leeuw. 1979. Published by Suidkaap-Uitgewery, George. .

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South African and International Paintings and Works on Paper 526 Lucas Tandokwazi Sithole (South African 1931 - 1994)

527 Frans Martin Claerhout (South African 1919 - 2006)

528 Frans Martin Claerhout (South African 1919 - 2006)

PENNY WHISTLER #4

NUDE WITH SWANS

FIGURES WITH DUCKS

signed oil and enamel on board 60 by 97cm

signed oil on board 78 by 57cm

signed oil on board 75 by 90cm

ILLUSTRATED

ILLUSTRATED

ILLUSTRATED

R 20 000 - R 30 000

R 25 000 - R 35 000

R 30 000 - R 50 000

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529 Hendrik Christiaan Niemann (South African 1941 - )

530 Frans Martin Claerhout (South African 1919 - 2006)

531 Frans Martin Claerhout (South African 1919 - 2006)

532 Diederick (George) During (South African 1917 - 1999)

WOMAN READING

WOMAN AND ROOSTER

DONKEY CART

MAN WITH BOAT AND HOUSE

signed and dated 16 oil on board 59,5 by 68,5cm

signed oil on canvas laid down on board 49,5 by 60cm

R 18 000 - R 24 000

ILLUSTRATED

signed, signed and dated 10.9.2002 signed on the reverse oil on board oil on board 55 by 35cm 61 by 92cm ILLUSTRATED ILLUSTRATED R 20 000 - R 30 000

R 30 000 - R 50 000

531

R 30 000 - R 50 000

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533 Marie Vermeulen Breedt (South African 1954 - )

WOMAN READING signed oil and charcoal on paper 98,5 by 68cm ILLUSTRATED

R 30 000 - R 40 000 534 Marie Vermeulen Breedt (South African 1954 - )

LADY IN GREEN signed oil and pastel on paper 96,5 by 66cm ILLUSTRATED

R 30 000 - R 40 000 535 Irmin Henkel (South African 1921 - 1977)

SELF PORTRAIT OF ARTIST AND WIFE signed oil on canvas 80 by 54cm ILLUSTRATED

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536 Dorothy Kay (South African 1886 - 1964)

SELF PORTRAIT signed charcoal and heightening on paper laid down on card 48 by 54,5cm, unframed

R 8 000 - R 12 000 537 Diederick (George) During (South African 1917 - 1999)

DONKEY CART signed oil on board 62 by 48,5cm ILLUSTRATED

R 20 000 - R 30 000 538 Diederick (George) During (South African 1917 - 1999)

MAN WITH SPADE signed oil on board 45 by 37cm ILLUSTRATED

R 20 000 - R 30 000

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PAINTINGS 539 John Koenakeefe Mohl (South African 1903 - 1985)

A LITTLE BOOKWORM IN TATTERS signed and dated 61, inscribed “A Little Bookworm In Tatters” by J.K. Mohl, painted in 1961 in (S.A.) (sic) on reverse of artist’s handmade frame oil on board 51 by 34cm (excluding artist’s frame), 66 by 48,5cm (including artist’s frame) Provenance Purchased directly from the artist and thence by descent

ILLUSTRATED

R 70 000 - R 100 000

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John Koenakeefe Mohl was born on 29 September 1903 in Dinokana, Zeerust in the North-West Province. At an early age his artistic talent was encouraged by the Reverend Hale who arranged for Mohl to study painting, initially in Namibia, and later in Germany.

Mohl returned to South Africa following five years away and settled in Sophiatown where he began teaching art classes from his home. Following the destruction of Sophiatown, Mohl relocated to Dube in Soweto and continued with his teaching. His desire was to paint what he saw and what he knew – the people of the townships and the panoramic landscapes of South Africa were equally dear to him. During this time he began to exhibit his paintings in his garden, wishing to steer clear of commercial gallery spaces, and sold work to residents and tourists alike. This was taken a step further when he founded the “Artists Under the Sun” exhibitions in Joubert Park, Johannesburg that provided a venue to exhibit his own work and the work of many artists would have otherwise would have had no outlet for their artworks.

Reference: • Proud, H. Revisions: Expanding the Narrative of South African Art, The Campbell Smith Collection. 2006. Published by SA History Online and Unisa Press.

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540 Armando Baldinelli (South African 1908 - 2002)

ELETTROCARDIOGRAMMA signed and dated 1978 oil on board 86 by 74cm ILLUSTRATED

R 80 000 - R 120 000

540

Armando Baldinelli was born in 1908 in Ancona, Italy. He began his studies in 1925 at the Academy of Fine Arts in Rome. By 1936 he held his first one-man exhibition in Bergamo, Italy. Baldinelli already achieved international recognition by the time he settled in South Africa in 1953 and had his first solo exhibition in SA in 1955 in Pretoria.

Baldinelli was a very versatile and skilled artist whose style continually evolved, especially during his time in South Africa. In the beginning of his career he was notably conservative in his technique and mostly adhered to stylised and post-Cubist forms in the field of Mosaic. It was only after he settled in SA that Baldinelli started to show a transformation in style and a willingness to adapt to new media. His compulsive and passionate nature was a great driving force behind his creative spirit and as a result his South African works were often drawn from two primary forms of inspiration: the female figure and the South African Landscape.

The circular form, which is a recurring theme in his works, is an ambiguous abstraction from the sporadic images of the female breast and the sun.

Baldinelli was increasingly fearful of being confined by a singular stylistic formula and as a result, he once again reinvented his practice in the 1970s. He initiated a new approach to his conceptual diversity by moving from abstracted forms to hyper-realism, layering metaphysical compositions and super realistic images of nude female figures into a coherent whole, which reveals a scrutiny of the geometry of forms. Through his continuous exploration of these themes the artist successively moved into a new period of producing living representations of his muses through his embrace of the hyper-realist tradition.

Moreover it cannot be overlooked that the mood of these hyper-realistic works were often very erotic; his early depictions of female figures diverge from being idealised individuals, sirens that invite the viewer into their worlds, to objects of desire that remain mysterious but ultimately become unapproachable and isolated in their beauty. A popular icon in his realistic paintings was the model Marina; he painted her repeatedly in a variety of roles. Although still true to his hyper-realistic themes, the works hold an added dimension of the metaphysical where concepts of life and death reveal the transformation from his fiery and dramatic compositions to diluted and muted forms of expression.

The artist often defended his work with a fierce passion even after it left his hands. Because of his strong sense of self-criticism he did not hesitate to destroy artworks he deemed inferior. Moreover, according to Gerard de Kamper, the chief curator of collections at the University of Pretoria, the decline in sales of Armando Baldinelli’s work apparently began in 1991 after the supplement to the second book on his life’s work was published, because Baldinelli always felt an unbreakable bond between himself and his art, he quickly started to buy his artworks back from collectors and friends, believing that ultimately he was entitled to do so as the works were of intrinsic value to him.

Subsequently, Baldinelli’s desperation to retrieve his artworks created a gap in the market where they scarcely resurfaced on auctions or any secondary market and as a result he never gained the provenance his works deserved. The artist’s private collection therefore remains the most comprehensive collection of his work in existence. The six artworks available on this auction are from his personal collection and therefore form an important part in reviving the artist’s presence in the market, as a collectable South African artist.

Reference: • Berman, E. Art & Artists of South Africa, An illustrated biographical dictionary and historical survey of painters, sculptors & graphic artists since 1875, new updated & and enlarged edition. 1983. Published by A. A. Balkema, Cape Town & Rotterdam.

• Werth, A, Knight, N & Attwood, B. Armando Baldinelli. 1974. Gallery twenty-one book publishers (PTY) Ltd, London and Johannesburg.

• Lewis, I; Apollonio, U; Berman, E; Nethersole, R & Knight, N. Armando Baldinelli. 1991. Published by HCI Press (Pty) Ltd.

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541 George Mnyalaza Milwa Pemba (South African 1912 - 2001)

VILLAGE SCENE WITH ELDERS signed and dated 90 oil on board 38,5 by 48,5cm ILLUSTRATED

R 200 000 - R 300 000 George Milwa Mynaluza Pemba was born in 1912 in Middledrift in the Eastern Cape. He was raised in a family that held education, faith and discipline in high esteem. From early on Pemba had strong political beliefs, among other things he also illustrated for a political newspaper called Isizwe that was a representative of the Port Elizabeth branch of the ANC in the late fifties. When considering this political awareness of the artist from an early age, along with Nelson Mandela’s release from long incarceration in February 1990, the Village Scene with Elders, painted in the same year, takes on a strong political significance.

The painting depicts an assembly of elders who have gathered around a speaker. The figures depicted in the scene are older, wearing hats, holding pipes and canes, and some are even seen in the background dressed in traditional Xhosa dress. The speaker does not only address the crowd depicted in the painting, instead he faces outward toward the viewer or a suggested audience, placing them amongst the elders and decision-makers. Gatherings such as these usually played an important social role in the discussion, debate and negotiations around decision making within specific villages or families in the rural areas around the Eastern Cape. The painting therefore represents an honest depiction of the zeitgeist of the emergence of democracy in South Africa.

Reference: • Freschi, F. & Brenner, J. The Highly Important Auction Of The Prestigious Art Collection of The Late Roger Brett Kebble. 2009. Published by Graham’s Fine Art Gallery, Johannesburg. Page 94.

• Hudleston, S. George Pemba, Against All Odds. 1996.

Jonathan Ball Publishers, Johannesburg.

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PAINTINGS 542 Gregoire Johannes Boonzaier (South African 1909 - 2005)

PAUL KRUGER signed and dated 1939 oil on canvas 48,5 by 27,5cm ILLUSTRATED

R 70 000 - R 100 000

542

Gregoire Boonzaier was an inspiring and influential figure in South African art through a career spanning over eighty years. His father was the political cartoonist D.C. Boonzaier and he benefitted from the early contact with a range of South African artists who were friends of his father, to the extent that he received his first paint box from Moses Kottler in 1922 and an easel from Nita Spilhaus in 1926, and publishing a study of Pieter Wenning, co-authored by Lippy Lipschitz in 1949.

Following several years studying abroad Boonzaier returned to South Africa in December 1937, and founded the New Group with Terence McCaw, Frieda Lock, Lippy Lipshitz and others; he was elected its first chairman in 1938. The New Group was highly important to the fostering of young artistic talent within South Africa by mounting travelling exhibitions all over the country, including many rural areas that had not previously had access to artistic work. Boonzaier was also a Trustee of the South African National Gallery for six years. In this position he continued to raise the levels of understanding and appreciation of South African art through extensive travels, teaching and exhibitions, facilitated by the Department of Adult Education.

Perhaps best known for his depictions of District Six and the perceived social commentary of these works, Boonzaier never limited himself to a particular style or medium. Working prolifically in oil, watercolour, pencil and linocut, Boonzaier’s oeuvre is rich with a diversity of subject matter that includes: portraits, self-portraits, stilllives and tree studies, urban and rural landscapes as well as architectural interiors.

Reference: • Scott, F.P. Gregoire Boonzaier. 1964. Published by Tafelberg, Cape Town.

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• Berman, E. Art & Artists of South Africa, An illustrated biographical dictionary and historical survey of painters, sculptors & graphic artists since 1875, new updated & and enlarged edition. 1983. Published by A. A. Balkema, Cape Town & Rotterdam.

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543 Armando Baldinelli (South African 1908 - 2002)

IL MENESTRELLO signed and dated 1990 oil on canvas laid down on board 121 by 107cm ILLUSTRATED

R 40 000 - R 60 000

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544 Irma Stern (South African 1894-1966)

GIRLS AND BOAT signed and dated1956 inscribed with the title and date on the reverse on the stretcher oil on paper laid down on board 50,5 by 61,5cm Provenance Purchased in Johannesburg, 1985.

Thenceforth by direct descent to current owner.

ILLUSTRATED

R 200 000 - R 300 000 From as early as the 1920’s Irma Stern was drawn to the vibrant cultures and unusual colours of the African continent. Stern grew up between two countries namely South Africa and Germany.

As such, the artist was often compelled by her enthusiasm to explore and learn and yet at the same time driven to escape into a magical world of imagination where she could get away from the tumultuous zeitgeist of the times she lived in. Neville Dubow quotes Stern in his 1974 book on the artist that she “…fled from burning Europe into the land of rare colours”; she wrote this shortly after returning from Europe after the First World War in a journal she kept between 1919 and 1924.

By the mid-1950s, again shortly after the Second World War, when this painting was painted; Stern had become relatively cynical about the social and political instabilities over the years; as a result, she turned her focus once more towards rural African fishing and farming communities for inspiration, because they presented her with a utopian perspective of pre industrial life.

Stern was principally fond of depicting scenes with a dramatic fervour; this is evident in the manner in which she frames her works compositionally, the works are awkwardly cropped almost as if painted in a manner of haste, but not without retaining a sensitivity to classic style and use of colour and line.

She seemed to be particularly intrigued by spaces like sea ports with her compositions of the scenery often containing fishermen, boats, harvesters, and an abundance of trade and life – where she could indulge her fascination with these day to day scenes through the use of vibrant lines and colours that reveals the artist’s vision and imagination personified on to canvas.

In this manner GIRLS AND BOAT depicts the scene of a woman and children waiting on a dune, watching fishermen in the distance either departing or returning from a fishing daytrip.

The scene is alive with colours and movement, which brings an element of the exotic to the reader, and yet the static figures exude an atmosphere of tranquil living where life is a timeless construct, free of change.

Reference: • Arnold, M. Irma Stern: A Feast for the Eye, 1995. Published by Rembrandt van Rijn Art Foundation, Stellenbosch.

• Dubow, N. Irma Stern, 1974. C, Struik Publishers, Cape Town and Johannesburg.

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PAINTINGS 545 Irma Stern (South African 1894-1966)

CAMEL RIDERS Signed and dated 1961 Inscribed with the title and date on the reverse on the stretcher oil on canvas 100 by 88cm Provenance Purchased at auction, circa 1970s, Johannesburg Thenceforth by direct descent to current owner.

ILLUSTRATED

R 1 200 000 - R 1 600 000 Stern visited Dakar for the first time in 1937 en route to Genoa, she returned to Dakar in 1938. She also spent some time on the islands of Madeira off the northwest coast of Africa during the 1950s.

It is no surprise then that when she retired in the few years before her death to the Alicante - the port city on Spain’s south-eastern Costa Blanca she once more drew inspiration for this painting from the North African landscape. This painting could therefore be considered to be nostalgic in its composition, and entirely plausible that she would have reminisced about memories of her trips to North Africa during the period from 1948 – 1955.

Dubow also interestingly refers to Stern’s love for dressing up; particularly in the 20’s when she won a prize for dressing up as the traveller’s wife from The Arabian Nights. Her eternal love for the exotic and the fantastic placed the African Continent as a great driving force behind her creative output. This is once more evident in the way she romanticises the figures in this painting.

References: • Arnold, M. Irma Stern: A Feast for the Eye, 1995.

Published by Rembrandt van Rijn Art Foundation, Stellenbosch.

• Dubow, N. Irma Stern. 1974. C, Struik Publishers.

Cape Town and Johannesburg.

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546 Pieter Hugo Naudé (South African 1868 - 1941)

RIVER SCENE signed oil on board 18,5 by 27,5cm ILLUSTRATED

R 30 000 - R 50 000

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547 Harold Voigt (South African 1939 - )

WINTER LANDSCAPE signed; signed and titled on the reverse mixed media on board 37,5 by 58cm ILLUSTRATED

R 50 000 - R 80 000

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548 Jacob Hendrik Pierneef (South African 1886 - 1957)

COTTAGE IN A KAROO LANDSCAPE signed oil on canvas 34,5 by 44,5cm Provenance Purchased from the artist by the current owners Grandmother

ILLUSTRATED

R 700 000 - R 1 400 000 According to P.G. Nel (1990:11) “the lifespan of Jacob Hendrik Pierneef, 1886 to 1957, covered a remarkable period in the history of South Africa”. During his lifetime South Africa went through an unparalleled amount of change in a very short time; the greatest commodity became land - the ownership (state vs private) and the control thereof.

Pierneef was and still remains one of the greatest landscape painters of his time, not only because of his naturalist approach to the landscape, but also for the distinct styles he demonstrated throughout various stages of his career as a painter. COTTAGE IN A KAROO LANDSCAPE reveals one of these unique techniques of brush stroke and is characteristic of Pierneef’s career during the 1920s. Similar examples of this technique and style can be observed in other works by Pierneef like Die Blou Magalies 1924 illustrated in Nel (1990:14), Die Brandberg, Suidwes-Afrika 1926 illustrated in Nel (1990:22) and Aandwolke in die Karoo 1930 illustrated in Grosskopf (1945:cat no 54). His paintings from this time were as Coetzee (1992:3) describes: “…paintings that were self-consciously experimental, and reflected his search for an artistic identity”. The 1920s therefore marked an important time in Pierneef’s life; he had just received a special mention in the first exhibition of the South African Academy in 1919, when he took part in the third annual exhibition of the South African Academy in 1922, this was just after he received and completed his first successful major commission. He would go on to be awarded the South African Railways and Harbours commission in 1929. This manifested into such a distinctive style for Pierneef that it is considered to have been the apex of his career.

COTTAGE IN A KAROO LANDSCAPE demonstrates a sensitivity towards the landscape, which could only be captured by Pierneef. His use of muted tones of colour, highlighted with pink and white from the blazing setting sun of the Karoo on the horizon, gives a cooling effect to the painting. The mood is restful and contemplative, as layers of clouds reveal a hint of blue sky beyond the darkening silence before evening sets in. This painting is representative of the most important 10 years of development in the artist’s life and would be an excellent addition to a Pierneef collection.

Reference: • Nel, P, G. JH Pierneef: His Life and His Work. 1990. Perskor Publishers, Cape Town & Johannesburg.

• Coetzee, N, J. Pierneef, Land and Landscape/Pierneef, Land en Landskap. The Johannesburg Station Panels in Context.

1992. CBM Publishing for the Johannesburg Art Gallery.

• Grosskopf, J, F, W. Hendrik Pierneef: Die Man en sy Werk.

1945. J, L. van Schaik, Bpk., Pretoria.

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

DUNES signed, inscribed with the title on the reverse oil on canvas 34 by 59cm ILLUSTRATED

R 35 000 - R 70 000

Maud Sumner spent much of her artistic career living between Paris, London and Johannesburg.

However it was only after the Second World War that she really started drawing inspiration from Africa and the vastness of the African landscape.

Throughout her career Sumner remained aware of the opposing worlds of Europe and Africa; in her younger years she was captivated by the rich artistic heritage, culture and history that Europe had to offer. However as the artist matured and her style developed she became more introspective, the stark and desolate landscape of Africa presented her with an otherworldly vision wherein she could transform desert landscapes with immense stretches of land and sky into a metaphysical space where her paintings transport the viewer to a place of contemplation. Sumner’s spiritual and discreet paintings of desert landscapes could be regarded as a vital demonstration of the artist’s prowess.

Sumner often divided her compositions into planes of interlocking lines and surfaces which is characteristic of the style of the Rayonnist movement of the mid-1910s. However even with the application of Rayonnist-type principles in her work she was determined to reveal far deeper elements of the spiritual. These elements were successfully carried across in the sensitivity with which she treated the surface of the canvas, rendering textures and layering hues of colour with undertones echoing through the painted surfaces.

The desert landscape depicted here, demonstrate the unescapable unity of surface structures painted by the artist, the complexity of style with which she executed this vast desert landscape sets a captivating mood that invites the viewer to contemplate concepts of an almost religious and mystical nature.

Reference: • Harmsen, F; Werth, A & Beeton, R. Maud Sumner, Painter and Poet. 1992. Published by J. L. van Schaik (Pty) Ltd.

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550

550 Piet (Pieter Gerhardus) van Heerden (South African 1917 - 1991)

551 Jan Ernst Abraham Volschenk (South African 1853 - 1936)

553 Willem Hermanus Coetzer (South African 1900 - 1983)

KOKERBOOM NABY BRANDBERG

ALOES AT SUNSET

MOUNTAINS

signed and dated ‘78, signed and inscribed “Kokerboom Naby Brandberg SWA” oil on canvas laid down on board 39 by 48cm

signed oil on canvas 17 by 25cm

signed and dated 43 oil on canvas laid down on board 18,5 by 28cm

R 14 000 - R 20 000

R 15 000 - R 25 000

ILLUSTRATED

R 40 000 - R 60 000

552 Alexander Rose-Innes (South African 1915 - 1996)

APPROACHING STORM signed, signed and titled on the reverse oil on canvas board 29,5 by 22cm

R 20 000 - R 30 000

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554 Piet (Pieter Gerhardus) van Heerden (South African 1917 - 1991)

HOUSE IN WELLINGTON signed and dated ‘56 oil on canvas 49,5 by 60cm ILLUSTRATED

R 40 000 - R 60 000

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

557 Sydney Carter (South African 1874 - 1945)

CAPE HOMESTEAD IN A MOUNTAIN LANDSCAPE

WORKERS HOUSES

signed oil on canvas 30 by 49cm

R 25 000 - R 35 000 556 Leonard Anton Benzon (South African 1944 - )

FARMHOUSES signed oil on board 57,5 by 86cm

R 10 000 - R 15 000

signed oil on board 35,5 by 49cm

R 25 000 - R 35 000 558 Carl Walter Meyer (South African 1965 - )

HOUSE BESIDE A ROAD signed and dated 93 oil on canvas 48,5 by 68cm ILLUSTRATED

R 40 000 - R 60 000

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559

559 Carl Walter Meyer (South African 1965 - )

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

561 Pieter van der Westhuizen (SOUTH AFRICAN 1931 – 2008)

INFORMAL SETTLEMENT

MILL IN THE FOREST

COTTAGES IN AN AUTUMN LANDSCAPE

signed and dated 13 oil on canvas 49 by 64cm

signed oil on canvas 60 by 90cm

signed and dated 74

ILLUSTRATED

R 25 000 - R 35 000

R 30 000 - R 40 000

R 40 000 - R 60 000

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oil on canvas 45 by 53,5cm

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562 Carl Walter Meyer (South African 1965 - )

BI-LO GARAGE - UPINGTON signed and dated 13, titled on the reverse oil on canvas 59,5 by 80cm ILLUSTRATED

R 60 000 - R 90 000

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563 Gregoire Johannes Boonzaier (South African 1909 - 2005)

CAPE CITY SCENE signed pastel on paper 31,5 by 51cm ILLUSTRATED

R 30 000 - R 50 000

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564 Gregoire Johannes Boonzaier (South African 1909 - 2005)

DISTRICT SIX STREET SCENE IN GREYS signed and dated 1991, inscribed with the title on the reverse oil on board 24 by 34cm ILLUSTRATED

R 50 000 - R 80 000

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565 Frans David Oerder (South African 1867 - 1944)

FLORAL STILL LIFE signed oil on canvas 60,5 by 48cm ILLUSTRATED

R 120 000 - R 160 000

Frans David Oerder (1867 – 1944) was a Dutch-born, South African artist.

From 1880 to 1885, he studied art at the Rotterdam Academy, winning the King William III Gold Medal and Bursary. Later he went on to tour through Italy and studied briefly in Brussels under Ernest Blanc-Garin. In 1890 Oerder immigrated to South Africa and by 1910 he married Gerda Pitlo who was a flower-painter, she soon inspired him to produce his own flower studies for which he became internationally renowned.

Reference: • Berman, E. Art & Artists of South Africa, An illustrated biographical dictionary and historical survey of painters, sculptors & graphic artists since 1875, new updated & and enlarged edition. 1983. Published by A. A. Balkema, Cape Town & Rotterdam.

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PAINTINGS 566 Alexander Rose-Innes (South African 1915 - 1996)

STILL LIFE signed pastel on paper 60,5 by 46cm ILLUSTRATED

R 25 000 - R 35 000

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567 Hendrik Christiaan Niemann (South African 1941 - )

STILL LIFE signed and dated 16 oil on canvas 69 by 53,5cm ILLUSTRATED

R 40 000 - R 60 000 NO LOTS 568 - 570

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LOT 614

DECORATIVE ARTS SILVER WEDNESDAY 23 NOVEMBER 2016 | 10H30 | LOTS 571 - 740

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DECORATIVE ARTS 576 A JACOB ZEIDLER & CO (ROSENTHAL) PART DINNER SERVICE, 1917

each with gilt edging against a white ground, comprising: 12 dinner plates, 12 side plates, 12 soup bowls, a large tureen with cover, a medium tureen with cover, 4 square vegetable dishes, 2 rectangular platters, a soup ladle, and a gravy boat with attached under plate, some loss to gilding, printed factory mark the platter 40 cm wide (46)

R 6 000 - R 8 000 577 A ROYAL DOULTON ‘CANTON’ PATTERN PART DINNER SERVICE, 1978-1996

578 PART LOT

EUROPEAN & ENGLISH CERAMICS

R 7 000 - R 9 000

571

574

A ROYAL WORCESTER PART TEA SERVICE,

A CASED COALPORT SILVER-MOUNTED

578

DEMITASSE SET, EARLY 20TH CENTURY

A ROYAL ALBERT ‘SNOW QUEEN’ PATTERN

each with gold bows and floral wreaths against a border of cobalt blue swags, a crème ground, comprising 6 cups and saucers, printed factory mark, the silver cup holders hallmarked: Jay, Richard Attenborough & Co. Chester, 1911, moulded and chased with putti and garlands enclosing a vacant shield cartouche, the double C-scroll handle surmounted by a dragon’s head, interior of case stamped Jays Oxford Street London (12)

PART DINNER SERVICE, 20th CENTURY

1920s

each painted with pink and blue flowers, with bands of scrolling foliage and gilding, comprising: 8 teacups, 12 saucers, 12 side plates, a milk jug and a sugar bowl, a crack to teacup foot, printed factory mark the sugar bowl 12,5cm diameter (34)

R 2 000 - R 3 000 572 A SHELLEY ‘GARLAND OF FLOWERS’ PATTERN PART TEA SERVICE, 1925 – 1940

each printed with black garlands and scrolls against a white ground, comprising: 6 tea cups, 6 saucers, 6 cake plates, a sugar bowl, a milk jug and a two handled cake plate, printed factory mark the cake plate 23,5cm over handles (21)

R 2 000 - R 3 000 573 A HUTSCHENREUTHER PART COFFEE SERVICE, 20th CENTURY

each printed with stylised pink roses against a white ground with gilding, comprising: 12 coffee cups and 12 saucers, printed factory mark (24)

R 2 500 - R 3 500 130

each printed with pink and blue flowers with diaper borders and gilding throughout, comprising: 12 dinner plates, 12 side plates, 12 cake plates, 12 soup bowls, a gravy boat with under plate, 2 two handled serving bowls, a coffee pot with cover, 12 flat demitasse cups and 12 saucers, a milk jug, and a sugar bowl with cover, printed factory mark the serving bowl 25,5cm diameter (78)

R 2 000 - R 3 000 575 A BURLEIGHWARE ‘PAN’ PATTERN PART DINNER SERVICE, 1930s

each printed with Pan seated beside a tree and playing an instrument before a landscape and full moon, against a crème ground, comprising: 6 dinner plates, 6 fish plates, 6 side plates, 7 soup bowls, 3 tureens with covers, 2 gravy boats, an under plate, a sugar bowl with cover and under plate, 3 oval platters, a soup ladle and a coffee pot with cover, printed factory mark the largest platter 41cm wide (37)

R 4 000 - R 6 000

each with a scalloped gilt border against a white ground, comprising: 12 dinner plates, 12 side plates, 12 cake plates, a gravy boat with under plate, 3 oval serving platters, 2 rectangular serving dishes, a large tureen with cover, 2 medium tureens with covers, 2 oval serving platters, 2 round serving platters, 2 salt and pepper sets, 11 teacups, 12 saucers, 2 tea pots with covers, 2 sugar bowls, 2 milk jugs, 2 two handled cake plates and a three tier cake stand, printed factory mark the largest platter 41cm wide (85) ILLUSTRATED

R 9 000 - R 11 000 579 A WILLIAM MOORCROFT ‘POMEGRANATE’ PATTERN VASE, EARLY 20TH CENTURY

the ovoid body tube lined and painted at the shoulder with pomegranates between pale bands, two with rope pattern, against a dark blue ground, impressed factory mark and painted initials 17cm high

R 5 000 - R 7 000

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DECORATIVE ARTS 580

586

588

A WILLIAM MOORCROFT ‘POMEGRANATE’

A CLARICE CLIFF ‘PASTEL AUTUMN’ PATTERN

A CLARICE CLIFF ‘WINDBELLS’ PATTERN JUG,

PATTERN BOWL, EARLY 20TH CENTURY

TOAST RACK, 1929 – 1934

1933 – 1934

tube-lined and painted to the interior and exterior with pomegranates, against a dark blue ground, impressed factory mark and painted initials, scratches to interior 18,5cm diameter

the exterior painted with sinuous stemmed trees, balloon shaped foliage and a cottage half hidden by bushes, in shades of pink, green and blue against a crème ground, printed factory mark 8cm high

painted with a black stemmed tree with blue lenticular foliage against a wavy orange, green and yellow ground, reverse with stylised lilac foxgloves, printed factory mark 19,5cm high

R 5 000 - R 7 000 581 A WILLIAM MOORCROFT FLAMBE ‘HIBISCUS’ PATTERN VASE, 20TH CENTURY

of tapering ovoid form with elongated neck, impressed factory mark and painted initials, POTTER TO HM THE QUEEN 26,5cm high

R 5 000 - R 7 000 582

R 4 000 - R 6 000 587 A CLARICE CLIFF ‘BLUE JAPAN’ PATTERN TRIPOD DISH, 1933

the exterior painted with a mottled blue sky and brown ground with a summer house in the background and a tree in the foreground with pink leaves, printed factory mark 21cm wide

R 5 000 - R 7 000 589 A CLARICE CLIFF BIZARRE ‘KEYHOLE’ PATTERN BOWL, EARLY 1930’s

the interior painted in bands of orange, black and yellow on a cream ground, the exterior with the ‘Keyhole’ pattern, printed factory mark 23,5cm diameter

R 7 000 - R 9 000

R 3 000 - R 4 000

A WILLIAM MOORCROFT FLAMBE ‘ORCHID’ PATTERN VASE, 20TH CENTURY

of ovoid form, impressed factory mark and painted initials, POTTER TO HM THE QUEEN 21cm high ILLUSTRATED

R 15 000 - R 20 000 583 A WILKINSON LTD ‘BIZARRE’ JAR

BY CLARICE CLIFF, CIRCA 1928

of square shape, painted with geometric shapes in shades of yellow, blue, russet and brown, outlined in green, printed factory mark 9,5cm high

R 1 200 - R 1 500 584 A CLARICE CLIFF ‘TREES AND HOUSE’ PATTERN BOWL, 1930s

the exterior painted with a landscape of a cottage amongst bubble and wedge trees, in shades of orange, green and black against a crème ground, printed factory mark 11cm diameter

R 2 500 - R 3 500 585 A CLARICE CLIFF ‘CAFÉ –AU-LAIT’ PATTERN PRESERVE JAR AND COVER, 1931 – 1933

the exterior painted with a floral motif in shades of orange, yellow, blue and pink, against a stippled mint green ground, printed factory mark 7,5cm high

R 3 000 - R 4 000 582

131

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DECORATIVE ARTS

590 THREE CLARICE CLIFF ‘AUREA’ PATTERN WARES, 1935 – 1937

each painted with large flowers on sinuous stems, in pink, yellow and green against a crème ground, comprising: a square plate, a ribbed vase and a cauldron, printed factory mark, the plate 24cm wide (3)

R 6 000 - R 8 000 591 A GROUP OF ROYAL STAFFORSHIRE ‘THE BIARRITZ’ PATTERN WARES

595

BY CLARICE CLIFF

each printed with a gold art deco border against a crème ground, comprising: a coffee cup, a saucer, a coffee pot, a milk jug and a sugar bowl, printed factory mark the coffee pot 19cm high (5)

R 2 500 - R 3 000 592 A PAIR OF DOULTON LAMBETH EWERS BY EDITH HARRINGTON, 1884

each of tapering ovoid form, applied and incised foliate patterns between scalloped bands, in shades of blue, olive and white, the spout of shaped oval form, impressed factory mark and initials; and A Doulton Lambeth Electroplatemounted Biscuit Barrel by Ella H Adams, 1880, incised with floral patterns, between bands of beading, in shades of blue, green, rust and white, impressed factory mark and initials, the plated mounts marked John Grinsell and Sons, Birmingham the ewers 24,5cm high (3)

R 3 000 - R 4 000 593 A PAIR OF KEELING AND CO LASOL WARE ‘SHANGHAI’ PATTERN VASES

each octagonal tapering ovoid body, printed and painted with a stylised pheasant perched on rockwork, amongst peonies and blossoms, loss to gilding, printed factory mark, And A Keeling and Co Lasol Ware ‘Stanley’ Pattern Octagonal Bowl, printed and painted with flowers amongst acanthus leaves, hairline crack, loss to gilding, printed factory mark the vases 29cm high (3)

R 1 800 - R 2 500

132

594

597

A FURSTENBERG TWO-HANDLED URN

A GROUP OF THREE LINNWARE JUGS, 1940s

WITH COVER

comprising: 2 ribbed jugs in white and russet glaze, a turquoise and russet glazed jug, various factory marks; and Two Wedgewood Crèmeware Jugs, printed factory mark the tallest 12cm high (5)

the tapering ovoid body, painted with floral sprays against a white ground, the sides applied with c- scroll and acanthus leaf handles, raised on a circular foot with a band of applied acanthus leaves, square base, the cover with artichoke moulded finial, gilt highlights throughout, underglaze blue F mark under crown, repair 38cm high

R 1 000 - R 1 200 598

R 2 000 - R 2 500

TIM MORRIS (1941-1990): A LARGE STONEWARE

595

painted in tenmoku and cobalt glaze, on a speckled grey ground, painted initials, pitting 44cm diameter

A PAIR OF MEISSEN FIGURAL SWEET MEAT DISHES, 19TH CENTURY

modelled as a reclining maiden and gentleman, each holding a large flower-encrusted shaped oval bowl, the interior enriched in deutche Blumen and butterflies, raised on a gilt enriched cartouche-shaped, scroll moulded base, hairline crack and chips to gentleman, blue crossed swords mark, incised model no. 2858 and 2863 the maiden 33cm wide (2) ILLUSTRATED

R 6 000 - R 8 000

SOUTH AFRICAN CERAMICS

CHARGER

R 2 000 - R 2 500 599 ESIAS BOSCH (1923-2010): A STONEWARE VASE

of cylindrical form, decorated in cobalt with stylised flowers against a grey speckled ground; and A Stoneware Jar And Cover, with scattered flowers the vase 13,5cm high (2)

R 2 000 - R 4 000 600

596

ESIAS BOSCH (1923-2010): A TENMOKU-

A STONEWARE JARDINIERE

GLAZED STONEWARE VASE

the tapering ovoid body painted in iron and tenmoku glaze on either side with fish 28cm high

and A Square Platter, with abstract floral design the platter 31,5cm square (2)

R 1 500 - R 2 500

R 2 500 - R 4 500

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DECORATIVE ARTS

603

601

603

605

ESIAS BOSCH (1923-2010): A LARGE TENMOKU-

ESIAS BOSCH (1923-2010): A CERAMIC LUSTRE

A GROUP OF FOUR CHINESE BLUE AND WHITE

GLAZED STONEWARE PLANTER

TILE

PLATTERS, 18TH AND 19TH CENTURY

of tapering octagonal form, drainage holes 53cm high

decorated overall with flowers 59cm wide

R 6 000 - R 8 000

ILLUSTRATED

each octagonal with canted corners, variously painted including: a censor and bowls on a flat rockwork surface amongst peonies beneath a willow tree and peonies and chrysanthemums issuing from rockwork before a balustrade; and A Butter Dish And Cover the largest 40cm wide (5)

602 ESIAS BOSCH (1923-2010): A LARGE STONEWARE BLUE-GLAZED JARDINIERE

of tapering hexagonal form 47cm high

R 7 000 - R 9 000

R 30 000 - R 40 000

ORIENTAL CERAMICS 604 A GROUP OF FOUR CHINESE BLUE AND WHITE WARES, QIANLONG, 1736-1795

comprising: a large tureen and associated cover, and 3 tea bowls the tureen 34cm wide over handles (4)

R 3 000 - R 4 000

R 3 000 - R 4 000 606 A MISCELLANEOUS GROUP OF CHINESE BLUE AND WHITE WARES, 18TH AND 19TH CENTURY

comprising: 2 platters with canted corners and 4 tea bowls the largest platter 40cm wide (6)

R 1 500 - R 2 500 133

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DECORATIVE ARTS

607

609

612

A CHINESE BLUE AND WHITE DISH,

A LARGE CHINESE BLUE AND WHITE VASE AND

A CHINESE FAMILLE ROSE JARDINIERE

19TH CENTURY

COVER

the centre painted with a mythical bird amongst peonies and scrolling foliage enclosed within a diaper border reserved with panels of alternating peonies and chrysanthemums 49cm diameter

the baluster body painted with stylised fish and seaweed between bands of flowers, the finial in the form a seated shi-shi 81cm high

the tapering ovoid body, painted with alternating panels depicting figures at various pursuits, maidens, flowers, fruit and birds amongst dense scrolling foliage and butterflies, the interior painted with goldfish and plants 34cm high

R 3 000 - R 5 000

ILLUSTRATED

R 5 000 - R 7 000

R 18 000 - R 20 000

608 A CHINESE BLUE AND WHITE CHARGER

mildly scalloped, painted with a peony amongst foliage within a diaper border, loss to enamel, scratches to surface 33,5cm diameter

R 2 000 - R 3 000

613

610 A CHINESE RETICULATED WHITE-GLAZED VASE, 20TH CENTURY

of hexagonal form with flared neck, incised with bamboo leaves and chilong, and applied masks, crazing 23,5cm high

R 3 000 - R 5 000 611 A CHINESE FAMILLE ROSE VASE

of tapering ovoid form with everted neck, painted with alternating panels of butterflies, flower heads and scrolling foliage against a crème ground, printed mark 37,5cm high

R 2 000 - R 4 000

A CHINESE ARMORIAL PLATE, QIANLONG 1735-1795

the central rondel painted with the coat of arms of John White, depicting four wolves, a closed helmet and chevron enclosed within scrolling foliage, the rim with sprays of flowers and scrolling tendrils, decorated in red, gilding and grey detail, two small chips, loss to gilding 23cm diameter John White arrived in the Cape from England in 1700, a direct descendant of Johan De Witt, the Dutch Republics long time de facto head of state who alongside his brother Cornelius De Witt was lynched by a mob in 1672. The death of the brothers is described by Alexandre Dumas in his book ‘’The Black Tulip’’.

John married into a Dutch family and identified himself so closely with his new country that he chose to be known as Jan de Wit. He was a Burgher Councillor through the 1730’s and 1740’s and was a wealthy landowner until his death in 1755.

There are two corresponding armorial plates housed in the Koopmans de Wet Museum in Cape Town.

ILLUSTRATED

R 7 000 - R 9 000

609

134

613

DECORATIVE ARTS

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614

614 A PAIR OF CHINESE FAMILLE ROSE VASES AND COVERS, REPUBLIC PERIOD (1911 - 1948)

each of tapering ovoid body, painted with alternating panels depicting figures at various pursuits, phoenix, flowering fruits issuing from rockwork, pavilions, precious objects, peacock feathers, birds and butterflies enclosed within Greek-key borders amongst scrolls and dense foliage against a peach ground, the domed cover similarly decorated, the finial in the form of a seated shi-shi, each with a rosewood base 93cm high including base (2) ILLUSTRATED

R 70 000 - R 140 000 135

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DECORATIVE ARTS 620 A CHINESE SANG-DE-BOUEF VASE

the globular body with short neck and flared rim, glazed overall with a deep red glaze thinning to the rim, repair, crazing 29,5cm high ILLUSTRATED

R 15 000 - R 20 000 621 A SMALL CLOISONNE VASE

of tapering ovoid form, decorated with a chrysanthemum and butterfly reserved against a white ground of clouds 15,5cm high

R 2 000 - R 3 000 622

617

A PAIR OF CLOISONNE VASES

615

618

A PAIR OF CHINESE PLATES

A SMALL CHINESE DOUBLE GOURD VASE

each painted with birds perched on a branch alongside blossoms and foliage, against a ground of grey crazing, hairline cracks, repair, chips 16,5cm diameter (2)

overall mottled orange glaze 14,5cm high

R 4 000 - R 6 000 616 A SMALL CHINESE VASE

of tapering ovoid form with everted rim, overall yellow glaze 12cm high

R 5 000 - R 7 000

each of tapering ovoid form, decorated with chrysanthemums, butterflies and doves reserved against a ground of clouds, pitting, repair 20,5cm high (2)

R 4 000 - R 6 000 623 A JAPANESE IMARI SCALLOPED PLATE, MEIJI,

619

1868-1912

A CHINESE SANG-DE BOUEF DOUBLE GOURD

the centre painted with a flower-filled jardinière enclosed within a border of alternating panels of blossoms and mythical birds; and Three Chinese Blue And White Plates, all with a balustraded garden 30cm wide (4)

VASE

glazed overall with a deep red glaze, repair, crazing 21cm high ILLUSTRATED

R 10 000 - R 15 000

R 1 500 - R 2 500

R 4 000 - R 6 000 617 A PAIR OF CHINESE FAMILLE ROSE HEHE ERXIAN TWINS, QIANLONG (1736-1795)

the smiling figures wearing colourful robes, seated on marbled rockwork, small amounts of loss 20,5cm high (2) ILLUSTRATED

R 15 000 - R 20 000

136

619

620

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DECORATIVE ARTS 624

629

A JAPANESE VASE

A PART SUITE OF WATERFORD CRYSTAL

of tapering ovoid form with short, narrow neck, painted with chrysanthemums, blossoms and blue leaves against a low trellis, between bands of dense scrolling foliage against a green ground, gilding throughout 22cm high

‘COLLEEN’ PATTERN DRINKING GLASSES,

R 1 500 - R 2 000 625 A JAPANESE IMARI JARDINIERE, MEIJI,

20TH CENTURY

each cut with a band of lozenges above a band of fine diamonds, comprising: 8 claret glasses, 8 white wine glasses, 6 sherry glasses, 6 hock glasses, 6 liqueur glasses and 5 tumblers (39)

R 5 000 - R 7 000

1868-1912

630

the tapering ovoid body painted with panels enclosing ho-ho birds in flight amongst floral sprays reserved against a dense ground of flower heads and foliage with further panels 37cm diameter

A COLLECTION OF WATERFORD CRYSTAL

R 4 000 - R 6 000 626 A PAIR OF JAPANESE IMARI JARDINIERES, MEIJI, 1868-1912

each tapering ovoid body painted with a panel enclosing a phoenix amongst prunus trees below a large flower head panel, the reverse with a stylised mythical bird amongst clouds reserved against a dense flower head ground 37cm high (2)

R 10 000 - R 12 000

‘COLLEEN’ PATTERN DRINKING GLASSES, 20TH CENTURY

each cut with a band of lozenges above a band of fine diamonds, comprising: 9 liqueur glasses, 9 sherry glasses, 8 hock glasses and a wine decanter with stopper, and 11 ‘Clare’ old fashioned glasses, 11 ’Maureen’ pattern fluted champagne glasses , a ‘Kathleen’ pattern decanter, a ‘Lismore’ pattern vase; And A Stuart Crystal Vase the vase 25cm high (53)

R 8 000 - R 10 000

COLLECTORS’ ITEMS & WORKS OF ART 631

627 A JAPANESE IMARI VASE AND COVER, MEIJI, 1868-1912

the tapering ovoid body painted with shishi amongst peonies below lappet bands, the neck with a continuous band of panels enclosing shilong and phoenix, the domed cover similarly decorated, with a carved oriental guerdon 77cm high excluding guerdon ILLUSTRATED

R 12 000 - R 15 000

JOSEF LORENZL (1892-1950): AN ART DECO PATINATED BRONZE FIGURE OF A DANCER

the nude female balancing on ‘demi point’, with outstretched arms, raised on a circular plinth atop an onyx base, signed Lorenzl, MADE IN AUSTRIA 20cm high including base

R 8 000 - R 10 000 632 AFTER EUTROPE BOURET

GLASS

(1833 – 1906) : A PATINATED

628

the nude maiden, holding draped robes, raised on a faceted marble base 25cm high

A VICTORIAN CUT-GLASS CELERY VASE, 19TH CENTURY

with three bands of panels enclosing stars, scalloped rim, ball stem and star-cut circular foot 26cm high

R 1 200 - R 1 500

BRONZE FIGURE

R 7 000 - R 9 000 627

137

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DECORATIVE ARTS

633

631

633 DR HEINRICH OIDTMANN (1838-1890): SIX STAINED GLASS PANELS

signature panel ‘’Purveyors to his Holiness The Pope Linnich Germany 1921’’, restoration 72 by 65cm (6) Oidtmann is the oldest stained-glass workshop in Germany and executed work for many prominent designers and great churches around the world.

Accompanying the panels is a detailed album, documenting the process of the restoration which took place in 1985 by P Eckersdorff. It includes copies of the original rough work sketches from The Oidtmann Company, which were sent via the secretary to the Mayor of Linnich.

The main body of work is housed at St Dominic’s Catholic School for Girls Boksburg, Johannesburg. The bottom panels suffered damage over the years from hail, and as a result were removed.

ILLUSTRATED

R 48 000 - R 88 000 138

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DECORATIVE ARTS

636

635

634

637

640

AN ART NOUVEAU STYLE SEMI-NUDE BRONZE

A FLEMMISH 17TH CENTURY STYLE

TWO BATAVIAN PAKTONG BRASS SPITTOONS, 19TH

FIGURE, 20TH CENTURY

AUBUSSON TAPESTRY, 19TH CENTURY

CENTURY

the scantily clad female standing with hands behind her back, holding a riding crop, stepped elliptical marble base, repair 32,5cm including the base

depicting ‘Puttini’ playing amongst grape vines within a landscape setting, enclosed within a border of scrolling acanthus leaves, mounted on a later frame 200 by 150cm

in sizes, each with flared lip, bulbous body and circular foot, some damage to one rim the larger 33,8cm high (2)

R 2 500 - R 3 500 635 EDOUARD DRUOUT (1859-1945): AN ART

ILLUSTRATED

R 8 000 - R 10 000

NOUVEAU PATINATED BRONZE FIGURE

638

the female draped in robes, holding a lamp, signed, atop a stepped marble base, the plaque inscribed ‘La Vestale par E. Drouot, Medaille exp on des Beaux Arts Paris’ 70cm high

A PAIR OF CONTINENTAL MEISSEN-STYLE

ILLUSTRATED

R 15 000 - R 25 000 636 SYDNEY MARCH (1875-1968): TWO PATINATED BRONZE PORTRAIT BUSTS OF EDWARD VII AND QUEEN ALEXANDRA FOR ELKINGTON & CO

CANDLESTICKS, LATE 19TH CENTURY

possibly Samson, each modelled as a porcelain cherub playing a mandolin and cymbals respectively, raised on a C-scroll pierced gilt metal base, beside flower encrusted branches surmounted by a leaf capped sconce, pseudo crossed sword marks, repair 18,5cm high (2)

R 1 500 - R 2 000 641 A CONTINENTAL DRINKING HORN WITH BRASS MOUNTS, 19TH CENTURY

on a circular stepped base, moulded with scrolling foliage, masks and vacant cartouche, the detachable cover moulded with bands of foliage surmounted by a rampant lion holding a shield, 2cm crack to horn 47cm high

R 2 500 - R 3 500 No lots 642 – 680

R 1 500 - R 2 000

each signed and dated 1901 and 1903 respectively, impressed Elkington & Co. London, inscribed ‘From Queen Alexandra to Sir Henry Burdett with her Majesty’s very best wishes for the new year 1913’ the taller 23,5cm high (2)

639

ILLUSTRATED

R 5 000 - R 7 000

AN ENGLISH BRASS SUNDIAL BY TROUGHTON & SIMMS, FLEET STREET, LONDON

circular, inscribed with manufacturer’s name 15cm high, 30,5cm diameter

R 25 000 - R 30 000 637

139

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SILVER ENGLISH SILVER 683 A PAIR OF GEORGE III OLD ENGLISH PATTERN SILVER SPOONS, THOMAS & WILLIAM CHAWNER, LONDON, 1765

the sides with bright cut decoration and terminals initialled “SG”, gilt bowls later chased with fruit and foliage, 129g; And Another Pair, Chas. Hollinshed, London, 1809, the terminal with bright-cut leaf decoration, gilt bowls later chased with fruit and foliage, 96g, and A Pair of Edwardian Scottish Silver Bonbon Dishes, Hamilton & Inches, Edinburgh, 1902, of oval pierced form, 58g, 11,5cm wide (6)

R 1 700 - R 2 400 684 A GEORGE III OLD ENGLISH PATTERN SILVER SOUP LADLE, THOMAS MORIAH OTTON, LONDON, 1801

of typical form, the terminal initialled “D”, 150g, 30cm long; A George III Silver Stuffing Spoon, George Wintle, London, 1801, 83g, 29,5cm long; and Another, Richard Crossley, London, 1813, the terminal initialled “PJ”, 112g, 29,5cm long (3)

R 1 600 - R 2 000 685 A WILLIAM IV IRISH FIDDLE PATTERN SILVER SOUP LADLE, M. WEST, DUBLIN, 1834

the terminal engraved with a Griffin crest, 176g; And A Group of Three George III Old English Pattern Silver Spoons, various makers and dates, London, 1791 and 1810, 166g (4)

682

R 1 500 - R 2 000

ELECTROPLATE 681

682

686

A VICTORIAN ELECTROPLATE TEA SERVICE,

A WMF (WURTTEMBERGISCHE

A VICTORIAN SILVER BASKET, HENRY

1871

METALLWARENFABRIK) SILVERED FIGURAL

WILKINSON & CO., SHEFFIELD, 1851

NOT SUITABLE FOR EXPORT

CHAMPAGNE BUCKET, EARLY 20TH

the shaped circular bowl with a scroll border and engraved with flowers, scrollwork and geometric decoration enclosing initials, applied with a shaped swing handle, on a shaped circular spreading foot, 793g, 30cm diameter

comprising: a teapot, coffee pot, sugar basin and milk jug, of tapering cylindrical form, engraved with various bands of stylised foliage and flowerheads between beaded borders, leafcapped handle, hinged covers with ivory finials, date stamp to base, coffee pot 22cm high (4)

R 1 500 - R 2 000

140

CENTURY

depicting a mermaid sitting on a shell, modelled with rushes, lilies and a lizard, underside stamped ‘B, I/O, as, W.M.F.’, 32,5cm high ILLUSTRATED

R 15 000 - R 20 000

R 5 000 - R 7 000

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SILVER

687 PART LOT

687 A PAIR OF VICTORIAN SILVER COMPORTS, ROBERT GARRARD, LONDON, 1864 AND 1879

the tripartite base depicting three seated putti playing musical instruments amongst garlands and foliage, with a central knopped and beaded column, surmounted by a shaped, pierced circular basket chased and moulded with shell and foliate decoration, centre initialled, lacking one garland 19,5cm high, 2813g (2) ILLUSTRATED

R 25 000 - R 50 000

687 DETAIL

141

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SILVER

688

688

689

690

A LATE VICTORIAN FOUR-PIECE SILVER TEA

PAIR OF LATE VICTORIAN SILVER BASKETS,

AN EDWARDIAN SILVER TRAY, H. MATTHEWS,

SERVICE, JOSEPH BRADBURY & EDWARD

CHARLES DUMENIL, LONDON, 1894

BIRMINGHAM, 1901

BRADBURY, LONDON, 1875

the oval form chased with scroll and flowerhead border with scrolling foliate interior, on a conforming raised pedestal footrim, 27cm wide, 678g (2)

of shaped rectangular form, the centre profusely engraved with flowerheads, scrolls and latticework enclosing a vacant cartouche, 307g, 28,7cm wide; And An Edwardian Silver Cigar Box, Mappin & Webb Ltd, London, 1907, plain rectangular, the hinged cover with thumbpiece, cedar interior, 14cm wide (2)

NOT SUITABLE FOR EXPORT comprising: a teapot, coffee pot, sugar basin and milk jug, of cylindrical, tapering and lobed form, the body engraved with bands of stylised flowers within beaded borders, with floriform rim, ivory fillet to C-scroll handle, the hinged covers with detachable urn finial, milk jug and sugar basin with gilt interior, 1803g, coffee pot 25cm high (4)

ILLUSTRATED

R 7 000 - R 9 000

R 1 600 - R 3 000

ILLUSTRATED

R 15 000 - R 25 000

689

142

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SILVER

691 PART LOT

691

693

695

A LATE VICTORIAN SILVER THREE-PIECE TEA

A GEORGE V SILVER WAITER, MARTIN HALL &

A GEORGE VI SILVER SALVER, VINERS LTD.,

SERVICE, WILLIAM GIBSON & JOHN LANGMAN,

CO., SHEFFIELD, 1912

SHEFFIELD, 1946

LONDON, 1896

of shaped circular form with scroll and shell border, the interior engraved with a broad band of scrolling foliage, raised on three claw and ball feet, 336g, 21,5cm diameter

shaped circular and raised on three scroll feet, the centre engraved with a presentation inscription, 839g, 32cm diameter

NOT SUITABLE FOR EXPORT comprising: a teapot, sugar basin and milk jug, the bulbous circular form chased with a band of stylised foliage below a reeded border, leaf-capped scroll handle, the teapot handle with ivory fillets, detachable urn finial and octagonal spout, gilt interior, underside stamped “GOLDSMITH’S COMPANY, 112 REGENT STREET”, 1768g, teapot 16,5cm high; And An Edwardian Silver Bonbon Spoon, Goldsmiths & Silversmiths Co Ltd, London, 1907, the handle and bowl with pierced foliate decoration, 64g, 17,5cm (4)

R 1 500 - R 2 000

R 3 000 - R 4 000

694 A PAIR OF SCOTTISH SILVER CHOCOLATE POTS, HAMILTON & INCHES, EDINBURGH, 1921

ILLUSTRATED

the octagonal ovoid body on a circular spreading foot, with hinged domed cover and detachable wooden finial, the side applied with an octagonal wooden handle, 20cm high, 714g (2)

R 18 500 - R 28 500

R 3 500 - R 4 500

692 AN ASSEMBLED THREE-PIECE SILVER TEA SERVICE, WALKER & HALL, SHEFFIELD, 1911 & 1918

comprising: a teapot, milk jug and a two-handled sugar basin, each part-lobed body with harp handle, the teapot with hinged domed, lobed cover and composition finial, teapot initialled “D”, teapot 18cm high, 1134g (3) ILLUSTRATED

R 5 000 - R 7 000 692

143

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SILVER

696

CAPE SILVER 696 A CAPE SILVER SUGAR BOWL & COVER, MARKS INDISTINCT, LATE 18TH/EARLY 19TH CENTURY

of urn-shape with beaded borders, the sides applied with a pair of scroll handles, on a spreading circular foot and square base, the domed cover with bud and leaf finial, 376g, 18cm high LITERATURE Stephan Welz. (1976) Cape Silver and Silversmiths, Cape Town: AA Balkema. Pages 98-101, where similar examples are illustrated

ILLUSTRATED

R 150 000 – R 180 000

144

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SILVER

703 PART LOT

697

699

702

A SET OF THREE CAPE FIDDLE PATTERN SILVER

A FRENCH FIDDLE-THREAD PATTERN SILVER

A PAIR OF AMERICAN SILVER THREE-LIGHT

TABLESPOONS, JOHN TOWNSEND, 19TH

SERVING SPOON, PARIS, EARLY 19TH CENTURY

CANDELABRA, EMPIRE, 20TH CENTURY

CENTURY

A Set of Three Russian Silver Tablespoons, 1886; A Continental Silver Spoon, marks indistinct, and A Group of Five Russian Silver Fiddle Pattern Teaspoons, various makers and dates, 1893 and early 20th Century, 501g all inclusive (10)

on a circular spreading foot, the knopped central column attached with two scroll arms, terminating with sconces, loaded, 18cm high (2)

R 1 600 - R 2 000

703

the terminals engraved with initials, 215g (3)

R 1 000 - R 1 500

FOREIGN SILVER 698 A PAIR OF DUTCH SILVER CANDLESTICKS AND MATCHING SNUFF STAND, MARKS INDISTINCT, CIRCA 1734

the square base with canted corners, knopped and baluster vase-shaped stems, spool-shaped sconces, the snuff stand with a flattened rectangular sconce, the underside of the candlesticks engraved “Johan Jacob Leers Senior 1734, Ver Eert aen P.S.”, the underside of the snuff stand engraved “Gerhard Raek Senior 1734, Ver Eert aen P.S.”, soldering repairs, stand lacking wick trimmer 709g, candlesticks 18cm high R 10 000 – R 14 000

700

R 1 500 - R 2 000

A SET OF DANISH SILVER ‘ACORN’ PATTERN CUTLERY, DESIGNED BY JOHN ROHDE FOR

A RUSSIAN SILVER ‘FIDDLE PATTERN’ SOUP

GEORG JENSEN, 20TH CENTURY

LADLE, MAKER’S MARK RUBBED, ASSAYED BY

R 1 500 - R 2 000

comprising: 3 soup spoons, 4 fish knives, 5 fish forks, 5 pastry forks, 2 dinner knives, 5 dinner forks, 2 teaspoons, 4 fruit forks, a coffee spoon, a dessert fork, 14 dessert spoons, in sizes 2049g of weighable silver

701

ILLUSTRATED

ALEKSANDR NIKOLAYEVICH KROLLAU, 1896

215g, 30cm long

A MIDDLE EASTERN SILVER TRAY, MAKER’S MARK INDISTINCT

of circular form, profusely engraved with scrolling foliage and flowerhead decoration 453g, 26cm diameter

R 35 000 – R 40 000 No lots 704 – 740

R 1 200 - R 1 500

145

LOT 876

WRISTWATCHES • JEWELLERY WEDNESDAY 23 NOVEMBER 2016 | 14H00 | LOTS 741 - 918

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WRISTWATCHES

WATCHES 741 A GENTLEMAN'S 18CT ROSE GOLD AND STAINLESS STEEL WRISTWATCH, BAUME & MERCIER RIVIERA XXL CHRONOGRAPH

reference: 65585, automatic, the black patterned dial applied with gilt roman numeral hour markers, three subsidiary dials for constant seconds, minutes and hours, date aperture at 3 o'clock, the dodecagon 18ct rose gold bezel on a black stainless steel case, case numbered 5837808, on a black rubber strap with deployant clasp, diameter of bezel approximately 43mm

R 30 000 - R 40 000

741

742 A GENTLEMAN'S TITANIUM WRISTWATCH, BREITLING CHRONOMETRE AEROSPACE REPETITION

reference: F75362, quartz, the circular grey dial with Arabic numeral and baton hour markers, with analog and digital display for alarm, chronograph, second time zone, timer and minute repeater, with outer calibrated ring, on a two tone titanium and gold-plated bracelet with folding clasp, case back numbered 598764, diameter of bezel approximately 40mm

R 16 000 - R 20 000

742

148

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WRISTWATCHES

743 A GENTLEMAN'S TWO–TONE WRISTWATCH, ROLEX OYSTER PERPETUAL DATEJUST

automatic, the circular beige dial applied with baton hour markers, outer calibrated ring, centred seconds, magnified date aperture at 3 o'clock, reeded bezel, screw–down crown and case back, on a two–tone Jubilee bracelet strap with folding clasp, accompanied by a Rolex box, distress and three extra links, diameter of bezel approximately 35mm

R 20 000 - R 30 000

743

744 A GENTLEMAN'S STAINLESS STEEL WRISTWATCH, TAG HEUER CARRERA CALIBRE 16

automatic, the circular black dial with Arabic numeral five minute marker, three circular subsidiary dials for constant seconds, minutes and hours, day and date aperture at 3 o'clock, with an outermost tachymeter ring, with a semi-skeleton case back, on a stainless steel bracelet with a folding clasp. diameter of bezel approximately 45mm

R 28 000 - R 35 000 No lots 745 – 770

744

149

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JEWELLERY

771

781

771

776

781

A GOLD BRACELET

A GOLD NECKLACE

A GOLD BRACELET

comprised of flat stylised links tapering outwards from the centre, embellished with fine crosshatch pattern, centred with floral and foliage engraving, with two safety catches, impressed 750 approximately 19cm in length

designed as a yellow–gold rope–link chain, impressed 375, approximately 65cm in length

comprised of large oval textured interlocking links, with safety chain and catch, impressed 18ct, approximately 20cm in length

ILLUSTRATED

ILLUSTRATED 777 A GOLD NECKLACE WITH DIAMOND

R 18 000 - R 25 000

ENHANCER

782 A GOLD BRACELET

comprised of graduated, alternating yellow and white gold double rectangular links, with box clasp and safety catch, impressed 750, approximately 33,5cm in length

the herringbone chain, centred with a moveable circular enhancer, bezel set to the centre with a round brilliant-cut diamond weighing approximately 0.17cts, within a conforming surround of pave-set round brilliant-cut diamonds weighing approximately, 0.25cts in total, impressed 750, approximately 36cm in length

ILLUSTRATED

R 2 000 - R 4 000

R 11 000 - R 15 000 772 A GOLD NECKLACE

R 9 000 - R 12 000

778

773

AN AMETHYST AND DIAMOND RING

A COIN MOUNTED RING

centred with an oval faceted amethyst weighing approximately 4.48cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 0.28cts in total, impressed 18K, size M½

centred with a Victorian half sovereign, impressed 18ct, size L

R 2 000 - R 4 000 774

779

comprised of circular amber beads, approximately 10,3mm in diameter, with a gold-plated silver clasp, approximately 45cm in length; and An Amber Necklace, comprised of circular amber beads, approximately 12cm in diameter, with a gold-plated silver clasp, approximately 47cm in length (2)

AN AMETHYST RING

775 AN AMBER NECKLACE

comprised of large rectangular-shaped amber beads, with an oval textured gold-plated clasp, impressed 925, approximately 47cm in length

R 1 000 - R 1 500

comprised of four strands of matte brick links, impressed 585, approximately 20cm in length

R 4 000 - R 8 000 783 A DIAMOND BROOCH/PENDANT

in the form of a star, embellished with old-cut diamonds weighing approximately 1.86cts in total, with later removable screw brooch attachment and pendant loop, metal test inconclusive, approximately 3cm in width

R 4 000 - R 8 000

R 10 000 - R 15 000

AN AMBER NECKLACE

R 1 200 - R 1 500

150

R 3 000 - R 5 000

the domed band with mesh detailing centred with an oval mixed-cut amethyst, impressed 18K, size L

R 1 800 - R 2 000 780 AN AMETHYST BROOCH/ PENDANT

the oval surround embellished with scrolls, centred with a pear-shaped mixed-cut amethyst, acid tested as 9ct, approximately 4cm in length

R 1 000 - R 2 000 772

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JEWELLERY 784 A DIAMOND BROOCH/PENDANT

in the form of a star, embellished with old-cut diamonds weighing approximately 2.55cts in total, with later removable screw brooch attachment and pendant loop, metal test inconclusive, approximately 3,5cm in width

R 6 000 - R 10 000 785 A DIAMOND BROOCH/PENDANT

in the form of a star, embellished with old-cut diamonds weighing approximately 3.97cts in total, with later removable screw brooch attachment and pendant loop, metal test inconclusive, approximately 4cm in width

R 10 000 - R 20 000 786

786

AN EMERALD AND DIAMOND RING

the broad domed band centred with a round brilliant-cut diamond weighing approximately 1.13cts, flanked on either side by a line of carrĂŠ-cut emeralds weighing approximately 0.35cts in total, the band further embellished to the centre with round brilliant-cut diamonds, impressed 750, size M ILLUSTRATED

R 25 000 - R 35 000

788

787 AN EMERALD RING

centred with four rows of circular-cut emeralds, the shank of rope-work detail, acid tested as 9ct, size M

R 1 000 - R 2 000 788 AN EMERALD AND DIAMOND BRACELET

designed as a line of circular-cut emeralds weighing approximately 1.89cts in total alternating with round brilliant-cut diamonds weighing approximately 2.08cts in total, acid tested as 18ct gold, approximately 17cm in length ILLUSTRATED

R 30 000 - R 40 000 789 A PAIR OF EMERALD AND PINK SAPPHIRE PENDANT EARRINGS

each designed as a line of alternating pink circular-cut sapphires and oval- and emerald-cut emeralds weighing 1.57cts and 5.03cts respectively, acid tested as 18ct gold, butterflies impressed 375, approximately 3,5cm in length.

(2)

789

Accompanied by a Gemstone Identification Report from The Gem Lab, no.

JR16094395, stating the pink sapphires are Violet Pink colour and the emeralds are Bluish Green colour.

ILLUSTRATED

R 20 000 - R 30 000

151

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JEWELLERY 790 AN EMERALD AND DIAMOND RING

centred with an oval mixed-cut emerald weighing approximately 1.10cts, the conforming surround and shoulders embellished with round brilliant-cut diamonds weighing approximately 0.93cts in total, impressed 18ct, size K½.

The emerald accompanied by a Gemstone Identification Report from The Gem Lab, no.

JR16094399, stating it to be Slight Bluish Green colour.

ILLUSTRATED

R 22 000 - R 32 000 790

791 AN EMERALD AND DIAMOND RING

centred with an emerald-cut emerald weighing approximately 1.13cts, within a conforming surround of champagne diamonds weighing approximately 0.35cts in total, flanked on either side by a round brilliant-cut cognac coloured diamond weighing approximately 0.53cts in total, impressed 18ct, size K½ ILLUSTRATED

R 22 000 - R 32 000 792 A PAIR OF EMERALD AND DIAMOND PENDANT EARRINGS

791

each surmount claw-set with a round brilliantcut diamond, suspending two princess-cut diamonds weighing approximately 0.34cts for the pair, further suspending an oval mixed-cut emerald weighing approximately 2.60cts for the pair, within a conforming surround of millegrainset round brilliant-cut diamonds weighing approximately 0.52cts in total, acid tested as 18ct gold, butterflies impressed 375, approximately 2,5cm in length (2) ILLUSTRATED

R 24 000 - R 34 000 793 A PAIR OF DIAMOND EAR STUDS

792

each claw-set with a round brilliant-cut diamond weighing approximately 0.28cts for the pair, supporting two baguette-cut diamonds weighing approximately 0.35cts in total, acid tested as 18ct gold, butterflies impressed 750, approximately 0,8cm in length; and A Diamond Pendant of matching design, total diamond carat weight 0.44cts in total, on an 18ct white gold rope chain, approximately 40cm in length (3)

R 14 000 - R 20 000

152

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JEWELLERY The history of the engagement ring Some women dream of getting married from a very young age, with many brides already having an idea of their perfect wedding in their mind. According to some reports, since the cavemen, man would tie cords made of braided grass around his chosen mate’s wrists, ankles and waist, to bring her spirit under his control.

However, it is believed that it wasn’t until Ancient Rome that one can trace back the idea of what we would today consider as an engagement ring. According to Pliny the Elder, grooms would give their brides first a gold ring to wear during the ceremony and at special events, then an iron ring to wear at home, signifying her binding legal agreement to his ownership of her.

The engagement ring has entrenched itself in today’s popular culture that it has become the expected norm when getting married. Prospective grooms spend an exorbitant amount of time and money to find the “perfect” engagement ring for their true loves.

Irrespective of its history, an engagement ring continues to capture the imagination of women around the world.

We have garnered a wide range of high-quality diamond rings on auction. Make sure to bid on one of our beautiful diamond rings.

801

SOURCE: www.rd.com

794

799

803

A PAIR OF GOLD HOOP EARRINGS

A SMOKY QUARTZ NECKLACE

A PAIR OF GOLD CUFFLINKS

each hollow hoop formed from mesh, impressed 750, approximately 3cm in length (2)

comprised of large stylised faceted smoky quartz beads, with an oval textured gold-plated silver magnetic clasp, impressed 925, approximately 45cm in length

each rectangular form with engine-turned detail, impressed 375 and hallmarks for Birmingham (2)

R 1 000 - R 1 500

R 1 800 - R 2 200

795

800

804

A PAIR OF GOLD AND DIAMOND EARRINGS

A MULTI-STRAND GREEN GARNET NECKLACE

A PAIR OF SILVER CUFFLINKS

each hinged hoop set to the front with nine round brilliant-cut diamonds weighing approximately 0.18cts in total, acid tested as 18ct gold, approximately 1cm in length (2)

comprised of eight strands of faceted and smooth green garnets, with stylised silver clasp, acid tested as silver, approximately 48cm in length

R 2 200 - R 2 500

each of rectangular form with circular indentations, with hinged baton fittings, impressed 925 and Finland; and a Pair Of Silver Cufflinks, each of rectangular form with cut out detail, with hinged baton fittings, impressed Denmark and sterling (4)

R 3 000 - R 5 000

R 5 500 - R 6 500

801

796

A DIAMOND SOLITAIRE RING

NO LOT

claw-set with a round brilliant-cut diamond weighing approximately 1.32cts, impressed 18KT, size K

797 A DIAMOND SOLITAIRE RING

claw-set with a round brilliant-cut diamond weighing approximately 0.33cts in total, partially impressed 18ct, size L

R 3 000 - R 5 000 798 A GOLD HINGED BANGLE

of circular form with scrolls and foliage, with double safety catch, acid tested as 9ct gold, inner diameter 5,5cm

R 2 500 - R 4 500

ILLUSTRATED

R 45 000 - R 65 000 802 A PAIR OF 18CT GOLD CUFFLINKS

R 800 - R 1 000 805 A PAIR OF CUFFLINKS, GEORG JENSEN

each of curved circular form with line indentation, impressed maker's mark, 925 S, DENMARK and numbered 105 (2)

R 800 - R 1 000

each of plain oval form, impressed 18K; and A Pair Of Silver Cufflinks, each of rectangular form with engraved line detail, acid tested as silver (4)

806

R 1 700 - R 2 000

each of oval form with domed detail, with hinged fitting, impressed maker's mark, 925 S, DENMARK and numbered 44B (2)

A PAIR OF CUFFLINKS, DESIGNED BY HARALD NIELSEN FOR GEORG JENSEN

R 1 000 - R 1 500

153

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JEWELLERY

807

816

A PEWTER CUFF, JORGEN JENSEN

A PAIR OF MABÉ PEARL EAR STUDS

of plain tapering form, terminating in a medium size bead, impressed PEWTER, Jorgen Jensen and DENMARK, inner diameter 6cm.

each centred with a pinkish blue mabé pearl measuring approximately 15mm diameter, enclosed within a conforming surround of round brilliant-cut diamond and circular-cut pink sapphires weighing approximately 1.45cts and 1.8cts respectively, acid tested as 9ct gold, butterflies impressed 375, approximately 2,3cm in width (2)

Jorgen Jensen was the second son of silversmith Georg Jensen. Jensen trained with the German goldsmith Leonard Ebert and studied at the City School of Arts and Crafts in Munich. Jensen started his own workshop and continued to produce pieces under his own name until 1936 when he rejoined Georg Jensen. Jorgen's work has been exhibited widely in Europe and North America.

R 2 000 - R 4 000 808 AN 18CT GOLD PENDANT

in the form of a fish, composed of five flexible sections, acid tested as 18ct gold, approximately 6,5cm in length

R 2 000 - R 3 000 809 A GOLD NECKLACE

comprised of rope chain, impressed 750, approximately 75cm in length

813

ILLUSTRATED 813

R 16 000 - R 20 000

A THREE STONE DIAMOND RING

centred with a claw-set round brilliant-cut diamond weighing 0.408cts, flanked on either side by a round brilliant-cut diamond weighing approximately 0.26cts in total, impressed 18K and 750, size J. The central diamond accompanied by a Diamond Report from DIA, no. 14030075, stating it to be N colour and VS1 clarity.

ILLUSTRATED

R 15 000 - R 20 000

A BLACK KESHI PEARL NECKLACE

comprised of eighteen black keshi pearls with purple hue, with a round gold-plated silver magnetic clasp, impressed 925, approximately 44cm in length; and A Black Pearl Necklace, comprised of seventy-seven black, purple and grey hued pearls, approximately 7,9mm to 8,2mm diameter, with a circular silver magnetic clasp, approximately 68cm in length (2)

R 2 500 - R 4 500

814 AN IVORY RING

818

R 5 000 - R 8 000

NOT SUITABLE FOR EXPORT

A PAIR OF BLACK PEARL EAR STUDS

810

the tapered domed ivory band embellished to the centre with a pink oval domed embellishment, possibly coral, size L

each set with a black pearl, approximately 8,6mm in diameter, butterflies impressed 9ct (2)

A GOLD BANGLE

the hinged bangle centred with interlocking circular links, embellished with round brilliant-cut diamonds, impressed 18ct and 750, inner diameter 6cm

R 2 000 - R 3 000 811 A DIAMOND RING

centred with an infinity symbol, embellished with round brilliant-cut diamonds weighing approximately 0.58cts, acid tested as 18ct gold, size J½

R 400 - R 800

R 1 000 - R 1 500 819

815 A SILVER AND ENAMEL BUCKLE BRACELET, GUCCI

the hinged bracelet with three stripes of green, yellow and brown enamel work, with foldover pin-in-hole closure, with safety catch, partially impressed GUCCI and ITALY, inner diameter 4,5cm

R 4 000 - R 6 000

A PAIR OF PEARL EAR STUDS

each set with a cultured pearl, approximately 7,6mm in diameter, butterflies impressed 9ct (2)

R 1 000 - R 1 500 820 A SINGLE-STRAND PEARL NECKLACE

composed of forty-seven cultured pearls, measuring 8,4mm to 8,8mm in diameter, the 18ct white and yellow gold clasp in the form of an oyster, impressed 585, approximately 45cm in length

R 5 000 - R 10 000 812 A DIAMOND HALF-ETERNITY RING

R 12 000 - R 16 000

set to the centre with six round brilliant-cut diamonds weighing approximately 0.78cts in total, impressed 750, size J½

R 12 000 - R 16 000

816

154

817

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JEWELLERY

821

822

821

823

824

A SINGLE-STRAND PEARL NECKLACE WITH A

A PAIR OF DIAMOND AND BAROQUE SOUTH

A GOLD BANGLE

CITRINE, TANZANITE AND DIAMOND PENDANT

SEA PEARL PENDANT EARRINGS

composed of golden cream Japanese marine pearls, measuring 8,5mm to 8,8mm diameter, suspending a bezel-set trillion-cut tanzanite weighing approximately 0.96cts, further suspending a cushion-cut citrine weighing approximately 25.61cts, the bale and conforming surround embellished with round brilliant-cut diamonds weighing approximately 2.17cts in total, acid tested as 18ct gold, with a 9ct gold ball clasp, impressed 9ct, approximately 38cm in length

each surmount claw-set with a champagne coloured round brilliant-cut diamond weighing approximately 0.86cts for the pair, suspending a champagne coloured round brilliant- and baguette-cut diamond weighing approximately 0.60cts in total, terminating in a baroque South Sea pearl measuring approximately 11mm to 11,4mm diameter, acid tested as 18ct rose gold, butterflies impressed 375, approximately 3cm in length (2)

of oval form, centred with five circular pink sapphires in the form of a flower, with hinge and safety chain, impressed 14K, inner diameter approximately 6cm

ILLUSTRATED

ILLUSTRATED

R 26 000 - R 46 000

R 16 000 - R 20 000

R 1 300 - R 1 500 825 A DIAMOND RING

composed of three bands, one band centred with round brilliant-cut diamonds weighing approximately 0.18cts in total, the yellow gold band impressed 750, the rose gold band impressed 375 and the white band impressed 925, size O

R 10 000 - R 15 000

822 A DIAMOND PENDANT

of articulated design, composed of a pear-shape, oval- and round brilliant-cut cognac diamond weighing approximately 2.01cts in total, separated by tapered baguette-cut diamonds weighing approximately 0.65cts in total, acid tested as 18ct gold, approximately 4cm in length; and A Gold Necklace, of rose gold circular link chain, impressed 375, approximately 42cm in length (2) ILLUSTRATED

R 25 000 - R 30 000

823

155

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JEWELLERY 831 A RUBY AND DIAMOND RING

designed as a buckle and strap, set to the side with three round brilliant-cut diamonds weighing approximately 0.06cts in total, embellished with circular rubies, impressed 18ct, size K

R 1 000 - R 2 000 832 A RUBY AND DIAMOND RING

claw-set to the centre with a mixed-cut oval- and circular-cut ruby weighing approximately 0.90cts in total, embellished above and below with old-cut diamonds, in 18ct yellow and white gold, impressed 18ct, size N

R 10 000 - R 15 000 833 NO LOT 834 A GOLD BRACELET 827

designed as a series of vertical stylised bars connected with five rows of oval links, with screw clasp, acid tested as 18ct gold, approximately 16cm in length

R 12 000 - R 18 000 826

829

835

AN 18CT GOLD NECKLACE

AN 18CT GOLD BRACELET

A PAIR OF DIAMOND EAR STUDS

comprised of a white gold snake chain supporting two ball chains interspersed with yellow gold spacers, in 18ct white and yellow gold, impressed 750, approximately 43cm in length

of broad mesh design, with two safety catches, impressed 750, approximately 19cm in length

each centred with a round brilliant-cut diamond weighing approximately 0.40cts for the pair, within an octagonal black surround, acid tested as 18ct, approximately 1cm in width; and A Gold Necklace, comprised of nugget shaped links, centred with an octagonal rectangular black plaque centred with a round brilliantcut diamond weighing approximately 0.23cts, impressed 18K, approximately 39cm in length (3)

R 9 000 - R 12 000

ILLUSTRATED

R 13 000 - R 20 000 830

827

A RUBY RING

A DIAMOND PENDANT

the textured band terminating in two square forms, embellished with claw-set circular rubies, acid tested as 18ct, size H

centred with a tinted white pear-shaped diamond weighing approximately 1.77cts, the conforming surround and bale embellished with round brilliant-cut diamonds weighing approximately 0.26cts in total, acid tested as 18ct gold, approximately 2,5cm in length

R 2 000 - R 4 000

ILLUSTRATED

R 35 000 - R 45 000 828 A GOLD PENDANT

of triangular form, embellished on the sides with openwork loops and bead detailing, centred with a flower set with a pink gem, acid tested as 18ct gold, approximately 2,5cm in length

R 1 500 - R 2 000

156

829

R 10 000 - R 15 000

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JEWELLERY 836 A DIAMOND RING

bezel-set to the side with a round brilliant-cut diamond weighing approximately 0.53cts, highlighted with two baguette-cut and six round brilliant-cut diamonds weighing approximately 0.30cts in total, impressed 18K, size L ILLUSTRATED

R 16 000 - R 26 000 837

836

A DIAMOND PENDANT

of open work heart-shaped form, set with sixteen round brilliant-cut diamonds weighing approximately 0.32cts in total, impressed 18ct, approximately 2,3cm in length

R 2 000 - R 4 000 838 A GOLD NECKLACE

comprised of wheat-link chain, centred with three diamond-set interlinked circles, impressed 375, approximately 44cm in length

R 3 000 - R 5 000 839 A GOLD PENDANT

in the form of a heart, of openwork design with scrolling foliage, acid tested as 9ct, approximately 2,2cm in length

841

R 500 - R 800 840 A DIAMOND RING

the broad band tapering to a square plaque embellished with round brilliant-cut diamonds weighing approximately 0.20cts in total, impressed 18ct, size N; and A Diamond Ring, the broad band centred with a marquise-shaped design embellished with round brilliant-cut diamonds, impressed 18K, size M; and A Diamond Ring, centred with pavé-set round brilliant-cut diamonds, flanked above and below with textured bands, impressed 18ct, size I½ (3)

R 8 000 - R 10 000

841

842

A DIAMOND RING

A SAPPHIRE AND DIAMOND BRACELET

centred with a modified princess-cut diamond weighing approximately 0.70cts, the shoulders and conforming surround embellished with round brilliant-cut diamonds weighing approximately 0.538cts, impressed 18ct, size J

claw–set with thirty circular–cut, interspersed with six round brilliant–cut diamonds weighing approximately 1.08cts in total, acid tested as 18ct gold, approximately 17cm in length

ILLUSTRATED

R 30 000 - R 40 000

R 26 000 - R 35 000

ILLUSTRATED

842

157

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JEWELLERY

843 A DIAMOND BRACELET

composed of alternating horizontal rectangular links channel-set with princess-cut diamonds weighing approximately 6.5cts in total and vertical rectangular links, channel-set with baguette-cut diamonds weighing approximately 4.40cts in total, impressed 18ct, approximately 16,5cm in length ILLUSTRATED

R 100 000 - R 150 000

843 DETAIL

843

158

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JEWELLERY

846

844

846

849

A PAIR OF DIAMOND EAR STUDS

A SAPPHIRE AND DIAMOND NECKLACE

A PAIR OF TANZANITE, PINK SAPPHIRE AND

each of flower form, embellished with round brilliant-cut diamonds weighing approximately 0.90cts in total, acid tested as 9ct, butterflies impressed 375, approximately 1cm in width (2)

comprised of flat curb link chain, centred with a bezel-set circular cabochon sapphire, within an oval surround of pavĂŠ-set round brilliant-cut diamonds weighing approximately 0.35cts in total, impressed 18K, approximately 40cm in length

DIAMOND PENDANT EARRINGS

R 1 500 - R 3 000

ILLUSTRATED

R 20 000 - R 30 000

845 A SAPPHIRE AND DIAMOND RING

847

centred with cushion-cut sapphire weighing approximately 0.56cts, the band and conforming surround embellished with round brilliant-cut diamonds weighing approximately 0.15cts in total, impressed 18K, size N

A PAIR OF CHAMPAGNE COLOURED DIAMONDS,

R 9 000 - R 12 000

PINK AND YELLOW SAPPHIRE PENDANT EARRINGS

each designed as an articulated line, composed of clusters of circular-cut pink and yellow sapphires weighing 1.70cts and 1.73cts respectively, interspersed with champagne coloured round brilliant-cut diamonds weighing approximately 1.38cts in total, terminating in a cluster of champagne round brilliant-cut diamonds weighing approximately 0.92cts in total, acid tested as 18ct gold, butterflies impressed 375, approximately 6cm in length.

(2)

each surmount claw-set with a circular-cut tanzanite weighing 1.25cts for the pair, suspending an oval mixed-cut tanzanite weighing 2.56cts for the pair, within a double row conforming surround of round brilliant-cut diamonds weighing approximately 0.45cts in total and pink circular-cut sapphires weighing 2.44cts, acid tested as 18ct gold, butterflies impressed 375, approximately 3cm in length (2) Accompanied by a Gemstone Identification Report, no. JR16094402, stating the tanzanite and sapphires to be Very Good colour.

ILLUSTRATED

R 22 000 - R 32 000

The sapphires accompanied by a Gem Identification Report from The Gem Lab, no. JR16094396, stating the sapphires have Very Good colour

ILLUSTRATED

R 26 000 - R 35 000 848 A PINK SAPPHIRE AND DIAMOND RING

847

centred with an oval mixed-cut pink sapphire weighing approximately 0.60cts, flanked above and below with an outset band of round brilliantcut diamonds, the shoulders further embellished with round brilliant-cut diamonds weighing approximately 0.18cts in total, impressed 18K Size M½

R 15 000 - R 20 000

849

159

S|5

JEWELLERY

850

850

853

A SAPPHIRE AND DIAMOND RING

A SAPPHIRE AND DIAMOND PENDANT

centred with an oval mixed-cut sapphire weighing approximately 1.15cts, flanked on either side by a cluster of three round brilliant-cut diamonds weighing approximately 0.78cts in total, impressed 18ct, size L½

centred with a mixed cushion-cut sapphire weighing 2.517cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 0.30cts in total, the bale embellished with round brilliant-cut diamonds, acid tested as 18ct gold, approximately 2cm in length; and A Gold Necklace, composed of Figaro chain, impressed 3725, approximately 44cm in length.

(2)

ILLUSTRATED

R 22 000 - R 28 000 851 A SAPPHIRE AND DIAMOND RING

of stylised design claw-set with three circular sapphires and round brilliant-cut diamonds, impressed 18ct, size K

ILLUSTRATED

R 1 000 - R 2 000

R 40 000 - R 60 000

852

854

A SAPPHIRE AND DIAMOND RING

A TANZANITE AND DIAMOND PENDANT

designed as a series of crossed horizontal and vertical bars, embellished with round brilliant-cut diamonds and rectangular step-cut sapphires weighing approximately 0.79cts in total and 0.50cts in total respectively, impressed 18ct, size N

of circular form, claw-set with circular tanzanite and round brilliant-cut diamonds weighing approximately 0.12cts in total, acid tested and 9ct gold, approximately 1,8cm in length; and A Gold Necklace, comprised of wheat link chain, impressed 375, approximately 44cm in length (2)

R 10 000 - R 15 000

160

The sapphire accompanied by an Identification Certificate from AGL, no. C01406000133, stating it to have very good brilliance, heat enhancement and internal filling.

R 4 500 - R 6 500

853

S|5

JEWELLERY

856

857

855

857

860

A PAIR OF TANZANITE AND DIAMOND

A MANDARIN GARNET, SAPPHIRE AND

AN ART DECO STYLE SAPPHIRE AND DIAMOND

PENDANT EARRINGS

DIAMOND RING

RING

each designed as a line of round brilliant-cut diamonds terminating in a pear-shaped tanzanite weighing approximately 0.38cts for the pair, within a moveable openwork rectangular frame embellished to the corners with round brilliantcut diamonds weighing approximately 0.35cts in total, impressed 750, the butterflies impressed 750, approximately 3cm in length

centred with an oval mixed-cut mandarin garnet weighing approximately 3.42cts, within a conforming surround of round brilliant-cut diamonds and circular-cut sapphires weighing approximately 0.50cts and 1.98cts respectively, impressed 18ct, size L

centred with a circular-cut sapphire flanked on either side by a carrĂŠ-cut sapphire weighing approximately 0.26cts in total, the surround embellished with milgrain-set round brilliant-cut diamonds weighing approximately 0.18cts in total, impressed 18K, size N

ILLUSTRATED

R 12 000 - R 18 000

R 8 000 - R 10 000 856 A TANZANITE, MANDARIN GARNET AND DIAMOND RING

centred with a cushion-cut tanzanite weighing approximately 1.36cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 0.25cts in total, flanked one either side by a trillion-cut mandarin garnet weighing approximately 11.3cts for the pair, impressed 18ct, size L ILLUSTRATED

R 12 000 - R 16 000

R 26 000 - R 30 000

861

858

A PAIR OF GARNET AND DIAMOND PENDANT

NO LOT

EARRINGS

859 A DIAMOND RING, BROWNS

centred with a princess-cut diamond weighing approximately 0.07cts, surrounded by four claw-set marquise-cut diamonds weighing approximately 0.24cts in total, the square surround and bifurcated shoulders embellished with round brilliant-cut diamonds, impressed BROWNS and 18CT, size K, accompanied by a Browns box

R 10 000 - R 20 000

each surmount designed as a line of round brilliant-cut diamonds weighing approximately 0.16cts for the pair, suspending a briolette-cut garnet weighing approximately 6.85cts for the pair, impressed 18K, butterflies impressed 750, approximately 2,2cm in length (2)

R 10 000 - R 15 000

161

S|5

JEWELLERY

862

862

863

864

A PAIR OF TOURMALINE, DIAMOND AND

A GARNET RING

A DIAMOND RING

SAPPHIRE PENDANT EARRINGS

claw-set with two rows of oval mixed-cut garnets, embellished with triangular detail, the shoulders embellished with leaf detail, impressed 750, size N

centred with a claw-set round brilliant-cut Fancy Cognac diamond weighing 1.50cts, within a border of round brilliant-cut diamonds weighing approximately 0.91cts in total, impressed 18K, size N.

each surmount claw-set with a circular mixed-cut orange pink tourmaline and a round brilliantcut diamond weighing approximately 1.06cts and 0.28cts respectively, suspending an oval mixed-cut cherry pink tourmaline weighing approximately 5.7cts for the pair, within a conforming surround of alternating round brilliant-cut diamonds and circular-cut sapphires weighing 2.05cts and 1.44cts respectively, acid tested as 18ct gold, butterflies impressed 375, approximately 3cm in length (2)

R 2 000 - R 3 000

ILLUSTRATED

R 40 000 - R 50 000

ILLUSTRATED

R 22 000 - R 30 000

864

162

The central diamond accompanied by an E.G.L. Champagne Diamond Report, No. 130802798/95059, stating that the diamond is a Fancy Cognac - C7 natural colour and SI3 clarity.

JEWELLERY

S|5

865

865 A DIAMOND NECKLACE

designed as a line of graduated round brilliant-cut diamonds weighing approximately 6.1cts in total, partially impressed 750, approximately 41cm in length ILLUSTRATED

R 90 000 - R 120 000 163

S|5

JEWELLERY 866 A GOLD AND DIAMOND BRACELET

composed of stylised rectangular links alternating with links claw-set with round brilliant-cut diamonds weighing approximately 0.68cts in total, impressed 750, approximately 18cm in length

R 14 000 - R 18 000 867 A PAIR OF DIAMOND EAR STUDS

each claw-set with a round brilliant-cut diamond weighing approximately 0.55cts for the pair, acid tested as 18ct gold, butterflies impressed 18K

R 6 000 - R 8 000 868 A DIAMOND TENNIS BRACELET

designed as a line of sixty-four claw–set brilliant-cut diamonds weighing approximately 2.56cts in total, acid tested as 18ct gold, approximately 18cm in length ILLUSTRATED

875

R 20 000 - R 28 000 869

873

A BLACK AND WHITE DIAMOND TENNIS

A ROSE GOLD AND DIAMOND BRACELET

BRACELET

set with thirty-seven round black diamonds weighing approximately 2.96ts in total, alternating with twelve round brilliant-cut white diamonds weighing approximately 0.96cts in total, acid tested as 18ct gold, approximately 16cm in length ILLUSTRATED

R 28 000 - R 35 000 870 A MULTI-STRAND RUTILATED QUARTZ NECKLACE

comprised of eight strands of faceted rutilated quartz beads, with silver folding clasp, impressed 925, approximately 50cm in length

A DIAMOND RING

the broad band centred with seven baguette-cut diamonds weighing approximately 1.2cts in total, within a border of round brilliant-cut diamonds weighing approximately 1ct in total, impressed 750, size K

871

875

A PREHNITE NECKLACE

A DIAMOND NECKLACE

872 A DIAMOND CLUSTER RING

set with round brilliant-cut diamonds weighing approximately 0.52cts in total, impressed 18K, size N

R 3 000 - R 5 000 164

874

R 19 000 - R 20 000

R 1 000 - R 1 500

869

R 3 500 - R 5 500

R 2 000 - R 4 000

comprised of graduated faceted prehnite beads, interspersed with flat oval textured silver spacers, with a circular textured magnetic clasp, approximately 54cm in length

868

the fine round link chain centred with a curved bar claw-set with round brilliant-cut diamonds weighing approximately 0.24cts in total, with two length options, impressed 750, approximately 17,5cm in length

the circular pendant centred with a round brilliant-cut diamond weighing approximately 0.22cts, within a conforming surround of round brilliant-cut diamonds, the chain comprised of polished oval and matte circular links, impressed 750, approximately 45cm in length ILLUSTRATED

R 25 000 - R 35 000

JEWELLERY

S|5

876 DETAIL

876 A DIAMOND TENNIS BRACELET

designed as a line of forty-six round brilliant-cut diamonds weighing approximately 7,5cts in total, acid tested as 18ct gold, approximately 18cm in length ILLUSTRATED

R 70 000 - R 90 000

165

S|5

JEWELLERY

877 A 9CT GOLD AND ENAMEL PENDANT

in the form of a fish, the head and tail with green enamel detail, the body comprised of six separate skeleton sections, acid tested as 9ct, approximately 7,5cm in length

R 1 500 - R 2 500 878 A CIRCULAR DIAMOND PENDANT

pavĂŠ-set with round brilliant-cut diamonds weighing approximately 1.15cts in total, acid tested as 18ct gold, approximately 2cm in length; and A Gold Necklace, composed of flat curb link chain, impressed 750, approximately 44cm in length (2)

R 7 000 - R 10 000 879 A DIAMOND PENDANT 879

in the form of a cross, claw-set with eleven round brilliant-cut diamonds weighing approximately 1.42cts in total, acid tested as 18ct gold, approximately 3,5cm in length; and A Gold Necklace, of fine round link chain, impressed 375, approximately 43cm in length (2) ILLUSTRATED

R 14 000 - R 20 000

884

880

882

A GOLD NECKLACE

A GOLD BANGLE

designed as five semi-circles with faceted oval drop beads, suspended from a line of stylised flowers and three-dimensional spiral domes, impressed 22K, acid tested as 18ct gold, approximately 39cm in length; and A Gold Bracelet composed of three-dimensional spiral domes and stylised flowers, impressed 22K, acid tested as 18ct gold, approximately 19cm in length (2)

of oval form, hinged, embellished with faceted marquise-shapes and open-work detail, with screw clasp, acid tested as 18ct gold, inner diameter 4,8cm

883 NO LOT

R 13 000 - R 18 000

884

881

AND DIAMOND PENDANT EARRINGS

A GOLD NECKLACE

each surmount claw-set with a trillion rubellite tourmaline weighing approximately 0.85cts in total, suspending two princess-cut diamonds weighing approximately 0.51cts for the pair, separated by a circular-cut emerald weighing approximately 0.56cts, terminating in a pear-shaped rubellite tourmaline weighing approximately 4.05cts for the pair, acid tested as 18ct gold, butterflies impressed 375, approximately 3cm in length (2)

the box link chain, impressed 18ct, approximately 54cm in length, suspending a pendant composed of three rectangular-shapes within a beaded border, suspending seven circular tags, impressed 18, acid tested as 18ct gold, approximately 3cm in length; and A Pair Of Gold Ear Studs, each designed as two rectangles creating a hollow triangular-shape, suspending hollow faceted marquise-shaped beads, with screw backs, acid tested as 18ct gold, approximately 2,5cm in length (3)

R 6 000 - R 8 000

166

R 4 000 - R 6 000

A PAIR OF RUBELLITE TOURMALINE, EMERALD

ILLUSTRATED

R 15 000 - R 20 000

S|5

JEWELLERY 885 A RUBELLITE TOURMALINE AND DIAMOND PENDANT

the pear-shaped diamond surmount weighing approximately 0.25cts, suspending a heartshaped rubellite tourmaline weighing approximately 1.70cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 0.28cts in total, acid tested as 18ct gold; and A Gold Necklace, of rope link chain, impressed 375, approximately 44cm in length (2) ILLUSTRATED

R 12 000 - R 16 000 886 A RUBELLITE TOURMALINE AND DIAMOND RING

centred with a cushion-cut rubellite tourmaline weighing approximately 5.58cts, the conforming surround and shoulder embellished with round brilliant-cut diamonds weighing approximately 0.61cts in total, impressed 18ct, size M ILLUSTRATED

R 20 000 - R 30 000 887 NO LOT 888 NO LOT

885

889 A PAIR OF BLUE TOPAZ AND DIAMOND EARRINGS

each centred with a pear-shaped blue topaz weighing approximately 1.35cts for the pair, within a stylised conforming surround embellished with round brilliant-cut diamonds weighing approximately 0.50cts in total, impressed 18K, butterflies impressed 18ct, approximately 1,2cm in length (2)

R 14 000 - R 16 000 890 AN EIGHT-STRAND 18CT GOLD BRACELET

comprised of flexible rectangular bar links, impressed 750, approximately 20cm in length

R 10 000 - R 15 000

886

167

S|5

JEWELLERY 900 A DIAMOND RING

the broad band centred with a rectangular plaque of textured and polished design, set to the side with a round brilliant-cut diamond weighing approximately 0.77cts in total, impressed 750, size U

R 8 000 - R 10 000 901 A COIN BRACELET

the openwork frame centred with a 1983 1/10 oz KrugerRand within a stylised frame, bangles impressed 18ct, distress, inner diameter approximately 5,5cm

R 3 500 - R 5 500 902

891

A PAIR OF GOLD EARRINGS

891

895

A DIAMOND RING

A GOLD BRACELET

the three quarter ring terminating in a leopard head and tail, embellished with round brilliantcut diamonds weighing approximately 0.49cts in total, impressed 750, size K

composed of yellow, white and rose gold links, with brushed and engraved details, impressed 750, approximately 20,5cm in length

892 A DIAMOND FULL ETERNITY RING

claw-set with round brilliant-cut diamonds weighing approximately 1.06cts in total, acid tested as 18ct white gold, size M

R 10 000 - R 12 000 893 A PAIR OF DIAMOND EAR STUDS

in the form of a flower, claw-set with round brilliant-cut diamonds weighing approximately 1ct for the pair, acid tested as 18ct gold, butterflies impressed 750, approximately 0,7cm in width

R 14 000 - R 18 000 894 A DIAMOND RING

the square flat band, claw-set with a round brilliant-cut diamond weighing 0.60cts, acid tested as 18ct gold, size J.

903 A GOLD CUFF

896

the broad cuff engraved with a checkerboard border, floral detail and initials, embellished with embossed leaves, three adjustable sizes, impressed 18ct, largest inner diameter 6cm

A GOLD RING

the plain tapered band centred with three diamonds within star engraving, impressed 18ct, size O

R 600 - R 800 897 A COIN PENDANT

set with a 1980 1/4oz KrugerRand, within a plain frame embellished with round brilliant-cut diamonds, weighing approximately 0.20cts in total, acid tested as 9ct gold, approximately 4,5cm in length

R 5 000 - R 8 000 898 A DIAMOND RING

bezel-set to the centre with a round brilliant-cut diamond weighing approximately 0.94cts, within a gold oval surround, impressed 18ct, size L

R 10 000 - R 15 000

The diamond accompanied by an E.G.L. Diamond Certificate, no. SA31116804, stating it to be 3(I) colour and VVS1 clarity.

899

R 6 000 - R 10 000

claw-set to the centre with a round brilliantcut diamond weighing approximately 0.55cts, impressed 18ct, size P

A DIAMOND SOLITAIRE RING

R 4 000 - R 8 000 168

R 3 000 - R 5 000

R 11 000 - R 15 000

ILLUSTRATED

R 20 000 - R 30 000

each designed as a matte three-dimensional hollow oval, with clip-on backs, impressed 18ct, approximately 2cm in length (2)

R 8 000 - R 10 000 904 A GOLD CUFF

of broad plain form, partial engraving inside cuff, four adjustable sizes, partially impressed 9ct, acid tested as 9ct, largest inner diameter 6cm, distress

R 2 400 - R 3 000 905 A PAIR OF GOLD AND DIAMOND EAR STUDS

each in the form of a flower, centred with a round brilliant-cut diamond weighing approximately 0.25cts in total, with screw backs, acid tested as 9ct gold, approximately 1,7cm in width (2)

R 1 200 - R 1 500 906 A TIGERS EYE RING

centred with a bezel-set oval tigers eye, impressed 9ct, size Q; and a Tigers Eye Ring, centred with a square plaque with textured detail and embellished with a stylised triangular tigers eye, impressed 9ct, size S (2)

R 1 300 - R 1 500

S|5

JEWELLERY 907

914

A COIN MOUNTED RING

A MISCELLANEOUS COLLECTION OF

centred with a 1971 R1 coin, the conforming surround and shoulder with textured detail, impressed 18ct, size T

UNMOUNTED CARRE- AND EMERALDCUT EMERALDS

various sizes, weighing approximately 6.8cts in total (2)

R 2 800 - R 3 000 908

R 6 000 - R 8 000

A MISCELLANEOUS GROUP OF GOLD RINGS

915

each of plain form, various sizes, one impressed 9ct, three impressed 18ct and 18K (4)

A MISCELLANEOUS COLLECTION OF MARQUISE-CUT RUBIES

R 3 000 - R 5 000

various sizes, weighing approximately 14cts in total

Unmounted Diamonds

R 1 000 - R 1 500

909

916

A MISCELLANEOUS COLLECTION OF UNMOUNTED CHAMPAGNE- AND COGNAC-

910

A MISCELLANEOUS COLLECTION OF

COLOURED ROUND BRILLIANT-CUT DIAMONDS

CIRCULAR–CUT SAPPHIRES

various sizes and shades, weighing approximately 5.03cts in total

various sizes, weighing approximately 36cts in total

ILLUSTRATED

R 8 000 - R 10 000

R 2 500 - R 3 000

912 AN UNMOUNTED ROUND BRILLIANT-CUT

Diamonds with certificates

DIAMOND

910

Accompanied by an E.G.L. Diamond Certificate (1981), no SA1022318, stating it to be 5(K) colour and VVS2 clarity.

AN UNMOUNTED PEAR-SHAPED DIAMOND

weighing 1.24cts.

The diamond is graded and sealed by E.G.L., no.

SA60724730, stating it to be 2(H) colour and IF clarity.

R 20 000 - R 30 000 911 A UNMOUNTED ROUND BRILLIANT-CUT DIAMOND

weighing 1.22cts.

Accompanied by an E.G.L. Diamond Certificate (1982), no. SA20911918, stating it to be 5(K) colour and IF clarity.

weighing 1.06cts.

R 12 000 - R 18 000

917 A MISCELLANEOUS COLLECTION OF OVAL-CUT SAPPHIRES

various sizes, weighing approximately 19.5cts

R 2 000 - R 2 500

Unmounted Gemstones

918

913

UNMOUNTED CIRCULAR- AND OVAL-CUT

A MISCELLANEOUS COLLECTION OF

SAPPHIRES

CIRCULAR–CUT EMERALDS

various size, weighing approximately 25cts in total

R 1 500 - R 2 000

A MISCELLANEOUS COLLECTION OF

various sizes and shades, weighing approximately 10.06cts in total

R 5 000 - R 7 000 END OF SALE

R 10 000 - R 15 000

909

169

CELEBRATING AFRICA

GOING GLOBAL LEADING CONVERSATIONS

FROM THE CONTINENT

ART

BEYOND FAIR

ISSN 16846133

09

ZAR UK EUR USA

R185 (incl VAT) £12 €14 $16

S E P T E M B E R 2 016 I S S U E 0 5

Find us in the bookstore or to subscribe to ART AFRICA magazine please visit: www.artafricamagazine.org 170

LEARN THE BUSINESS OF ART MASTER’S DEGREES • SEMESTER IN LONDON • SUMMER STUDY SHORT COURSES • EXECUTIVE EDUCATION • ONLINE COURSES

SOTHEBYSINSTITUTE.COM 171 SOTHEBY’S INSTITUTE OF ART IS A DIVISION OF CAMBRIDGE INFORMATION GROUP

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.

172

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 – Johannesburg Sale Name: FREESIA Sale No.: SA1606 Sale Date: 22 & 23 November 2016

ABSENTEE BIDder

telephone BIDder

Please see the important information regarding absentee/telephone bidding on the reverse of this form. Forms should be completed in ink and emailed or faxed to the Bid Department. Fax: +27 11 880 2656 Email: bids@stephanwelzandco.co.za 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 Title: First name:

Surname:

Identity number (Passport number for overseas bidders): Company Name:

VAT No.

(if the invoice must be in a Company’s name)

Address: Postal code: Telephone (home):

(work):

Cell:

Fax:

Email: In the case of a telephone bid, please call me at either 1)

or 2)

Please fax or email my invoice to: Bids should be submitted in SA Rands by close of business on Monday, 21 November 2016 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.

Lot Number

Title/Description

R Bid Price (excluding premium and VAT) R R R R R R R PLEASE COMPLETE

CREDIT CARDS: We accept all major credit cards PLEASE COMPLETE IN BLOCK LETTERS If I am successful in any absentee/telephone bid, please debit my credit card with the full amount due.

Please tick appropriate box:

Visa

Mastercard

Diners

Name on card:

I.D. no. of cardholder:_____________________________________________________________________ Nationality and Passport no. of cardholder (foreign buyers only):________________________________ Card no.:

Expiry Date:

I will collect my purchases in person from the JHB office Kindly have my purchases sent to your CT office for collection (The buyer to pay 100% of the shipping costs - one bulk shipment between offices) SHIPPING COSTS BETWEEN OUR JOHANNESBURG & CAPE TOWN OFFICES 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.

I will settle my account via 3 or 4 digit code on reverse:

Signature: __________________________________________ Date:________________________________

I agree to be bound by the Company’s Conditions of Business, and the information set out overleaf in the Guide for Absentee and Telephone Bidders, which is published in the catalogue for this auction.

Signed: ______________________________________

Date: ___________________________________

credit card EFT

Please forward the shipping document together with my invoice. The transport and insurance costs are for my account.

Kindly provide me with a quotation for the delivery of my purchases to the following alternative address __________________________________________________ __________________________________________________ See Payment and Despatch of Purchases which is published 173 in the catalogue.

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 Bidders 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 Bidders 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.

174

Client Information Anyone that intends to bid at the auction as an absentee or telephone bidder must register on the Absentee/Telephone Bidders 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.

A shipping document will accompany the invoice. This document is to be completed and returned to the shipping department.

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.



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.

2.

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



3.

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.

4.

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.

auction house and be sure to check off the confirmation box at the bottom of the

175

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.

GENERAL INFORMATION JOHANNESBURG Stephan Welz & Co. a division of Scoin Trading (Pty) Limited (“The Company”) Registration Number Street Address

Absentee & Telephone Bid Requests Bids should be submitted in SA Rands by close of business on Monday, 21 November 2016 bids@stephanwelzandco.co.za

2006/028395/07

4th Floor • South Tower Nelson Mandela Square Cnr. Rivonia Road & 5th Street Sandton P O Box 52431, Saxonwold, 2132 011 880 3125 011 880 2656

Payments accounts@stephanwelzandco.co.za Laurie Sher 011 880 3125

Postal Address Telephone Fax Email jhb@stephanwelzandco.co.za Website www.stephanwelzandco.co.za Executive Chairman

Catalogue Credits Photography Design Printing

Shipments Please email/fax shipping instructions by midday on Monday, 28 November 2016 to: Zake Nakedi email: zake.nakedi@stephanwelzandco.co.za fax: +27 (0)86 537 7227

Mr Alan Demby Director (British) B. Com (Hons)

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.

Lukas Nel Gina Lodewijks Paarl Media

SHIPPING COSTS BETWEEN OUR JOHANNESBURG & CAPE TOWN OFFICES 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.

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Please note that all lots are sold subject to our Terms and Conditions of Business and Rules of Auction on pages 186 - 190 Local: R250 • Overseas: R350

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johannesburg office 4th Floor | South Tower | Nelson Mandela Square | Corner Rivonia Road & 5th Street | Sandton 176

GPS Coordinates: Latitude: S 26º 06’ 9” | Longitude: E 28º 02’ 48”

IT’S THIS SIMPLE Visit our new office in Nelson Mandela Square

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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 Postal Address PO Box 818 • Constantia 7848 Telephone 021 794 6461 021 794 6621 Fax Email ct@stephanwelzandco.co.za Website www.stephanwelzandco.co.za forthcoming auction

•

Alphen Drive

•

Constantia 7806

21 & 22 February 2017 Call the relevant specialist for an obligation-free auction appraisal.

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ALPHEN ESTATE

CAPE TOWN office The Great Cellar | Alphen Estate | Alphen Drive | Constantia | 7806 | Cape Town 178

GPS Coordinates: Latitude: S 34º 0’ 32.24” | Longitude: E 18º 26’ 52.7”

A. HOW TO GET STARTED ON THE-SALEROOM.COM 1.

Create an account on www.the-saleroom.com

2.

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 bids@stephanwelzandco.co.za.

A sum of R5 000 may 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.

179

JAWITZ

Leading brands partner to provide premium auctioneering service for luxury property.

Stephan Welz & Co. is partnering with Jawitz Properties to offer their clients a premium auctioneering service in the residential property market. The partnership aims to offer the clients of both companies the opportunity to sell both their homes, fine art and valuables.

The combined expertise, knowledge and outstanding reputations of both Stephan Welz & Co. and Jawitz Properties in their respective industries make this an exciting opportunity not only for the companies themselves but more importantly for their clients, who now have an additional platform for selling their properties - a platform that understands and excels in the worlds of both auctioneering and residential property.

Jawitz CEO Herschel Jawitz says, “We are delighted to align our brand with such a prestigious name as Stephan Welz & Co. and look forward to a mutually beneficial association. Most importantly, however, is the value that this partnership will bring to the clients of both companies.”

Stephan Welz & Co. will now be able to offer their clients an integrated auctioneering service not only to sell their luxury goods but also their residential property assets, using the expertise Jawitz Properties has attained over 45 years of operation.

“We at Stephan Welz & Co are very pleased to tie up with one of the leading residential property companies in SA, Jawitz Properties. Both companies have been in business for over 40 years with a legacy of outstanding service delivery which still guides today,” says Alan Demby, Executive Chairman of Stephan Welz & Co.

EST.1968

To find out more about this premium offering, call Herschel Jawitz on 011 880 3550 or Sean Effune on 011 784 8551

L U X U RY P R O P E RTY A U CT I O N E E R S 180

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

the steps below:

your maximum bid.

1.

list of all future sales.

2.

4.

5.



When you find a lot you’d like to bid on, enter the

Click the Bid Now button next to the auction

maximum amount you are willing to pay for that lot and

you’re interested in. This will take you to the

submit with the Leave Bid button.

catalog page where you can view all items in

3.

How to leave an absentee bid:

Go to the Upcoming Auctions page to see a



If you are not logged in, you will be taken to a page where

the catalog.

you may either log in or create a new account. If you are

Click the Register to Bid link that is displayed

already logged in, you will be taken directly to the next

at the top of the page or next to each lot.

step.

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

continue to the registration page.

where you are asked to enter registration info, agree to the

Provide the information requested by the

terms and conditions, and review your bid.

auction house and be sure to check off the confirmation box at the bottom of 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 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. have registered and been approved to bid by the auction 6.

If you do not yet have an Invaluable account, house, you can place live bids by following the steps you'll need to create one before you can below: participate in any auctions on Invaluable. To 1.

Sign into your Invaluable account using your

get started, click Create Account and enter email address and password. the requested information.

2.

Click Upcoming Auctions.

3.

Locate the auction you would like to bid in,

Bidding How do I leave an absentee bid before a Live auction begins?

and click the Bid Now button to open the

Placing a bid before the auction begins is typically referred

bidder console.

to as an absentee bid. This allows you to get in on the

4.

When the green Bid Now button displays the

action ahead of the live bidding that takes place when the

price you would like to bid, just click the

auction kicks off. You can place an absentee bid on a lot

button to place your bid.

in a live sale, up until the time that lot is opened for live bidding. If you are the highest absentee bidder, our

For further assistance please go to www.invaluable.co.uk/invaluable/help.cfm

181

BE

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

182

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.

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PLEASE WRITE IN BLOCK LETTERS PLEASE WRITE IN BLOCK LETTERS Please debit my credit card with the full amount due. Please tick: VISA

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DINERS

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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: ………………………….................

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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

183 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.

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 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 7. Shipping Costs Between Our Johannesburg & Cape Town Offices 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.

5.

6.

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

4.

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 JHB and CT 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 to whether any lot is subject to import, export, copyright and licence restrictions including permission from SAHRA.

required by law, including licences requires 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

184

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 & Company 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. urchases will be despatched as soon as possible upon receipt of P 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.

185

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; 186

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

8.

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 187

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.

4.

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.

5.

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 188

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 & Company

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;

189

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 R10 (ten rand) 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 190

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.

191

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. Lalela also works in partnership with other youth development organisations in the communities of Mfuleni, Blue Downs & Nyanga in Cape Town, and Wentworth & Rorke’s Drift in KwaZulu-Natal.

192

YOU WORK HARD FOR YOUR MONEY

PROTECT IT WITH ALTERNATIVE ASSETS

Coins • Medallions • Art • Collectables

www.stephanwelzandco.co.za

We can now protect your coins in our

SafeGold facilities in South Africa, United Kingdom and Norway.

www.scoinshop.com

193 SAG1003

AUCTION RESULTS: 30 & 31 AUGUST 2016, JOHANNESBURG Prices given are inclusive of Buyer’s Premium and VAT. Unlisted lots were withdrawn, passed or not sold.

LOT

RANDS

1 275.65 2 3,581.40 3 477.52 4 1,223.80 5 1,551.94 6 367.14 7 5,969.00 9 1,223.80 10 238.76 11 5,969.00 12 979.04 15 4,283.30 16 3,671.40 17 1,790.70 18 391.62 19 2,148.84 20 367.14 21 955.04 23 1,551.94 24 1,432.56 25 358.14 26 8,953.50 27 7,759.70 28 18,553.60 29 8,953.50 30 3,581.40 31 9,790.40 32 15,074.80 33 367.14 34 477.52 35 2,148.84 36 1,346.18 37 358.14 38 358.14 39 1,551.94 40 895.35 41 358.14 42 238.76 43 358.14 44 1,432.56 45 1,432.56 46 734.28 47 2,984.50 48 477.52 49 596.90 50 3,549.02 51 11,341.10 52 955.04 53 2,148.84 55 4,650.44 56 1,432.56 58 5,874.24 59 1,223.80 60 1,835.70 61 979.04 64 1,134.11 65 358.14 66 955.04 68 1,223.80 69 596.90 70 477.52 71 955.04 74 4,178.30 76 3,581.40 81 1,193.80 82 979.04 86 4,775.20 87 716.28

194

91 244.76 94 477.52 95 979.04 96 1,346.18 97 856.66 100 2,148.84 101 16,234.40 102 4,775.20 103 2,387.60 104 7,759.70 106 856.66 109 955.04 110 477.52 111 2,148.84 113 2,029.46 116 1,551.94 118 1,790.70 119 358.14 120 4,775.20 121 955.04 122 979.04 123 13,915.20 126 895.35 128 4,178.30 129 979.04 131 8,566.60 133 5,969.00 134 895.35 135 489.52 136 5,730.24 137 1,193.80 138 1,193.80 139 596.90 140 2,745.74 141 1,958.08 142 367.14 144 835.66 146 775.97 151 489.52 152 596.90 154 12,755.60 156 13,085.60 158 1,671.32 159 2,029.46 161 1,790.70 162 2,080.46 163 611.90 165 2,865.12 167 11,938.00 168 8,953.50 169 44,064.80 171 835.66 174 13,915.20 175 4,178.30 251 69,576.00 255 2,387.60 258 3,581.40 261 2,692.36 263 2,692.36 266 2,387.60 267 2,447.60 268 1,193.80 269 955.04 271 12,755.60 272 3,581.40 273 7,162.80 275 3,671.40 282 2,387.60

287 13,915.20 288 30,149.60 291 25,511.20 293 15,074.80 295 23,192.00 296 17,394.00 315 3,581.40 317 7,162.80 318 3,581.40 319 5,969.00 320 7,162.80 321 13,915.20 322 9,550.40 331 3,671.40 332 3,581.40 334 5,969.00 336 3,581.40 338 35,688.00 339 1,432.56 340 2,387.60 341 3,103.88 343 8,356.60 344 10,147.30 345 11,341.10 346 5,969.00 347 6,565.90 349 7,162.80 351 16,234.40 355 9,550.40 357 23,192.00 361 2,626.36 362 1,790.70 364 44,064.80 365 8,356.60 366 8,356.60 367 3,342.64 368 1,074.42 371 4,775.20 372 8,356.60 373 2,865.12 374 4,775.20 375 46,384.00 376 11,938.00 377 9,550.40 380 8,953.50 413 1,058,300.00 414 1,559,600.00 420 77,693.20 423 8,356.60 425 1,193.80 426 4,775.20 427 11,938.00 432 11,938.00 433 13,915.20 434 9,550.40 435 8,356.60 436 9,550.40 437 19,713.20 440 13,915.20 442 9,550.40 443 2,148.84 444 2,984.50 445 11,938.00 446 12,755.60 450 110,162.00 451 173,940.00 452 185,536.00 453 150,748.00

454 9,550.40 456 8,953.50 458 98,566.00 460 1,193.80 461 11,938.00 462 6,730.90 463 2,626.36 464 11,938.00 465 7,759.70 468 1,313.18 469 46,384.00 470 40,586.00 471 92,768.00 472 208,728.00 473 266,708.00 475 22,280.00 476 86,970.00 479 1,074.42 480 895.35 481 1,671.32 482 895.35 487 31,309.20 488 17,394.00 492 37,107.20 493 46,384.00 496 11,938.00 497 17,394.00 499 52,182.00 500 2,148.84 501 1,074.42 502 1,074.42 503 1,074.42 505 5,507.10 506 596.90 507 9,789.16 511 13,915.20 512 11,938.00 514 150,748.00 515 25,511.20 516 9,550.40 517 7,162.80 518 7,759.70 519 19,033.60 522 15,074.80 523 38,067.20 524 27,830.40 525 47,584.00 526 154,648.00 527 666,770.00 528 1,910.08 529 1,653.90 530 8,356.60 532 7,162.80 535 1,193.80 536 13,915.20 537 46,384.00 538 46,384.00 540 40,586.00 541 46,384.00 542 34,788.00 544 11,938.00 548 2,686.05 549 11,938.00 551 4,775.20 552 7,162.80 553 69,576.00 554 15,074.80 555 16,234.40

556 3,276.00 557 1,764.16 558 3,581.40 559 44,064.80 562 7,162.80 563 8,356.60 564 8,356.60 565 40,586.00 566 10,744.20 567 34,788.00 568 37,107.20 569 52,182.00 571 23,192.00 572 18,553.60 573 7,759.70 592 6,565.90 593 5,013.96 594 13,085.60 595 3,342.64 596 9,550.40 599 37,107.20 600 2,387.60 601 11,938.00 602 8,953.50 603 7,162.80 604 1,910.08 605 10,744.20 608 716.28 609 955.04 610 895.35 611 27,830.40 613 5,969.00 615 37,107.20 617 2,268.22 618 1,671.32 619 6,730.90 620 8,356.60 621 2,029.46 623 4,775.20 625 1,835.70 626 115,960.00 631 8,953.50 634 23,192.00 635 2,984.50 636 3,426.64 637 18,553.60 638 1,835.70 640 955.04 641 1,074.42 642 3,103.88 643 1,790.70 644 1,790.70 645 1,790.70 646 1,193.80 647 2,865.12 648 11,626.10 649 3,342.64 650 2,029.46 651 1,910.08 652 4,178.30 653 1,790.70 654 5,969.00 655 5,372.10 656 2,387.60 657 5,969.00 658 37,107.20 659 5,969.00 660 15,074.80

661 17,394.00 662 5,730.24 665 1,193.80 666 10,744.20 667 27,830.40 668 40,586.00 669 46,384.00 670 61,458.80 673 6,730.90 674 3,916.16 675 9,550.40 676 13,915.20 677 48,703.20 678 2,984.50 680 4,650.44 681 3,581.40 682 12,755.60 684 3,510.00 688 955.04 701 1,551.94 702 895.35 703 795.47 704 11,938.00 706 1,432.56 709 1,432.56 710 955.04 712 48,703.20 713 22,032.40 714 1,223.80 715 15,464.80 716 10,744.20 718 3,342.64 720 3,426.64 721 63,778.00 722 1,910.08 723 1,193.80 726 12,755.60 727 11,014.20 729 3,581.40 730 5,139.96 731 23,192.00 732 1,014.73 733 2,268.22 734 8,953.50 737 5,372.10 738 1,468.56 739 4,775.20 741 2,148.84 742 1,713.32 743 1,432.56 744 92,768.00 746 895.35 747 11,341.10 748 52,182.00 749 40,586.00 750 1,468.56 751 173,940.00 752 1,074.42 753 716.28 754 8,566.60 755 2,202.84 756 127,556.00 757 7,342.80 761 88,208.00 795 23,192.00 796 23,192.00 798 5,372.10 811 2,984.50

813 28,990.00 814 15,074.80 815 20,223.20 816 8,566.60 817 7,998.46 820 3,581.40 827 7,162.80 834 23,192.00 836 611.90 838 5,969.00 839 23,192.00 841 3,223.26 843 21,412.80 844 12,238.00 846 13,915.20 847 23,192.00 849 32,468.80 852 16,234.40 855 3,223.26 856 5,013.96 857 25,511.20 858 2,387.60 865 95,168.00 867 26,171.20 870 28,990.00 871 3,223.26 873 3,103.88 878 24,351.60 880 7,342.80 883 18,553.60 884 22,032.40 885 3,103.88 889 21,412.80 892 5,730.24 894 22,032.40 895 7,759.70 896 4,775.20 897 4,775.20 898 12,238.00 903 10,147.30

195

ARTISTS’ INDEX

A Abrams, L Andersen, N S

515 345, 366

B Baldinelli, A

Battiss, W W Bell, D M Belzunce, M Benzon, L A Boonzaier, G J

Büchner, C A

447, 466, 475 520, 543, 540 510, 511, 512 498 393 376, 556 431, 467, 542 563, 564 427, 428, 429

C Carter, S Catherine, N C

Chagall, M Claerhout, F M

Coetzer, W H

384, 557 508, 505, 506 507, 517 521 423, 424, 528 527, 530, 531 369, 487, 553

D de Beer, A 364 de Jongh, G C 358, 560 de Jongh, T M J 555 525 de Leeuw, G Diedericks, C 488, 491, 519 During, D G 442, 532, 537, 538 E Eloff, Z Z

341

F Fakudze, M 386, 387 Fasciotti, G 381, 395, 396 Findlay, B E 476, 477, 478, 481 G Garizio, G Glossop, A J Goldblatt, D Grant, S H Haro, A

Henkel, I Hoefsloot, T A J

196

373 489 459 391

443, 444, 445 446, 457 535 360

I Inoue, K Ivanoff, V A J Jensma, W

K Kay, D

Kentridge, W J

Khumalo , V Klar, O Koloane, D N Kosowsky, A Krige, F Kumalo, A L Louw, K

516 490

470, 471, 472 473, 482 342, 343, 348 382, 483, 536 499, 500, 501 502, 503 474 357, 421 493, 494, 495 347 349 460

380

M Madge, D J 363 Madiba, E 461 Maimane, M 379, 394, 399 Mashaba, L 509 Mashile, C 439, 440, 479, 480 388, 452, 453 Mautloa, K P

454, 455, 456 Mayer, E E K 352, 353, 354,

355, 356, 359 Meyer, C W 426, 558, 559, 562 389 Mnisi, S Mohl, J K 539 N Naudé, A 390 Naudé, P H 546 Ndzube, K 462 Nice, C P 365, 367, 370, 372

375, 377, 435, 437, 438 Niemann,H C 425, 529, 567 O Oerder, F D Oldert, J Osso, T

565 368, 374 392

P Peckwell, L Pemba, G M M Penn, R

361 541 458

Perahim, J 441, 448, 449, 450 Pierneef, JH 432, 433, 469

468, 548 R Rose-Innes, A Roworth, E

434, 552, 566 371

S Schimmel, F Serfontein, H Shabangu, S Shams Bijari, N Shilakoe, C M Sibanda, P Sibiya, L M Siopis, P P Sithole, L T Skotnes, C E F Smit, A Stern, I Sumner, M F E

514 383 464, 518 362, 397 497 385 463 504 526 465, 513 522, 523, 524 545, 544 549

T Tugwell, C

422, 436

U Urquhart, M

344

V van der Reis, G 492 van der Westhuizen, P 561, 496 van Heerden, P P G 550, 554 Vermeulen Breedt, M 398, 430

533, 534 Victor, D 484, 485, 486 547 Voigt, H Volschenk, J E A 551 W Walton, C R Wenning, P W F Wiles, W G

346 350, 351 378

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 century’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.

Muratie’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

197

BECOME A FRIEND OF THE SOUTH AFRICAN NATIONAL GALLERY

Athi-Patra Ruga The Intervention on the Anglo Boer Monument by the FWWOA Circa 2012 (detail) published 2015 C-print on Fuji Crystal Archive paper 54 by 37cm Edition of 100 + 2 artists proofs

For print sales and membership enquiries please contact us: 021 481 3951 sangfriends@iziko.org.za www.friendsofsang.co.za

198

SERIOUS ABOUT

CLASSIC CARS So are we...

Trust Stephan Welz & Co. to obtain premium prices for your classic cars.

Contact one of our specialists today to receive a complimentary valuation: Jack Rosewitz: 011 880-3125 Cell: 083 701 1449 jack.rosewitz@stephanwelzandco.co.za

SW2287A

NOTES

200