JOHANNESBURG | 28 & 29 MARCH 2017 | HAMLET
August 2016: Lot 499 Conor Mccreedy (South African 1987 -)
EAU DU MCCREEDY BLUE signed, dated ‘14 and inscribed with the title on the reverse pigment, acrylic and Clarins bottles on Belgian linen 50 by 70cm, unframed
Sold for R 52 182
JOHANNESBURG 28 & 29 MARCH 2017 #HAMLET
“Good painting is the kind that looks like sculpture." Michelangelo
www.stephanwelzandco.co.za
FINE ART & DESIGN AUCTION JOHANNESBURG | 28 & 29 MARCH 2017 | HAMLET 4th Floor South Tower Nelson Mandela Square Cnr Rivonia Road & 5th Street Sandton TUESDAY | 28 MARCH 2017 Session 1 | 10h30 Lots 1 - 170 Books Carpets and Rugs Clocks Furniture Session 2 | 14h00 Lots 171 - 300 Decorative Arts Vintage Fashion Silver FRONT COVER Willem de Sanderes Hendrikz (SOUTH AFRICAN 1910 - 1959) HEAD OF A PONDO HEAD OF A HOTTENTOT Lot 419 & 420
INSIDE FRONT COVER Conor Mccreedy (South African 1987 -) EAU DU MCCREEDY BLUE
Session 3 | 19h00 Lots 301 - 530 Collectable Cars Auto Memorabilia Paintings WEDNESDAY | 29 MARCH 2017 Session 4 | 10h30 Lots 531 - 639 Pocket Watches and Wristwatches Jewellery
PAGE 2 Paul du Toit (SOUTH AFRICAN 1922 -1986) ABSTRACT TREES Lot 505
PAGE 4
William Joseph Kentridge (SOUTH AFRICAN 1955 -) DESERTED STADIUM Lot 458
PAGE 10 Walter Whall Battiss (SOUTH AFRICAN 1906 - 1982) AFRICAN AFTERNOON Lot 460
INSIDE BACK COVER Robert Griffiths Hodgins (SOUTH AFRICAN 1920 - 2010) THE GREEN TABLE Lot 452
EXHIBITION | VIEWING 24th - 26th March | 10h00 - 17h00 27th March | 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 17% plus VAT at the prevailing rate for items selling R10 000 or less 10% plus VAT at the prevailing rate for collectable cars 15% plus vat at the prevailing rate for auto memorabilia 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 (SA1702) - HAMLET
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CONTENTS 2
AUCTION DETAILS
4
WHO WE ARE
5
ANTON WELZ
6
HIGHLIGHTS FROM PREVIOUS AUCTION
12 SESSION
1
40 SESSION
2
64 SESSION
3
122 SESSION
4
Africana Pictures, Anglo-Boer War Memorabilia, Africana Documents, Military & Naval Memorabilia, Books, Miscellaneous, Carpets, Rugs and Runners, Clocks, English and South African Furniture, 20th Century Contemporary Design, Oriental and Continental Furniture
European, English, South African and Oriental Ceramics, Glass, Works of Art, Classical French Sculptures, Collectors' Items, Scarves, Handbags, Electroplate, English and Foreign Silver
Collectable Cars and Auto Memorabilia, South African & International Paintings and Works on Paper, South African Sculpture, South African and International Paintings & Works on Paper
Pocket watches and Wristwatches,Antique, Period and Contemporary Jewellery, Diamonds with Certificates, Unmounted Gemstones, Miscellaneous
148
Important Notice to Prospective Buyers
149
Absentee and Telephone Bidders Form
150
Guide for Absentee/Telephone Bidders
153
General Information Johannesburg
153
General Information Cape Town
159
Catalogue Subscription Order Form
160
Important Announcements
161
Payment and Despatch of Purchases
162
Terms & Conditions of Business and Rules of Auction
176
Auction Results
178
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 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
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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, In the ever-changing auction world we are pleased to enter our 49th year in business. We’ve certainly come a long way since our humble beginnings in Braamfontein in 1968! The level of trust, integrity and service we have built up over the last five decades has certainly contributed to our longevity. That, allied with the ongoing support from both our sellers and buyers, has allowed us to evolve with the ever-changing market. We have consistently managed to offer service excellence, discretion, knowledge and expertise and we look forward to celebrating our half century next year. Our first Johannesburg sale of 2017 again offers a number of different highlights. Our last sale featured a special section on prints as a medium, this sale highlights sculpture and includes works from contemporary sculptor Angus Taylor to 20th century master Edoardo Villa as a counterpoint. Robert Hodgins and William Kentridge headline the contemporary works on the sale, these two artists have proved their worth in the secondary market and we have a good selection from which to choose. We are also fortunate to be able to offer a collection of silver from Georg Jensen in our Tuesday session. Jensen has been a household name in design since the early 1900s. His work epitomises the simplicity, elegance and timelessness of Danish design. Along with mid-century furniture designers such as Hans Wegner and Finn Juhl, among others, Jensen has entrenched Danish design in the minds of collectors the world over. As the only auction house to offer live bidding via two different portals we expect local and international interest in these lots. We also have a Mercedes-Benz 190 SL in the Tuesday evening session as well as a concourse condition Jaguar XK 140. Vintage cars have proved to be very good investments for collectors and these two vehicles provide a good opportunity for buyers to acquire a classic model from two popular marques. The selection on offer in this sale should have something that appeals to most collectors, we try and bring to market both variety and quality and once again I think we have achieved this objective. I look forward to seeing you in the saleroom.
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JOHANNESBURG | 22 & 23 NOVEMBER 2016 | Auction Highlights
Lot 57 Dawkins and Wood THE RUINS OF PALMYRA OTHERWISE TEDMOR IN THE DESERT SOLD R 86 970
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Lot 603 Esias Bosch (1923 - 2010): A CERAMIC LUSTRE TILE SOLD R 92 768
Lot 309 A Cape Stinkwood Louis XV Rusbank, Late 18th/Early 19th Century SOLD R 46 384
JOHANNESBURG | 22 & 23 NOVEMBER 2016 | Auction Highlights
Lot 564
Gregoire Boonzaaier (South African 1909 - 2005) DISTRICT SIX SCENE IN GREYS SOLD R 86 970
Lot 687 A Pair of Victorian Silver Comports, Robert Garrard, London, 1864 and 1879 SOLD R 75 374
Lot 310 A Cape Teak Wall Cupboard, Late 18th/Early 19th Century Sold R 44 065
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JOHANNESBURG | 22 & 23 NOVEMBER 2016 | Auction Highlights
Lot 468 Jacob Hendrik Pierneef (South African 1886 - 1957) UNION BUILDINGS FROM PRINSHOF (NILANT 36) SOLD R 63 778
Lot 525 Gerard de Leeuw (South African 1912 - 1985) MARABOU SOLD R 231 920
Lot 521 Marc Chagall (French/Russian 1887 - 1985) DAPHNIS AND CHLOE SOLD R 92 768
JOHANNESBURG | 22 & 23 NOVEMBER 2016 | Auction Highlights
Lot 417 JOOST VAN DER WESTHUIZEN NUMBER 9 NUMBER PLATE SOLD R 167 100
Lot 401 A COBRA RACE CAR SOLD R 222 800
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CATALOGUING TERMS & ETIQUETTE JOHANNESBURG | 28 & 29 MARCH 2017 | HAMLET 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
CAPE TOWN ct@stephanwelzandco.co.za +27 (21) 794 6461
Alan Demby
Monique Weston
MANAGING DIRECTOR alan.demby@stephanwelzandco.co.za
SILVER, CARPETS, FURNITURE & CLOCKS
Chris de Klerk
Paula Schreuder
OFFICE MANAGER PAINTINGS, WATERCOLOURS, DRAWINGS, PRINTS & SCULPTURE chris.deklerk@stephanwelzandco.co.za
Silver, Carpets, Furniture & Clocks paula.schreuder@stephanwelzandco.co.za
Christa Swart
Peter Digby
PAINTINGS, WATERCOLOURS, DRAWINGS, PRINTS & SCULPTURE christa.swart@stephanwelzandco.co.za
BOOKS, MANUSCRIPTS & MAPS peter.digby@stephanwelzandco.co.za
Jack Rosewitz
Sharne Edelson
COLLECTABLE CARS jack.rosewitz@stephanwelzandco.co.za
JEWELLERY & WRISTWATCHES sharne.edelson@stephanwelzandco.co.za
Luke Crossley
Tanya Demby
PAINTINGS, WATERCOLOURS, DRAWINGS, PRINTS & SCULPTURE luke.crossley@stephanwelzandco.co.za
DECORATIVE ARTS & VINTAGE FASHION tanya.demby@stephanwelzandco.co.za
monique.weston@stephanwelzandco.co.za
Anton Welz
Carol Kaufmann
DIVISION HEAD & AUCTIONEER FURNITURE, CLOCKS, COLLECTORS’ ITEMS, COLLECTABLE CARS, & HISTORICAL AND CONTEMPORARY TRADITIONAL AFRICAN ART anton.welz@stephanwelzandco.co.za
PAINTINGS, WATERCOLOURS, DRAWINGS, PRINTS & SCULPTURE carol.kaufmann@stephanwelzandco.co.za
Sophie-Louise Fröhlich
Kayleen Wrigley
OFFICE MANAGER & AUCTIONEER PHOTOGRAPHY, FURNITURE, CLOCKS & COLLECTORS’ ITEMS sophie-louise.frohlich@stephanwelzandco.co.za
PAINTINGS, WATERCOLOURS, DRAWINGS, PRINTS & SCULPTURE kayleen.wrigley@stephanwelzandco.co.za
Monique Kleynhans
Dr Rayda Becker
FURNITURE, CLOCKS, COLLECTORS’ ITEMS & DECORATIVE ARTS monique.kleynhans@stephanwelzandco.co.za
PAINTINGS, WATERCOLOURS, DRAWINGS, PRINTS & SCULPTURE rayda.becker@stephanwelzandco.co.za
Kerry Hawkins
Linda Patterson
JEWELLERY, POCKETWATCHES & WRISTWATCHES kerry.hawkins@stephanwelzandco.co.za
CARPETS, RUGS AND RUNNERS linda.patterson@stephanwelzandco.co.za
Susie McRae ADMINISTRATION & SHIPPING susie.mcrae@stephanwelzandco.co.za
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AWAITING LEAD-IN IMAGE
S|1
BOOKS | CARPETS | CLOCKS | FURNITURE
TUESDAY 28 MARCH 2017 | 10H30 | LOTS 1 - 170
S| 1
AFRICANA PICTURES AND DOCUMENTS
Africana Pictures 1 Battiss, Walter W.
MR ICARUS I PRESUME AND BIRD FLIGHT n.p.: 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 15/125.
R 8 000 - R 12 000
Anglo-Boer War Memorabilia
10 Maxwell, Right Hon. Sir Herbert
HISTORICAL RECORDS OF THE SOUTH NOTTINGHAM HUSSARS YEOMANRY 1794 - 1924
THE LOWLAND SCOTS REGIMENTS: THEIR ORIGIN, CHARACTER AND SERVICES PREVIOUS TO THE GREAT WAR OF 1914
Aldershot: Gale and Polde Ltd, 1928 First edition. 4to. Col. & b/w illustrations, foldout maps. Half leather with banded decorated spine, slight scuffing to leather on cover edges. Internal hinge crack, marbled endpapers.
Glasgow: James MacLehose and Sons, 1918 First edition. 8vo. 12 tipped in colour plates from watercolour by George Kruger and 2 b/w photogravures. Cloth in bright clean condition.
R 1 500 - R 2 500
2 9176 IY
7 Guest, H. M.
THE FIFES IN SOUTH AFRICA BEING A HISTORY OF THE FIFE AND FORFAR YEOMANRY IN THE SOUTH AFRICAN WAR 1900 – 1901
THE BOER WAR BOOKS OF H. M. GUEST
Cupar-Fife: A. Westwood & Son. 1903 First edition. 8vo. B/w photographs and map. Pictorial cloth in bright clean condition.
R 2 300 - R 5 000 3 Anon
TWO ANGLO-BOER WAR PRISONER OF WAR SERVIETTE RINGS Bermuda: 1900 (2)
R 2 000 - R 4 000 4 Barrett, C. R. B. (Editor)
THE 85TH KINGS LIGHT INFANTRY London: Spottiswoode & Co., 1913 First edition. Thick 4to. Col. & b/w illustrations. 92 pages on the AngloBoer War. Half leather with Regimental badge in gold on front cover board, front cover board detaching from spine.
R 1 500 - R 2 000 5 Creswicke, Louis
SOUTH AFRICA AND THE TRANSVAAL WAR, 8 Vols London: The Caxton Publishing Co., 1900 – 1902 First edition. 4to. Col. & b/w illustrations and maps. Simulated red leather, ruled foliate spine in gold. Foxing to prelims and endpaper. (8)
R 1 600 - R 3 000 14
6 Fellows, George & Freeman, Benson
Klerksdorp: H. M. Guest Publisher, 1902 All first edition. All 8vo. B/w illustrations. The first book is hardback, the second and third books in original rippled card covers in fine unread condition. Boer War Episodes Incidents in the Western Transvaal With Lord Methuen and the First Division. (3)
R 1 500 - R 3 000 8 Hobhouse, Emily
WAR WITHOUT GLAMOUR: OR WOMEN’S WAR EXPERIENCES WRITTEN BY THEMSELVES, 1899 - 1902 Bloemfontein: Nasionale Pers, 1924 First edition. 4to. Historical records collected by Emily Hobhouse. Grey patterned cloth, a very good copy.
R 4 000 - R 8 000 9 Kipling, Rudyard
DEPARTMENTAL DITTIES AND OTHER VERSES London: George Newnes Ltd, 1899 First edition. For a brief while George Newnes Ltd held the rights to Kipling’s poetry. This fragile volume was to result before Mathuen took over later printings. In special protective slipcase. 8vo. In original pictorial pale red paper covers, wear to spine and cover with spotting. Loss of part of an advertisement on last page of the book. Cover loose.
R 2 000 - R 5 000
R 1 500 - R 2 000 11 Riall, Nicholas (Compiler and Editor)
BOER WAR: THE LETTERS, DIARIES AND PHOTOGRAPHS OF MALCOLM RIALL FROM THE WAR IN SOUTH AFRICA, 1899 - 1902 London: Brassey’s, 2000 First edition. Oblong 4to. Photographs at the front from December 1901 to May 1902. Cloth in mint dustjacket in fine unread condition.
R 1 500 - R 2 000 12 Rosslyn, Earl Of (Editor)
THE GRAM: A SOCIAL MAGAZINE PRODUCED BY BRITISH (MAINLY OFFICERS) PRISONERS OF WAR IN PRETORIA London: Eyre & Spottiswoode, circa 1900 Facsimile edition of the actual publication pinned on the Staats Model School, Pretoria. Signed by Rosslyn on pre-title page. No. 73 of 500. Original white parchment cover boards with laid down photograph of the prison on front cover, bookplate.
R 2 000 - R 4 000
Africana Documents 13 Anon
COLLECTION OF SOUTHERN AFRICA POSTCARDS, 1900 - 1935 ± 63 Cape Province - Somerset Strand, Kimberley, Oudtshoorn, Ceres, Graaff Reinet, Port Elizabeth, East London, Hermanus, Cape Town, etc. ± 24 Rest of S. A. - Bloemfontein, Johannesburg, Pretoria, etc and 3 Union Castle cards. (Qty)
R 1 600 - R 1 800
MILITARY & NAVAL MEMORABILIA AND BOOKS
S| 1
14 Various
17 Anon
BOOKS
THE EPHEMERA COLLECTION
LATE VICTORIAN BRITISH NAVAL OFFICER’S SWORD
21 Anon
Length: 76cm, overall length: 91cm. Etched blade has been nickel plated. Victorian crown over anchor on blade. Brass hilt, ‘lion’s head’ pommel, copper wire bound sharkskin-covered grip with black leather scabbard with brass mounts, faded gold sword knot. Cartouche on hilt with anchor and Victorian crown folding side guard has the name “C. F. Pollard” engraved on it. Pollard later became Paymaster Rear Admiral Sir Charles Fleetwood Pollard KCB, CMG. He had entered the Royal Navy in 1884. He was one of the survivors of the collision of HMS Camperdown and HMS Victoria. The two ships collided off Tripoli on 22 June 1893 when Vice Admiral Tyron, 21 officers and 350 men drowned. Pollard died in the Cape Province in 1938.
A SOUVENIR OF LOURENCO MARQUES: AN ALBUM OF VIEWS OF THE TOWN
Various Cape Town and Johannesburg Publishers, 1905 – 1961 A Chapter of Accidents: Being a profusely illustrated account of Startling Occurrences which took place in the Cape Peninsula between June 13th and 20th, 1905, size: 31 by 24cm, in good condition Souvenir of the Visit of the HRH The Prince of Wales to the Cape Peninsula, April 30th to May 4th, 1925, profusely illustrated, size: 24,5 by 18cm, in good condition A collection of menus and other S. A. Railway items concerning the opening of the Usakos - Otjiwarongo/ Outjo - Otavi Grootfontein -Tsumeb railway lines, 1961 Bennett & Baker book: Grocers of Wynberg, 1904 2 sets of postcards in original titled envelopes containing “the newest art colour postcards in High Grade Finish” circa 1910, printed by H. & C. of Port Elizabeth in unused mint condition Photograph Souvenir of Natal in mint titled holder; 16 b/w photographic views 12 Artistic coloured post cards of Cape Town, circa 1905 in mint condition in presentation booklet Two miniature newspapers produced by The Star Two facsimile reprints of the Cape Argus, January 2nd 1896 concerning the Jameson Raid in unread condition. (Qty)
R 2 000 - R 2 500
Military & Naval Memorabilia 15 Anon
ITALIAN AIR FORCE (REGIA AERONAUTICA) OFFICER’S DRESS SWORD Circa 1930 – 40 Blade length: 75cm; overall length: 90cm; width of blade at widest point: 1,75cm. Gilded hilt age-darkened in the form of folded feathers as found on the wing of a bird; good black leather scabbard with age-darkened brass mounts with Regia Aeronautica Wings. Pommel with crowned eagle head. Suspension straps and gold sword knot hinged side guard. Blade in excellent condition with etched decoration of various military crests and an aeroplane.
R 1 800 - R 2 500 16 Anon
ITALIAN AIR FORCE (REGIA AERONAUTICA) OFFICER’S DRESS SWORD Circa 1930 – 40 Blade length: 75cm; overall length: 90cm; width of blade at widest point: 1,75cm. Faded gilded hilt in the form of folded feathers as found on the wings of a bird; good black leather scabbard with faded brass mounts. Pommel with crowned eagle head. Hinged side guard. Blade in excellent condition with etched decoration of various military crests and an aeroplane.
R 1 500 - R 2 000
R 2 500 - R 4 000 18 Anon
POST 1914 BRITISH NAVAL OFFICER’S SWORD Length of blade: 80cm; overall length: 94,5cm. Etched blade with black spotting. Gilded brass hilt, ‘lion’s head’ pommel, copper wire bound sharkskin-covered grip, black leather scabbard with brass mounts, etc. Cartouche on hilt with anchor on post 1902 crown, folding side guard has the name of “D. L. Johnston RN” engraved. He was promoted commander in 1941 and was awarded the Distinguished Service Cross in World War II.
R 4 000 - R 5 000 19 Anon
WILLIAM IV COURT SWORD Blade length: 79cm; overall length: 93cm; blade width at widest point is 1,5cm. One strand brass hilt with crown on pommel; side with unfretted cartouche, monogram of William IV; foliated decoration to etched blade which is age darkened. The sword has no scabbard.
R 1 500 - R 2 000 20 London Hamburger Rogers & Co., circa 1880
BRITISH INFANTRY OFFICER’S SWORD, PATTERN 1822 Blade length: 82cm; overall length: 97cm. Etched blade with crowned Victorian monogram and foliated decoration, cracked black leather scabbard with brass chape, band and locket with large shoe, loose rings and decorated brass frog stud on locket. Scabbard is damaged. Bottom shoe fractured from leather of scabbard, but held in place by blade, leather is cracked. Hand grip covered with fish skin and bound with brass wire, tarnished brass hilt with crowned VR (Victoria Regina) monogram in a cut-out cartouche.
Lourenco Marques: J. & M. Lazarus Photographers, circa 1992 First edition. Oblong 4to, 30 by 24cm. 40 large plate b/w photographs with trade advertisements at back of book. Faded pictorial cloth.
R 2 000 - R 5 000 22 Arbousset, T. and Daumas, F.
NARRATIVE OF AN EXPLARATORY TOUR TO THE NORTH-EAST OF THE COLONY OF THE CAPE OF GOOD HOPE London: John C. Bishop, 1852 First U. K. edition. Small 8vo. Fold-out map. Blindstamped cloth.
R 2 400 - R 4 000 23 Arnot, The Hon. David & Orpen, F. H. S.
THE LAND QUESTION OF GRIQUALAND WEST Cape Town: Saul Solomon, 1875 First edition. 8vo. 4 plates, large foldout col. map at back of book. Original faded cloth cover boards, book plates of I. & F. W. Hosken and Francis G. Goodfellow. Title page signed by Orpen with inscription to Goodfellow.
R 2 000 - R 3 000 24 Baines, Thomas
SCENERY AND EVENTS IN SOUTH AFRICA Cape Town: A. A. Balkema, 1977 Facsimile reprint of 1852 edition of handcoloured lithographs. No. 136 of 350 numbered copies. The numbered copies are from 101 to 350. No. 351 to 600 were unbound but boxed. 46 by 61,5cm. 6 coloured prints. Blue leather in bright clean condition.
R 5 000 - R 8 000
R 4 000 - R 6 000 15
S| 1 25 Beamont, William
29 Carter, T. F.
34 Daniell, Samuel
TO SINAI AND SYENE AND BACK IN 1860 AND 1861
A NARRATIVE OF THE BOER WAR (OF 1880 81) (WITH) ITS CAUSES AND RESULTS
AFRICAN SCENERY AND ANIMALS
London: Smith, Elder & Co., 1871 Second edition, inscribed and signed by Beamont to his friend William Henry Harrison. 8vo. Full black leather, ruled cover decoration, banded spine with ruled and decorated panels, marbled endpapers, sparkling gilt edges, a very clean good copy. Bound by Mansell successor to Hayday.
Cape Town: J. C. Juta & Co., 1896 New edition. 8vo. Cloth with Natal Mercury printed press release of 5 June 1900 glued in on back free endpaper, pencil sketch of Majuba mountain on front free endpaper.
Cape Town: A. A. Balkema, 1976 A facsimile reprint of the aquatint plates originally published 1804 - 5, No. 12 in a deluxe binding in a run of 550. 46 by 61cm. B/w illustrations and col. plates. Half leather with marbled boards. Introduction by Frank Bradlow.
R 1 500 - R 2 000
R 2 500 - R 4 000
30 Carter, Thomas
35 Darroll, Gail
MEDALS OF THE BRITISH ARMY AND HOW THEY WERE WON EGYPT, PENINSULA, WATERLOO AND SOUTH AFRICA
DUCKS OF SUB-SAHARAN AFRICA
R 2 000 - R 4 000 26 Bellairs, Lady (Editor)
THE TRANSVAAL WAR 1880 - 81 Edinburgh: William Blackwood & Sons, 1885 First edition. Large 8vo. B/w frontis and map. Internal hinge split, pictorial cloth, slight foxing to title page.
R 1 600 - R 2 500 27 Brenthurst Press
SECOND SERIES, VOL. 1 - 10 Johannesburg: Brenthurst Press, 1975 – 1994 First edition. 4to. Col. & b/w illustrations. Half leather with marbled boards, binding by Peter Carstens of Johannesburg. No. 82 of 125 sets. Some of the plain untitled cloth slip cases are insect scarred in places but the books are a very fine unread set. (10)
R 18 000 - R 24 000 28 Brenthurst Press
FIRST SERIES, Vol. 1 - 10
16
BOOKS
London: Groombridge & Sons, 1861 B/w textual illustrations and 18 plates. 3 books bound in one. Thick 8vo. Half leather, banded spine with gold blocking, marbled endpapers, bookplate of Barqurt, slight wear to cover boards. A very good copy.
R 3 000 - R 5 000 31 Colenso, Frances (pseudonym Atherton Wylde)
MY CHIEF AND I OR SIX MONTHS IN NATAL AFTER THE LANGALIBALELE OUTBREAK London: Chapman and Hall, 1880 First edition. 8vo. B/w illustrations. Decorated cloth with hinge split developing at front cover board on the outside.
R 1 600 - R 2 500 32 Collyer, Brigadier J. J.
THE CAMPAIGN IN GERMAN SOUTH WEST AFRICA, 1914 - 1915
Johannesburg: Brenthurst Press, 1975 – 1984 First edition. One of 25 sets bound in full leather numbered A to Y. This is set ‘C’ that belonged to the general editor of the First series, Prof. Eric Axelson. 4to. Col. & b/w illustrations. Full leather marbled endpapers, gilt edges with leather-spined cloth-covered velvet-lined boxes. Box 1 is parchment-lined. Spines of leather boxes are sunned. Vol. 1: The Brenthurst Baines signed by the two authors Marius and Joy Diemont Vol. 3: Contains the booklet ‘De Meillon’s People of Colour’ by Shell, R. C-H. with a copy in very good condition of Eric Axelson’s book “Portuguese in South-East Africa 1600 - 1700”, 1960, first edition, dustjacket Vol. 6: Paterson’s Cape Travels signed by both author V. S. Forbes and J. Rourke. (11)
Pretoria: The Government Printer, 1937 First edition. 8vo. 16 b/w and col. foldout campaign maps. Cloth, spine sunned with wear to top extremity of spine.
R 20 000 - R 30 000
R 1 600 - R 2 000
R 2 000 - R 3 000 33 Collyer, Brigadier J. J.
THE SOUTH AFRICANS WITH GENERAL SMUTS IN GERMAN EAST AFRICA, 1916 Pretoria: The Government Printer, 1939 First edition. 8vo. 22 b/w and col. foldout campaign and topographical maps. Cloth, foxing to endpapers and a bit of wear to spine edges.
Johannesburg: Acorn Books, 1986 First edition. No. 143 of 200 collectors’ copies. Signed by G. L. Maclean, author of text and Gail Darroll, artist. 32,5 by 43cm. 36 col. plates. Quarter leather in custom-made slipcase in fine unread condition, mint copy.
R 4 500 - R 6 000 36 de Villiers, Simon A.
OTTO LANDSBERG 1803 - 1905: 19TH CENTURY SOUTH AFRICAN ARTIST Cape Town: C. Struik (Pty) Ltd, 1974 Deluxe First Edition. Signed by author and limited to 100 copies of which this is No. 46. 4to. Col. & b/w illustrations. Full grained leather, (of great rarity as a deluxe edition).
R 1 500 - R 2 000 37 Delegorgue, M. Adulphe
VOYAGE DAN’S L AFRIQUE AUSTRALE 1838 - 1844, 2 Vols Paris: Depot de Librairie, 1847 First edition. 8vo. Hand-coloured frontis of the author and b/w illustrations. A nice set. Quarter leather, banded spines with decorated panels, marbled endpapers with maps, one stained. (2)
R 3 000 - R 4 000
BOOKS
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38 Caldwell, Edmund
JOCK: THE ART OF EDMUND CALDWELL Mazoe, Rhodesia: Frank Read Press, 1978 & 1982 First edition. Set no. 120 of a numbered limited edition of 250. Vol. 1: signed by Frank Read. Vol. 2: signed by his widow. 32 by 46cm. Col. & b/w illustrations with additional colour plates. Vol. 1: 7 col. plates, 22 wash drawings and 363 line drawings. Vol. 2: col. frontis and 44 col. plates. Quarter leather and cloth. A handmade book. With an illustrated biography of Caldwell by Jane Meiring. (2)
There are few books in South African literature that are more iconic than ‘Jock of the Bushveld’. Every child has heard of Jock of the Bushveld. The book, published 110 years ago in 1907, is still read avidly by youngsters. Sir Percy Fitzpatrick, its author, was no doubt astonished by its evergreen popularity. The frontispiece depicting Jock is regarded as the most famous book illustration in South African history. Edmund Caldwell (1852 – 1930), famous wildlife artist, was given the responsibility of producing a frontispiece of the famous book. The first sketch he did of Jock was executed in one tone pastel and enhanced with white gouache on a brown board.
ILLUSTRATED
R 14 000 - R 18 000 17
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BOOKS
39 Campbell, Rev. John
TRAVELS IN SOUTH AFRICA UNDERTAKEN AT THE REQUEST OF THE LONDON MISSIONARY SOCIETY BEING A NARRATIVE OF A SECOND JOURNEY IN THE INTERIOR OF THAT COUNTRY, 2 Vols London: Francis Westley, 1822 First edition. Large 8vo. With coloured map and 12 hand-coloured aquatints. These are in sparkling condition with no foxing. Probably the finest example of these seen for many years. Book in unread condition. Internal hinge crack to Vol. 1 but this has not loosened any pages. Half leather and marbled cover boards, new endpapers. Rebind probably carried out 60 years ago. (2) ILLUSTRATED
R 18 000 - R 25 000 18
John Campbell (1766 – 1840) was a well-known missionary and traveller. After establishing various philanthropic societies in Scotland he arrived in the Cape in June 1812 to inspect the various missions. His travels inspired “Travels in South Africa, undertaken at the request of the Missionary Society” and was published on his return to London in 1815.
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BOOKS 40 Major Denham, Capt Clapperton, & Oudney, Doctor
44 Fitzpatrick, Sir Percy
49 Heller, David
JOCK OF THE BUSHVELD
A HISTORY OF CAPE SILVER 1700 - 1870
TRAVELS AND DISCOVERIES IN NORTHERN AND CENTRAL AFRICA, 4 VOLS
London: Longmans Green & Co. 1907 First edition. 8vo. B/w & col. illustrations. Pictorial cloth, slight wear to extreme edges of spines, very slight insect scarring to cover boards, slight foxing to endpapers.
Cape Town: David Heller Pty Ltd, 1949 First edition, signed by the author, tissue paper separators between photographic plates. 4to. B/w photographs in profusion. Pictorial cloth, in reasonable dustjacket. and the companion volume similarly bound HELLER, DAVID - Further Researches in Cape Silver, dustjacket, tissue paper separators between photographs, first edition, 1953. (2)
London: John Murray, 1831 Would seem to be a first edition. Small 8vo. B/w illustrations. Half parchment and marbled boards which are rubbed, hinge split to Vol. 1, marbled endpapers. Labels on spine worn. (4)
R 3 000 - R 6 000 41 Dyer, R. A.
THE GENERA OF SOUTH AFRICAN FLOWERING PLANTS, 2 VOLS Pretoria: Department of Agricultural Technical Services, 1975 – 76 First edition. Large 8vo. Vol. 1: Dicotyledons. Vol. 2: Gymnosperms and Monocotyledons. Rexine binding with gold lettering. In fine unread condition. (2)
R 1 500 - R 1 800 42 Finch-Davies, C. G.
A CELEBRATION OF BIRDS: C. G. FINCHDAVIES FINAL ALBUM OF SOUTHERN AFRICAN BIRDS Johannesburg: NHB, 1990 Collectors’ first edition. Limited to 200 copies of which this is No. 153 belonging to W. A. Barlow. Oblong 4to. 21 col. facsimile reproductions of paintings each accompanied by a page of hand written notes covering the period 28 March 1918 to 4 April 1920. Book in fine unread condition in mint slipcase. Half leather, marbled cover boards in cloth slipcase.
R 1 500 - R 1 800 43 Finch-Davies, C. G.
THE BIRD PAINTINGS OF C. G. FINCH DAVIES Johannesburg: Winchester Press, 1984 First Collectors’ edition. No. 83 of 300 made out to William Barlow. 29 by 38,5cm. Col. & b/w illustrations and col. plates. Half leather, with marbled cover boards in custom made cloth and marbled paper slipcase in fine unread condition.
R 2 000 - R 3 000
R 3 500 - R 4 500 45 Frazer, Sir James George
THE NATIVE RACES OF AFRICA AND MADAGASCAR London: Percy Lund Humphries & Co. Ltd, 1938 First edition. 4to. B/w illustrations and maps. Cloth in torn dustjacket.
R 1 800 - R 2 800 46 Germishuizen, G.
TRANSVAAL WILD FLOWERS Johannesburg: MacMillan South Africa, 1982 First edition. 4to. Full page col. plates from start to finish. Special private full maroon leather binding, with decorated gilt edges and border, foliated and floral gold decoration to cover boards. Signed by the text author Gerrit Germishuizen and artist Anita Fabian, unnumbered and unsigned collector’s edition - page bound in. A magnificent book in unread condition.
R 2 500 - R 3 500 47 Gill, Mrs
SIX MONTHS IN ASCENSION: AN UNSCIENTIFIC ACCOUNT OF A SCIENTIFIC EXPEDITION London: John Murray, 1878 First edition. 8vo. Map. Decorated cloth in bright condition.
R 5 000 - R 6 000 48 Hart, Sue
ZAKKIE ELOFF: NA DIE LEWE GETEKEN Johannesburg: Chris van Rensburg Publications, 1982 First edition. Special printing limited to 26 copies numbered A - Z. This is copy A which was allocated to Chris C. van Rensburg, the publisher. Signed by Sue Hart and the artist Zakkie Eloff. A unique book. Large oblong 4to. Sepia wildlife plates. Full leather in full leather slipcase in mint condition. An unread copy. Zakkie Eloff’s signature in gold on both, gilt edges.
R 1 500 - R 2 500
R 3 000 - R 4 000 50 Henry, Earl of Monmouth (Translator) & Bocalini, T. (Author)
ADVERTISEMENTS FROM PARNESSUS WITH THE POLITICK TOUCHSTONE London: Peter Parker, 1674 The Third Edition Corrected. 4to. Frontis. Half leather. An old rebind in cloth and calf in very good condition. Age browning to page borders.
R 1 500 - R 2 000 51 Holden, William C.
HISTORY OF THE COLONY OF NATAL London: Alexander Heylin, 1855 First edition. 8vo. Foldout maps and b/w illustrations with slight foxing to borders of sepia plates. Appendix with history of the Orange River. Sovereignty and the various races inhabiting the area and Lake Ngami. Blindstamped, highly decorated full leather, scuffing to spine and cover edges with external cracks to spine, but firm interior.
R 1 300 - R 2 000 52 Jackson, W. P. U.
WILD FLOWERS OF TABLE MOUNTAIN Cape Town: Howard Timmins, 1977 First limited edition. No. 25 of 50 copies. Signed by author on pre-title page panel. 4to. Col. photographs in profusion. Full leather.
R 1 500 - R 2 000 53 Johnston, R. H.
EARLY MOTORING IN SOUTH AFRICA Cape Town: C. Struik Publishing, 1975 First edition de luxe. No. 57 of 100 copies. Signed by author on special page before preface. 4to. B/w photographs in profusion. Full leather, bookplate of the Hosken Collection.
R 1 800 - R 2 500
19
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BOOKS
54 Juta, H. C.
59 Leibrandt, H. C. V.
63 Macquoid, Percy
THE HISTORY OF THE TRANSVAAL SCOTTISH 1902 - 1932 WITH APPENDICES ON THE SOUTH AFRICAN SCOTTISH AND SCOTTISH HORSE
PRECIS OF THE ARCHIVES OF THE CAPE OF GOOD HOPE
A HISTORY OF ENGLISH FURNITURE, 4 Vols
Johannesburg: Hortors Ltd, 1932 First edition. 4to. Foldout campaign maps and b/w campaign and group photographs in profusion. Original thick pictorial paper covers with very good tartan dustjacket, slight spotting to cover.
R 1 600 - R 2 000 55 Kennedy, Rankin
THE BOOK OF THE MOTOR CAR, 3 Vols London: Caxton Publ. Co. Ltd, 1913 First edition. 4to. Col. plates & b/w illustrations in profusion. Decorated cloth in clean bright condition, slight foxing to front endpaper of Vol. 1. A comprehensive and authoritative guide on the care, management, maintenance and construction of the motor car and motor cycle. (3)
R 1 500 - R 2 000 56 Kermode, William
NATAL: ITS EARLY HISTORY, RISE, PROGRESS AND FUTURE PROSPECTS AS A FIELD FOR EMIGRATION London: Trübner & Co., 1882 First edition. 8vo. Map and foldouts. Decorated cloth, foxing in places.
R 2 300 - R 5 000 57 Landwehr, John
VOC: A BIBLIOGRAPHY OF PUBLICATIONS RELATING TO THE DUTCH EAST INDIA COMPANY 1602 - 1800 Utrecht: H. E. S. Publishers, 1991 First edition. Heavy 4to. Cloth in mint dustjacket, in fine unread condition.
R 1 500 - R 2 000 58 Little, James Stanley
SOUTH AFRICA: A SKETCH BOOK OF MEN, MANNERS AND FACTS London: Swan Sonnenschein, Lowrey & Co., 1887 Second edition in one volume. 8vo. Cloth, wear to top and bottom edges of spine.
R 2 000 - R 3 000 20
Journal 1662 - 1670, 1901, cloth 1671 - 1674 and 76, 1902, cloth Letters despatched from the Cape 1652 - 62, Vol II, 1900, paper covers and 1652 - 1662, Vol. 1, 1900, cloth 1715 - 1806 Vol. 1 A - E, 1905; Vol. 2 F - O, 1906, both cloth Letters and Documents Received 1649 - 1662, 1899, loose in poor paper covers Riebeecks Journal 1659 - 1662, Part III, 1897. 8vo. A number of the books have the signature of P. S. Nienaber, the Afrikaans academic, on the endpaper. (8)
R 2 200 - R 3 500 60 Long, Mrs Walter H. C.
PEACE AND WAR IN THE TRANSVAAL: AN ACCOUNT OF THE DEFENCE OF FORT MARY LYDENBERG London: Sampson Low, Marston, Searle & Rivington, 1882 First edition. Small 8vo. B/w frontis. Decorated cloth, inscription on front free endpaper.
R 3 000 - R 4 000 61 Lucas, Thomas J.
THE ZULUS AND THE BRITISH FRONTIERS London: Chapman and Hall, 1879 First edition. 8vo. Pictorial cloth with water stains and damage to cover board edges, slight foxing to front endpaper, internally very good. A very scarce work.
R 1 500 - R 2 000 62 Mackenzie, Capt. T. A. (Compiler and Editor) & two others
HISTORICAL RECORDS OF THE 79TH QUEEN’S OWN CAMERON HIGHLANDERS London: Hamilton, Adams & Co., 1887 First edition. 8vo. 12 photogravures and col. frontis. Decorated cloth with regimental badge of the 79th Queen’s Own Cameron Highlander, marbled endpapers, gilt edges.
R 2 500 - R 4 000
London: Lawrence & Bullen Ltd, 1904 – 1908 First edition. 29,5 by 39cm. With plates in colour and numerous other illustrations selected by the author. Half leather with banded decorated spines. A very good set. Water splash stain on cover board of Vol. 1. Vol. 1: The Age of Oak, 1904 Vol. 2: The Age of Walnut, 1905 Vol. 3: The Age of Mahogany, 1906 Vol. 4: The Age of Satinwood, 1908. (4)
R 3 000 - R 4 000 64 Mason, Hilda (Illustrator)
WESTERN CAPE SANDVELD FLOWERS Cape Town: C. Struik (Pty) Ltd, 1972 First edition. 8vo. Col. & b/w illustrations. Full green leather, insect hole at bottom of front endpaper and two miniscule insect scars.
R 1 500 - R 2 000 65 Meurant, The Hon. L. H.
SIXTY YEARS AGO OR REMINISCENCES OF THE STRUGGLE FOR THE FREEDOM OF THE PRESS IN SOUTH AFRICA Cape Town: Saul Solomon, 1885 First edition. 8vo. Cloth, internal hinge split, small stain on front cover board. Also covered is the establishment of the first newspaper in the Eastern Province.
R 1 800 - R 3 000 66 Millais, John Guille
GAME BIRDS AND SHOOTING SKETCHES London: Henry Sotheran & Co., 1892 First edition. 32,5 by 40cm. Coloured plates, autotypes and woodcuts all in good bright condition. Half leather in excellent condition, pebbled red cloth cover boards, bookplate of Arthur W. Nicholson. Slight foxing to prelims.
R 6 500 - R 10 000 67 Mossop, George
RUNNING THE GAUNTLET London: Thomas Nelson & Sons Ltd, 1937 First edition. 8vo. Cloth, a little grubby, very unusual to find in original yellow cloth.
R 3 000 - R 4 000
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BOOKS 68 Moodie, D. C. F.
72 Rice, E. G. & Compton, R. H.
76 Squire, S. & Others
THE HISTORY OF THE BATTLES AND ADVENTURES OF THE BRITISH, THE BOERS AND THE ZULUS ETC IN SOUTHERN AFRICA TO 1880, 2 Vols
WILD FLOWERS OF THE CAPE OF GOOD HOPE
THE PORT ELIZABETH CORONATION SOUVENIR
Newlands: The Botanical Society of South Africa, 1951 First edition de luxe. Limited to 500 copies of which this is No. 53. Signed by Rice (the artist) and Compton (the author) on a special large certificate on the front endpaper. 4to. Col. illustrations in profusion. Full leather, age browning to extreme edge of front endpaper and very slight initial foxing.
Port Elizabeth: Westaway and Duncan, 1902 First edition. 4to. Approximately 120 pages of b/w photographs, including groups, people and places with some trade advertisements, plus a section of Uitenhage. Original decorated card cover boards in bright condition.
R 1 500 - R 2 200
77 Stevenson, Michael (Editor)
Cape Town: Murray & St Leger, 1888 Revised edition, first South African printing. 8vo. B/w illustrations plus additional unlisted illustrations p62, 231, 414 and 457. Map in colour. Decorated, blindstamped red brick cloth with slight wear, slight foxing to frontis and title page and borders of some illustrations. (2)
R 3 500 - R 4 000 69 Paske-Smith, M
WESTERN BARBARIANS IN JAPAN AND FORMOSA IN TOKUGAWA DAYS 1603 - 1868 Japan: J. L. Thompson & Co., 1930 First edition. 4to. Col. illustrations and foldouts with cloth covered pocket at back of book containing 3 large folded supplements. Patterned cloth with simulated wooden tape spine, internal hinge split at front developing.
R 1 500 - R 2 220 70 Pole-Evans, I. B. (Editor)
THE FLOWERING PLANTS OF SOUTH AFRICA, 49 Vols London and Johannesburg: L. Reeve & Co Ltd and Speciality Press of South Africa Ltd and subsequent publishers until 1990 First edition. 8vo. Col. & b/w illustrations. Note that the first 25 volumes contain hand-coloured illustrations of flowers. All 49 vols uniformly bound in green with gold ruled lines on titled spines. A very handsome set, seldom found all uniformly bound. In fine unread condition. (49)
R 18 000 - R 30 000 71 Rattray, David
A SOLDIER ARTIST IN ZULULAND: WILLIAM WHITELOCKE LLOYD AND THE ANGLO-ZULU WAR OF 1879 Fugitives Drift: Rattray Publications, 2007 First edition. 31 by 32cm. Col. & b/w illustrations. Hardback in near mint dustjacket, limited print run. LOCK R. AND QUANTRILL, P. - The 1879 Zulu War Through the Eyes of the Illustrated London News, 2003. Rexine in mint dustjacket in fine unread condition. (2)
R 2 000 - R 2 500
73 Rowan, M.K.
THE DOVES, PARROTS, LOURIES AND CUCKOOS OF SOUTHERN AFRICA Cape Town: David Philip, 1983 First edition. 40 copies but 10 copies printed A1 to A10 bound in full leather, hand-numbered and signed by author as a limited presentation edition of which this is book number 9. 8vo. Col. & b/w illustrations. Full leather, banded spine.
R 1 800 - R 2 500 74 Shooter, Rev. Joseph
THE KAFIRS OF NATAL AND THE ZULU COUNTRY London: E. Stanford, 1857 First edition. 8vo. Woodcuts and four tinted lithograph plates. Half leather with scuffing to leather at edges, foxing to illustrations and pages next to plates.
R 2 500 - R 3 000 75 Skotnes, Pippa
WHITE WAGONS: A PORTFOLIO OF ETCHINGS Cape Town: Axeage Private Press, 1993 Edition limited to 25 copies. This is No.16 of 25. Signed and numbered by artist in pencil. 66 by 50cm. Five artist’s proofs of The Hietshware - Eastern Khoe Bushmen. In large cloth covered hinged box with a Bushman’s painting of a Boer horseman in relief applied to the cloth. Water stain to cloth covered box that does not affect the contents. Accompanied by a Hietshware text recorded by The Rev. S. S. Dornan in 1909 entitled “What we thought of the White Man’s Wagons”. Skotnes received the Standard Bank Young Artist Award at the Standard Bank National Arts Festival in 1993.
R 5 000 - R 10 000
R 1 600 - R 2 500
THOMAS BAINES: AN ARTIST IN THE SERVICE OF SCIENCE IN SOUTHERN AFRICA London: Christies, 1999 First edition. 4to. Col. illustrations in profusion. Cloth.
R 1 500 - R 1 800 78 Stow, George. W.
THE NATIVE RACES OF SOUTH AFRICA Cape Town: C. Struik, 1964 Facsimile of the first edition specially produced in deluxe binding. No. 75 of 75, copies so produced. A further 675 were produced in ordinary cloth binding. 4to. Col. & b/w illustrations. Half leather.
R 1 500 - R 2 000 79 Timlin, William M.
THE SHIP THAT SAILED TO MARS: A FANTASY London: George Harrap & Co. Ltd, 1923 First edition. 4to. Col. plates. Parchment spine slightly age-browned, a few pages have blemishes to extreme edges of plate mounts and slight wear. A small hole to bottom corner of first three pages. Wear to corners of cover boards. A nice clean copy with no foxing to plates.
R 6 000 - R 10 000 80 Timmins, Howard
TRETCHIKOFF Cape Town: Howard Timmins, 1969 First edition. 38 by 49cm. Col. plates with loose col. print with old folds to extreme bottom edge. Cloth, gold pictorial dustjacket with scuffing to dustjacket edges, insect scarring to rear endpapers. Cape Town Festival Edition.
R 2 500 - R 3 500
21
S| 1 81 Turner, L. C. F. and two others
85 Various
89 Wallis, J. P. R.
WAR IN THE SOUTHERN OCEANS, 1939 - 45
THE CAPE TOWN MIRROR FROM SEPTEMBER 1848 TO JUNE 1849
THOMAS BAINES: HIS LIFE AND EXPLORATIONS IN SOUTH AFRICA, RHODESIA AND AUSTRALIA
Cape Town: Oxford University Press, 1961 First edition. Large 8vo. B/w illustrations and foldout maps with slight wear to bottom of maps edges. Cloth in very good dustjacket protected by hard plastic sleeve, lacking front endpaper, spotting to title page. and a New Testament with specially carved cedar wood cover boards, from the Lebanon, as issued to South African soldiers by the S. A. Gifts and Comfort’s Fund, Christmas 1943. Slight initial foxing. (2)
R 1 500 - R 2 000
Cape Town: J. H. Collard, 1849 First edition. Complete in one volume. 4to. Notices, news and articles concerning Cape Town. A very rare publication. Half leather with slight wear to top and bottom edges of banded spine. Signature of Thomas Bowler? on title page.
R 5 000 - R 10 000 86 Various
THE RHODESIAN COLLECTION
Cape Town: A. A. Balkema, 1976 First edition deluxe. Signed by F. R. Bradlow. No. 120 of 200. Oblong 4to. Col. & b/w illustrations. Half leather with marbled boards.
R 1 500 - R 2 000 90 Walton, James
HOMESTEADS AND VILLAGES OF SOUTH AFRICA
Cape Town: Purnell, 1977 – 1988 First edition. 4to. Col. & b/w illustrations in profusion. Hardback, in very good dustjackets. Slight wear to edge of dustjacket of Vol. 2. (3)
SMITH, IAN - The Great Betrayal: The Memoirs of Africa’s Most Controversial Leader with warm inscription by the author and signed by him. Very good dustjacket DALY, LT COL RON & STIFF, PETER - Selous Scouts Top Secret War, first edition, signed by both Daly and Stiff on the title page, in very good dustjacket GLEDHILL, DICK - One Commando: Rhodesia Last Years & The Guerrilla War it Never Lost, signed by the author, 1997, softback, in unread condition. (3)
R 3 000 - R 4 000
R 1 600 - R 1 800
91 Thatcher, Fred
83 Various
87 Vingboons, J.
BULAWAYO CHRONICLE CHRISTMAS NUMBER 1901
VINGBOONS ATLAS
COLLECTION OF SIGNED FRAMED PHOTOGRAPHS OF FILM STARS AND ACTORS THAT WERE INSCRIBED AND GIFTED TO FRED THATCHER
82 van der Walt, J. J. A.
PELARGONIUMS OF SOUTHERN AFRICA, PARTS 1, 2 & 3, 3 Vols
Bulawayo: Argus Co., 1901 First edition. 31,5 by 50cm. B/w illustrations and photographs in profusion and text, col. frontis, period trade advertisements. Original pictorial card covers, with a bit of foxing, bound in, full leather with titled spine.
Haarlem: Fibula - van Dishoek, 1981 1981 facsimile reprint of 1660 edition. This edition limited to 1000 copies. Elephant folio. Col. plates of places and maps in colour with soft cover booklet of commentary in pocket, foldouts. 107 plates and maps. Full leather blindstamped and titled cover boards in fine unread condition.
R 2 500 - R 4 000
R 2 400 - R 5 000
84 Various
88 Voss, Capt. Vivian
THE CAPE TOWN GAZETTE AND AFRICAN ADVERTISER
THE STORY OF NO. 1 SQUADRON SAAF
Cape Town: The Cape Town Gazette, 1821 First edition. 28 by 45cm. Text. Half leather with bookplate of R. F. Thorold and I. & F. W. Hosken. A complete run from No. 782 of 6 January 1821 to 29 December 1821, No. 833.
R 4 000 - R 6 000
22
BOOKS
Cape Town: Mercantile Atlas (Pty) Ltd, 1952 First edition. 8vo. B/w illustrations. Original dark cloth, owner’s stamp on front endpaper. The rarest of all SAAF Squadron histories for World War II.
R 1 500 - R 2 000
Pretoria: J. L. van Schaik Ltd, 1952 First limited deluxe edition. Limited to 200 copies, this being 11 of 200 signed and numbered by Walton on reverse of title page. 4to. B/w illustrations and photographs in profusion. Half leather in very good condition, small sello tape stain on endpapers.
R 1 500 - R 1 800
Miscellaneous
Various framed, inscribed and signed photographs of Olivia de Havilland, Ginger Rogers, Lana Turner, Bette Davis, Marlene Dietrich with signed poster as she appeared on the show “The Flame of New Orleans”, Hedy Lamarr, Joan Crawford, Maureen O’Hara, Claudette Colbert, Charles Boyer, Fred Thatcher with newspaper clippings of the Scallywag featuring Fred Thatcher. (Qty)
R 6 800 - R 13 600 92 Anon
SOUTH AFRICA: LAND OF WILD LIFE LAND OF ROMANCE - LAND OF SUNSHINE - SOUTH AFRICA LAND OF CONTRAST Leiden: Government of the Union of South Africa, circa 1960 Poster First edition. 101 by 61cm. Appropriately framed. With certificate of authenticity from Antikbar.
R 10 000 - R 20 000
BOOKS
93 Anon
FLY BOAC (TO) SOUTH AFRICA UK: BOAC, 1953 First edition. 51 by 77cm. A brightly painted rendering of a Durban Ricksha. Laid down on canvas. With certificate of authenticity from Antikbar.
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British Overseas Airways Corporation (BOAC) Created in 1940, the British Overseas Airways Corporation (BOAC) was Britain’s state-owned airline. It came into existence with the merger of Imperial Airways and British Airways Ltd merged. It was the first airline to introduce a passenger jet into service. However, in 1972 BOAC and British European Airways (BEA) merged to form British Airways, as we know it today. Had it not merged with BEA, BOAC would have become one of the first to operate the iconic Concorde.
ILLUSTRATED
R 25 000 - R 35 000 No lots 94 – 100
23
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SESSION 1 HIGHLIGHTS
BOOKS
LOT 24
LOT 47
LOT 85 LOT 66
24
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RUGS, CARPETS AND RUNNERS CARPETS, RUGS AND RUNNERS 101
106
110
A YAMUT TURKOMAN DOOR RUG, “EUGSI”,
A SENNE RUG, WEST PERSIA, CIRCA 1940
A TURKISH SILK PRAYER RUG, MODERN
TURKMENISTAN, CIRCA 1880
the deep indigo-blue field with a stepped red medallion and “gul”, all with the “herati” pattern, within a red palmette border condition: fair, ends fraying 144 by 113cm
the burgundy-red “mehrab” with a onedirectional vase flower design amongst birds depicted in pale blue-green, walnut and rose twin columns, rose floral spandrels within a cinnamon palmette, vine and arabesque border, one inner and two outer guardstripes condition: good 93 by 64cm
the madder field divided into four panels by means of a cross, each containing diagonally arranged flowerheads depicted in red, black, ivory and rose within a madder “gul” border, three inner and four outer guardstripes, madder red end panels with stylised trees condition: good 185 by 123cm
R 10 000 - R 15 000 102 A RARE KERMAN HORSE COVER, SOUTH EAST PERSIA, LATE 19TH CENTURY
the dark indigo-blue field with an ascending vase flower design in multicolours, within a rosette and leaf border, single guardstripe condition: good 120 by 105cm
R 8 000 - R 12 000 103 A SOUMAK FLATWEAVE CARPET, EAST CAUCASUS, CIRCA 1900
the red field with three blue and red stylised medallions, all with multicoloured “guls” and floral devices, within a blue “wave” border, single guardstripe condition: good 191 by 141cm
R 10 000 - R 15 000 104 NO LOT 105 A SENNE RUG, WEST PERSIA, CIRCA 1940
the plain red field with three stepped diamond medallions in blue and ivory, dark blue spandrels, all with the “herati” pattern within a red floral border, single guardstripe condition: fair, some minor wear, ends fraying 146 by 110cm
R 3 000 - R 4 500
R 3 000 - R 4 500 107 A SENNE-KURD CARPET, PERSIA, MODERN
R 8 000 - R 12 000
the orange field with a floral ivory and blue medallion, similar spandrels all with an overall polychrome “herati” pattern within a dark blue palmette, vine and leaf border, two inner and three outer guardstripes condition: good 293 by 196cm
111
R 6 000 - R 9 000
R 4 000 - R 6 000
108
112
AN INDO-PERSIAN CARPET, MODERN
AN ISPHAHAN RUG, PERSIA, CIRCA 1960
the red field with three rows of four beige and red “guls” and side “guls” within a plain outer beige border condition: good 277 by 205cm
the ivory field with a terracotta round floral medallion, all with polychrome flowering vines ending in palmettes and leaves, within a similar madder border, single guardstripe condition: fair, ends fraying 206 by 141cm
R 6 000 - R 8 000 109 A QUM SILK PRAYER RUG, PERSIA, MODERN
the pale turquoise “mehrab” with a multicoloured ascending flowering tree, perching birds, twin columns, with cinnamon floral spandrels, the gold border with blossoming shrubs, one inner and two outer guardstripes condition: fair, faded, stained 155 by 105cm
R 4 000 - R 6 000
A CHINESE SILK RUG, MODERN
the ivory field with birds and flowering trees within a plain petrol-colour border condition: good 153 by 92cm
R 3 000 - R 4 500 113 AN INDO-PERSIAN RUNNER, MODERN
the madder field with three ivory diamond medallions each containing a similar red medallion, all with multicoloured small floral devices within a red rosette border, single guardstripe condition: good 398 by 73cm
R 4 000 - R 6 000 114 A KESHAN CARPET, PERSIA, MODERN
the deep indigo-blue field with overall multicoloured palmettes, leaves and vines within a similar border condition: good 400 by 310cm
R 15 000 - R 20 000
25
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RUGS, CARPETS AND RUNNERS
115 A KHOROSSAN CARPET, PERSIA, MODERN
the blue field with a pale blue and gold floral star medallion, similar spandrels, all with polychrome scrolling vines with flowerheads and leaves, within a similar blue border, two inner and three outer guardstripes condition: good 512 by 330cm ILLUSTRATED
R 28 000 - R 38 000
26
The Khorassan region is located in North-Eastern Persia and has long been famed for its fine antique rugs, which go back to Timurid times in the late Middle Ages. The range of designs is extensive, from all over to medallion formats in the classical tradition. The palette is varied as well, sometimes using deep, rich tones. But many antique Khorassan rugs from Persia have a softer, more decorative coloration. Whatever the design or colour, however, Khorassan rugs maintain a high standard of drawing and weaving technique, making them durable despite their soft lustrous wool. Source: https://nazmiyalantiquerugs.com/antique/persian/khorassan/
RUGS, CARPETS AND RUNNERS
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116 A MOUD CARPET, EAST PERSIA, MODERN
the ivory field with diagonally arranged “botehs� depicted in blue, red, gold and ivory, within an ivory floral border, single guardstripe condition: fair 420 by 315cm ILLUSTRATED
Moud is a village to the southeast of Birjand in east Iran. Well respected, Moud rugs are amongst the most beautiful and detailed carpets made in Iran. They have the unique characteristic for a carpet that has a busy pattern of making a room appear bigger by giving it more depth. Based on cotton, with a soft, fine woollen pile, Moud designs are fairly distinctive. They traditionally feature a sunflower medallion in the centre with intricate curvilinear or floral patterns in the field. Moud rugs tend to be medium to large in size. The colours used vary between powerful blues, dark reds and brown normally with a contrasting ivory background. Moud produce some of the best looking carpets on the market, the quality is invariably high and as a general rule the higher the knot count, the better.
R 20 000 - R 30 000 Source: https://www.little-persia.com/rug-guides/rug-origins/mood
27
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117
120
123
A TABRIZ CARPET, MODERN
A KURDI CARPET, WEST PERSIA, MODERN
AN ISPAHAN PICTORIAL RUG, PERSIA, MODERN
the red field with an overall design of multicoloured palmettes, vines and leaves within a similar blue border, three inner and four outer guardstripes condition: good 390 by 300cm
the madder-red field with an ivory and blue floral medallion, similar spandrels, all with the multicoloured “herati” pattern within a dark blue palmette vine and leaf border condition: good 291 by 196cm
the field with meditating figures within a black tree and animal border, one inner and two outer guardstripes, inscription cartouche condition: good 165 by 106cm
R 15 000 - R 20 000
R 5 000 - R 7 000
118
121
A TABRIZ CARPET, NORTH WEST PERSIA,
A KHOROSSAN CARPET, PERSIA, MODERN
MODERN
the deep indigo-blue field with an ivory floral star medallion, similar spandrels all with flowering vines, leaves and arabesques within a dark-blue cartouche border, twin guardstripes condition: good 395 by 290cm
the dark blue field with an ivory and cinnamon floral medallion, sky-blue spandrels, all with polychrome stylised trees, vines and palmettes within a sky-blue similar border, one inner and two outer guardstripes condition: fair 340 by 257cm
R 15 000 - R 20 000
R 6 000 - R 8 000
119 AN ISPAHAN CARPET, PERSIA, MODERN
the red field with an overall design of multicoloured scrolling vines and arabesques, within an ivory palmette border, three inner and outer guardstripes condition: fair, minor wear 313 by 210cm
R 20 000 - R 30 000
28
RUGS, CARPETS AND RUNNERS
122 A HEREKE SILK AND METAL RUG, TURKEY, MODERN
the embossed field with an ascending design of multicoloured flowering trees and perching birds within a similar border, single guardstripe condition: good 145 by 98cm
R 12 000 - R 16 000
R 10 000 - R 15 000 124 AN ISPAHAN PICTORIAL RUG, PERSIA, MODERN
the field with meditating figures within a brown cartouche border with birds, one inner and two outer guardstripes, inscription cartouche condition: good 151 by 108cm
R 10 000 - R 15 000
No lots 125 – 130
CLOCKS
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CLOCKS 131 A FRENCH ORMOLU MANTEL CLOCK, 19TH CENTURY
the 10,5cm gold dial with raised enamel Roman hour numerals, the bell striking movement, the back plate inscribed Breguet A Paris, numbered 1641, Raingo Frères medal, the dial surmounted by a floral wreath surrounded by scrolling foliage, a pair of figures engaging in front of a pierced panel on a scrolling and pierced plinth base 50cm high
Reputable French clockmakers often tended to the King’s extravagant needs and Zacharie Joseph Raingo made no exception, having made a planetarium clock for George IV of England in 1824. Zacharie established Raingo Frères, a renowned clock company and received the title of the “supplier of the King of France”. The company was widely celebrated for their Rococo-style gold plating and elaborate designs, so much so that Emperor Napoleon III and his wife furnished their homes with many of their craftworks. A select few of said pieces are featured in The Louvre in Paris.
ILLUSTRATED
R 30 000 - R 50 000
29
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CLOCKS
132 AN ENGLISH MAHOGANY MUSICAL LONGCASE CLOCK, JOHN RONSON, STEVENAGE. 19TH CENTURY
The 28,5cm dial with Arabic minutes and Roman hour numerals, inscribed John Ronson, Stevenage in the arch, spandrels to the corners, Westminster chime on each quarter hour on either eight or four bells, striking the full hour on a spiral gong, the arched hood surmounted by brass spires, a glazed door below flanked by reeded columns, glazed sides, the trunk centred by a panelled door with a shell patera, on a panelled plinth base with conforming patera, on bracket feet, stringing throughout, distress 251cm high ILLUSTRATED
R 35 000 - R 55 000
30
CLOCKS
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133 A DUTCH WALNUT LONGCASE CLOCK, CORNELiS DE RUIJGE, AMSTERDAM, CIRCA 1750
the 30cm silver chapter ring signed Cornelis De Ruijge, Amsterdam, the brass scroll engraved centre with seconds dial, calendar aperture and sector for day of the week, the spandrels applied with brass figures depicting the four seasons, a moon dial in the arch, the movement with anchor escapement, striking the hours on a large bell and at the half, the following hour, on a small bell, the quarters indicated by a single blow, the case with elaborate caddy cresting inset with frets, surmounted by later giltwood figures of Atlas flanked by angels, brass-capped hood pilasters, the trunk with door shaped at the top, inset with a Father Time lenticel, bombĂŠ plinth with paw feet, restorations 281cm high ILLUSTRATED
R 85 000 - R 125 000
31
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CLOCKS
134
135
AN ENGLISH EIGHT-DAY BRASS CARRIAGE CLOCK, CHARLES
AN ENGLISH SILVER PRINCE OF WALES MINIATURE CARRIAGE
FRODSHAM, LONDON, EARLY 20TH CENTURY
CLOCK, CHARLES FRODSHAM, LONDON, CIRCA 1930
the 5cm circular white enamelled dial with Roman hour numerals, inscribed Charles Frodsham, London, within a fretwork mask, the four pillar anchor movement, the five glass case divided by reeded columns surmounted by finials on flat bun feet, shaped handle, restoration 13,5cm high excluding handle
the 3,5 by 5cm rectangular white enamel dial with Roman hour numerals, inscribed Chas Frodsham, London, eight-day anchor movement, the five glass case divided by caryatid uprights to the corners within leaf borders, on bracket feet, numbered 8689, shaped handle centred by Prince of Wales crest 8,5cm high excluding handle
R 4 000 - R 6 000
R 4 000 - R 6 000 No lots 136 – 140
32
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FURNITURE
ENGLISH FURNITURE 141
143
145
A GEORGE III MAHOGANY CORNER CUPBOARD
A GEORGE III MAHOGANY AND INLAID BOW
A GEORGE III MAHOGANY HANGING CORNER
the outswept moulded cornice above a plain frieze, a panelled door below, on a plinth base, on turned feet 157cm high, 78cm wide, 48cm deep
FRONT SIDEBOARD
CUPBOARD
the plain top above a plain frieze, a pair of graduating drawers below flanked by a pair of doors, each enclosing a compartment, on square-section tapering legs, on spade feet, stringing throughout 92cm high, 152,5cm wide, 57cm deep
the outswept moulded cornice above a dentil frieze, an astragal glazed door below enclosing three shelves, on a moulded plinth base 104cm high, 81cm wide, 45cm deep
R 6 000 - R 9 000 142 A GEORGE III MAHOGANY DEMI-LUNE TABLE
R 4 000 - R 6 000
the top above a plain frieze, on square-section tapering legs 72,5cm high, 129cm wide, 63cm deep
144
R 4 000 - R 6 000
the shaped, pierced and carved top rail above a pierced and carved splat between carved supports, curved scrolling arms on carved shaped supports, stuff-over seat on carved cabriole legs, on claw-and-ball feet
A GEORGE III MAHOGANY ARMCHAIR
R 2 500 - R 3 500
R 4 000 - R 6 000 146 A VICTORIAN MAHOGANY POLE FIRE SCREEN
the square tapestry within a conforming frame surmounted by a pierced scrolled cresting, the pole surmounted by a spiral-turned finial, on a turned support, on three hipped outswept legs, on pad feet 143cm high
R 1 500 - R 2 000
33
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147 A WILLIAM IV MAHOGANY AND INLAID CYLINDER BUREAU
the rectangular top surmounted by a pierced brass three-quarter gallery above three short frieze drawers, the cylinder enclosing a gilt-tooled leather inset writing slide and compartments in sizes, a pair of short drawers below, shaped apron on turned, tapering gadrooned legs, on castors 116cm high, 118cm wide, 56,5cm deep ILLUSTRATED
R 10 000 - R 14 000 34
FURNITURE
FURNITURE
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148 A THUYA BURL MIRROR-BACKED AND GILTMETAL MOUNTED CABINET, 19TH CENTURY
the arched bevelled plate within a conforming frame centred by a scrolled and foliate cresting, surmounted by finials, the shaped top above a pair of glazed doors enclosing a compartment, flanked by curved inlaid doors each enclosing a compartment, on restrained cabriole sabot mounted legs, joined by a shelf stretcher 202cm high, 144cm wide, 43cm deep ILLUSTRATED
R 20 000 - R 30 000
35
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FURNITURE
ORIENTAL FURNITURE 149
153
162
A ROLL-TOP DESK, LATE 19TH CENTURY
A VICTORIAN-STYLE MAHOGANY WRITING
A CHINESE TEN-PANEL FRUITWOOD SCREEN,
the rounded rectangular top above a tambour door enclosing drawers and compartments, in sizes, each pedestal comprising four drawers, on a plinth base, brass maker’s label “ANGUS, LONDON” 126cm high, 137cm wide, 84cm deep
TABLE
QING DYNASTY
the rectangular top with gilt-tooled leather inset writing surface, a pair of short frieze drawers below, on turned tapering legs on castors, restorations 80cm high, 152cm wide, 91cm deep
R 5 000 - R 8 000
each pierced geometric panel below a carved cartouche, three panelled cartouches below, restorations 306cm high, 68cm wide, 680cm fully extended (10)
R 6 000 - R 9 000
ILLUSTRATED
150
154
A VICTORIAN MAHOGANY CABINET
A VICTORIAN MAHOGANY BOOKCASE
the shaped moulded rectangular top above a moulded frieze, a glazed panelled door below enclosing a shelf, panelled sides, on a plinth base, on flattened bun feet 126cm high, 137cm wide, 84cm deep
R 3 000 - R 5 000 151 A SET OF TEN VICTORIAN WALNUT BUSTLEBACK SIDE CHAIRS
each moulded top and bottom rail on squaresection supports, stuff-over seat, on upturned baluster legs (10)
R 8 000 - R 12 000 152 A MAHOGANY AND BRASS-BOUND CAMPAIGN DESK, 20TH CENTURY
the rectangular top with an inset leather writing surface above a pair of frieze drawers, the sides with opposing dummy drawers, on folding legs, square-section trestles joined by side stretchers, restorations 80,5cm high, 135,5cm wide, 59cm deep
R 10 000 - R 15 000
in two parts, the outswept moulded cornice above a pair of glazed doors flanked by corbels and enclosing two shelves, the lower section comprising a rectangular top above a long ogee drawer, a pair of arched panelled doors below enclosing a shelf, on a plinth base 190cm high, 104cm wide, 39cm deep
R 7 000 - R 10 000 155 - 159 no lot
SOUTH AFRICAN FURNITURE 160
CONTINENTAL FURNITURE 163 A DUTCH ROSEWOOD AND EBONY 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
R 40 000 - R 60 000 164 AN ITALIAN ROSEWOOD AND INLAID
A CAPE PAINTED PINE WAKIS, 19TH CENTURY
COMMODE, 18TH CENTURY AND LATER
the hinged rectangular top enclosing a compartment, the front panel decorated with stylised leaves, on a plinth base 38cm high, 101cm wide, 40cm deep
the rectangular inlaid top with canted corners above three graduating drawers, on later restrained cabriole legs, restorations 97cm high, 132cm wide, 60cm deep
R 3 000 - R 5 000
R 35 000 - R 55 000
20TH CENTURY CONTEMPORARY DESIGN
165
161 A DANISH ROSEWOOD EXTENDING DINING TABLE, FRANCE & SON, MID 1960’s
each D-end on turned tapering legs, two leaf insertions, manufacturer’s label 71,5cm high, 114cm wide, 242cm fully extended
R 25 000 - R 35 000
36
R 30 000 - R 45 000
A BENTWOOD ROCKER, DESIGNED BY MICHAEL THONET, MANUFACTURED BY SALVATORE LEONE, MODENA, ITALY, CIRCA 1900
the padded oval back between scrolled supports, curved arms, padded drop in seat, on scrolling supports, on rockers
R 6 000 - R 9 000
FURNITURE
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166 A NORTH ITALIAN WALNUT-VENEERED, OLIVEWOOD AND MARQUETRY BUREAU PLAT, 18TH CENTURY
the rectangular crossbanded quarter-veneered top centred by an inlaid patera, a central quarter-veneered crossbanded cockbeaded frieze drawer flanked by a pair of short quarterveneered crossbanded cockbeaded frieze drawers below, opposing quarter-veneered crossbanded cockbeaded panels, the sides similarly inlaid to the top above shaped aprons, on square-section tapering legs, distress, restorations 82cm high, 135cm wide, 68cm deep PROVENANCE By descent to the current owner
ILLUSTRATED
R 100 000 - R 200 000
37
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FURNITURE
COLONIAL FURNITURE 167
168
A TEAK AND EBONY CHEST-OF-DRAWERS ON STAND,
AN EBONY BENCH, 19TH CENTURY
LATE18TH/EARLY 19TH CENTURY
the shaped, foliate carved top, mid and bottom rails joined by turned spindles and surmounted by finials, caned seat between curved, carved and scrolling arms, foliate-carved apron on barley twist legs, on bun feet joined by a barley twist box stretcher 112cm long
the rectangular top above two linen-fold drawers, shaped apron, on barley-twist legs, on flat bun feet joined by a wavy x-stretcher 93cm high, 82cm wide, 47,5cm deep ILLUSTRATED
R 8 000 - R 12 000
R 8 000 - R 12 000
No lots 169 – 170
167
38
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SESSION 1 HIGHLIGHTS
FURNITURE
LOT 151
LOT 149
LOT 152 LOT 168
39
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DECORATIVE ARTS | VINTAGE FASHION SILVER TUESDAY | 28 MARCH 2017 | 14H00 | LOTS 171 - 300
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DECORATIVE ARTS
EUROPEAN & ENGLISH CERAMICS 171
175
178
A MINTON ‘’HADDON HALL’’ PATTERN PART
A ROYAL DOULTON ‘’MINDEN’’ PATTERN PART
A COPELAND SPODE PART DINNER SERVICE,
COFFEE SERVICE, 1948 - 2011
TEA SERVICE, 1933 – 1959
20th CENTURY
designed by John Wadsworth in 1948, each printed with intricate and colourful floral sprays against a white ground with green rim, comprising: 6 teacups, 6 saucers, 6 cake plates, 3 oversized cups with 3 saucers, a coffee pot and lid, an open sugar bowl, a cake plate and a pitcher, printed factory mark the cake plate 27cm over handles (28)
each with floral design against a crème ground, comprising: 8 teacups, 12 saucers, 12 side plates, a cake plate and an open sugar bowl, printed factory mark the cake plate 25,5cm over handles (34)
each with crème band and gilt highlights against a white centre, comprising: 10 dinner plates, 10 fish plates, 8 crescent salad plates, 8 soup bowls, 10 teacups, 10 saucers, 9 side plates, 7 footed dessert bowls, printed factory mark (72)
R 2 000 - R 3 000
R 6 000 - R 9 000
176
179
A ROYAL DOULTON ‘’ENGLISH ROSE’’ PATTERN
A SAMSON ARMORIAL OWL-SHAPED JAR &
PART DINNER SERVICE, 1939 - 1963
COVER, LATE 19th CENTURY
each printed with pink and yellow roses, blue daisies and green leaves with brown border, against a crème ground and gilt scalloped edging, comprising: 12 dinner plates, 12 side plates, 12 soup bowls, 12 dessert bowls, 2 platters in sizes, 4 round vegetable bowls with 2 covers and a gravy boat with under plate, printed factory mark, some loss to gilding the largest platter 34cm wide (55)
moulded and painted with a crest amongst pink and purple floral sprays and gilding, hairline crack to base, painted factory mark 23cm high
R 2 500 - R 3 500 172 A CARLTON WARE PART COFFEE SERVICE, 20th CENTURY
each hand painted with purple flowers and gilding against a lilac ground, comprising: a coffee pot, 4 cups, 4 saucers, a milk jug and sugar bowl, printed maker’s mark the coffee pot 19cm high (11)
R 1 500 - R 2 000 173 A JOHANN HAVILAND ‘’UNDINE’’ PATTERN PART DINNER SERVICE, 20th CENTURY
each with transfer printed grey ferns and flowers against a white ground with gilding, comprising: 6 dinner plates, 6 soup bowls, 6 fish plates, 6 side plates, 6 dessert bowls, 2 oval platters, a vegetable bowl, 2 tureens with covers, a gravy boat with attached under plate, 6 teacups, 6 saucers, a coffee pot with lid, a sugar bowl with cover and a milk jug, printed factory mark the largest platter 37cm wide (51)
R 4 000 - R 6 000 174 A HUTSCHENREUTHER ‘’LORELEI-LORLEY’’ PATTERN PART DINNER SERVICE, 1972 – 1984
each with grey filigree and gilding against a white ground with scalloped edges, comprising: 6 dinner plates, 6 fish plates, 6 side plates, 6 consommé cups and 6 saucers, 6 dessert bowls, 2 oval platters, 2 tureens with covers, a gravy boat with attached under plate, a vegetable bowl, 6 cups, 6 saucers, a coffee pot with lid, a cake plate, a sugar bowl with cover, printed factory mark the cake plate 31cm over handles (57)
R 4 000 - R 6 000
42
R 6 000 - R 9 000 177 A JOHNSON BROS PART DINNER SERVICE, 20th CENTURY
each with a band of gilt filigree trim and maroon rim against a crème ground, comprising: 12 dinner plates, 11 fish plates, 12 side plates, 12 dessert bowls, 10 consommé cups and 12 saucers, 4 platters in sizes, 2 vegetable bowls, 2 tureens and a cover, a gravy boat with under plate, 11 teacups, 12 saucers, 12 side plates, 2 milk jugs, 2 sugar bowls, and 2 cake plates, printed factory mark the cake plates 26,5cm over handles (120)
R 8 000 - R 12 000
R 3 000 - R 5 000 180 A CLARICE CLIFF ‘’SECRETS’’ PATTERN CONESHAPED SUGAR DREDGER, 1930s
painted with a river estuary next to a green hill topped by two brown-roofed cottages and a tree with green and yellow foliage, restoration to base, printed factory mark 13,5cm high
R 1 500 - R 2 000 181 A WILLIAM MOORCROFT ‘’SPRING FLOWERS’’ PATTERN VASE, CIRCA 1936
of tapering cylindrical form on a stepped base, the exterior painted with stylised flowers and freesias against a graduating dark blue ground, fading upwards, impressed factory mark and painted initials, POTTER TO HM THE QUEEN, crazing throughout 15,5cm high
R 3 000 - R 5 000
DECORATIVE ARTS
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182 AN ASSEMBLED COPELAND SPODE ‘’ITALIAN’’ PATTERN PART DINNER AND TEA SERVICE
older comprising: 5 dinner plates, 5 fish plates, 13 side plates, 8 soup bowls, 8 dessert bowls, a small tureen with lid and under plate, a vegetable dish, lacking cover, 2 platters in sizes, 6 teacups, 11 saucers, 5 demitasse cups, 8 saucers, 3 milk jugs in sizes, an open sugar bowl, 2 slop bowls, a teapot and lid, 2 cake plates in sizes and a saucer; newer comprising: 8 dinner plates, 3 fish plates, 3 dessert bowls, 7 flat demitasse cups, 7 saucers, a consommé cup and a saucer, crazing and some discolouration, printed factory mark; and A Large Royal Staffordshire ‘’Blue Willow’’ Pattern Platter, printed factory mark the largest platter measuring 37,5cm wide
The origin of the Italian Pattern has puzzled collectors for many years. It has been suggested that a travelling artist from Northern Europe made sketches of the scenes he encountered as he made his way through Italy. The ruin on the left might have been based on the Great Bath at Tivoli. The row of houses along the left bank of the river is similar to those of the Latium area near Umbria, north of Rome. And the castle in the distance is of a type which occurs only in Northern Italy in the regions of Piedmont and Lombardy. On his return home the sketches were combined into an attractive scene which later, Spode used and chose to call the Italian Pattern.
(114) ILLUSTRATED
R 10 000 - R 20 000
43
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DECORATIVE ARTS
184 183
183
184
A WILLIAM MOORCROFT FLAMBE ‘WISTERIA’ PATTERN TWIN
A WILLIAM MOORCROFT ‘LEAF AND FRUIT’ PATTERN VASE,
HANDLED VASE, CIRCA 1928
1928-1935
in shades of orange, red and purple, impressed factory mark and MADE IN ENGLAND, painted initials, some crazing 26,5cm high ILLUSTRATED
with elongated neck, in shades of yellow, green, russet and blue, impressed factory mark and MADE IN ENGLAND, painted initials 42,5cm high ILLUSTRATED
R 50 000 - R 75 000
R 50 000 - R 75 000
Flambé glazes, termed “sang-de-boeuf” or ‘Ox Blood’ in French were being used by the Chinese from as early as the 11th century. The effect was achieved by using copper oxide as a colouring agent and firing the object in a temperature reduced atmosphere. Although the Chinese continued using these glazes into the 18th century, European potters were not able to master the technique until the early 20th century. In 1919 William Moorcroft had a special kiln built and started experimenting with high-temperature flambé techniques, producing intense glazes with vibrant colours.
44
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DECORATIVE ARTS SOUTH AFRICAN CERAMICS
ORIENTAL CERAMICS
185
191
196
ANTON BOSCH (1958-): A LARGE
A CHINESE FAMILLE ROSE URN WITH COVER
STONEWARE VASE
A CHINESE FAMILLE ROSE PLATE,
the tapering baluster body painted with panels depicting figures at various pursuits, enclosed within scalloped borders amongst dense foliage, gilding, butterflies and Chinese knots, the domed cover similarly decorated, the finial in the form of a seated male shi-shi 51,5cm high
19th CENTURY
the hexagonal body in a tenmoku and dark turquoise glaze, decorated with panels of birds, foliage and spotted ground, signed 90cm high
R 5 500 - R 8 000 186 ANTON BOSCH (1958-): A LARGE STONEWARE VASE
the hexagonal body in a pale blue glaze against a stone ground, decorated with roses and birds above a combed pattern, signed 88,5cm high
R 5 500 - R 8 000 187 HYLTON NEL (1941-): A TIN-GLAZED EARTHENWARE PLATE
the centre painted with a stylised bird enclosed within a cross-hatched border against a crème ground, asymmetrical rim, painted signature H NEL 21cm diameter
R 1 500 - R 2 000 188 AYANDA MJI (1970-): MY ANGEL
a ceramic sculpture, signed and dated 2015 39cm high
R 7 000 - R 10 000 189 A GROUP OF LINNWARE POTTERY ITEMS,
R 8 000 - R 12 000 192 A CHINESE FAMILLE ROSE AND BLUE URN WITH COVER, QIANLONG (1736-1795)
the tapering baluster body painted with alternating panels depicting figures at various pursuits, flowers, birds and butterflies enclosed within scalloped borders between diaper and Greek key bands amongst scrolls and foliage against a blue ground, the domed cover similarly decorated with a gilt finial, Qianlong seal mark to base 49,5cm high
R 8 000 - R 12 000 193 A CHINESE FAMILLE VERTE JARDINIERE, LATE 19TH CENTURY
the tapering ovoid body painted on either side with panels enclosing figures at various pursuits before mythical clouds and mountainous landscapes against a ground of black and green dense scrolling foliage, pink chrysanthemums and peonies spread throughout, between pink and green bands and Greek-key border, the interior depicting large orange koi fish amongst seaweed, pitting and some staining, damage to stand 46cm high excluding stand
R 10 000 - R 15 000
1940s
194
comprising: a flower bowl and oasis and two smaller bowls, all in a deep sea green glaze, painted LW, chips to oasis the flower bowl 16cm diameter (4)
A PAIR OF CHINESE FAMILLE ROSE CHARGERS
R 1 500 - R 2 000 190 A BROWN MARTAVAN STYLE POT, 19th CENTURY
each with the central rondel depicting a jardinière filled with flowers, the surrounding panels with precious objects against a densely dotted ground surrounded by posies below a stylised flower border and Greek-key border, pseudo Yongzheng mark, some repair 33cm wide (2)
R 2 000 - R 3 000
of tapering cylindrical form; and a small martavan style pot with a brown glaze 27cm high (2)
195
R 1 500 - R 2 000
the centre decorated with figures before a pagoda, enclosed within a scalloped border, reserved against a yellow ground depicting flowers and scrolling foliage, hairline crack, chip to underside 38cm wide
A CHINESE FAMILLE ROSE CHARGER, QIANLONG 1736 - 1795
R 1 500 - R 2 500
profusely painted with polychrome flowerheads against a black ground, painted marks 23cm diameter
R 1 500 - R 2 000 197 A CHINESE BLUE AND WHITE GINGER JAR AND COVER, 19th CENTURY
the tapering ovoid body painted with a lake scene below a hatched band, the cover with similar decoration 17,5cm high
R 2 000 - R 4 000 198 A CHINESE BLUE AND WHITE TRANSFER PRINTED TRIPARTITE JARDINIERE, 20th CENTURY
the ovoid body with dense foliage, pomegranates and birds, hairline cracks, crazing and discolouration 25cm high
R 1 500 - R 2 000 199 A JAPANESE SATSUMA GINGER JAR
the globular body painted with warriors at various pursuits between wooden inlaid borders, the domed cover applied with blossoms, crazing and repair 20cm high excluding stand
R 1 500 - R 2 500 200 A CHINESE HARDSTONE CARVING OF A TIGER
standing on rockwork against dense foliage, on a circular carved stand with four paw feet, some loss 25cm high
R 2 000 - R 3 000 201 A CHINESE HARDSTONE CARVING OF A PAGODA
set amongst dense entwined branches and foliage, on a rectangular wooden stand 32,5cm high
R 3 000 - R 5 000
45
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DECORATIVE ARTS
GLASS 202 A GALLE CAMEO GLASS VASE, CIRCA 1900
Cameo glass is produced by etching and carving through fused layers of alternate coloured glass.
of elongated shape, the mottled green glass overlaid with etched leaves, signed in cameo 51cm high
Emile Galle realized the immense potential of this technique and began to use acid in conjunction with enameling in the production of his art works. The vessels were covered in a resist layer of wax, and then repeatedly dipped in hydrofluoric acid.
ILLUSTRATED
R 50 000 - R 80 000 46
The delicate and detailed patterns were worked in with pointed instruments, wheels and drills, and finally polished.
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DECORATIVE ARTS COLLECTORS’ ITEMS 203
209
213
A GALLE ACID-ETCHED CAMEO GLASS VASE,
A PAIR OF PATINATED BRONZE FIGURAL CANDELABRAS, CIRCA 1900
CHEVALIER PARIS: A PAIR OF OPERA GLASSES,
CIRCA 1900
depicting a lake scene with trees, in shades of brown against a shaded ground, signed Galle 16cm high
with brass hardware and mother-of-pearl inlay, extendable brass lorgnette handle, hinge to handle is loose 10cm wide, extended handle 20,5cm long
A MURANO GLASS VASE DESIGNED BY AFRO
each depicting a baby satyr supporting four scrolling foliate arms, with conforming detachable acanthus-leaf sconces and foliate drip trays, raised on a stepped oxblood marble circular base with applied gilt metal acanthusleaf and beading, repairs 45,5cm high (2)
CELOTTO, 20th CENTURY
R 3 000 - R 5 000
A SEVRES ‘’CHATEAU DES TUILERIES’’
the bulbous body tapering into a thin cylindrical stem, in shades of red, blue and green, with internal bubbles, signed 78cm high
210
of oval shape with hinged lid, hand painted with a scene of nobility, the body with reserves depicting landscapes, against a dark blue ground, raised gilt scrolling foliage, the interior with sprays of flowers, signed on the underside, crazing throughout, possible restoration 9cm wide
R 12 000 - R 15 000 204
R 8 000 - R 12 000 205 ADAM JABLONSKI (1936-): A POLARIS GLASS TAZZA, 2002
the oval dish of clear glass with slight blue hue, the tapering pedestal foot with internal yellow inclusion, signed and dated 112.08.2002, original sticker adhering 37cm wide
R 1 500 - R 2 000 206 A CZECH YELLOW AND BLUE ART GLASS BOWL, DESIGN ATTRIBUTED TO PROF VLADIMIR KOPECKY, MODERN
of undulating organic circular form, the yellow body with blue concentric circles 33,5cm wide
R 6 000 - R 10 000
A CONTINENTAL GILT METAL TAZZA
raised on scroll and foliate tripartite base with three addorsed mythological fish, the tails supporting an acanthus-leaf bowl with floriform rim, the centre moulded with stylised foliage and flowers, wear to gilding 23cm high
R 2 000 - R 3 000 211 A CAPE BRASS KONFOOR, TESSIE AND MUG, 20TH CENTURY
the pierced round konfoor applied with loop handles with removable tray, raised on three outswept feet, the cylindrical urn with moulded bands applied with a loop handle and spout, detachable domed cover with ball finial, stamped C. MATHEWS., distress, 38cm high; and A Cape Brass Mug, same maker, cylindrical with rolled rim and applied loop handle 12cm high (3)
R 2 500 - R 3 500
DAVID READE (1960-): A CRÈME AND BLACK
212
GLASS VASE
AN OAK AND ELECTROPLATE-MOUNTED
of tapering organic shape, signed and dated 2011 35,5cm high
TANTALUS
208
the square-shaped case enclosing four cut–glass decanters and stoppers, the sides applied with carrying handles, key lacking, plating worn on some mounts 27cm high, 24,5cm wide, 25cm deep
DAVID READE (1960-): A LARGE RUSSET AND
R 2 000 - R 4 000
BLACK GLASS BOWL
signed and dated 2011 31cm diameter
R 7 500 - R 8 000
R 1 500 - R 2 000 214 PORCELAIN TABATIERE, 1846
R 1 500 - R 2 000 215 A CASED SILVER-MOUNTED EBONY CONDUCTOR’S BATON, EBENEZER NEWMAN, LONDON, 1913
the three silver mounts engraved with foliate scrollwork, tapered ebony baton, the central mount engraved with a presentation inscription “C.F. BOWLES from A.D. PETERSON, 1919” 41cm long
R 2 000 - R 3 000
WORKS OF ART 216 A CONTINENTAL BRONZE FIGURE OF A MELUSINE, 19th CENTURY
207
R 5 500 - R 8 000
1800s
modelled with the split tails entwined, arms raised above her head, supporting a circular acanthus and beaded picture frame, surmounted by a swag, sitting atop a gilt metal pillow, above a tapering wooden column, inset with gilt metal twist-form beading atop a marble square base, picture frame possibly replaced, repairs, minor splitting to wooden base 32cm high
R 1 500 - R 2 000 217 A BRONZE FIGURAL SCULPTURE OF NAPOLEON BONAPARTE
standing with hand in waistcoat, holding a scroll in the other hand, raised on a square marble base 30cm high
R 3 000 - R 5 000 47
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DECORATIVE ARTS
19th CENTURY FRENCH SALON Classical SculPtures In 1648 the French Royal Academy of Painting and Sculpture was founded by Cardinal Mazarin. It celebrated public exhibitions displaying contemporary pictures, sculptures and works of art selected by juries comprised of the city’s elite. They ran schools of instruction, held annual or semi-annual exhibitions and provided venues where artists could display their work, such as the various galleries of the Louvre from the late 17th century, and the Palais de l’Industrie from 1855. From the late 18th century these institutions had a virtual monopoly on public taste. These exhibitions were the source of great public discourse and critical thinking as artists’ works were both revered and vilified, generating extensive written commentary. Although they brought about artists’ celebrity and downfall in near equal measure, the Salons were the centre of Parisian circles in the 19th Century. For any ambitious sculptor particularly in France, participating in the Salons were crucial for securing acquisition for their works by the state, as well as important private commissions. They were somewhat obliged to do so, on account of the immense physical effort and complexities intrinsic in the creation of the full-scale works. It was both laborious and expensive, and the Salon was often where these complex operations were linked with the patronage they required. But to show at a salon, the artist needed to be invited to the Academie by first submitting an artwork to the jury. Images of women were dominant in the Salon in the second half of the 19th century in a marked change from the ubiquitous, classicised male nudes of Davidian Neoclassicism. These women were depicted as pearlescent goddesses, classic mythological subjects with themes of honour, love and courage. When works enjoyed particular great success at the Salon, they were often commissioned in smaller version so that the art-buying public, which was expanding significantly, could acquire smaller versions of the celebrated works for their personal collections. By the end of the 19th century, new Salons were the dominant venue for artistic exposure, showing works of Matisse and Derain. T.D.
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DECORATIVE ARTS
218
220
222
EMILE PINEDO (1840 – 1916): A BRONZE BUST
JEAN LEON GEROME (1824-1904): PLAUDITE
ERNEST RANCOULET (1870-1915): LES ARTS
OF NAPOLEON BONAPARTE
CIVES (APPLAUD CITIZENS) PATINATED BRONZE
AIDES, DE GENIE ET DE LA POESIE (THE ARTS
dressed in military uniform, with original enamel medal pinned to chest, on a stepped square green marble base, with initial ‘N’ below a crown in gilt metal, signed PINEDO, stamped with the ‘’Bronze Garanti au Titre’’ foundry seal, medal is loose 23,5cm high
SCULPTURE
AIDS ENGINEERING AND POETRY) PATINATED
the gladiator dressed in tribal armour stands before the lion he has killed, signed JL. Gerome 37,5cm high
BRONZE SCULPTURE
R 8 000 - R 12 000 219 ALBERT ERNEST CARRIER-BELLEUSE (1824 – 1887): A PATINATED BRONZE COUPLE
the couple draped in robes, atop a stepped base, signed Carrier Belleuse, bow lacking 61,5cm high
R 14 000 - R 20 000
R 15 000 - R 25 000 221 EMMANUEL VILLANIS (1858-1914): PRISE
modelled as two maidens draped in robes, the taller resting her arm over the others shoulder, holding a lyre, with a cherub alongside her on a stepped octagonal base, signed Rancoulet 88cm high
R 30 000 - R 50 000
DE CORSAIRE (PRISONER OF THE PIRATES) PATINATED BRONZE SCULPTURE
the maiden dressed in robes, with wrists bound in chains, standing atop a square base, signed E Villanis 84cm high LITERATURE This model is illustrated in H. Berman. Bronzes, Sculptors & Founders 1830-1930, Vol.II, Atglen, 1994, p. 317, fig. 1142.
R 20 000 - R 30 000
49
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DECORATIVE ARTS
The Bronze Revival The desire for porcelain, which had driven out the fashion for bronze statuettes in the 18th century, took a change in direction. The popularity of Sevres biscuit reproductions by leading sculptors energised the interest, making way for resurgence in bronze. Between 1820 and 1900 there was a combination of contrasting artistic ideals. Traditional representations of biblical and mythological subjects found themselves challenged by the need to portray more realistic subject matter, rather narrating what was happening to the people of the time. Sculptures depicting figures weighed down by grief, slavery, and fear of god exposed the harsh conditions of existence for the common person in the 19th century. Another transition was that it was now the bronze foundries, organised into an association, who were in control of production, as they often held the sculptor under contract. If a sculpture was favourably received on public exhibition at the Paris Salon, the artist would either commission the foundry to produce an edition for sale, alternatively the foundry would buy the rights to make an edition, thus democratising the art form and making it more attainable to the general public. La Maison Barbedienne was the most significant French manufacturer of bronze sculpture and works of art during the 19th century. Founded in 1834 by Ferdinand Barbedienne, the company employed over 400 workers housed under one roof at the factory on Rue de Lancry. This included a design studio for the drawing, study and composition of models, a sculpture studio for plaster, wood and marble, and a workshop for the mathematical reduction and replication of sculpture invented by Achille Collas, amongst others. This golden age ended at the turn of the century when the small industrial sculpture gradually lost its allure with the emergence of new demands for innovation from customers and moderation by sculptors. Following Barbidiennes death in 1892, the firm was carried on by his nephew Gustave Leblanc until 1952, which reflected the general depreciation for the bronze art. T.D.
223 ARTHUR JACQUES LEDUC (1848 – 1918): NESSUS AND DIEANEIRA
depicting the centaur Nessus carrying Dieaneira on his back, on a rectangular base, signed, missing sceptre 72cm high ILLUSTRATED
R 120 000 - R 180 000 No lots 224 – 250 This popular story from Greek Mythology teaches us about a wild centaur named Nessus who attempts to violate Dieaneira as he ferryies her across the river Euenos. Heracles hearing his wife’s screams, shoots Nessus with a poisoned arrow, which pierces his chest. As he lays dying, Nessus persuades Dieaneira to take a sample of his blood, telling her that a potion of it will ensure Heracles fidelity to her forever. Later, when Heracles casts aside Dieaneira in pursuit of a princess, she attempts to win him back by soaking his tunic in the potion. The centaur’s toxic blood burns Heracles to death. In despair, Dieaneira commits suicide.
50
DECORATIVE ARTS
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51
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VINTAGE FASHION
Scarves 251
253
255
AN HERMES SILK SCARF: LE BOIS DE
AN HERMES SILK SCARF: LES CAVALIERS DÓR
AN HERMES SILK SCARF: RHYTONS
artist: Vladimir Rybaltchenko year of issue: 1975 theme: gold jewellery of ancient Sycthia colours: green and gold condition: good, but some wear
artist: Karen Swildens year of issue: 1975 theme: birds and mythology colours: blue and gold condition: good, but some wear
R 2 000 - R 3 000
R 1 500 - R 2 000
BOULOGNE
artist: Hugo Grygkar year of issue: 1957 theme: equestrian colours: green and crème condition: fair
R 1 000 - R 1 500 252
254
AN HERMES SILK SCARF: LA MARE AUX
AN HERMES SILK SCARF: EPERON DÓR
CANARDS
artist: Henri d’Órigny year of issue: 1974 theme: equestrian colours: navy and pale blue condition: good, but some wear
artist: Daphne Duchesne year of issue: 1981 theme: patterned ducks colours: cobalt blue with red border condition: good, but some wear
R 2 000 - R 3 000
52
R 2 000 - R 3 000
VINTAGE FASHION
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Handbags 256 A VINTAGE CHANEL QUILTED SATIN HANDBAG, CIRCA 1990
of fuchsia colour, edged in leather with gold metal hardware, an adjustable chain strap with leather threaded through, a pink lambskin leather tassel detail, flap top with magnetic clasp closure, the interior in black leather, featuring one zip pocket, with authenticity card and serial sticker condition: very good 20cm wide by 13cm high by 5cm deep
Tired of having to carry her bag in her hands, Gabrielle ‘Coco’ Chanel revolutionised women’s fashion and accessories when she first envisioned the classic flap bag. The bag was eventually launched in February 1955 on her return to the design world. Key details that have featured since the earliest models include: • Quilted diamond pattern exterior inspired by jockey’s riding coats as Chanel loved horse riding. • Burgundy coloured lining reminiscent of the colour of the uniform from the convent where she grew up. • A zippered pocket rumoured to have been where she stored her love letters. • A ‘mademoiselle’ twist lock – the term derived from Chanel’s life as an unmarried woman.
ILLUSTRATED
R 8 000 - R 16 000
No lots 257 – 260 53
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SILVER
ELECTROPLATE 261
265
274
A WMF (Württembergische
A VICTORIAN SILVER-MOUNTED CRANBERRY
A DUTCH SILVER TEA CADDY, EARLY 20TH
Metallwarenfabrik) SILVERED METAL FIGURAL VASE, GERMANY, CIRCA 1905
modelled as a boy fishing with a merman holding a fish, further embellished with fish and aquatic foliage, lacking fishing rod, wear to plating, stamped on base 28,5cm high
R 8 000 - R 10 000 262
CUT-GLASS CLARET JUG, THOMAS WALKER, BIRMINGHAM, 1886
the globular form cut with star decoration, the cylindrical collar chased with foliage enclosing a vacant cartouche on each side and a circular domed hinged cover with shell thumb-piece and applied loop handle 21,5cm high
R 2 500 - R 3 500
A WMF (Württembergische
266
Metallwarenfabrik) SILVERED METAL FIGURAL
A SCOTTISH SILVER CREAM SCOOP OR
VASE, GERMANY, CIRCA 1905
SKIMMER, HAMILTON & INCHES, EDINBURGH,
modelled as a boy fishing with a mermaid watching, further embellished with fish and aquatic foliage, lacking fishing rod, wear to plating, stamped on base 28cm high
1919
with turned wooden handle, the flat semi-circular blade with raised supporting rib, the blade engraved with a crest, depicting an ostrich with a horseshoe in its mouth 27cm long 184g all inclusive
CENTURY, WITH PSEUDO 18TH CENTURY DUTCH HALLMARKS AND CHESTER IMPORT MARKS FOR 1908
of oval form with upswept sides, the body and hinged cover moulded and chased with bands of scrolling foliage enclosing scenes of village people engaged in various activities, beaded base, cover applied with a swing handle, raised on four ball feet 9cm high 157g
R 1 200 - R 1 500 275 A GERMAN ART NOUVEAU AMETHYST CUT-GLASS VASE WITH SILVER COLLAR, .800 STD, EARLY 20TH CENTURY
20TH CENTURY
BIRMINGHAM, 1925
comprising: a teapot, coffee pot, covered sugar basin, milk jug and hot water kettle-on-stand, each shaped ovoid body applied with a harp-shaped handle, on a flat base with detachable composition and gadrooned finial, kettle-on-stand with a curvilinear stand, distress to finial of kettle-on-stand and lacking burner kettle-on-stand 30,5cm high (5)
comprising: two salts, two mustard pots and two castors, of baluster form with wavy rim and loop handle, chips to one liner, two liners replaced, cased, castor 8,5cm high; And Three Silver Salt Spoons, same maker, 1924, and an electroplate example 309g all inclusive
R 2 000 - R 3 000
268
the vase of square form, engraved with an Iris and leaves, the detachable pierced silver collar with conforming Iris and scrolling foliate decoration, 108g, 14,5cm high; A 19th Century Tear Catcher or Scent Bottle, the four sided body painted with orange and white enamel decoration, gilt highlights, glass stopper, 17,5cm long; A Victorian Cranberry Silver Mounted Scent Bottle, London, C.C. May & Sons Ltd, 1884, of teardrop shape with silver and gold inclusions, lacking stopper, dents to detachable silver cover, 11,5cm high; A Victorian Silver Mounted Scent Bottle, Birmingham, Hilliard & Thomasan, 1890, the white enamelled porcelain egg-shaped body painted with flowers and foliage, lacking stopper, dents to detachable silver cover, 4,5cm high; And a Group of Four Metal-mounted Scent Bottles, 19th Century, of various shapes, sizes and coloured glass, the tallest 13,5cm long (8)
AN ASSEMBLED GEORGE V TEN-PIECE SILVER-
R 2 200 - R 3 200
R 8 000 - R 10 000 263 AN ASSEMBLED WMF (Württembergische Metallwarenfabrik) ELECTROPLATE TEA SERVICE, GERMANY, VARIOUS DATES,
ENGLISH SILVER 264 A VICTORIAN SILVER TEA SERVICE, EDWARD KER REID, LONDON, 1875
NOT SUITABLE FOR EXPORT comprising: a teapot, sugar bowl and milk jug, of octagonal baluster form, the panels chased with fruit and stylised foliage below shaped foliate rims, raised on four pierced and foliate bracket feet, teapot with detachable flowerhead and leaf finial, ivory fillets, dent to teapot, teapot 18,5cm high 1508g all inclusive
R 10 000 - R 14 000
54
FOREIGN SILVER
R 3 000 - R 4 000 267 A SILVER CASED CRUET SET, SUCKLING LTD,
R 1 800 - R 2 400
MOUNTED TOILET SET, MAKER’S MARKS A.P. AND T.P., LONDON, 1933 AND 1934
comprising: five cut-glass jars, two clothes brushes, a hand mirror and two hair brushes, with engine-turned decoration enclosing a rectangular monogrammed cartouche, mirror 27cm long, mirror with some distress and small repair (10)
R 2 000 - R 4 000 269 - 273 no lot
VINTAGE SILVER FASHION
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276 A CHINESE EXPORT SILVER TEA SERVICE, WO SHING, SHANGHAI, 1870 - 1910
NOT SUITABLE FOR EXPORT comprising: a two-handled tray, teapot, hot water kettle-on-stand, cream jug, covered sugar bowl, tea strainer and slop bowl, each of lobed baluster form, chased with figures at various pursuits amongst bamboo, blossoms, cranes and chrysanthemums, raised on four leaf-capped feet, the handles, spouts and detachable finials moulded as realistic wood and leaf decoration, each piece applied with an armorial cartouche engraved with a stag’s head and spear, the kettle-on-stand with detachable bamboo-form stand and circular burner, tray raised on four gadrooned ball feet, teapot with ivory insulators, marked under bases, the burner and stand apparently unmarked, bamboo-form stand with repair 6458g all inclusive (7)
Wo Shing was a Canton-based silversmith who operated between 1830 - 1910 and opened in Shanghai towards the end of the nineteenth century, his work essentially spanning both the middle and last periods of Chinese Export Silver. Chinese silversmiths created elaborately decorated objects for international clients and their early works were intended to reproduce objects in European styles. However, in copying the European style the Chinese artisans later managed to add their own Chinese motifs such as bamboo, blossoms, landscapes, dragons and the Chinese court. All Chinese silver was made by hand, with its elaborate designs hammered out by master Chinese craftsmen. Many of the earlier Chinese silver pieces have ended up in museums, making it a challenge to find for collectors who have now become interested in the field.
ILLUSTRATED
R 80 000 - R 140 000 55
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VINTAGE SILVER FASHION
277 A SET OF DANISH SILVER “CONTINENTAL” (ANTIK) PATTERN CUTLERY, DESIGNED BY GEORG JENSEN IN 1906, COPENHAGEN, PRE 1945
comprising: 6 dinner forks, 6 dinner knives, 6 luncheon forks, 6 dessert spoons, 6 butter knives, 2 pickle forks, 3 dessert spoons, a pair of large serving spoons, a pair of salad serving spoons, a salt cellar, 2 salt spoons and 2 fruit spoons, lightly hammered surface 1472g of weighable silver (44) ILLUSTRATED
R 25 000 - R 35 000
Georg Jensen was born in 1866 in the town of Raadvad north of Copenhagen. He started training as a goldsmith at the age of 14 and in 1884 decided to follow other artistic interests. He studied sculpture at the Royal Academy of Arts graduating in 1892. In 1901 he moved away from ceramics and started working with silver. He spent time designing with Mogens Ballin and three years later he opened a small silversmithy in Bredegade in Copenhagen. In 1906 he designed his first cutlery pattern, the ‘Continental’ inspired by the old Danish wooden spoons. Soon after opening his silversmithy, his Art Nouveau pieces brought him great success. By the 1920s he had outlets in New York, London, Paris, Stockholm, Berlin and Buenos Aires. Georg Jensen died in 1935.
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VINTAGE FASHION SILVER
278 A SET OF DANISH SILVER “PYRAMID” PATTERN CUTLERY, DESIGNED IN 1926 BY HARALD NIELSEN FOR GEORG JENSEN, COPENHAGEN, 20TH CENTURY
comprising: 9 fish knives, 8 fish forks, 8 soup spoons, 8 dessert forks, 8 dessert spoons, 8 dessert knives (one steel blade distressed), 10 dinner forks, 8 dinner knives, 2 sauce ladles, 2 serving spoons, a butter knife, 2 coffee spoons, 2 cold cut forks, a pastry fork, 6 serving spoons, in sizes 3168g of weighable silver (83) ILLUSTRATED
R 50 000 - R 80 000
Harald Nielsen (1892 – 1977) was a Danish designer for Georg Jensen, for whom he worked for over half a century. As the younger brother of Georg Jensen’s third wife, he joined the company as an apprentice in 1909 and slowly worked his way up, first as a designer and then went on to become the head of the apprentice school. After Jensen’s death in 1935, Nielsen insured the high quality of the firm’s designs and production would be maintained, by selecting and training the designers and silversmiths according to Georg Jensen’s standards. In 1958, he was named artistic director of the company, until 1962. The designer also created a number of pieces of jewelry, hollowware, as well as his famous Pyramid cutlery sets.
57 57
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VINTAGE SILVER FASHION
279 A DANISH SILVER WATER PITCHER, MODEL NO. 432A, DESIGNED BY JOHAN ROHDE FOR GEORG JENSEN, COPENHAGEN, POST 1945
of elongated baluster form with everted rim, hammered finish, incuse stamped ‘DESSIN/ JR/432A’ 22,5cm high 552g ILLUSTRATED
R 50 000 - R 70 000
58
Johan Gudmann Rohde (1856-1935) was a Danish painter, lithographer and designer. However, today only very few people know Johan Rohde for his landscapes and portraits. Instead he is recognised for his silverwork for Georg Jensen. He designed and produced silver bowls, boxes, jewellery, jugs and flatware, becoming world famous for the Georg Jensen flatware collections in the ‘Acorn’ and ‘Acanthus’ pattern. Although his work was at the leading edge for the time and he is a worthy representative of the best in Danish Art Nouveau, later on he was in fact one of the first in Denmark to begin to move away from Art Nouveau towards a more functional, no-frills style.
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SILVER
280
283
285
A SET OF DANISH SILVER ‘ACORN’ PATTERN
A MISCELLANEOUS GROUP OF DANISH SILVER
A DANISH SILVER PART TEA AND COFFEE
CUTLERY, DESIGNED BY JOHAN ROHDE FOR
ITEMS, VARIOUS DESIGNERS FOR GEORG JENSEN,
SERVICE, MODEL 1091, DESIGNED BY
GEORG JENSEN, COPENHAGEN, 1915 - 1927
COPENHAGEN
HENNING KOPPEL FOR GEORG JENSEN,
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 (46)
comprising: “Cactus” Pattern: a gravy ladle, serving spoon and 2 pairs of salad servers; “Acanthus” Pattern: 2 mocha spoons, a butter knife and a cold cut fork; “Acorn” Pattern: a dinner knife, fish knife, soup spoon, bottle opener (long handle), bottle opener/bar knife, cocktail stirrer; “Old Danish” Pattern: a pair of salt spoons; “Argo” Pattern: 2 teaspoons; “Caravel” Pattern: a Cake Lifter and bottle opener; “Cyprus” Pattern: a Cold Cut Fork; “Acorn” Pattern: Wine Corkscrew; a Salt Cellar (No. 667), a Candlestick (No.1125, designed by Annette Howdle), a small circular bowl (No. 1142, designed by Soren Georg Jensen), a Modernist Dish (No.1078, designed by Henning Koppel), a Modernist Bowl with yellow enamel interior (No. 1120, designed by Magnus Stephensen), a Pair of Salt and Pepper Shakers (No. 1102A, designed by Henning Koppel) and a “Bernadotte” Pattern Salt Spoon 1260g of weighable silver (32)
COPENHAGEN, POST 1945
R 25 000 - R 35 000 281 A DANISH SILVER PART TEA SERVICE, MODEL NO. 1017, DESIGNED BY HENNING KOPPEL FOR GEORG JENSEN, COPENHAGEN, POST 1945
comprising: a teapot, coffee pot and milk jug, of squat circular form, the pots with domed hinged lids and wooden handles, base incuse stamped ‘DESSIN/HK/1017’, coffee pot handle restored coffee pot 16cm high 1613g all inclusive (3)
R 10 000 - R 15 000 282 A SET OF SIX DANISH SILVER WINE GOBLETS, DESIGNED BY HARALD NIELSEN FOR GEORG JENSEN, COPENHAGEN, POST 1945
each with a hand-hammered bowl on a clustered rod-and-ball stem ending in a domed circular foot, marked on base and numbered 532B, impressed DESSIN/HN, one goblet slightly skew 1084g (6)
R 15 000 - R 20 000
comprising: a teapot, coffee pot and sugar basin, the teapot of onion form with part-turned wooden handle and short spout, the coffee pot with elongated globular body and short spout, both with detachable conical cover and wood finial, base incuse stamped ‘DESSIN/HK/1091’ coffee pot 17,5cm high 1206g all inclusive (3)
R 30 000 - R 40 000 286 A DANISH SILVER-MOUNTED “ACORN” PATTERN CUT GLASS ICE BUCKET AND TONGS, MODEL NO. 1137, DESIGNED BY JOHAN ROHDE FOR GEORG JENSEN, COPENHAGEN, POST 1945
GOBLETS, GEORG JENSEN, COPENHAGEN, POST
the swing handle mounted and hinged on a cylindrical Baccarat crystal basin cut with a band of elongated lozenge decoration, bucket marked on handle, impressed designer’s mark 19cm high, tongs 15cm long 68g of weighable silver (2)
1945
R 15 000 - R 20 000
R 25 000 - R 35 000 284 A SET OF SIX DANISH SILVER GRAPEVINE PATTERN
each ovoid on circular base with pendant grapes, hammered surface, impressed on base and numbered 296A 1367g (6)
R 20 000 - R 25 000
287 A DANISH SILVER GRAPEVINE PATTERN TAZZA, GEORG JENSEN, COPENHAGEN, POST 1945
the bowl with everted rim and swirling stem, impressed on base and numbered 263B 19cm high 600g
R 15 000 - R 20 000
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288 A DANISH SILVER WATER PITCHER, MODEL NO. 1052, DESIGNED BY HENNING KOPPEL FOR GEORG JENSEN, COPENHAGEN, POST 1945
of “Swan” form, with upswept loop handle, incuse stamped ‘DESSIN/HK/1052’ 42,5cm high 1805g ILLUSTRATED
R 180 000 - R 240 000
60
VINTAGE SILVER FASHION
VINTAGE SILVER FASHION
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289
289 A DANISH SILVER “PREGNANT DUCK” PITCHER, MODEL NO. 992, DESIGNED BY HENNING KOPPEL FOR GEORG JENSEN, COPENHAGEN, POST 1945
the vessel of sinuous form with protruded looped handle, incuse stamped ‘DESSIN/ HK/992’, shallow dent to body 29cm high 1340g ILLUSTRATED
Henning Koppel (1918-1981) was born in Copenhagen and although he initially wanted to be a sculptor, (studying sculpture at the Royal Danish Academy of Fine Arts and the Academie Rancon in Paris), he became a jeweller and silversmith.. During World War Two he lived in Sweden where he worked as assistant to the sculptor Carl Milles and designed jewellery for Svenskt Tenn. He returned to Copenhagen in 1945 and joined the Georg Jensen firm. His initial work for Jensen was focused on jewellery designs, but later his work increasingly turned to designing hollowware. His silver hollowware is distinguished by its cultural quality and after breaking from Jensen tradition, Koppel’s silverwork was distinguished by his interest in modernism, which became evident in his use of abstract and sculptural forms. He was perhaps the most eminent artist attached to the Georg Jensen firm in the period following World War II. Koppel drawings and works are represented in major museum collections throughout the world. He won many awards, including gold medals at the Milan Triennale in 1951, 1954, and 1957, in addition to the ID Prize of the Society of International Design in 1966.
R 80 000 - R 120 000 No lots 290 – 300
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SESSION 2 HIGHLIGHTS
DECORATIVE ARTS
DECORATIVE ARTS
LOT 221
LOT 222
LOT 203
62
LOT 204
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SESSION 2 HIGHLIGHTS
SILVER
SILVER
LOT 284
LOt 287
LOT 286
LOT 264
63 63
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COLLECTABLE CARS | PAINTINGS PHOTOGRAPHY | SCULPTURE TUESDAY | 28 MARCH 2017 | 19H00 | LOTS 301 - 530
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COLLECTABLE CARS
COLLECTABLE CARS & AUTO MEMORABILIA
66
301
302
A 1958 MORRIS MINOR 1000
A LICENCE PLATE
two door saloon, 1098cc four cylinder engine, four speed gearbox, pale grey, in good condition ILLUSTRATED
JHB1 GP All costs to transfer the certificate into the buyer’s name will be paid by the seller
R 50 000 - R 70 000
ILLUSTRATED
R 200 000 - R 250 000
COLLECTABLE CARS
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303 A 1957 MERCEDES BENZ 190SL
1897cc 4-cylinder engine, twin carburetors, with hard-top, finished in navy blue and navy-blue leather interior, in very good condition. Some small missing parts still to be supplied by the seller, electric window winders fitted. ILLUSTRATED
R 2 400 000 - R 2 800 000
67
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304 A 1955 JAGUAR XK 140 FHC
3.4 litre motor, imperial maroon with tan leather biscuit interior, in concourse condition after a twenty year restoration, chrome wire wheels, new tyres, new battery, complete tool kit, only recently completed and still to be licenced and registered by the buyer. Highly suitable for export. ILLUSTRATED
R 2 400 000 - R 2 800 000
68
COLLECTABLE CARS
COLLECTABLE CARS
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305 A 2002 ROLLS ROYCE CORNICHE CONVERTIBLE
known as the Corniche 2000 this fifth and last generation version is absolutely immaculate. Magnificent metallic silver with cream leather interior and walnut wood veneer, blue mohair roof in concourse condition. Undeniably, the prettiest and most desirable Rolls ever built by the Rolls Royce Factory, only 35 RHD vehicles were ever built. Sleeker than the newest Phantom, similar to the later Bentley Azure Convertable but of course with Rolls Royce badging and prestige. Spacious access on the passenger side for rear passengers to enter or exit the vehicle. It is considered to be destined to become one of the most valuable collector’s items ever built by Rolls Royce. It is the final series of Rolls Royce Corniche and is fitted with every genuine Rolls Royce Factory option available for it at the time of build, down to the two original umbrellas fitted to the boot lid. This includes upgraded brakes and discs, 17” chrome azure alloy wheels and tyres, chrome mirrors, factory fitted seat covers identical to the seat design they protect (actual seats have never even been sat in), fitted wind deflector that can be raised whilst driving, powered by a 6.75 litre V8 turbo which gives incredible acceleration with Rolls Royce smoothness. 40,800km on the clock, only two owners, chassis number 68615. ILLUSTRATED
R 2 400 000 - R 2 800 000 No lots 306 – 310 69
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PAINTINGS
British and Continental Paintings and Works on Paper 311 Anthony R*** Cooke (British 1933 - )
317 Continental School (17th/18th Century - )
321 William Joseph Kentridge (South African 1955 - )
WESTERN ARM SHOREHAM HARBOUR, 1974
JANISSARIES CAVALRY
WHAT WILL COME EXHIBITION POSTER
oil on canvas 95,5 by 128,5cm
archival digital print, signed and numbered 169/250 in pencil sheet size: 52,5 by 80cm
signed with the artist’s initials and dated 74; signed, dated 1974 and inscribed with the title on the reverse oil on canvas 90 by 150cm
R 5 000 - R 8 000 312 David Cheng (Hong Kong 20th Century - )
PORTRAIT OF A MAN SMOKING signed, dated 1964 and inscribed HONG KONG oil on canvas 59,5 by 44cm
R 5 000 - R 7 000 313 Giuseppe Arigliano (Italian 1917 - 1999)
South African and International Drawings, Prints and Portfolios 318 Cecil Edwin Frans Skotnes (South African 1926 - 2009)
THE WHITE MONDAY DISASTER a portfolio of thirteen woodcuts by Cecil Skotnes with text by Stephen Gray, 1975, with title page and preface, edition limited to 125 copies and 25 artist proofs numbered I to XXV. This set numbered XVI/XXV, each woodcut signed and dated 75 in pencil in the margin, the title page signed by the artist and poet, this the bound version in book format sheet size: 56 by 73,5cm
R 5 000 - R 7 000 322 William Joseph Kentridge (South African 1955 - )
GOODMAN GALLERY EXHIBITION POSTER, 2003 archival digital print, signed and numbered 116/250 in pencil sheet size: 66 by 72cm
R 5 000 - R 7 000 323 William Joseph Kentridge (South African 1955 - )
THE MAGIC FLUTE POSTER
R 25 000 - R 35 000
archival digital print, signed sheet size: 84 by 59,5cm
signed oil on board each: 16 by 23cm (2)
319 Cecil Edwin Frans Skotnes (South African 1926 - 2009)
R 10 000 - R 15 000
R 6 000 - R 9 000
TEN LANDSCAPES, 1976
PORTO FINO I and PORTO FINO II, two
314 Edmund Caldwell (British 1852 - 1930)
SABLE ANTELOPE signed and indistinctly dated pastel on paper 28,5 by 41cm
R 8 000 - R 12 000 315 Federico Schianchi (Italian 1858 - 1919)
ROMA signed and inscribed with the title watercolour on paper laid down on card 48,5 by 31,5cm
R 4 000 - R 7 000 316 Pierre-Auguste Renoir (French 1841 - 1919)
SUR LA PAGE A BEMEVA etching, signed in the plate sheet size: 25 by 20,5cm
R 15 000 - R 25 000 70
R 20 000 - R 40 000
a portfolio of ten original woodcuts by Cecil Skotnes with ten poems by Stephen Gray, 1976, printed in colours, edition limited to 75 sets and 15 artist’s proofs numbered I to XV, this set numbered IX/XV, each woodcut signed, numbered, dated 76 and impressed with Egon Guenther’s chopmark, title page signed by the artist and poet, in the original linen portfolio with cover sheet signed and inscribed in pencil ‘To Kurt & Johanna, In memory of a lost King & Queen, Love Cecil’ (sic) sheet size: 48,5 by 63,5cm
R 15 000 - R 20 000 320 Jules Perahim (Romanian 1914 - 2008)
L’ALPHABET portfolio of twenty two lithographs, each signed and inscribed ‘Ex d’artiste’ in pencil in the margin, preface by Marina Vanci, published by Galerie Mony Calatchi, Paris, 1974 sheet size: 57,5 by 38,5cm
R 25 000 - R 35 000
324 William Joseph Kentridge (South African 1955 - )
STEREOSCOPE EXHIBITION POSTER, GOODMAN GALLERY, 1999 photolithograph, signed and numbered 179/220 in red pencil sheet size: 65 by 93cm
R 10 000 - R 15 000 325 Dirk Adriaan Meerkotter (South African 1922 - )
DRIE KRYGERS etching, signed, dated ‘85 and numbered 2/20 in pencil in the margin sheet size: 41 by 33cm
R 5 000 - R 7 000 326 Peter Clarke (South African 1929 - 2014)
XMAS linocut, signed, dated 1969, titled and inscribed “For Claudia & Tom from Peter” in pencil in the margin sheet size: 43 by 34cm, unframed
R 8 000 - R 12 000
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PAINTINGS
327 Cecil Edwin Frans Skotnes (South African 1926 - 2009)
332 John Ndevasia Muafangejo (Namibian 1943 - 1987)
337 Walter Whall Battiss (South African 1906 - 1982)
RECLINING FIGURE
PREPARATION FOR THE FLOOD
BOYS COLLECTING WILD FRUIT
lithograph, signed, dated 70 and inscribed Artists Print II/V in pencil in the margin sheet size: 48 by 61cm
linocut, signed, dated 1979 and numbered 37/150 in pencil in the margin; titled in the plate sheet size: 66 by 50cm
linocut, signed in pencil in the margin sheet size: 22 by 27cm
R 6 000 - R 9 000
R 12 000 - R 18 000
328 Cecil Edwin Frans Skotnes (South African 1926 - 2009)
333 John Ndevasia Muafangejo (Namibian 1943 - 1987)
ABSTRACT FIGURE
EVANGELICAL LUTHERAN CHURCH WOMENS MEETING
screenprint, signed and numbered 5/50 in pencil sheet size: 20,5 by 17cm
linocut, signed, dated 1974 and numbered 27/100 in pencil in the margin; titled in the plate sheet size: 52 by 47cm
Literature
lithograph, signed, dated 70 and inscribed Artist Print III/V in pencil in the margin sheet size: 52 by 40cm
R 6 000 - R 9 000 329 Cecil Edwin Frans Skotnes (South African 1926 - 2009)
RECLINING FEMALE FIGURE linocut, signed and dated 73 in pencil in the margin sheet size: 50 by 33cm, unframed
R 4 000 - R 7 000 330 Jacob Hendrik Pierneef (South African 1886 - 1957)
MOUNTAIN RANGE IN SOUTH WEST AFRICA (NILANT 118) linocut, signed, dated 1932, numbered 39/50 and inscribed ‘impr’ in pencil in the margin sheet size: 15 by 17cm Literature NIlant, F.E.G. Pierneef Linosneë, A.A. Balkema, Cape Town, 1974, illustrated on p. 153, no. 118 De Kamper, G. and De Klerk, C. J.H. Pierneef In Print, Dream Africa Productions and Publishing, Bella Bella, 2014, illustrated on p. 89
R 10 000 - R 15 000
R 12 000 - R 18 000 334 Lionel Smit (South African 1982 - )
HIDDEN EXPOSURE 1 etching, signed, dated 2013 and numbered 5/24 in pencil in the margin; impressed with Warren Editions chopmark 48 by 43cm
FARMHOUSE, PRETORIA (NILANT 39) linocut, signed sheet size: 14 by 19cm Literature Nilant, F.E.G. Pierneef Linosneë, A.A. Balkema, Cape Town, 1974, illustrated on p 69, no. 39
338 Walter Whall Battiss (South African 1906 - 1982)
FOOK BOOK I (STICKS AND STONES)
Siebrits, W. Walter Battiss: I Invented Myself, The Ampersand Foundation, Johannesburg, 2016, p. 156
R 7 000 - R 10 000 339 Walter Whall Battiss (South African 1906 - 1982)
FOOK BOOK I (ANIMAL HIDE) screenprint, signed and numbered 46/50 in pencil sheets size: 20,5 by 17cm
R 15 000 - R 20 000
Literature
335 Lionel Smit (South African 1982 - )
R 6 000 - R 9 000
HIDDEN EXPOSURE 2 etching, signed, dated 2013 and numbered 19/24 in pencil in the margin; impressed with Warren Editions chopmark 48 by 43cm
R 15 000 - R 20 000 336 Lionel Smit (South African 1982 - )
HIDDEN EXPOSURE 3 331 Jacob Hendrik Pierneef (South African 1886 - 1957)
R 4 000 - R 6 000
etching, signed, dated 2013 and numbered 8/24 in pencil in the margin; impressed with Warren Editions chopmark 48 by 43cm
R 15 000 - R 20 000
Siebrits, W. Walter Battiss: I Invented Myself, The Ampersand Foundation, Johannesburg, 2016, p. 156
340 Walter Whall Battiss (South African 1906 - 1982)
FOOK ISLAND I (HELIOS) screenprint, signed and numbered 5/50 in pencil sheet size: 20,5 by 17cm Literature Siebrits, W. Walter Battiss: I Invented Myself, The Ampersand Foundation, Johannesburg, 2016, p. 156
R 7 000 - R 10 000 341 Willem Boshoff (South African 1951 - )
EXPLORATION I silkscreen, signed, dated ‘72 and inscribed Artist’s Proof in pencil in the margin sheet size: 32 by 50cm
R 5 000 - R 8 000
De Kamper, G. and De Klerk, C. J.H. Pierneef In Print, Dream Africa Production and Publishing, Bella Bella, 2014, illustrated on p 38
R 10 000 - R 15 000 71
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PAINTINGS
PHOTOGRAPHY 342 Deborah Margaret Bell (SOUTH AFRICAN 1957 - ),
345
349
Nontsikelelo Veleko, (South African 1977 - ):
Guy Tillim, (South African 1962 - ):
Robert Griffiths Hodgins (BRITISH 1920 - 2010),
SPEAK NO EVIL
KUNHINGA PORTRAITS: SOPHIA SALALA AND
archival digital print, signed and numbered 1/10 in pencil in the margin sheet size: 48 by 32cm
ERMALINDA CHINHANALA
William Joseph Kentridge (SOUTH AFRICAN 1955 - )
TAKING LIBERTIES photolithograph with watercolour, signed by each artist in pencil in the margin sheet size: 45 by 45cm
346
R 30 000 - R 50 000
HEAR NO EVIL
343 Ernest Ullmann (South African 1900 - 1975)
TWO GREEKS; TWO SEATED AFRICAN FIGURES; THREE STANDING FIGURES; GROUP, four
Nontsikelelo Veleko, (South African 1977 - ):
archival digital print, signed and numbered 1/10 in pencil in the margin sheet size: 48 by 32cm
R 6 000 - R 9 000 347 David Goldblatt, (South African 1930 - ):
a group of works comprising one unsigned drawing, two linocuts, each signed in pencil and inscribed A/P in pencil in the margin, and one etching, signed and inscribed A/P in pencil in the margin sheet sizes: 22 by 17cm, 24 by 21cm, 24 by 16cm, and 16 by 21cm (4)
THREE MEN
R 6 000 - R 9 000
348
344 Jabulane Sam Nhlengethwa (South African 1955 - )
MINERS SHOWERING lithograph, signed, dated ‘04, numbered 3/25 and inscribed with the title in pencil in the margin, impressed with The Artist’s Press chopmark sheet size: 49,5 by 38cm, unframed
R 5 000 - R 8 000
72
R 6 000 - R 9 000
archival digital print, signed, numbered 7/12 and inscribed with the title and ‘Kunhinga, Angola, 2002’ in pencil in the margin sheet size: 60 by 76cm, unframed
R 9 000 - R 12 000 350 Greg Marinovich, (South African 1962 - ): MSHAYAZAFE, THOKOZA 1990, A DORMITORY ROOM IN MSHAYAZAFE MIGRANT WORKERS HOSTEL, THOKOZA, KHUMALO STREET
silver gelatin print, signed, titled and numbered 3/25 on the reverse sheet size: 25 by 36,5cm, unframed
R 9 000 - R 12 000
archival digital print, signed, dated 18/12/02 and numbered 25/60 in pencil in the margin unframed sheet size: 42 by 51,5cm
351
R 8 000 - R 12 000
archival digital print, printed “From ‘Long Live’exhibition” and numbered 1/25 in the margin sheet size: 42,5 by 59,5cm, unframed
Jurgen Schadeberg, (South African 1931 - ): MANDELA IN HIS LAW OFFICE
archival silver selenium print, signed, dated 1952, inscribed with the title in ink in the margin, signed and dated 28.7.03 by Nelson Mandela in ink in the margin; titled, signed and inscribed “printed and selenium toned by J.S. 2003 L.E 25/100” in ink on the reverse artist’s copyright stamp on the reverse 34,5 by 35cm
R 40 000 - R 60 000
Raymond Preston, (South African 20th Century - ): YOUTH PROTEST AT THOKOZA
R 7 000 - R 10 000
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PAINTINGS
South African Drawings, Prints and Works on Paper 352 Ezrom Kgobokanyo Sebata Legae (South African 1938 - 1999)
356 Dorothy Kay (South African 1886 - 1964)
360 Ignatius Marx (South African 1963 - )
ABSTRACT FACES
McBEAN SAT UP INSTANTLY, AND LOOKED IN THE DIRECTION OF THE BOY’S POINTING HAND
FEMALE STUDIES, two
signed and dated 71 charcoal on paper 50 by 57cm
R 5 000 - R 8 000 353 Dorothy Kay (South African 1886 - 1964)
LASCARS SPLICING ROPE
signed; inscribed with the title on the reverse, a label affixed to the reverse bears the title and notes that this work was illustration number 42 in The Outspan gouache on card 38 by 53,5cm, unframed
R 8 000 - R 12 000
drypoint, signed and titled in pencil in the margin sheet size: 25,5 by 32cm, unframed
357 Dorothy Kay (South African 1886 - 1964)
R 6 000 - R 9 000
CAPE TO CAIRO RAILWAY
354 Dorothy Kay (South African 1886 - 1964)
CAPTAIN HARDY’S TUGBOAT
signed charcoal and heightening on paper 37,5 by 50cm, unframed
R 8 000 - R 12 000
signed charcoal and heightening on paper 38,5 by 54cm, unframed
358 Frans Boekkooi (South African 20th Century - )
R 8 000 - R 12 000
NUDE STUDIES, two
355 Dorothy Kay (South African 1886 - 1964)
IT WAS HIS PEACE OFFERING - HE LONGED FOR THE GREAT BEAST’S FRIENDSHIP AND HE KNEW NO OTHER WAY OF GAINING FAVOUR signed; inscribed with the title on the reverse, a label affixed to the reverse bears the title and notes that this work was illustration number 36 in The Outspan charcoal on card 38 by 53,5cm, unframed
R 8 000 - R 12 000
each signed pencil on paper 35 by 20cm (2)
R 4 000 - R 6 000 359 Alexis Preller (South African 1911 - 1975)
DRAWING STUDY signed and dated ‘56 pencil on paper 26 by 21cm
R 7 000 - R 10 000
each signed and dated ‘99 charcoal and pastel on paper 28,5 by 20,5cm and 20,5 by 28,5cm (2)
R 5 000 - R 8 000 361 Maurice Charles Louis van Essche (South African 1906 - 1977)
RECLINING NUDE signed and dated 64 ink on paper 30 by 40cm
R 5 000 - R 8 000 362 Maurice Charles Louis van Essche (South African 1906 - 1977)
SEATED NUDE signed ink on paper 28 by 25cm
R 5 000 - R 8 000 363 Nelson Makamo (South African 1982 - )
TWO FIGURES; PORTRAIT; PORTRAIT, three a group of three drawings comprising: one signed, ink on paper; one signed and dated 13, charcoal, pastel, watercolour and coffee on paper; and one signed and dated 13 charcoal on paper (recto) and signed and dated 13 charcoal and watercolour on paper (verso) 19 by 18cm; 35 by 18cm and 33,5 by 23cm, unframed (3)
R 6 000 - R 9 000
73
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PAINTINGS
364 Hargreaves Ntukwana (South African 1938 - 1998)
367 Nat (Nathaniel) Mokgosi (South African 1946 - )
370 Walter Whall Battiss (South African 1906 - 1982)
FIGURE WALKING DOWN A STREET
TWO BIBLICAL IMAGES, two
MATALA
signed watercolour and ink on paper 55 by 73,5cm, unframed
one signed, dated 73 and inscribed “Let his heart be changed. Let a beast heart be given unto him” and the other inscribed “Genesis 2, Verse 23, This is now bones of my bones, flesh of my flesh, she shall be called woman” watercolour and ink on paper 53,5 by 37,5cm and 37 by 55,5cm, unframed (2)
signed, dated 14.6.92 and inscribed with the title watercolour on paper 31 by 50,5cm, unframed
R 8 000 - R 12 000 365 Stanley Nkosi (South African 1945 - 1988)
FIGURES THROWING DICE
R 7 000 - R 10 000
signed and dated 79 charcoal on paper 20,5 by 29,5cm, unframed
368 Nat (Nathaniel) Mokgosi (South African 1946 - )
R 5 000 - R 8 000
TWO BOYS PLAYING DICE
366 Nat (Nathaniel) Mokgosi (South African 1946 - )
THREE PORTRAITS, three
signed and dated 84 watercolour and ink on paper 50 by 70cm
R 8 000 - R 12 000
a group of three portraits comprising one signed pencil on paper and two watercolour on paper 35 by 25cm, 38 by 26,5cm and 34 by 19,5cm, unframed (3)
369 Nat (Nathaniel) Mokgosi (South African 1946 - )
R 6 000 - R 9 000
signed, dated 76 and inscribed “Poô” and “Sacred Bull” watercolour and ink on paper 32 by 47,5cm, unframed
SACRED BULL
R 5 000 - R 8 000
74
R 35 000 - R 45 000 371 Walter Whall Battiss (South African 1906 - 1982)
GODS OF THE WATERFALLS, HAWAII signed, dated 3 June ‘76 and inscribed with the title watercolour over pencil on paper 36,5 by 51cm, unframed
R 30 000 - R 40 000 372 Robert Gwelo Goodman (South African 1871 - 1939)
VIEW OF THE OCEAN signed watercolour over pencil on paper 23 by 29,5cm
R 10 000 - R 15 000
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PAINTINGS
SOUTH AFRICAN PAINTINGS AND DRAWINGS 373 Ulrich Konrad Schwanecke (South African 1932 - 2007)
377 Walter Edward Westbrook (South African 1921 - )
381 Dino Paravano (South African 1935 - )
DUNE
VIEW OF A VALLEY
PROTEAS
signed and dated 90; titled on the reverse watercolour on paper 32,5 by 47cm
signed watercolour on paper 47 by 67cm
signed oil on board 45 by 60cm
R 4 000 - R 6 000
R 7 000 - R 10 000
R 7 000 - R 10 000
374 Ulrich Konrad Schwanecke (South African 1932 - 2007)
378 Walter Edward Westbrook (South African 1921 - )
382 Clément Edmond Théodore Marie Serneels (South African 1912 - 1991)
DAMARALAND
ARID LANDSCAPE
STILL LIFE WITH FLOWERS
signed and dated 90; titled on the reverse watercolour on paper 32,5 by 48cm
watercolour on paper 49,5 by 69,5cm
signed and dated 76 oil on canvas 70 by 80cm
R 4 000 - R 6 000 375 Ulrich Konrad Schwanecke (South African 1932 - 2007)
DESERT signed and dated 1977 watercolour on paper 38,5 by 58,5cm R 4 000 - R 6 000 376 Walter Edward Westbrook (South African 1921 - )
SAVANNAH signed and dated ‘89 watercolour on paper 52,5 by 72cm
R 7 000 - R 10 000
R 4 000 - R 6 000 379 Walter Edward Westbrook (South African 1921 - )
RIVER signed and dated 8/77 watercolour on paper 46,5 by 67,5cm
R 4 000 - R 6 000
R 15 000 - R 20 000 383 Gregoire Johannes Boonzaier (South African 1909 - 2005)
MAGNOLIAS signed and dated 1977 charcoal and watercolour on paper 51,5 by 37cm
R 10 000 - R 15 000
380 Walter Edward Westbrook (South African 1921 - )
LANDSCAPES, three one signed watercolour on paper 22,5 by 34,5cm; 47,5 by 67,5cm and 30,5 by 52cm (3)
R 6 000 - R 9 000
75
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384 Gregoire Johannes Boonzaier (South African 1909 - 2005)
PINK HIBISCUS signed and dated 1980 oil on canvas laid down on board 35 by 25cm ILLUSTRATED
R 80 000 - R 120 000
PAINTINGS
Gregoire Boonzaier was born in 1909 in Cape Town and passed away in 2005. The flower studies PINK HIBISCUS and BLUE ORCHIDS bears the characteristic style of Boonzaier’s use of tremulous outlines used to accent the forms of trees, houses and flowers that is reminiscent of Pieter Wenning’s structural devices. He was influenced by Wenning and the Dutch painters he encountered during his time at The Hague School. According to Scott (1965: 15) Boonzaier was also influenced by European artists such as Braque, Utrillo and Cezanne. The pure browns and greys of Braque appealed to Boonzaier’s own colour sense, whereas his approach to still-life themes occasionally varies with strong tones, pure and romantic with a modern approach. By adopting a wide colour range Boonzaier accomplishes a more romantic expression of mood with a distinctive reality and exuberance. Although he exhibited exceeding talent from an early age and enjoyed a career of outstanding artistic popularity, his most valuable contribution to South African art was undoubtedly his driving effort as chairman of the New Group. Boonzaier was a valuable influence on a large number of Cape painters, almost singlehandedly establishing a secure market for Cape Impressionism, not only in South Africa, but on an international scale. CS Reference: • Scott, F. P. 1964. Gregoire Boonzaier. Tafelberg-Uitgewers, Cape Town.
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PAINTINGS
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385 Gregoire Johannes Boonzaier (South African 1909 - 2005)
BLUE ORCHIDS signed and dated 1981; signed and titled on the reverse oil on board 44,5 by 34cm ILLUSTRATED
R 100 000 - R 150 000
77
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386 Hendrik Christiaan Niemann (South African 1941 - )
391 Otto Klar (South African 1908 - 1994)
395 Dieter Aschenborn (Namibian 1915 - 2002)
STILL LIFE WITH WINE AND FRUIT
RED ROSES
OSTRICHES
signed and dated 14 oil on board 49,5 by 60cm
signed oil on board 41 by 41cm
signed and dated 70 watercolour on leather 117 by 57cm
R 30 000 - R 50 000
R 20 000 - R 30 000
R 6 000 - R 9 000
387 Frank Sydney Spears (South African 1906 - 1991)
392 Otto Klar (South African 1908 - 1994)
396 Konrad Zander (Namibian 1920 - 2009)
STILL LIFE WITH BOTTLES AND LEMONS
PINK AND WHITE ROSES
ELEPHANTS
signed oil on board 44,5 by 58,5cm
signed oil on board 44,5 by 59,5cm
signed and dated 63 watercolour on paper 97 by 58,5cm
R 20 000 - R 30 000
R 25 000 - R 35 000
R 4 000 - R 6 000
388 Michele Nigrini (South African 1965 - )
393 Gregoire Johannes Boonzaier (South African 1909 - 2005)
397 Gordon Frank Vorster (South African 1924 - 1988)
STILL LIFE WITH A CHICKEN
FLORAL STILL LIFE
DISTANT ANTELOPE
signed and dated 97 pastel on paper 38 by 54cm
signed and dated 1997 pastel on paper 60 by 39cm
signed oil on canvas laid down on board 53 by 65cm
R 6 000 - R 9 000
R 12 000 - R 18 000
R 18 000 - R 28 000
389 Michele Nigrini (South African 1965 - )
394 Simon Moroke Lekgetho (South African 1929 - 1985)
398 Zakkie (Zacharias) Eloff (South African 1925 - 2004)
FRUIT
BUSHBUCK
CHEETAHS
signed and dated 00 oil on board 64 by 64cm including artist’s frame
signed and dated 71 oil on canvas board 39,5 by 49,5cm
signed oil on canvas 69,5 by 88,5cm
R 8 000 - R 12 000
R 6 000 - R 8 000
R 20 000 - R 30 000
390 Barbara Everard (British 1910 - 1990)
THREE BOTANICAL STUDIES, three signed watercolour over pencil on paper each: 34,5 by 24cm (3)
R 5 000 - R 8 000
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PAINTINGS
PAINTINGS
399 Walter Whall Battiss (South African 1906 - 1982)
STILL LIFE WITH A TEAPOT II signed oil on board 13 by 19,5cm ILLUSTRATED
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Walter Battiss was born in 1906 in Somerset East, a small town nestled in the mountains of the Great Karoo. He died in 1982, just a year after the Walter Battiss Art Gallery was opened in none other than his home town. His fervour for language was initiated by his mother, who taught him the alphabet at the age of three. The creation of his internationally celebrated language, Fook, only accentuated his incredible creative versatility. Battiss became proficient in a range of mediums, most pertinently in watercolour and printmaking techniques. He went on to become a renowned expert in African rock art. PS Reference: • Siebrits, W. 2016. Walter Battiss: I Invented Myself. Published by the Ampersand Foundation, Johannesburg.
R 50 000 - R 80 000
79
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PAINTINGS
SOUTH AFRICAN SculPture Sculpture in South Africa has always been a way for artists to express opinion, emotion and social commentary. From Anton van Wouw and his representational art on the South African war, and Fanie Eloff’s flawless portrayals of the human form to Willie Bester’s commentary on social injustice, sculpture has always been part of the cultural landscape and will retain its critical part in the art of South Africa. The beauty of sculpture as an art form is that the marriage of medium and message often serves as a unifying force of expression. For example, Angus Taylor’s use of granite to showcase the robustness of the human form, smooth stylised fluid lines in stone accentuate stillness and serenity showcased by Theo Megaw’s SITTING WOMAN, and Hezekiel Ntuli’s use of clay reflects upon the resilience of African people. Other contemporary artists like Wim Botha, appropriates renowned Renaissance sculptures from the Vatican City, in sculptural creations with a twist. By using maize meal for the Pietà - and bone meal for the Laocoön - instead of marble, the artist uses art history as a vehicle of exploration for his socio-political concerns. Where the marble sculptures in the Vatican City demonstrate strength in form and figure these works by Botha interrogate the use of maize meal as a staple diet of countless famished African countries to deliver a social commentary. In UNTITLED (ECSTASY II) Botha once more carves the bust of a woman from Afrikaans Bibles and demonstrates his extraordinary practice of sculpture in a contemporary light. As Liese van der Watt (2005:11) so succinctly puts it: “…rooting his work to local contexts through strategic choices of material and symbols, these are powerful acts of translation that force us, ultimately, to reconsider the narratives that construct our world”. Each medium with its unique tactile quality also reinforces the vigorous process that a sculptor or foundry undergoes with a sculpture; from the initial conceptual thought to the final product, each choice the artist/foundry makes during the production of a sculpture has a significant impact on the final product’s presentation. Each sculptor/foundry has a unique approach to their production of a specific editioned sculpture. For instance the texture of Sydney Kumalo’s JOY II Lot 412 cast by the Renzo Vignali Artistic Foundry at a time when Luigi Gamberini – the head of the foundry - suffered from cataracts, differs significantly in texture from work done by Kumalo in later years at the same foundry. Comparatively, the texture and lines of Edoardo Villa’s HEAD III Lot 413, from the first series cast by Renzo Vignali Artistic Foundry, (fig1) differs substantially from the second edition of the same work done by The Bronze Age Art Foundry (fig2). With this auction we present a wide selection of sculpture from various artists in the field that does not only demonstrate excellent workmanship but also reveals a wide range of visually and contextually relevant works from 20th and 21st Century South African sculptors. CDK
Reference: • de Klerk, C & de Kamper, G. 2012. Villa in Bronze, A Comprehensive Reference to the Castings of Edoardo Villa. Published by The University of Pretoria Museum, Department of UP Arts, University of Pretoria. • Van der Watt, L. 2005. Wim Botha: Standard Bank Young Artist for Visual Art 2005. Michael Stevenson, Cape Town.
FIG. 1
FIG. 2
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PAINTINGS
South African Sculpture 400 Shona Abrahams (South African 20th Century - )
403 Bruce Little (South African 20th Century - )
406 Hannes Harrs (South African 1927 - 2006)
DOVES
NATION’S PRIDE
TOTEMIC FIGURE
signed with artist’s monogram, dated 82 and numbered 2/5 bronze height: 10,5cm
signed, dated 2011, stamped and numbered 7/12 bronze height: 49cm
signed with the artist’s initials and dated ‘72 wood height: 73cm (excluding base)
R 5 000 - R 7 000
R 35 000 - R 45 000
401 Johannes Segogela (South African 1936 - )
404 Lilly Sachs (South African 20th Century - )
COUPLE VIII
MOTHER AND CHILD
carved, incised and painted wood height: 27cm
signed with the artist’s initials wood height: 89cm (excluding base)
R 3 000 - R 5 000 402 Johannes Segogela (South African 1936 - )
COUPLE IN GREY carved, incised and painted wood height: 28,5cm
R 3 000 - R 5 000
R 5 000 - R 7 000 405 Zoltan Borbereki (South African 1907 - 1992)
MOTHER AND CHILD signed wood height: 57cm (excluding base)
R 5 000 - R 7 000
R 8 000 - R 12 000 407 Mickey Korzennik (South African 1930 - )
TWO FIGURES wood height: 87cm (excluding base)
R 20 000 - R 30 000 408 Jackson Mbhazima Hlungwani (South African 1923 - 2010)
VULTURES AND CARRION teak height: 93cm Literature Brandt, M. Jekisemi Hlungwani Sagani, The Communication Department, BMW South Africa, Johannesburg, 1989, catalogue no. 68, illustrated on p. 52
R 12 000 - R 18 000
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409 Angus Taylor (South African 1970 - )
JOURNEY ON AN AFRICAN MINOTAUR signed, dated 2003 and numbered 1/24 cement and steel height: 143cm (excluding base) ILLUSTRATED
R 400 000 - R 600 000 82
SCULPTURE PAINTINGS
JOURNEY ON AN AFRICAN MINOTAUR lot 409 & IN DONDERWEER REËN lot 410 formed part of the Angus Taylor “Barefoot and baggage free” exhibition around the early 2000s. For this exhibition the artist presented about thirty bronze and mixed media pieces dealing with the condition of being “here” in South Africa, pre-millennium and post-freedom. The right quantities of angst and neurosis are in place in an attempt to reformulate and understand his particular subjectivity. Past and present “ethnic exotica” elide and overlap in work that acknowledges “a new (yet so old) South African identity”. The artist’s unique take on gender roles and potency draws one in, partly because his work is so audaciously kitsch. Text courtesy of the artist.
SCULPTURE PAINTINGS
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410 Angus Taylor (South African 1970 - )
IN DONDERWEER REËN signed, dated 2003 and numbered 2/12 cement and steel height: 217cm ILLUSTRATED
R 350 000 - R 500 000
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411 Sydney Alex Kumalo (South African 1935 - 1988)
MOSES’S DISCIPLE bronze height: 31cm Provenance Acquired directly from the artist. Authenticated by the artist’s family.
ILLUSTRATED
R 100 000 - R 150 000 84
SCULPTURE PAINTINGS
Sydney Kumalo started his career at the Polly Street Art Centre in 1953 receiving classes from Cecil Skotnes. Between 1958 and 1960 he worked for the sculptor Edoardo Villa to gain experience. After his first commissions for churches in Kroonstad and Orlando his career took off and by the mid-1960s he was hailed as one of South Africa’s greatest sculptors. MOSES AND HIS DISCIPLES (Aaron and Joshua) were originally part of three free-standing figures sold as a set and exhibited at the Goodman Gallery in Johannesburg as well as the Ann Zinn Gallery in Cape Town during 1979. After the exhibition Kumalo agreed that the sculptures should be sold individually. The sculptures were cast in an edition of 5.
SCULPTURE PAINTINGS
412 Sydney Alex Kumalo (South African 1935 - 1988)
JOY II signed bronze height: 65cm Provenance Acquired directly from the artist.
ILLUSTRATED
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In 1982 the Cape Town Civic Centre commissioned Kumalo to create a bronze for the centre. Kumalo created four maquettes namely The Matriarch, The Blessing, Joy I and Joy II. The work titled, The Blessing was chosen, and Joy II seems to have only been cast for the artist in an edition of 1. Sydney Kumalo passed away in 1988. Following his death the Goodman Gallery and the artist’s family continued to cast work posthumously. For this reason there are several works by the artist that were only cast after his death, especially those works with higher edition numbers and works that were created later in his life. What is the difference you might ask? Although a posthumous cast is not considered fake, the complete work was not approved by the artist and in some art circles it is seen as an inadequate representation of the artist’s work and therefore not an original. Although they can be of the same quality of finishing they will have a lesser value in the secondary art market. CDK
R 400 000 - R 600 000 85
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413 Edoardo Villa (South African 1915 - 2011)
HEAD III signed, dated 2006 and numbered 6/6 from the first edition patinated bronze height: 34cm (excluding base) LITERATURE De Klerk, C., De Kamper, G., Villa In Bronze, University of Pretoria Museum, Pretoria, 2012, illustrated on p. 59
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R 80 000 - R 120 000
SCULPTURE PAINTINGS
Edoardo Villa underwent his formal art training in Italy and he took up sculpture as his main artistic occupation. During the Second World War, Edoardo was captured at Sidi Barrani and imprisoned in Zonderwater POW camp near Cullinan. In the camp he pursued his artistic career and invested a lot of time in refining his sculpting style where he started to incorporate the influence Africa had on him as a person. HEAD III is part of a series of masks done by Edoardo in 2001 that demonstrates his playful commentary on the idea that people are not always what they seem on the outside.
SCULPTURE PAINTINGS
414 Edoardo Villa (South African 1915 - 2011)
SINGLE FIGURE signed, dated 1974 and numbered 5/6 patinated bronze height: 42cm (excluding base) LITERATURE De Klerk, C., De Kamper, G., Villa In Bronze, University of Pretoria Museum, Pretoria, 2012, illustrated on p. 165
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Edoardo used clay as his primary form of sculpture making and later expanded to use steel and metal as his principal medium of choice. His undying love for modelling clay and casting never floundered, Villa saw sculpting as a way of life and not as a job. Edoardo used a variety of foundries to cast his clay models in different mediums such as Bronze, Silver, Terrazzo and Cast Iron. These mediums ensured the everlasting survival of his oeuvre. SINGLE FIGURE is a great example of his style of work from the 1970’s. CDK Reference: • de Klerk, C & de Kamper, G. 2012. Villa in Bronze, A Comprehensive Reference to the Castings of Edoardo Villa. Published by The University of Pretoria Museum, Department of UP Arts, University of Pretoria.
ILLUSTRATED
R 100 000 - R 150 000 87
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415 Theo Megaw (South African 1929 - )
SITTING WOMAN signed, stamped and numbered 1/10 bronze height: 102cm
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SCULPTURE PAINTINGS
Theo Megaw is a sculptor, based in the Western Cape, who works in a variety of materials, including clay, stone, steel, wood and bronze. In his work he seeks to evoke a spiritual sense, “I like being in the presence of solid form. It has a grounding effect. My hands like making. And I like moving while I work. I like bending and reaching and hammering and lifting and being on my feet all day. There’s a lot of movement needed to bring about the stillness of a piece of sculpture. Creating form for me is an organic process. I strive to evoke feeling. If it does not express feeling, any art form, music, painting, writing, sculpture, to me is nothing.”
ILLUSTRATED
Reference:
R 160 000 - R 240 000
• Knysna Fine Arts. 2017. Theo Megaw. [O] Accessed on the 08/02/2017 http://www.finearts.co.za/index.php/sculpture/theo-megaw/13-more-details/56-theo-megaw-bio
SCULPTURE PAINTINGS
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Wim Botha’s ECSTASY II was part of an exhibition held at the Stevenson gallery in 2011 titled All This. The artist creates composite figurative sculptures often made from bibles, dictionaries, encyclopaedias and wood. This sculpture is only one example of an on-going evolution of paper busts for which Wim Botha is renowned. His works are more often obscure and steeped in connotation. Liese van der Watt (2005:5) notes that “despite the seeming accessibility of his vocabulary, interpretation (of Wim Botha’s artwork) is challenged by a radical act of translation and displacement that typically removes content from context and renders his work strange, ambiguous and only vaguely familiar”. The sculpture is suspended in space, fragmented and could almost be considered to be in a state of transfiguration. While the artwork does contain elements of traditional portraiture that may suggest some sort of rationalised identity, in this case, the artwork delivers nothing concrete and rather leaves the reader with a sense of flux and transition. His artworks often suggest concepts of weight and weightlessness, as he juxtaposes heavy paper and wood sculptures with polystyrene suspended in mid-air or mounted and grounded on plinths. Wim Botha was born in 1974. During his career so far he has presented a prolific amount of solo shows at the Stevenson gallery, as well as participating in several group shows both locally and abroad. In 2010 he was awarded the commission for a public sculpture at the headquarters of Nedbank in Johannesburg, producing four monumental, abstracted trees constructed from metal and wood. CS References: • Stevenson. 2010. WIM BOTHA. [O] ACCESSED on the 27/01/2017 http://archive.stevenson.info/exhibitions/botha/ index2011.htm
• Van der Watt, L. 2005. Wim Botha: Standard Bank Young Artist for Visual Art 2005. Michael Stevenson, Cape Town.
416 Wim Botha (South African 1974 - )
UNTITLED (ECSTASY II) Afrikaans bibles, wood and steel height: 56cm ILLUSTRATED
R 250 000 - R 350 000
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417 Antonio Da Silva (South African 20th Century - )
ADONIS signed, stamped and numbered 2/9 bronze height: 85cm (excluding base) ILLUSTRATED
R 65 000 - R 95 000
SCULPTURE PAINTINGS
Aesthetics and religion have inspired the creation of three-dimensional artworks featuring the human form for centuries. Therefore it is no surprise that the same holds true for contemporary sculptures dealing with the human figure today. The global tradition of creating figurative sculptures has evolved since early prehistory. From the Venus of Willendorf estimated to have been made between 28 000 and 25 000 BCE - to the Terracotta Army of Qin Shi Huang, the Guardians of the Karnak Temple in Luxor, Egypt to the commemorative portraits and busts at Westminster Abbey; all depict in some way or form significant social, religious and political figures in a given civilization. The Greeks were especially known for experimenting with principles of proportion, dynamic poses, and nudity to create more realistic full body sculptures. Famous Classical sculptures in this tradition include: Laocoön and His Sons (200BC), Venus de Milo (100BC), the Roman bronze statues of Marcus Aurelius and Michelangelo’s David and Pieta. Contemporary artists continue to make sculptures of the human form from several classical sculptural materials including clay, stone, metal, ceramic, and wood, however appropriating the human form in sculpture for renewed investigation. Some contemporary sculptors like Antonio da Silva still resorts to the human shape and form for visual affirmation. Through these disparate aims and approaches the fundamental dedication to the human form in sculpture endures. Reference:
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• Saatchi art. 2017. [O] Accessed on the 08/02/2017 https://www.saatchiart.com/sculpture/body
SCULPTURE PAINTINGS
418 Dylan Lewis (South African 1964 - )
LEOPARD WALKING FRAGMENT signed, dated 2001, numbered AP2, marked s154, bears the Sculpture Casting Services Foundry stamp bronze height: 81cm ILLUSTRATED
R 600 000 - R 900 000
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Between 1993 and 2000 Lewis mainly explored themes of the feline form; focusing primarily on the larger predators of Africa, namely the leopard, lion and cheetah. These large sculptures of African cats originated as an intuitive response and interpretation of the wild animal within its natural environment. Lewis was fascinated by these animals and their natural expressions accentuated by strong physical attributes. Lewis does not attempt to realistically render his subjects, instead, the figure of the cat is chosen as a metaphor for the artist’s passion for the wilderness and its unspoilt landscape. The surface of his sculptures take on the landscape’s tactile qualities - instead of skin and animal fur, they are textured with elements of grass and mud, the artist’s own handprints and finger-marks are also often visible in the works. Christies London held an auction of Dylan Lewis’ work in June 2007 in conjunction with the WWF South Africa and the artist; for the auction Lewis agreed to donate 10% of the proceeds to the WWF South Africa and the exhibition stands as one of the largest collections of Lewis’ animal bronzes ever sold. CS Reference: • Twiggs, L. 2017. DYLAN LEWIS CATS. [O] ACCESSED on the 27/01/2017 http://www.dylanlewis.co.za/sculpture/cat.php
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419 Willem de Sanderes Hendrikz (South African 1910 - 1959)
HEAD OF A PONDO bronze height: 36cm (excluding base) Literature Described in the MA dissertation of E.M. du Toit Die Werke van Willem de Sanderes Hendrikz.
ILLUSTRATED
R 100 000 - R 150 000 92
SCULPTURE PAINTINGS
Willem de Sanderes Hendrikz was born in 1910 in Brandfort in the Free State. As a young boy he studied under the German artist Fritz Hickman. In 1928 he started to study Architecture at the University of the Witwatersrand and took sculpture lessons at the Johannesburg Technical College. In July 1934 Hendrikz took part in his first exhibition at the Cooling Gallery in London. After his return to South Africa he got married and started practising as a full time sculptor in Johannesburg. In 1935 he was given his first commission which was the panels for the Red Cross House in Johannesburg. In 1937 he became a lecturer at the University of the Witwatersrand. In 1940 Hendrikz joined the South African forces in North Africa during the Second World War and was responsible for the implementation of camouflage during the war. After the war he returned to South Africa and continued a career as a full time sculptor. During his lifetime Hendrikz was highlighted by art critics as South Africa’s next great sculptor but due to circumstances like the Second World War and poor health Hendrikz did not create a large amount of work. He died in 1959 in Plettenberg Bay at the age of 49.
SCULPTURE PAINTINGS
420 Willem de Sanderes Hendrikz (South African 1910 - 1959)
HEAD OF A HOTTENTOT bronze height: 35,5cm (excluding base) Literature Described in the MA dissertation of E.M. du Toit Die Werke van Willem de Sanderes Hendrikz.
ILLUSTRATED
R 100 000 - R 150 000
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In 1947 Hendrikz was given a commission by Prof Raymond Dart, a famous anatomist and anthropologist, to create sculptural heads of a Khoi San (Bushman), a Khoikhoi (Hottentot), a Pondo, a Swazi, a Shangaan, a Mashona and a Zulu, seven in total for the Anatomy museum at Wits. It is unknown if the museum ever bought a copy but in 1948 Dr G Büchner, on whose farm Hendrikz had his studio, bought the set. They were installed in arches next to his swimming pool. During the years the heads were exhibited by Hendrikz at various exhibitions in South Africa and Europe. As with most of Hendrikz’s works the heads were only cast once or twice and are exceedingly rare with only the Zulu head being known to be in a public collection, that of the University of Pretoria. Reference: • Erica Marie du Toit, November 1976, Die Lewe en Werk van W de S Hendrikz, University of Pretoria, Dissertation.
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SCULPTURE PAINTINGS
FIGURE I (lot 421) and FIGURE II (lot 422), both from a series titled “Deduct: 12 perspectives of a figure” were produced in 2011, although the original series was made in 2010. The concept of “Deduct” is something Angus has been exploring since 2005; it deals with the notion of the part being as significant as the whole. Angus Taylor states: “In die afgelope twee jaar het ek met die vlietendheid van menslike bestaan gewerk: die kortstondige oomblik in vergelyking met die groot prentjie en tydlyn van ons bestaan. Hierdie belangstelling in kombinasie met ‘n groot voorliefde vir die maak van publieke kuns het gelei tot die ontstaan van tydelike monumente of tydelike beelde. Beeldhou word te veel beskou as ‘n konstante (ewige) kommoditeit en nie as vlietende oomblik nie.” “The work that I placed on exhibition was aimed at showing first of all the work that I made which I enjoyed most and that I felt communicated the themes and concepts I toy and wrestle with most accurately. I wanted the work to be accessible to both artist and non-artist and therefore work that would draw the viewer in through the execution or scale, material or the figurative elements but work that communicates in more than one layer of meaning.” – Angus Taylor Text courtesy of the artist.
421 Angus Taylor (South African 1970 - )
FIGURE I bronze and stone height: 114cm (excluding base) ILLUSTRATED
R 250 000 - R 350 000
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SCULPTURE PAINTINGS
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422 Angus Taylor (South African 1970 - )
FIGURE II bronze and stone height: 109cm (excluding base) ILLUSTRATED
R 250 000 - R 350 000
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423 Norman Clive Catherine (South African 1949 - )
BRIGHT IDEAS signed and numbered 6/12 bronze height: 45cm ILLUSTRATED
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R 50 000 - R 80 000
SCULPTURE PAINTINGS
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SCULPTURE
424 Norman Clive Catherine (South African 1949 - )
428 Ralph Palmer (South African 1918 - )
433 Rob Wareing (South African 20th Century - )
BLUE FIGURE
MOTHER AND CHILD
GIRL WITH GUITAR
signed oil on wood height: 45cm (excluding base)
signed bronze height: 18,5cm (excluding base)
signed oil on canvas 89 by 74cm
R 25 000 - R 35 000
R 7 000 - R 10 000
R 2 000 - R 3 000
425 Frans Boekkooi (South African 20th Century - )
429 NO LOT
434 Mbongeni Buthelezi (South African 1965 - )
HOLLY
PAINTINGS AND WORKS ON PAPER
signed and numbered 11/14 acrylic resin height: 50cm (excluding base)
430 John Vusi Mfupi (South African 1977 - )
R 25 000 - R 35 000
MY FOOD PARADISE I
426 Hezekiel Ntuli (SOUTH AFRICAN 1912 - 1973)
FOUR CLAY BUSTS, four three signed and titled clay height: 14,5cm (4)
R 10 000 - R 15 000 427 Ivan Graham Mitford-Barberton (South African 1896 - 1976)
FINGO-MEISIE signed, dated 1954 and titled, accompanied by the book Ivan Mitford-Barbeton - Beeldhouer numbered 110/500 bronze height: 29cm (excluding base)
R 20 000 - R 30 000
signed and dated ‘15 collage on paper 50,5 by 72cm
PORTRAIT OF A MAN plastic on board 58,5 by 49cm
R 5 000 - R 7 000 435 Adelio Zagni Zeelie (South African 1911 - 1991)
R 10 000 - R 15 000
SEATED FISHERMAN
431 John Vusi Mfupi (South African 1977 - )
signed, dated 1961 and inscribed “Maleier Buurt” oil on board 44 by 38,5cm
MY FOOD PARADISE II
R 8 000 - R 12 000
signed and dated ‘15 collage on paper 50,5 by 72cm
R 10 000 - R 15 000
436 Jules Perahim (Romanian 1914 - 2008)
TWO FIGURES
432 John Vusi Mfupi (South African 1977 - )
signed ceramic plate diameter: 19cm
MY FOOD PARADISE III
R 15 000 - R 20 000
signed and dated ‘15 collage on paper 50,5 by 72cm
R 10 000 - R 15 000
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PAINTINGS
437 Michael Madimetja Teffo (South African 1957 - )
441 Marie Vermeulen Breedt (South African 1954 - )
446 Carl Adolph Büchner (South African 1921 - 2003)
THE BULL
GIRL WITH FLOWERS
HARLEQUIN
signed and dated 98 oil on board 81 by 97,5cm
signed oil and pastel on paper 68 by 98cm
signed oil on board 35,5 by 21cm
R 6 000 - R 9 000
R 25 000 - R 35 000
R 20 000 - R 30 000
438 Lionel Smit (South African 1982 - )
442 Marie Vermeulen Breedt (South African 1954 - )
447 Hennie Niemann Jnr (South African 1972 - )
UNINSPIERD DREAMS, I FADE OUT AGAIN (sic)
TWO WOMEN IN A GARDEN
PORTRAIT OF A WOMAN I
signed oil and pastel on paper 98 by 68cm
signed and dated 02 oil on canvas 49,5 by 39,5cm
signed and dated 00; inscribed with the title on the reverse oil on canvas 70 by 50cm
R 30 000 - R 60 000 439 Hendrik Christiaan Niemann (South African 1941 - )
PORTRAIT OF A WOMAN BRUSHING HER HAIR signed and dated ‘91 gouache on paper 45 by 40cm
R 8 000 - R 12 000 440 Sanell Aggenbach (South African 1975 - )
MONKEYDOO signed, dated 1998 and inscribed with the title oil on board 100 by 61cm
R 10 000 - R 15 000
R 25 000 - R 35 000
R 60 000 - R 90 000
443 Marie Vermeulen Breedt (South African 1954 - )
448 Hennie Niemann Jnr (South African 1972 - )
ANGEL
PORTRAIT OF A WOMAN II
signed, dated 1999; accompanied by a signed and inscribed catalogue: Marie Vermeulen Breedt: A Celebration of Paint, Light and Colour (1998) oil on canvas laid down on board 116 by 85,5cm (2)
signed and dated 02 oil on canvas 49,5 by 39,5cm
R 35 000 - R 50 000 444 NO LOT 445 Theo Megaw (South African 1929 - )
WOMAN IN A RED DRESS signed and dated 1981 oil on canvas 60 by 49,5cm
R 12 000 - R 18 000
R 60 000 - R 90 000 449 Walter Whall Battiss (South African 1906 - 1982)
IN SALEM WHERE THE YOUNG GIRLS BREATHE SUCH MUSK signed and inscribed with the title ink on paper 30,5 by 32,5cm
R 35 000 - R 50 000 450 Walter Whall Battiss (South African 1906 - 1982)
ORGY signed and inscribed ‘To Christine, Yours Walter Battiss’ ink on paper 41 by 58,5cm
R 20 000 - R 30 000
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PAINTINGS
451 John Koenakeefe Mohl (South African 1903 - 1985)
HOME WARD ON SLEDGE signed and dated 59; inscribed on the reverse: “Home Ward on Sledge, Bechuanaland Protectorate (Africa), painted by John Koenakeefe Mohl, painted in 1959” (sic) oil on board 62 by 70cm including artist’s handmade frame Provenance Acquired directly from the artist.
ILLUSTRATED
R 200 000 - R 400 000
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Elza Miles (1997:57) states that Mohl was a leading figure to his peers; leading by example - his painted landscapes have a strong sense of the historical importance of place – not to mention that his compositions are often framed as windows on South African life and scenery. From 1946 to 1959, when he painted HOME WARD ON A SLEDGE, Mohl was commissioned by the Government and Tribal Administration of Botswana to record scenes of historical importance to the Bechuanas (Miles 1997:57). Miles (1997:58) notes how Mohl inscribed his paintings commissioned by the regent Kgosi Tshekedi Khama, ‘by a Motswana artist. J.K. Mohl’, as a gesture of acknowledging his nationality. What is interesting about this painting is that HOME WARD ON A SLEDGE is inscribed with the title as well as: ‘Bechuanaland Protectorate (Africa) By J. Koenakeefe Mohl. Painted in 1959.’. Although Mohl felt a strong kinship with Bechuanaland, going so far as to refer to his roots as a Motswana artist, he titled this painting HOME WARD…; and inscribed it with a phrase of memento, almost as if he wanted to be reminded of the landscape that he originated from but had to leave. Painted nearing the end of his commissions by Khama, it could be read that although the artist still felt a stronger patriotism to South Africa as his place of birth he still felt very strongly about the preservation of his heritage. The painting has a soft whimsical feel to it, the mountains in the distance pulls the viewer along on the journey where the oxen dominate the landscape, casting their shadows in the setting afternoon sun and dwarfing the two figures on the sledge behind them, accentuating the vastness of the Botswana landscape. CS Reference: • Miles, E. 1997. Land and Lives, A story of early black artists. Published by Human & Rousseau, Cape Town, Pretoria, Johannesburg.
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452 Robert Griffiths Hodgins (South African 1920 - 2010)
THE GREEN TABLE signed, dated 2009 and inscribed with the title on the reverse oil on canvas 60 by 60cm Provenance Acquired directly from the artist.
ILLUSTRATED
R 200 000 - R 300 000
PAINTINGS
Robert Hodgins was born in England in 1920, and died in 2010. From 1954 to 1962 he presided as a lecturer at the School of Art, Pretoria Technical College, after which he took up a position as reporter for Newscheck magazine. Between 1966 and 1983 Hodgins lectured at the University of the Witwatersrand in the Fine Art Department, but it was only at the end of 1983 that he retired and took up painting full-time. The title of this painting is reminiscent of another creative production, The Green Table, a popular ballet by the German choreographer Kurt Jooss - considered by many to be his greatest work. The ballet’s plot centres on the peace negotiations of the 1930s in Europe. Concerned neither with any specific individuals’ struggles and redemption, nor with working out a gallant fate for mankind, Jooss’ moral position is irreproachable and he drives home his message in a series of stark images. Each scene of the ballet is a variation on the same theme, like the 41 woodcuts in Hans Holbein’s The Dance of Death. The premise is that Death eventually becomes everyone’s partner, effectively seducing them into his dance on the same terms by which they had lived their lives. No decisive action, change, or resolution is suggested, and in framing the “Dance of Death” as an iconographic attribute, Jooss seems to say none can be expected in the anticipation of imminent death. As it was not unusual for Hodgins to occasionally reference theatre productions based on universal concerns of the time, it could be argued that this was very well what he intended with THE GREEN TABLE painting. The painting was created a year prior to his death and Hodgins illustrates two figures side by side in an ostensibly familiar manner. Perhaps, the artist here, in this work concedes death as an inevitable partner by titling the work in reference to Jooss’ ballet as a process of self-reflection. The painting was acquired directly from the artist by the current owner. CS References: • Wikipedia. 2011. The Green Table Ballet. [O] ACCESSED on the 27/01/2017 https://en.wikipedia.org/wiki/The_Green_Table • Siegel, M. 1989. The Green Table: Sources of a Classic. Dance Research Journal, Vol. 21, No. 1 (Spring, 1989), pp. 15-21. • Atkinson, B. Hodgins, R. Becker, R. Powell, I. Geers, K. & Godby, M. 2002. ROBERT HODGINS. Tafelberg Publishers. Cape Town.
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PAINTINGS
453 Robert Griffiths Hodgins (South African 1920 - 2010)
THREE MEN WAITING signed, dated 1998/9 and inscribed with the title on the reverse oil on canvas 91,5 by 122cm ILLUSTRATED
R 600 000 - R 900 000
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Robert Hodgins’ drive to experiment with light and colour is one of the things that make his works so visually enthralling. He was greatly influenced by the works of Bridget Riley and Francis Bacon; however it was his interpretations of Alfred Jarry’s greedy theatrical character of Ubu that led him on a visual expedition of painting that has been rarely observed with such fervour by any South African painter. THREE MEN WAITING is only one of a myriad of works created by Hodgins shortly after he participated in the Ubu 101 exhibition that hosted both South African and international artists at the Gertrude Posel Gallery at the University of the Witwatersrand, Johannesburg in 1997. Atkinson (2002:13) writes: “Ubu’s diverse presence is felt, not only in the physical characteristics of a host of barely human Hodgins figures – most obviously the truculent, at times oddly vulnerable, businessman – but also in the affective cross current that is the source of power in his work.” In THREE MEN WAITING the viewer is confronted by Hodgins’ theatrical use of colour and an odd Meta referential subtext. The figures are looking out in anticipation, but their presence is unclear; Hodgins animates them in a discomforting posture by grouping the three figures together in this outsized composition. Each character dressed in corporate attire as a subtle reference to Ubu. CS References: • Smith, K. 2000. ROBERT HODGINS. Artthrob, Issue no 34. June 2000. [O] ACCESSED on the 27/01/2017 http://artthrob.co.za/00jun/artbio.html • Atkinson, B. Hodgins, R. Becker, R. Powell, I. Geers, K. & Godby, M. 2002. ROBERT HODGINS. Tafelberg Publishers. Cape Town.
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PAINTINGS
DETAIL
454 Robert Griffiths Hodgins (South African 1920 - 2010)
FIVE HEADS signed, dated 1993/1998 and inscribed with the title on the reverse oil on card laid down on board 177,5 by 46cm ILLUSTRATED
R 30 000 - R 60 000 102
PAINTINGS
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455 Robert Griffiths Hodgins (South African 1920 - 2010)
HEAD WITH PANEL signed, dated “circa ‘87/’88”, inscribed with the title, the artist’s name and “Authenticated 14/8/04” on the reverse oil on canvas 88 by 37cm ILLUSTRATED
R 60 000 - R 120 000
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456 Norman Clive Catherine (South African 1949 - )
UNIDENTIFIED signed and dated 1993 oilstick on paper 138,5 by 120cm Literature Friedman, H., Jamal, A., and Bowie, D. Norman Catherine, Goodman Gallery, Johannesburg, 2000, illustrated on p. 111
ILLUSTRATED
R 50 000 - R 80 000
PAINTINGS
According to Hazel Friedman multiple identities remain a recurring theme in Norman Catherine’s work; this was especially true of his paintings and drawings from the early nineties such as UNIDENTIFIED (1994). As opposed to looking towards a utopian perspective of post-apartheid South Africa, Catherine’s work is not necessarily pessimistic, but rather remains sincere in its drive to interrogate the spread of corporate crime and bureaucratic deception. Catherine employs animation to create ambiguous portraits - not of individuals that can be physically pointed out, but rather, a composite and monstrous identity of a whole, a system, an institution. Friedman notes: “…Catherine was poking his tongue at institutions rather than ideologies, at the corruption of power as opposed to specifically corrupt acts”. Animation has always been a trademark of Catherine’s work, in the sense that his compendium of beasts and mutants often appear to be in a state of feverish agitation (Friedman 2000: 98). This is no different in the style and depiction of UNIDENTIFIED. The lines and colours vibrate and pulse with movement, the bright red colours exclaim frustration and the monster’s expression is everything but naïve. However this artwork could also be seen in a transitory light, when compared to REQUIEM, also created in 1994. Friedman (2000:113) points out that some of Catherine’s works are occasionally free of agitation and irony and rather become introspective; it is not uncommon for the artist to permeate subjects with religious symbolism. In this regard UNIDENTIFIED could be read as a possible study for REQUIEM where the face of the beast finally becomes identified when it is illustrated in the form a Neptune-like figure carefully drawing a fish out of water. Even in this transition of subject matter the viewer is confronted with a subject in an incongruous environment or situation. CS Reference:
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• Friedman, H. 2000. Norman Catherine. Goodman Gallery Editions. Tien Wah Press, Singapore.
PAINTINGS
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457 Gregoire Johannes Boonzaier (South African 1909 - 2005)
PAUL KRUGER signed and dated 1937 oil on canvas 39,5 by 29,5cm ILLUSTRATED
R 50 000 - R 100 000
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PAINTINGS 458 William Joseph Kentridge (South African 1955 - )
DESERTED STADIUM signed and dated ‘87 charcoal and pastel on paper 74 by 50cm ILLUSTRATED
R 350 000 - R 450 000
The influence of German Expressionism within South African art can be seen in the work of William Kentridge. Spatial arrangement and the explorations of space were fundamental to Expressionism and therefore Kentridge’s work makes no exception. During the late eighties, Kentridge had already produced a body of charcoal drawings that dealt with prevalent subjects and icons of the Transvaal landscape like stadiums, mine dumps, urban landfills etc. Staci Boris (2001: 34) quotes Kentridge on his understanding of the landscape as being “essentially an urban one” and he goes further to explain that it has to do with his observations of the city and its surrounds through his daily travels. These compositions, as seen in DESERTED STADIUM, are often carefully compiled and reworked to contain recognisable imagery that Kentridge appropriates, transforms and arranges throughout entire bodies of works to form part of the narrative for a new imagined landscape. In these landscapes figures, objects and shapes transmute and become new landscape markers which in turn sets the scene inviting the viewer to participate in its peculiar narrative. By employing Expressionist conventions Kentridge’s drawings from the eighties do not only embody the artist’s condemnation of the South African capitalist bourgeois society, but lends his works an element of the obscure and allegorical. The imagery and objects in this artwork are sparsely arranged to populate an abandoned stadium; the empty space is unpopulated and reflects upon civilization and its use of land in an inconsistent consumer culture – constantly disposing, not only of things, but also landscapes. The relationship between subject, landscape and object is thrown into an obscure and theatrical flux where the viewer is given freedom to apply personal narratives and interpretations to the objects within the landscape. The juxtaposition of objects that have very little to no connection with each other and are placed into a defined area is reminiscent of the styles of expressionist filmmaking. CS References: • Botha, A. 2008. EKSPRESSIONISTIESE KONVENSIES VOED LANDSKAPPE VAN VERBEELDING: DIE KUNS VAN KENTRIDGE, BELL EN HODGINS. Litnet Argief 2008 – 2012. [O] ACCESSED on the 27/01/2017 https://argief.litnet.co.za/article.php?news_id=46360 • Boris, S. 2001. In William Kentridge exhibition catalogue Museum of Contemporary Art, Chicago and the New Museum of Contemporary Art, New York. Edited by Michael Sittenfeld. 2001. Printed by Snoeck-Ducaju & Zoon, Belgium. Published by the Museum of Contemporary Art, Chicago.
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PAINTINGS
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459 Irma Stern (South African 1894 - 1966)
TWO STUDIES signed and dated 1933 pencil on paper 40 by 28cm ILLUSTRATED
R 100 000 - R 150 000 These two compositions in a charcoal study serve as a good example of Stern’s observing nature. She kept diaries and often documented the scenes around her with a keen interest. Neville Dubow (1991:11) quotes a passage from her journal kept from 1919 – 1924, from this passage one can gather a sense of what the artist envisioned when she documented her interests; being free from the constraint of reviews, and everyday life her journals symbolised for her “a realm of colourful imagination” and a refuge for her thoughts. Neville Dubow (1991:7) notes that by 1924 Stern had already established a physical context for most of her work in the fantasy and sense of paradise that Africa had offered her. She married Dr Johannes Prinz – a language professor at the University of Cape Town in 1926. Although the early 1930s marked a tumultuous time for Stern. She had just returned from a brief visit to Madeira when she filed for divorce from Johannes Prinz after 7 years of marriage in 1933. This was just prior to her return visits to Dakar, Zanzibar and central Africa. These two studies may not be colourful and vibrant in their presentation; however they may offer some insight into the artist’s thought process of the time. The two compositions reflect fleeting gestures. In the upper block two figures draped in North African dress are depicted carrying a vessel away from the viewer, occupied in a seemingly mundane activity of everyday life and companionship. The lower block presents another two figures in formal western attire holding hands, possibly an illustration of a wedding ceremony. It could be argued that while Stern was going through her divorce she was contemplating ideas surrounding companionship and therefore these two compositions of gesture drawings combine and illustrate figures in modes of companionship. CS Reference: • Dubow, N. 1991. PARADISE: The journal and Letters (1917 – 1933) of Irma Stern. Published by
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460 Walter Whall Battiss (South African 1906 - 1982)
AFRICAN AFTERNOON signed oil on board 43,5 by 54cm ILLUSTRATED
R 400 000 - R 600 000
PAINTINGS
Marion Arnold (1985: 61) describes how Walter Battiss’ paintings from the late 50s and 60s, in which he often referred to African figures as the subject matter for his paintings, stylistically adopted his observations of ancient rock art. His paintings from this era, as with many of his compositions of figures throughout his career, convey a sense of uninterrupted, communal activity. The painting is alive with colour and movement; however the figures are stylised into a uniform size and narrative - serving to strip each character from an individual identity but rather assigning a cultural whole - a spirit to the painting. This spirit, as Arnold (1985:61) notes, is not necessarily of the scene depicted, she notes that Battiss “disregarded the evidence of his eyes and obeyed the impulses of his spirit”. In AFRICAN AFTERNOON the intense application of rich ochre and cadmium red shades of colour establishes the pictographic space as a scene filled with lively figures assembling on a dusky African afternoon. There are no facial details in these figures and their anonymity speaks to Battiss’ customary arrangement of figures in communal activity. CS Reference:
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• Arnold, M. 1985. Confronting Paintings In WALTER BATTISS edited by Skawran, K. & Macnamara. M. Published by AD. Donker (PTY) LTD, Craighall. Pages: 55 – 74.
PAINTINGS
461 Matthew Hindley (South African 1974 - )
ONE PEARL OF GREAT PRICE signed and dated 2012 on the reverse oil on linen 200 by 280cm
R 100 000 - R 150 000
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Matthew Hindley was born in 1974 in Cape Town and attended the Michaelis School of Fine Art. Since graduating in 2002 and attaining the Michaelis Prize, he has had numerous solo - and collaborative exhibitions. Hindley’s work is theatrical in practice, often achieved by creating stark “chiaroscuro” contrasts. He emphasises the properties of photography, cinema and theatre by creating a unique relationship between figure and environment, the result of which is both alluring and enigmatic. PS References: • Pollack, L. 2011. Matthew Hindley: An Everlasting Once. iArt Gallery, Cape Town. Catalogue No. 8.
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462 William Joseph Kentridge (South African 1955 - )
FIVE FIGURES signed with the artist’s initials and inscribed ‘Thato, Thank you, 2016’ in red pencil laser cut card on pages from an Italian dictionary 24 by 31cm
R 50 000 - R 100 000
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PAINTINGS
The work FIVE FIGURES is one of the images featured in Kentridge’s project Triumphs and Laments, a frieze in Rome running over 500 metres along the Tiber River. Triumphs and Laments features processions of silhouetted figures and scenes, some up to ten metres tall, taken from Rome’s greatest victories and defeats. These images draw upon mythology, history and contemporary stories and are made with the use of large stencils and the removal of the biological patina from the travertine embankment walls to leave the haunting silhouettes of history. FIVE FIGURES reproduces Kentridge’s original drawing through the use of laser cut card attached to old book pages, reminiscent of many of the works from Kentridge’s earlier Universal Archive project that incorporated drawings on pages from dictionaries and old mine ledgers. LC
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PAINTINGS
463 Andre de Beer (South African 1933 - )
467 Otto Klar (South African 1908 - 1994)
471 Ulrich Konrad Heinrich Schwanecke (South African 1932 - 2007)
DISTRICT SIX
BAOBAB TREE
DESERT ROCKS
signed and dated ‘76 pastel on paper 42 by 50,5cm
signed oil on board 59,5 by 44cm
signed and dated 91 watercolour on paper laid down on card 32 by 47cm
R 5 000 - R 8 000
R 25 000 - R 35 000
R 4 000 - R 6 000
464 Piet Kannemeyer (South African 1927 - 1995)
468 Piet van Heerden (South African 1917 - 1991)
472 Dirk Adriaan Meerkotter (South African 1922 - )
TWEE GRASDAK HUISIES
NAMAQUALAND
STRUKTUUR VI (VARIASIE)
signed oil on canvas laid down on board 35,5 by 45cm
signed oil on canvas laid down on board 34 by 49cm
etching, signed, dated 87, and titled in pencil in the margin sheet size: 51 by 66cm
R 5 000 - R 8 000
R 35 000 - R 50 000
R 6 000 - R 9 000
465 Christopher Tugwell (South African 1938 - )
469 George Enslin (South African 1919 - 1972)
473 Johan (Johannes) Oldert (South African 1912 - 1984)
WOMEN UNDER THE TREES
TREES AND HOUSES
TREE-LINED PATH, CENTURION
signed oil on board 27 by 39,5cm
signed and dated ‘58 oil on board 45,5 by 55,5cm
signed oil on canvas laid down on board 59 by 85cm
R 5 000 - R 8 000
R 20 000 - R 30 000
R 5 000 - R 8 000
466 Christopher Tugwell (South African 1938 - )
470 George Enslin (South African 1919 - 1972)
474 Johan (Johannes) Oldert (South African 1912 - 1984)
FISHING
FARMHOUSE WITH TURKEYS
LANDSCAPE
signed oil on board 27,5 by 58cm
signed and dated ‘57 oil on board 40,5 by 51cm
signed oil on canvas 59 by 85cm
R 6 000 - R 9 000
R 18 000 - R 24 000
R 6 000 - R 10 000
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475 Rowena Elizabeth Bush (South African 1917 - )
479 Simon Moroke Lekgetho (South African 1929 - 1985)
483 Tinus (Marthinus Johannes) de Jongh (South African 1885 - 1942)
LANDSCAPE
BUSHVELD LANDSCAPE
HOUSE IN A MOUNTAINOUS LANDSCAPE
signed and dated 1973 watercolour on paper 36 by 55cm
signed and dated 71 oil on canvas board 45 by 60cm
signed oil on canvas 33 by 47,5cm
R 4 000 - R 6 000
R 6 000 - R 10 000
R 25 000 - R 35 000
476 Gabriel Cornelis de Jongh (South African 1913 - 2004)
480 Christiaan St Patrick Nice (South African 1939 - )
484 Tinus (Marthinus Johannes) de Jongh (South African 1885 - 1942)
PATH TO A FARMHOUSE
FISHING BOAT IN THE HARBOUR
AT THE WATER’S EDGE
signed oil on canvas 32 by 48cm
signed oil on board 44,5 by 60cm
signed oil on board 30,5 by 49,5cm
R 8 000 - R 12 000
R 20 000 - R 30 000
R 20 000 - R 30 000
477 Gabriel Cornelis de Jongh (South African 1913 - 2004)
481 Gregoire Johannes Boonzaier (South African 1909 - 2005)
485 Zondi Skosana (South African 1975 - )
MONKS COWL, DRAKENSBERG
LANDSCAPE WITH TREES
TIME TO GET TOGETHER
signed oil on canvas 60 by 90cm
signed watercolour over pencil on paper 40 by 50cm
R 18 000 - R 24 000
R 12 000 - R 16 000
signed and dated 09; inscribed with the title on the reverse oil on board 70 by 50cm
478 Gabriel Cornelis de Jongh (South African 1913 - 2004)
482 Jan Ernst Abraham Volschenk (South African 1853 - 1936)
COTTAGE IN A LANDSCAPE
THE PEAK OF ROMANSHOEK (RIVERSDALE)
signed oil on canvas 60 by 90cm
signed and dated; signed, dated and inscribed with the title on the reverse oil on canvas 23,5 by 37,5cm
R 20 000 - R 30 000
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PAINTINGS
R 40 000 - R 60 000
R 5 000 - R 7 000 486 Zondi Skosana (South African 1975 - )
FIGURE AND PLANT signed and dated 2011; signed on the reverse oil on board 50 by 80cm
R 5 000 - R 7 000
PAINTINGS
487 Ephraim Mojalefa Ngatane (South African 1938 - 1971)
TOWNSHIP SCENE signed and dated 70 oil on board 40,5 by 50,5cm ILLUSTRATED
R 100 000 - R 150 000
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Ephraim Ngatane was born in Maseru, Lesotho in 1938. During the 1950s Ngatane joined the Polly Street Art Centre in Johannesburg where he studied under Cecil Skotnes and Durant Sihlali. According to Bester (2009:6 – 7) there were two primary stylistic directions that artists from the Polly Street usually explored, the one being ‘neo-African’ style and the other ‘township’ style. Ngatane’s work follows a range of approaches that can be identified with the ‘township’ style as Bester describes it; his scenes are often descriptive of township locations, featuring people taking part in everyday activities. Ngatane later went on to teach at the Jubilee Art Centre where his teachings were influential to the development of the careers of Louis Maqhubela and Ben Macala. CS Reference: • Bester, R. 2009. Ephraim Ngatane, a Setting Apart. Published by Blank Books, Johannesburg.
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S|3 488 Durant Basi Sihlali (South African 1935 - 2004)
495 Johan (Johannes) Oldert (South African 1912 - 1984)
500 Myrza Gilliot (South African 20th Century - )
RURAL SETTLEMENT
COUNTRY ROAD
AFTERMATH
signed and dated ‘76 watercolour on paper 29 by 74cm
signed oil on board 34,5 by 50cm
R 12 000 - R 18 000
R 5 000 - R 8 000
signed and dated 8/14; signed and inscribed with the title on the reverse acrylic on canvas 45,5 by 61cm
489 Victor de Lima (Mexican 20th Century - )
496 Marge Maggs (South African 1940 - )
STREET SCENE
EXPANSIVE LANDSCAPE
signed oil on canvas 39,5 by 50cm
signed oil on canvas laid down on board 39,5 by 49,5cm
R 5 000 - R 8 000
R 3 000 - R 5 000
490 Peter Mogano (South African 20th Century - )
497 Kobus Kotze (South African 20th Century - )
STREET SCENE
MOUNTAINOUS LANDSCAPE
signed and dated 1986 watercolour on paper 26 by 36cm
signed and dated 91 oil on canvas laid down on board 39 by 53,5cm
R 10 000 - R 15 000
R 5 000 - R 8 000
491 NO LOT
498 Edward Roworth (South African 1880 - 1964)
492 Christopher Tugwell (South African 1938 - )
HIGHVELD LANDSCAPE signed oil on board 45 by 59,5cm
R 8 000 - R 12 000 493 Conrad Nagel Doman Theys (South African 1940 - )
LANDSCAPE signed and dated 72 oil on board 15,5 by 27,5cm
R 12 000 - R 18 000 494 Jocelyn Boyley (South African 1932 - )
LANDSCAPE signed watercolour on paper 52,5 by 72cm
R 5 000 - R 7 000
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PAINTINGS
HATHERSAGE, DERBYSHIRE signed; inscribed with the title on the reverse oil on board 39 by 49cm
R 10 000 - R 15 000 499 Andre de Beer (South African 1933 - )
CART ON A COUNTRY ROAD signed and dated 86 oil on canvas laid down on board 24 by 49cm
R 4 000 - R 6 000
R 5 000 - R 8 000 501 Myrza Gilliot (South African 20th Century - )
SPOTLIGHT signed and dated 10/2016 acrylic on card 69,5 by 51cm
R 5 000 - R 8 000 502 Sydney Alex Kumalo (South African 1935 - 1988)
ABSTRACT FIGURES signed and dated 82 watercolour and ink on paper laid down on card 51 by 42,5cm, unframed
R 8 000 - R 12 000 503 Bettie Cilliers-Barnard (South African 1914 - 2010)
ABSTRACT COMPOSITION signed and dated 1966 oil on canvas laid down on board 75,5 by 50,5cm
R 30 000 - R 50 000 504 Gail Behrmann (South African 1948 - )
UNTITLED (MAN, WHAT A FEELING!) signed acrylic, pastel, glitter and collaged newspaper on paper 68,5 by 98cm
R 10 000 - R 15 000
PAINTINGS
505 Paul du Toit (South African 1922 - 1986)
ABSTRACT TREES signed oil on canvas 57,5 by 79cm ILLUSTRATED
R 60 000 - R 90 000
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Paul du Toit was born in 1922 in Noordhoek, a remote town on the Cape Peninsula. His home was tucked away amongst abundant forests and meandering streams, offering a stimulating environment for the young du Toit and his five siblings. By personifying the forest trees, he learnt to uniquely perceive his surroundings, a trait that resonated in his work throughout his career. After completing school, du Toit was faced with the conflict of pursuing a career in either art or music. He began work at an architecture firm in the drafting division, yet his artistic intuition never faltered. He was unconvinced by the rigidity of the fine art curriculum at the Michaelis Art School in Cape Town, and opted to study under Jean Welz, an Austrian painter and former architect. Although unconventional, Welz’s training was indispensable not only in terms of technique, but in harnessing his emotional and intellectual integrity. Du Toit’s unique technique and use of tone and colour has been described by a Cape Times critic as a manifestation of ‘emotional intensity and sincerity’. The earthy colours and dynamic line work are often suggestive of Cape scenery. His work became increasingly ambiguous as his technique progressed, yet the vibrancy and tonality remained characteristic of his style. PS Reference: • Martin, K. 2004. Paul du Toit, A Painter’s Journey. Published by Fernwood Press (Pty) Ltd.
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PAINTINGS
506 Lucky Madlo Sibiya (South African 1942 - 1999)
ABSTRACT COMPOSITION signed carved, incised and painted wood panel 86 by 47,5cm ILLUSTRATED
R 60 000 - R 90 000
Lucky Sibiya was born in 1942 in Vryheid, South Africa, and died in 1999. He is internationally renowned for his abstract paintings and sculptural carvings. The artist´s fascination with abstraction began from an early age and was further informed by his observation of his father who was a traditional healer. The destruction of Sophiatown during the fifties resulted in Sibiya’s family relocating to Soweto. During his younger years at school in Hammanskraal he already started to experiment with woodcarvings. Shortly before completing his school education at St. Peter´s Seminary, the artist introduced himself to Cecil Skotnes. Skotnes was at this time one of South Africa´s foremost contemporary artists and the head of the Polly Street Art Centre in Johannesburg where he was an avid supporter of young talent. Skotnes was enthusiastic to accept Sibiya as a private pupil and as a result the mentor´s engraved paintings were influential in Sibiya´s decision to paint on carved wood. Sibiya elevates his use of expression to a point of seamless sophistication, by rubbing powdered pigments into richly engraved surfaces as can be seen in this abstract composition. The most distinctive features of his style is his use of organic shapes cohering into flowing, rhythmic lines, contrasted by the rich background of a detailed carving in intaglio and relief. The physical demand of Sibiya´s technique is matched only by the harmonious, spiritual sensitivity his work possesses as a mode of transporting the viewer into his world of ritual. Key elements of his figurative work include ancient tribal traditions and rites of passage. CS Reference: • Everard Read. Cape Town. 2012. LUCKY SIBIYA. [O] ACCESSED on the 27/01/2017 http://luckysibiya.everard-read.co.za/ johannesburg/?m=1&idkey=516
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PAINTINGS
507 Christo Coetzee (South African 1929 - 2000)
511 Adelio Zagni Zeelie (South African 1911 - 1991)
516 Wim Blom (South African 1927 - )
RAINBOW QUARTZ 1
CAPE STREET SCENE
BOATS ON THE BEACH
signed, inscribed with the title and ‘No 8, Tulbagh, Cape, SA’ in pencil oil on paper 52 by 67cm
signed, dated 1961, inscribed “Maleier Buurt” oil on board 36,5 by 46cm
signed and dated ‘56 oil on newspaper laid down on board 39 by 46,5cm
R 5 000 - R 8 000
R 5 000 - R 8 000
512 Adelio Zagni Zeelie (South African 1911 - 1991)
517 Walter Gilbert Wiles (South African 1875 - 1966)
BOATS ON THE BEACH
SAND DUNES
oil on board 30,5 by 36cm
signed, dated 1961 and inscribed “DURBAN” oil on board 36,5 by 46,5cm
signed oil on board 60 by 90cm
Provenance
R 5 000 - R 8 000
R 12 000 - R 18 000
513 Marie Vermeulen Breedt (South African 1954 - )
518 Errol Stephen Boyley (South African 1918 - 2007)
STILL LIFE
BOAT SCENE
signed and dated 76 oil on canvas 59,5 by 44cm
signed oil on board 54,5 by 74,5cm
R 10 000 - R 15 000
R 35 000 - R 45 000
514 Adelio Zagni Zeelie (South African 1911 - 1991)
519 Conor McCreedy (South African 1987 - )
DURBAN
FOSSIL 1
signed, dated 1958 and inscribed with the title oil on board 34,5 by 49,5cm
signed, dated 2016 and inscribed with the title on the reverse oil and enamel on canvas 70 by 50cm, unframed
R 30 000 - R 45 000 508 Wayne Cahill Barker (South African 1963 - )
UNTITLED
Acquired directly from the artist.
R 15 000 - R 20 000 509 Carl Adolph Büchner (South African 1921 - 2003)
ABSTRACT LANDSCAPE signed oil on board 40,5 by 58cm
R 20 000 - R 30 000 510 Malangatana Ngwenya (Mozambican 1936 - 2011)
FIGURES signed and dated 97 ink and acrylic on board 66 by 51cm
R 25 000 - R 35 000
R 5 000 - R 8 000
R 40 000 - R 60 000
515 Nils Severin Andersen (South African 1897 - 1972)
DURBAN signed watercolour over pencil on paper 27,5 by 39cm
R 4 000 - R 6 000
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S|3 520 Conor McCreedy (South African 1987 - )
FIVE FEMALE NUDES signed; signed three times, dated 2009 and inscribed with the title on the reverse oil, enamel, acrylic and charcoal on canvas 124,5 by 183cm, unframed ILLUSTRATED
R 300 000 - R 500 000 “Blue has a strange and near-unspeakable effect on the eye”, Johann Wolfgang von Goethe writes in his colour system from 1810, “it is an energy as a colour. It stands alone on the negative side and is the equivalent of an enticing nothing in its highest purity”. To this day, the colour blue has remained an indefinable but everpresent cultural element that we find in our language, in fashion, in music and especially in art. For many years it has been the most popular colour in the Western world according to colour-psychology studies. 40% of men and 36% of women say that blue is their favourite colour. It is particularly the ambiguity of the colour blue – according to Goethe, its “unspeakable effect” –, that manifests in the symbol of the ocean in Mccreedy’s work. His paintings reflect the blue ocean, mysteriously moved by the stars, just as indomitable, powerful and rough as it is calm and constant. From as early as six years old Conor McCreedy was fascinated with pigments and painting. His love for the female form developed in the later years. Known for his wild brush strokes that show magnificent lines combined with authority and precision. McCreedy has grown up in Southern Africa. At a tender age he had mastered fine oil landscape paintings while in high school. Moving to NYC at nineteen years old allowed him to break into the exciting modern, contemporary art world and certainly the market. McCreedy now resides between two continents namely Africa and Europe. In 2010 he launched his iconic colour known as the trademarked colour -Mccreedyblue. This painting was created just two years after the world financial crisis in 2008. During this time McCreedy was based in New York City which was the art and financial capital of the world. The photograph of the original image that inspired McCreedy to create this painting was photographed by the late Herb Ritts. The painting took six years to evolve into what it is now. If this painting was X-ray photographed, it would allow the viewer to see the perfect charcoal renderings behind the paint. McCreedy would have free-handedly drawn the figures onto the canvas. The sketch was done in charcoal from the photograph. Later on in Mccreedy’s development with his signature blue style he completely “Mccreedyfied” his perfectly drawn charcoal on canvas into a haunting – yet magnificent, bursting power of rich blue hues. If turned upside down, the painting also resembles a frighteningly accurate, anatomic study of the human heart. Reference: • Blue – From Goethe to McCreedy A brief history of the art and culture of a colour von Elena Süllwald Kunsthistorikerin Text courtesy of the artist.
NO LOTS 521 - 530 118
PAINTINGS
PAINTINGS
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119
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PAINTINGS
PHOTOGRAPHY, PAINTINGS AND SCULPTURE
LOT 427
120
LOT 404
LOT 438
LOT 503
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SESSION 3 HIGHLIGHTS
PHOTOGRAPHY, PAINTINGS AND SCULPTURE
LOT 424
LOT 348
LOT 482
LOT 426
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POCKET WATCHES AND WRISTWATCHES JEWELLERY WEDNESDAY | 29 MARCH 2017 | 10H30 | LOTS 531 - 639
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POCKET WATCHES AND WRISTWATCHES
POCKET WATCHES AND WRISTWATCHES 531
534
536
A 14CT GOLD HUNTER-CASED POCKET WATCH
A GENTLEMAN’S 18CT GOLD WRISTWATCH,
A GENTLEMAN’S STAINLESS STEEL
the circular gilt dial with gilt Arabic numeral hour markers, subsidiary dial for seconds at 6 o’clock, the case with a monogram, diameter of bezel approximately 48mm
JAEGER-LECOULTRE
WRISTWATCH, OMEGA SEAMASTER
manual, the circular silvered dial, applied with baton hour markers, on a later black leather strap, diameter of bezel approximately 35mm, accompanied by a Jaeger-LeCoultre box (2)
automatic, the circular silvered dial, applied with baton hour markers, on a later stainless steel strap, diameter of bezel approximately 35mm
R 7 500 - R 10 000 532 A 14CT HALF-HUNTER POCKET WATCH
the white dial with black Roman numeral hour markers and calibrated outer ring, the hinged cover with a band of black enamelled Roman numerals, the front and back case engraved with flowers and foliage, diameter approximately 30mm
R 4 500 - R 6 000 533 A GENTLEMAN’S STAINLESS STEEL WRISTWATCH, HEUER
automatic, the circular silvered dial applied with baton hour markers, on a later black leather strap, worn, diameter of bezel approximately 35mm in diameter, accompanied by a Heuer box (2)
R 4 000 - R 8 000
R 8 000 - R 12 000 535 A GENTLEMAN’S 18CT ROSE GOLD WRISTWATCH, LONGINES
automatic, the circular cream dial, applied with baton and Arabic numeral hour markers, subsidiary dial for seconds, on a later brown leather strap, worn, diameter of bezel approximately 35mm, accompanied by a Longines card box (2)
R 6 000 - R 10 000
R 4 000 - R 6 000 537 A GENTLEMAN’S STAINLESS STEEL WRISTWATCH, OMEGA CONSTELLATION CHRONOMETER
automatic, the circular white dial, applied with baton hour markers, date aperture at 3 o’clock, the bezel with black Roman numerals, on an integrated brick-link bracelet strap with folding clasp, width of bezel 35mm
R 15 000 - R 20 000 538 A GENTLEMAN’S STAINLESS STEEL WRISTWATCH, TAG HEUER
reference number: CG 2110-RO, automatic, the circular white dial with luminescent baton hour markers, three subsidiary dials for constant seconds, 30-minute and 12-hour registers, date aperture at 3 o’clock, outer tachymeter ring, the bezel with baton and Arabic numerals, on a later leather strap, diameter of bezel approximately 42mm
R 7 000 - R 10 000
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POCKET WATCHES AND WRISTWATCHES
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539 A GENTLEMAN’S STEEL WRISTWATCH,
Bell & Ross
BELL & ROSS BR123
Founded in 1992, Bell & Ross has established itself as the choice for airplane pilots, astronauts and diving professionals. The first Bell & Ross watches were designed by Belamich and Rosillo and manufactured by watchmaker Sinn in Germany. However, in 2002 Bell & Ross began manufacturing their own watches at their La Chaux-de-Fonds facility in Switzerland.
automatic, the circular black dial, with Arabic numeral and baton hour markers, subsidiary dial for seconds, the case with black carbon coating, on a tan leather Bell & Ross strap, diameter of bezel approximately 40mm, accompanied by case, outer box, information booklet and warranty card (2) ILLUSTRATED
R 26 000 - R 36 000 125
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POCKET WATCHES AND WRISTWATCHES
540 A GENTLEMAN’S 18CT ROSE GOLD WRISTWATCH, PIAGET EMPERADOR
reference number. G0A34022, automatic, the cushion-shaped brushed greyish blue dial with rose gold highlights, applied with baton hour markers, moon phase indicator with moon crater design at 6 o’clock, skeleton case back signed and hallmarked, serial no.1026227, on a brown leather Piaget strap with folding clasp, accompanied, guarantee card, manual and box, width of bezel approximately 46,5 mm
R 290 000 - R 420 000
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Piaget Piaget is one of the most prestigious watch manufacturers in the world. Founded in 1874 by Georges Piaget in the village of La Côte-aux-Fées, Piaget has remained at the forefront of the luxury watch industry. In 2008 Piaget was ranked as the 6th most prestigious jewellery brand in the world by The Luxury Institute.
POCKET WATCHES AND WRISTWATCHES
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541 A GENTLEMAN’S 18CT ROSE GOLD WRISTWATCH, JAEGER-LECOULTRE MASTER CONTROL
reference number: 147.2.37.S, automatic, the circular silvered dial, applied with baton and Arabic numeral hour markers, date aperture at 3 o’clock, skeleton case back signed and hallmarked, serial no.2404909, on a brown leather Jaeger-LeCoultre strap with folding clasp, accompanied by guarantee and box, diameter of bezel approximately 39mm
Jaeger-LeCoultre Swiss luxury watch and clock manufacturer, Jaeger-LeCoultre, was founded in 1833 by Antoine LeCoultre and has innovated the industry ever since. In its repertoire of records is the world’s smallest calibre, one of the world’s most complicated wristwatches and a timepiece of near-perpetual movement.
R 100 000 – R150 000 NO LOTS 542 - 550 127
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Antique, period and contemporary JEWELLERY 551 AN AMETHYST AND DIAMOND RING
centred with a square step-cut amethyst weighing approximately 1.53cts, in a conforming surround of twenty-eight round brilliant-cut diamonds weighing approximately 0.17cts in total, impressed 750 ILLUSTRATED
R 15 000 - R 20 000
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JEWELLERY
JEWELLERY
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552 AN AQUAMARINE RING
centred with a claw-set emerald-cut aquamarine weighing 18.887cts, impressed 750, size I½. The aquamarine accompanied by a Gem Identification report from E.G.L. South Africa, no. 140101140, stating it to be light toned slightly Greenish Blue colour
ILLUSTRATED
R 12 000 - R 20 000
129
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553 A DIAMOND RING
of three combined rings, the centre ring centred with a round brilliant-cut diamond weighing approximately 0.23cts, flanked on either side by a baguette-cut diamond, the other two rings of plain form, impressed 18ct, size L
558
562
A PAIR OF DIAMOND EAR STUDS
AN EMERALD AND DIAMOND NECKLACE
each of flower form, centred with an old-cut diamond, metal test inconclusive, approximately 1cm in diameter (2)
centred with a claw-set emerald-cut emerald weighing approximately 1.44cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 0.28cts in total, the flat curb-link chain highlighted with emerald-cut emeralds interspersed with round brilliant-cut diamonds weighing approximately 3.12cts in total and 1.0cts in total respectively, impressed 750, approximately 40cm in length
R 3 000 - R 6 000
R 5 000 - R 8 000
554
559
A 9CT GOLD AND SILVER PENDANT
A DIAMOND CLUSTER RING
in the form of a cross, the centre composed of silver, embellished with embossed scrolls and foliage, within a conforming surround of 9ct yellow gold, with hinged 9ct gold bale, acid tested as silver and 9ct, approximately 5,5cm in length
centred with a round brilliant-cut diamond weighing approximately 0.54cts, surrounded by eight round brilliant-cut diamonds weighing approximately 0.84cts in total, the shoulders and gallery further embellished with stylised scrolls, distress, impressed 18ct, size K
R 12 000 - R 20 000 563 A FULL EMERALD ETERNITY RING
R 3 000 - R 4 000
R 6 500 - R 10 000
channel-set with carré-cut emeralds weighing approximately 1.82cts in total, acid tested as 18ct gold, size K½
555
560
R 5 000 - R 7 000
AN 18CT GOLD NECKLACE
A DIAMOND RING
composed of rolo-link chain, set to the centre with hollow spheres and ovals, suspending two drops terminating in hollow spheres of matte finish embellished with white gold stars, impressed 750, approximately 49cm in length
centred with a round brilliant-cut diamond weighing approximately 0.20cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 1.08cts in total, with flat European band, acid tested as 18ct gold, size L
R 5 000 - R 8 000 556 A CITRINE AND DIAMOND BROOCH/PENDANT
composed of openwork scrolls, centred with three oval mixed-cut citrines, suspending three snake chain loops, distress, acid tested as 9ct gold, approximately 7cm in width
R 1 500 - R 3 000 557 A DIAMOND RING
centred with two rows of old-cut diamonds weighing approximately 0.25cts in total, impressed 18ct, size V
R 2 000 - R 4 000
130
JEWELLERY
R 4 000 - R 8 000 561
564 A DIAMOND RING
in the form of a flower, centred with a round brilliant-cut diamond weighing approximately 0.40cts, the petals embellished with old-cut diamonds, with semi-bifurcated shoulders, acid tested as platinum, size L
R 5 000 - R 10 000
AN EMERALD AND DIAMOND RING
565
centred with a bezel-set emerald step-cut emerald weighing approximately 1.6cts, flanked on either side by two round brilliant-cut diamonds weighing approximately 0.40cts in total, claw-set above and below with three round brilliant-cut diamonds weighing approximately 0.60cts in total, impressed 750, size M½
A DIAMOND CLUSTER RING
R 40 000 - R 60 000
centred with a round brilliant-cut diamond weighing approximately 0.28cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 0.60cts in total, impressed 9K, size N
R 2 600 - R 5 000
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JEWELLERY
566
570
575
A PAIR OF GOLD EARRINGS
A BAROQUE PEARL NECKALCE
AN 18CT GOLD PENDANT
each of curved oval form, composed of two bands of engraved and openwork embellishment with post and hinged clip backs, impressed 18ct, approximately 3cm in length (2)
a single strand of cream, pink and grey baroque pearls, approximately 250cm in length
of circular form, the surround composed of openwork Greek design, centred with a circular disc, engraved with initials, impressed 18K, approximately 3,5cm in diameter
R 2 600 - R 4 000 567 A SILVER AND MOONSTONE BROOCH, VIVVIANNA TORUN BÜLOW-HÜBE FOR GEORG JENSEN
of undulating design, bezel-set to the top with an oval cabochon moonstone, impressed with maker’s mark, TORUN, 925 S, DENMARK and numbered 373
R 4 000 - R 8 000
R 5 500 - R 8 500 571 A SINGLE STRAND PEARL NECKALCE
composed of seventy-four graduated pearls, approximately 5,41mm to 8,72mm in diameter, possibly Oriental pearls, the flower clasp embellished with a single pearl, highlighted by circular-cut rubies, impressed 750, approximately 54cm in length
R 15 000 - R 20 000 572 A 9CT ROSE GOLD FOB CHAIN
568
composed of curb links, each link impressed 375 and 9, approximately 39cm in length
A PAIR OF PEARL AND DIAMOND EAR STUDS
R 9 500 - R 12 000
each surmount bezel-set with a round brilliantcut diamond weighing approximately 0.10cts in total, set below with a silver grey pearl, diameter 10,22mm and 10,41mm, acid tested as 18ct gold, with screw backs, approximately 1,3cm in length (2)
573 A GOLD RING
569
centred with an openwork domed swirl, impressed 22k, acid tested as 18ct gold, size N; and A Pair of Gold Earrings, of similar design, with screw butterflies, acid tested as 18ct gold, approximately 2cm in length (3)
A PEARL AND DIAMOND RING
R 2 500 - R 5 000
R 5 000 - R 8 000
in the form of a stylised flower, centred with a pearl, diameter approximately 12,1mm, the bifurcated shoulders and stylised petals embellished with round brilliant- and baguettecut diamonds weighing approximately 0.88cts in total, impressed 750, size N
R 10 000 - R 15 000
R 1 600 - R 2 000 576 A DIAMOND BRACELET
set to the centre with twelve graduated flexible square links, each centred with a round brilliantcut diamond weighing approximately 3.98cts in total, with kidney-shaped links embellished on the sides with scrolls and foliage, partially impressed 9ct, approximately 19cm in length
R 30 000 - R 50 000 577 A BLACK AND WHITE DIAMOND BRACELET
claw-set with forty-four circular black diamonds weighing approximately 6.30cts in total, with eight claw-set round-brilliant-cut diamonds weighing approximately 0.80cts in total, acid tested as 18ct gold, approximately 185mm in length
R 30 000 - R 40 000 578 A DIAMOND TENNIS BRACELET
574
designed as a line of sixty eight claw-set round brilliant-cut diamonds weighing approximately 3.52cts in total, acid tested as 18ct, approximately 18cm in length
A COIN PENDANT
R 25 000 - R 35 000
of pear-shaped form, with open work design, embellished with round brilliant-cut diamonds weighing approximately 0.15cts in total, centred with a King Edward VII 1908 sovereign, impressed 18ct, approximately 6,5cm in length
R 4 500 - R 7 000
579 A DIAMOND TENNIS BRACELET
designed as a line of round brilliant-cut diamonds weighing approximately 2.5cts in total, acid tested as 18ct, approximately 18cm in length
R 18 000 - R 28 000
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JEWELLERY
580
586
592
A DIAMOND TENNIS BRACELET
A PAIR OF DIAMOND EARRINGS
A RUBY AND DIAMOND RING
each square-shaped link millegrain set with a round brilliant-cut diamond weighing approximately 1.78cts in total, impressed 750, approximately 19cm in length
each of curved rectangular form, highlighted with round brilliant-cut diamonds weighing approximately 0.16cts in total, with post and omega backs, impressed 14ct, approximately 1,8cm in length (2)
set to the centre with flower heads composed of marquise- and circular-cut rubies and round brilliant-cut diamonds, weighing approximately 0.45cts in total and 0.48cts in total, acid tested as 18ct gold, size O
R 16 000 - R 22 000 581 A JADE-LIKE STONE BRACELET
composed of eight textured triangles, centred with a round cabochon jade-like stone, with foldover clasp, impressed 9ct, approximately 20cm in length
R 10 000 - R 15 000 582 A JADE-LIKE STONE RING
centred with a circular cabochon jade-like stone, the gallery with textured design highlighted with polished circular outlines, impressed 9ct, size S
R 2 500 - R 4 500
R 2 200 - R 4 000 587 A DIAMOND PENDANT
of flower head form, centred with a bezel– set round brilliant–cut diamond weighing approximately 0.18cts, surrounded by six round brilliant–cut diamonds weighing approximately 0.48cts in total, impressed 18ct, approximately 18mm in length; and An 18ct Gold Necklace, composed of snake-link chain, impressed 18ct, approximately 44cm in length (2)
R 12 000 - R 20 000 588
593 A PAIR OF RUBY AND DIAMOND EARRINGS
each designed as a line of flower heads, composed of marquise- and circular-cut rubies weighing approximately 0.26cts in total and round brilliant-cut diamonds weighing approximately 0.30cts in total, acid tested as 18ct gold, with post and omega clip backs, approximately 1,5cm in length (2)
R 5 000 - R 7 000 594 A RUBY AND DIAMOND RING
583
A DIAMOND RING
A PAIR OF JADE-LIKE STONE EAR STUDS
centred with an old-cut diamond, flanked on either side by a crescent-shaped design, impressed 18ct, size N½
of flower design, centred with a circular ruby weighing approximately 0.40cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 0.39cts in total, impressed 750, size K
R 2 000 - R 3 000
R 7 500 - R 10 000
589
595
A DIAMOND CLUSTER RING
A RUBY AND DIAMOND BROOCH
centred with an old-cut diamond weighing approximately 0.28cts, within a conforming surround of seven old-cut diamonds weighing approximately 0.43cts in total, impressed platinum, acid tested as 18ct gold and platinum, size J
of circular form, centred with an oval mixed-cut ruby weighing approximately 0.52cts, within a conforming surround of old-cut diamonds, further highlighted with circular mixed-cut rubies, with screw brooch back and safety chain, metal test inconclusive, approximately 2,5cm in diameter
each centred with a circular cabochon jade-like stone, within a 9ct gold conforming surround, impressed 9ct, butterflies acid tested as 9ct, approximately 1,3mm in diameter (2)
R 1 800 - R 3 000 584 AN OPAL AND DEMANTOID GARNET BROOCH
of crescent form, set with oval opals of graduating sizes, highlighted with circular demantoid garnets, metal test inconclusive, approximately 5,5cm in width; and An Oval Bar Brooch, centred with a circular form, embellished with ovals creating a flower pattern, each end of the bar terminating in a circular opal, acid tested as 18ct gold, approximately 4,5cm in length (2)
R 4 000 - R 6 000 590 A RUBY BEAD NECKLACE
R 2 000 - R 3 000
composed of four strands of graduated faceted ruby beads weighing approximately 225cts in total, with an adjustable gold and red cord clasp
585
R 4 000 - R 6 000
AN IVORY AND GOLD PENDANT/BROOCH
NOT SUITABLE FOR EXPORT composed of two ivory tusks with gold embellishment, acid tested as 9ct gold, approximately 8,5cm in length
R 5 000 - R 8 000
R 5 000 - R 8 000 596 A RUBY AND DIAMOND RING
591
centred with a claw-set oval mixed-cut ruby weighing approximately 0.38cts, flanked on either side by an old-cut diamond weighing approximately 0.50cts in total, further highlighted on either side by a circular mixed-cut ruby, impressed 750, size K
A RUBY AND DIAMOND PENDANT
R 7 000 - R 10 000
composed of rolo-link chain, centred with an integrated pendant, designed as a line, claw-set with marquise-cut rubies and round brilliant-cut diamonds, weighing 0.48cts in total and 0.22cts in total respectively, acid tested as 18ct gold, approximately 40cm in length
R 5 000 - R 7 000 132
R 4 000 - R 6 000
JEWELLERY
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597 A THREE-QUARTER DIAMOND ETERNITY RING
composed of five rows, embellished with round brilliant-cut diamonds weighing approximately 1.60cts in total, impressed 18K and 750 ILLUSTRATED
R 35 000 - R 55 000
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598 A DIAMOND NECKLACE
designed as a double line of claw-set round brilliant-cut diamonds, graduating in size, weighing approximately 8.90cts in total, impressed 750, approximately 43,5cm in length ILLUSTRATED
R 105 000 - R 155 000
134
JEWELLERY
JEWELLERY
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599 A DIAMOND SOLITAIRE RING
Diamonds are forever
claw-set with a round brilliant-cut diamond weighing approximately 3.29cts, impressed 18ct, size O
There is something intriguing about a diamond, specifically in an engagement ring. Through the centuries they have spun a realm of lore, legacy and mystery around them, which is set to continue for many generations to come.
ILLUSTRATED
R 180 000 - R 240 000
As you enter the world of diamonds, you’ll hear a lot about the “four Cs”: Carat (Weight), Colour, Clarity and Cut. These four qualities determine the beauty and value of a diamond. Every natural diamond is graded according to the 4Cs to give the buyer a quantifiable means of comparing one diamond with another. A diamond with a smaller carat weight can be far more valuable than a larger diamond if it has a better cut, clarity and colour.
135
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JEWELLERY
600
603
607
A DIAMOND RING
A DIAMOND RING
A MISCELLANEOUS GROUP OF JEWELLERY
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
of abstract design, claw-set with round brilliantcut diamonds weighing approximately 0.15cts in total, acid tested as 18ct gold size I; and An 18ct Gold Band, of interlocking design, acid tested as 18ct gold, size M (2)
ITEMS
R 13 000 - R 20 000 601 A PAIR OF DIAMOND EAR STUDS
each of flower design, centred with a round brilliant-cut diamond weighing approximately 0.65cts for the pair, highlighted with round brilliant-cut diamonds weighing approximately 0.36cts in total, acid tested as 18ct gold, screw butterflies impressed 18K, approximately 1,3cm in width (2)
R 2 000 - R 4 000 604 AN 18CT GOLD PENDANT
602
of star burst design, centred with a round brilliant-cut diamond weighing approximately 0.08cts, further embellished with round brilliantcut diamonds, impressed 18ct, approximately 3cm in length; and An 18ct Gold Necklace, composed of rope chain, impressed 18K, approximately 64cm in length; and A Pair Of Diamond Ear Studs, of similar design, claw-set with round brilliant-cut diamonds, acid tested as 18ct gold, approximately 1cm in length (4)
A PAIR OF DIAMOND PENDANT EARRINGS
R 3 000 - R 5 000
R 6 000 - R 12 000
each surmount designed as a circle, centred with a claw-set round brilliant-cut diamonds weighing approximately 0.48cts for the pair, suspending an openwork circle, claw-set to the side with a round brilliant-cut diamond weighing approximately 0.65cts for the pair, acid tested as 18ct gold, butterflies impressed 18ct, approximately 1,5cm in length (2)
R 5 500 - R 10 000
605 A PAIR OF 18CT GOLD CUFFLINKS
each of rectangular form, centred with Chinese characters, with chain and dumbbell fitting, impressed 18ct, approximately 2,3cm in width (2)
R 4 200 - R 6 000 606 TWO 18CT GOLD BANGLES
each of circular form, embellished with star design, impressed 18ct, inner diameter approximately 6,2cm (2)
R 5 000 - R 8 000
136
including, two plain crucifixes, acid tested as 9ct gold and a diamond set ring, acid tested as 9ct gold (3)
R 1 600 - R 3 000 608 A SAPPHIRE AND DIAMOND RING
centred with a twist design, set with three marquise-cut sapphires weighing approximately 0.25cts in total, embellished with round brilliantcut diamonds weighing approximately 0.04cts in total, impressed 18K, size N
R 9 000 - R 12 000 609 A PAIR OF SAPPHIRE AND DIAMOND EARRINGS
each designed as a curved stylised ovoid shape, embellished with semi-circle embossing, highlighted with blue, orange and pink circular sapphires and round brilliant-cut diamonds weighing approximately 0.10cts in total, acid tested as 18ct gold, with post and omega clip backs, approximately 2cm in length (2)
R 9 000 - R 12 000 610 A SAPPHIRE AND DIAMOND RING
centred with an oval mixed-cut sapphire weighing 3.55cts, the conforming surround composed of ten round brilliant-cut diamonds and two princess-cut diamonds weighing approximately 1.2cts in total and 0.20cts in total respectively, impressed 18, size N
R 10 000 - R 15 000
JEWELLERY
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611 A GREEN TOURMALINE AND DIAMOND RING, BROWNS
centred with a faceted cushion-cut green tourmaline weighing approximately 1.66cts, the conforming surround and bifurcated shoulders embellished with round brilliant-cut diamonds weighing approximately 0.47cts in total, impressed 14ct and BROWNS, accompanied by a Browns box (2) ILLUSTRATED
R 30 000 - R 50 000
137
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612 A DIAMOND RING
centred with a round brilliant-cut diamond weighing approximately 1.55cts in total, the stylised shoulders embellished with round brilliant-cut diamonds, acid tested as platinum, size H ILLUSTRATED
R 45 000 - R 65 000
138
JEWELLERY
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JEWELLERY
613
616
619
A DIAMOND RING, BROWNS
A PAIR OF GEMSTONE PENDANT EARRINGS
A PAIR OF GARNET AND DIAMOND PENDANT
the broad two tone band bezel-set to the centre with four princess-cut diamonds weighing approximately 0.30cts in total, impressed 9ct and BROWNS, size P
each gold bead surmount suspending a line of circular link chain interspersed with faceted gemstone beads, including amethyst and citrine, acid tested as 18K, butterflies impressed 750, approximately 4,5cm in length (2)
EARRINGS
R 6 000 - R 8 000 614 A BLUE TOPAZ AND DIAMOND RING
centred with a faceted circular blue topaz, within a conforming surround of baguette-cut diamonds weighing approximately 0.18cts in total, the shoulders embellished with round brilliant-cut diamonds, impressed 18K, size M
R 3 000 - R 5 000 617 A FULL DIAMOND ETERNITY RING
claw-set throughout with round brilliant-cut diamonds weighing approximately 1.76cts in total, acid tested as 18ct gold, size N½
R 9 000 - R 12 000
R 12 000 - R 20 000
615
618
A PAIR OF BLUE TOPAZ AND DIAMOND EAR
A FULL DIAMOND ETERNITY RING
STUDS
claw-set throughout with round brilliant-cut diamonds weighing approximately 0.98cts in total, acid tested as 18ct gold, size N½
each of square form, centered with a princesscut blue topaz weighing approximately 0.35cts for the pair, the conforming surround a squareshaped frame embellished with round brilliantcut diamonds weighing approximately 0.25cts in total, in 18ct yellow and white gold, impressed 18K, yellow gold butterflies impressed 750, approximately 1cm in length (2)
R 6 000 - R 8 000
R 8 000 - R 12 000
each ribbon-shaped surmount embellished with round brilliant-cut diamonds weighing approximately 0.35cts in total, suspending a pear-shaped cabochon garnet, acid tested as 18ct gold, butterflies impressed 18ct, approximately 3,5cm in length (2)
R 7 000 - R 9 000 620 A CHARM BRACELET
the converted fob chain bracelet composed of curb links, suspending various charms, including a four leaf clover, telephone, Swiss cow bell and a gold mounted lions tooth, impressed 9ct, approximately 21cm in length
R 7 800 - R 12 000 621 A PAIR OF ONYX AND DIAMOND PENDANT EARRINGS
each surmount designed as a line embellished with round brilliant-cut diamonds, suspending two interlocking ovals embellished with round brilliant-cut diamonds weighing approximately 0.16ct in total, suspending a briolette-cut onyx, acid tested as 14ct gold, approximately 4cm in length (2)
R 8 000 - R 10 000
139
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JEWELLERY
622 A TANZANITE BRACELET
Tanzanite
designed as a line of circular mixed-cut tanzanite’s weighing approximately 17cts in total, acid tested as 18ct gold, approximately 16,5cm in length
Initially discovered in 1967 in the foothills of Mount Kilimanjaro, Tanzanite has captured the imagination of the world. Apart from their charismatic colour, they are a thousand times rarer than diamonds as they are only found in Tanzania.
ILLUSTRATED
R 45 000 - R 65 000
140
They were named by Tiffany & Co. after the country of its origin and in 2002 it was named the December Birthstone by the American Gem Trade Association, the first change to their birthstone list since 1912.
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JEWELLERY
623
626
629
A TANZANITE AND DIAMOND RING
A FULL DIAMOND ETERNITY RING
A 9CT GOLD AND DIAMOND RING
centred with a mixed-cut tanzanite weighing approximately 2.87cts, flanked on either side by three round brilliant-cut diamonds weighing approximately 0.10cts in total, impressed 750, size L
the two centre rows and sides set with round brilliant-cut diamonds weighing approximately 1.82cts in total, impressed PT 90 and MICHAEL B, size I
of abstract cage design, composed of geometric shapes, embellished with eleven round brilliantcut diamonds weighing 1.28cts in total, acid tested as 9ct gold, size U
R 20 000 - R 40 000
R 9 000 - R 12 000
627
630
A DIAMOND RING
AN 18CT GOLD BAND
of stylised design, embellished with baguettecut diamonds weighing approximately 0.50cts in total, impressed 14K, size N
with textured design, centred with diamond-set star detail, partially impressed 18ct, size O
R 20 000 - R 30 000 624 A TANZANITE PENDANT
in the form of a cross, with matte finish, centred with a circular tanzanite weighing approximately 0.23ct in total, impressed 18ct, approximately 2,5cm in length
R 2 500 - R 5 000 625 A TANZANITE AND DIAMOND PENDANT
designed as a line of three oval mixed-cut tanzanite’s weighing approximately 0.48cts in total, within a conforming surround of round brilliant-cut diamonds, impressed 375, approximately 2cm in length; and A 9ct Gold Necklace, composed of ball chain, impressed 375, approximately 44cm in length (2)
R 5 000 - R 8 000 628 FOUR SILVER AND GEMSTONE BANGLES
each bangle tube-set with various gemstones including: amethyst, aquamarine and citrine, in rhodium plated silver, inner diameter approximately 62mm (4)
R 1 500 - R 2 000 631 AN 18CT GOLD CHOKER
of plain circular form, distress, impressed 18ct, inner diameter approximately 11cm
R 3 000 - R 5 000
R 4 000 - R 8 000
R 2 500 - R 5 000
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Diamonds with certificates 632 AN UNMOUNTED ROUND BRILLIANT-CUT DIAMOND
weighing 1.01cts. Accompanied by a Diamond Grading Report from GIA, no. 1176433447, stating it is K, Faint Brown colour and VS2 clarity.
ILLUSTRATED
R 55 000 - R 80 000
142
JEWELLERY
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JEWELLERY
Unmounted Gemstones 633
636
638
AN UNMOUNTED ROUND BRILLIANT-CUT
A MISCELLANEOUS COLLECTION OF
AN EDWARDIAN SILVER COIN HOLDER, A L
DIAMOND
UNMOUNTED CIRCULAR MIXED-CUT
DAVENPORT, BIRMINGHAM, 1905 AND 1908
weighing 0.65cts.
EMERALDS
Accompanied by a G.I.A. Report, no. 6241174607, stating it to be Q to R range colour and I1 clarity.
weighing approximately 5.35cts in total
637
of circular form, body flat-chased with scrolls and foliage, the hinged cover with clear window, with one spring compartment, with later pendant converted bale; and Two Gold Sovereigns, one a Queen Victoria Gold Sovereign from Victoria’s Jubilee year of 1889, the other an 1895 gold Victorian sovereign (3)
A MISCELLANEOUS COLLECTION OF
R 13 000 - R 18 000
R 5 000 - R 8 000 634 AN UNMOUNTED ROUND BRILLIANT-CUT DIAMOND
R 4 000 - R 8 000
Miscellaneous
weighing 0.0.67cts
UNMOUNTED CARRE- AND EMERALD-CUT
Accompanied by a G.I.A. Report, no. 5172875907, stating it to be U to V range colour and VS2 clarity.
EMERALDS
639
weighing approximately 5.33cts in total
A 9CT GOLD CIGARETTE CASE, ARNOLD
R 9 000 - R 12 000
R 4 000 - R 8 000
BROTHERS, BIRMINGHAM, 1928
635 AN UNMOUNTED CUSHION-MODIFIED BRILLIANT-CUT DIAMOND
weighing 0.74cts.
the rectangular body with engine-turned decoration, the inner case engraved with initials
R 7 500 - R 10 000 END OF SALE
Accompanied by a G.I.A. Report, no. 2236047021, stating it to be W to X range colour and VS1 clarity.
R 12 000 - R 20 000
143
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SESSION 4 HIGHLIGHTS
WRISTWATCHES AND JEWELLERY
577 638
535
144
537
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SESSION 4 HIGHLIGHTS
WRISTWATCHES AND JEWELLERY
626
576
629
561
145
CELEBRATING AFRICA
GOING GLOBAL LEADING CONVERSATIONS
FROM THE CONTINENT
ART
BEYOND FAIR
ISSN 16846133
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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.
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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: HAMLET Sale No.: SA1702 Sale Date: 28 & 29 March 2017
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, 27 March 2017 First time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and the back of a valid credit card. A sum of R5 000 may be reserved prior to the auction.
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 149 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. 150
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
151
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.
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johannesburg office 4th Floor | South Tower |VNelson Mandela Square | Corner Rivonia Road & 5th Street | Sandton INE Y R DA GPS Coordinates: Latitude: SA26º 06’ VE 9” | Longitude: E 28º 02’ 48”
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CAPE TOWN office The Great Cellar | Alphen Estate | Alphen Drive | Constantia | 7806 | Cape Town 152
GPS Coordinates: Latitude: S 34º 0’ 32.24” | Longitude: E 18º 26’ 52.7”
GENERAL INFORMATION JOHANNESBURG Stephan Welz & Co. a division of Scoin Trading (Pty) Limited (“The Company”) Registration Number Street Address
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
Postal Address Telephone Fax Email jhb@stephanwelzandco.co.za Website www.stephanwelzandco.co.za Executive Chairman Catalogue Credits Photography Design Printing
Mr Alan Demby Director (British) B. Com (Hons)
Absentee & Telephone Bid Requests Bids should be submitted in SA Rands by close of business on Monday, 27 March 2017 bids@stephanwelzandco.co.za Payments accounts@stephanwelzandco.co.za Laurie Sher 011 880 3125 Shipments Please email/fax shipping instructions by midday on Monday, 3 April 2017 to: Zake Nakedi email: zake.nakedi@stephanwelzandco.co.za fax: +27 (0)86 537 7227 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
Please note that all lots are sold subject to our Terms and Conditions of Business and Rules of Auction on pages 162 -166
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.
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 Fax 021 794 6621 Email ct@stephanwelzandco.co.za Website www.stephanwelzandco.co.za forthcoming auction
•
Alphen Drive
•
Constantia 7806
6 & 7 June 2017 Call the relevant specialist for an obligation-free auction appraisal.
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IT’S THIS SIMPLE Visit our new office in Nelson Mandela Square
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OFFI
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GUCC I
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THE CRAFT DESIGN CENTRE
BAGLIOS
ELEVATOR
4TH FLOOR | SOUTH TOWER OFFICES
PARKING (P1)
SANDTON CITY
LIFTS
SHOPPING CENTRE
5th Street
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Rivonia Road
INFO DESK
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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.
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156
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
157
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F I N E A RT & D E S I G N AU C T I O N E E R S
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FINE ART & COLLECTABLES 10 - 11 November 2015 | JOHANNESBURG
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Send catalogues to: Title: ……….............. Initials: …………………………… First Names: ………………………….........................................................................………………………… Title: ……….............. Initials: …………………………… First Names: ………………………….........................................................................………………………… Surname: …………………………......................................................................................................................................................................………………………… Surname: …………………………......................................................................................................................................................................………………………… Delivery Address: ............................................................................................................................................................. Code: .................................... Delivery Address: ............................................................................................................................................................. Code: .................................... Postal Address: ...................................................................................................................………………………………………… Code: …........................……… Postal Address: ...................................................................................................................………………………………………… Code: …........................……… Tel (Work): ………………..................................…………………………………… Home: …………………….....................................................……………………………… Tel (Work): ………………..................................…………………………………… Home: …………………….....................................................……………………………… Cell: …………………………............................................................……...……… Emails: ………..........................................................…………………………………….. Cell: …………………………............................................................……...……… Emails: ………..........................................................…………………………………….. Company/Trade Name: ……………......................................................................................................... Fax No.: ............……………………………………… Company/Trade Name: ……………......................................................................................................... Fax No.: ............……………………………………… VAT No: …………….........................................................................................................................................................................……………………………………… VAT No: …………….........................................................................................................................................................................……………………………………… PLEASE WRITE IN BLOCK LETTERS PLEASE WRITE IN BLOCK LETTERS Please debit my credit card with the full amount due. Please tick: VISA
MASTERCARD
DINERS
AMEX
Please debit my credit card with the full amount due. Please tick: VISA MASTERCARD DINERS AMEX Name on Card:………………………............................................................................................................................................................…………………………… Name on Card:………………………............................................................................................................................................................…………………………… ID no. of cardholder: .......................................................................................................... ID no. of cardholder: .......................................................................................................... Nationality and Passport no. of cardholder (Foreign buyers only): ………………………….................................................………………………… Nationality and Passport no. of cardholder (Foreign buyers only): ………………………….................................................………………………… EFT – Electronic Transfer Card No.: Card No.: Expiry Date: Expiry Date: 3 or 4 digit code on reverse: 3 or 4 digit code on reverse:
It is also possible Transfer to do an electronic transfer EFT – Electronic to account. Please your proof of payment It isour also possible to doemail an electronic transfer to subs@stephanwelzandco.co.za to us ourat: account. Please email your proof of payment to us at: subs@stephanwelzandco.co.za Stephan Welz & Co. Banking Details: STEPHAN WELZ & COMPANY Stephan Welz & Co. Banking Details: STANDARD BANK&OF SA LIMITED STEPHAN WELZ COMPANY
Signature: ….........…………........….……..............………… Date: …………………………................. Signature: ….........…………........….……..............………… Date: …………………………................. Please forward your completed catalogue subscription form to: subs@stephanwelzandco.co.za Fax: +27subscription (0)11 880 2656 Please forward your completed or catalogue form to: subs@stephanwelzandco.co.za or Fax: +27 (0)11 880 2656
SW CATALOGUE ORDER FORM / AD.indd 1
BRANCH: ROSEBANK, JOHANNESBURG STANDARD BANK OF SA LIMITED BRANCH 004305 BRANCH:CODE: ROSEBANK, JOHANNESBURG ACCOUNT NUMBER: 402-328-213 BRANCH CODE: 004305 SWIFT CODE: SBZAZAJJ ACCOUNT NUMBER: 402-328-213 Reference yourSBZAZAJJ name and surname SWIFT CODE: Reference your name and surname
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IMPORTANT ANNOUNCEMENTS
1. All business undertaken at the sale of the auction is subject to the terms and conditions of business which are published in the catalogue, and the Rule of Auction as required by the CPA Act, which are published at the entrance of the auction room. 2. The purpose of the auction, as required by the CPA Act, is a general purpose auction of the clients’ goods. The buyer by bidding for any goods at the auction, 3. irrespective of whether or not the buyer has signed the buyer’s card, is deemed to have understood, agreed and consented to the terms and conditions of the business. 4. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. 5. The auctioneer may further bid on behalf of the seller up to the amount of the reserve, by placing responsive bids for a lot.
6. 7.
Buyer’s Premium: 14% plus VAT for items selling over R 10 000 17% plus VAT for items selling for R 10 000 or less 10% plus VAT for Collectable Cars 15% plus vat at the prevailing rate for Auto Memorabilia Overseas bidders Overseas bidders are advised that courier companies such as RAM, Fedex and DHL do not insure jewellery being sent between South Africa and overseas countries. Insurance will therefore become the responsibility of the buyer 8. Shipping 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.
PAYMENTS
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. 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
160
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. Purchases will be despatched as soon as possible upon receipt of the buyer’s written despatch instructions, full payment for the lots bought, and any export licences that may be required. Despatch costs will be at the buyer’s expense. Estimates and advice on all methods of despatch can be provided upon request and enquiries should be marked for the attention of our Shipping Department. Insurance cover must be arranged by the buyer and will be at the buyer’s expense. Lots will be released to the buyer or his/her authorised representative, herein duly authorised under deed of power of authority, only if full payment has been received by us together with settlement of any removal, handling and storage charges due. 1. Methods of despatch for overseas and neighbouring countries Buyers After an auction, only limited assistance with packing and/or loading of purchases is available from the staff of Stephan Welz & Co. Where such assistance is rendered, no liability will devolve on Stephan Welz & Co. or its staff for any damage that may arise, from whatever cause, during such packing and/or loading.
Customs have placed a ban on the importation of ivory worldwide. Lots which include ivory are therefore not suitable for export. Overseas bidders Overseas bidders are advised that courier companies such as RAM, Fedex and DHL do not insure jewellery being sent between South Africa and overseas countries. Insurance will therefore become the responsibility of the buyer. Airmail Despatch via this method will depend upon the size and weight stipulated by the postal authorities. Quotations for packing and postage are available upon request. Surface mail Despatch is as for airmail but at a cheaper rate. Purchases take considerably longer to arrive at their destinations. Quotations for packing and postage are available upon request. Airfreight This is suitable for all items, worldwide. Unless otherwise specified, despatch is arranged by our nominated agent. Quotations for packing and despatch are available upon request. Seafreight This is often more economical for larger consignments, such as furniture. Unless otherwise specified, despatch is arranged by our nominated agent at your risk. Quotations for packing and despatch are available upon request. 2. Methods of despatch for local buyers After an auction, only limited assistance with packing and/or loading of purchases is available from the staff of Stephan Welz & Co. Where such assistance is rendered, no liability will devolve on Stephan Welz & Co. or its staff for any damage that may arise, from whatever cause, during such packing and/or loading. Air and surface mail Despatch via this method will depend upon the size and weight stipulated by the postal authorities. Quotations for packing and postage are available upon request. Road This is suitable for all items too large or fragile for despatch by mail. Unless otherwise specified, despatch is arranged by our nominated agent at your risk. Quotations for packing and despatch are available upon request.
Applications for export permits The Buyer shall be responsible for obtaining any export licence that may be required. Endangered species Any item made of or incorporating animal material such as ivory, irrespective of value, will require a specific permit from the Department of Nature Conservation prior to exportation. The Buyer shall be responsible for obtaining the CITES certificates. 161
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; 162
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 163
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 164
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;
165
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 166
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.
167
YOU WORK HARD FOR YOUR MONEY
PROTECT IT WITH ALTERNATIVE ASSETS
Coins • Medallions • Art • Collectables
168
www.stephanwelzandco.co.za
We can now protect your coins in our
SafeGold facilities in South Africa, United Kingdom and Norway.
www.scoinshop.com SAG1003
‘67 VINTAGE HAS NEVER BEEN THIS SOUGHT AFTER
1oz 1967 VINTAGE PROOF KRUGERRAND In celebration of the 50th anniversary of the most traded bullion coin in the world, the Krugerrand, The South African Mint has launched the 1oz 1967 Vintage Proof Krugerrand. With a limited edition of just 1967 globally, this should be the most sought-after coin to commemorate this milestone in South Africa’s history. To own this piece of history, SMS your name and city to 072 946 9007 today. Standard rates apply.
www.scoinshop.com
AUTHORISED PARTNER OF THE SOUTH AFRICAN MINT
169 SW2370
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.
170
AFFORDABLE LIMITED EDITION COLLECTOR'S PRINTS EXPAND YOUR COLLECTION WITH WORKS BY NOTED SOUTH AFRICAN ARTISTS
GERALD MACHONA . MILLENNIUM BAR II . 2010 . C-PRINT ON FUJI CRYSTAL ARCHIVE PAPER . PAPER SIZE 35,7 X 45,6 CM . EDITION OF 100 +2AP
RIENDS OF THE S.A. NATIONAL GALLERY
New works by acclaimed South African artists, represented in the permanent collection of the Iziko South African National Gallery, are offered by the Friends. Please contact the Friends office by telephoning 021 481 3951 or by emailing sangfriends@iziko.org.za.
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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
172 SW2287A
BRING OUR NATION TOGETHER
With 67 Blankets for Nelson Mandela Day Drop off your handmade blankets or knitted squares at the Stephan Welz & Co. and The Scoin Shop head offices or any Scoin Shop nationwide to be a part of 67 Blankets for Nelson Mandela Day. To locate your nearest drop-off point visit www.stephanwelzandco.co.za and www.scoinshop.com
IT’S IN YOUR HANDS TO MAKE A DIFFERENCE
GOLD FOR LIFE EST. 1984
173 SW2297
Get WORTH
INSPIRED
withWORTH
The Wits Art Museum Lecture ProgrammeORTH Stephan Welz & Co. will be partnering with the Wits Art Museum (WAM) to support their lecture programme. As leaders in the South African Art industry, we believe it is essential to inspire and elevate the appreciation of art in the country. WAM curates 6 exhibitions on an annual basis. Each exhibition has a six-week lecture programme, one lecture per week, which focusses on the topic of the exhibition. These lectures will afford you fascinating insight and undoubtedly a greater appreciation of the world of Art. Send your name and contact details to info@stephanwelzandco.co.za if you are interested in attending any of the lectures.
174 SW2358
SOLD for
MILLIONS
H
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 175 SW2249
AUCTION RESULTS: 28 & 29 NOVEMBER 2016, JOHANNESBURG Prices given are inclusive of Buyer’s Premium and VAT. Unlisted lots were withdrawn, passed or not sold.
LOT
RANDS
1 8,356.60 2 4,775.20 3 19,713.20 4 358.14 6 596.90 7 2,387.60 8 46,384.00 9 13,915.20 12 286.68 14 358.14 18 2,325.22 19 1,616.94 21 808.47 25 9,790.40 26 1,193.80 27 477.52 30 1,671.32 32 716.28 34 238.76 36 358.14 37 1,910.08 38 358.14 39 1,432.56 41 2,148.84 43 775.97 45 2,692.36 46 1,101.42 47 716.28 48 1,223.80 49 1,790.70 51 3,103.88 52 596.90 55 596.90 56 44,064.80 57 86,970.00 58 955.04 60 1,074.42 61 621.90 63 1,790.70 64 656.59 67 367.14 69 9,178.50 70 13,915.20 71 22,032.40 74 358.14 78 358.14 79 489.52 82 3,581.40 84 955.04 86 2,148.84 88 13,085.60 89 596.90 90 1,101.42 91 955.04 93 596.90 95 775.97 97 1,193.80 100 1,074.42 101 716.28 102 716.28 106 1,193.80 107 4,178.30 109 1,432.56 113 1,790.70 114 835.66 118 2,148.84
176
119 1,468.56 122 8,566.60 202 30,149.60 203 30,149.60 204 23,192.00 205 7,162.80 215 6,565.90 243 2,148.84 244 3,103.88 245 7,759.70 283 7,162.80 286 4,775.20 287 1,790.70 288 6,565.90 289 1,313.18 290 1,193.80 291 10,744.20 292 3,342.64 293 4,536.44 294 3,700.78 295 4,178.30 301 11,938.00 302 7,162.80 303 3,581.40 304 2,148.84 305 2,387.60 306 7,162.80 309 46,384.00 310 44,064.80 312 12,755.60 313 5,372.10 314 20,872.80 315 139,152.00 341 1,790.70 345 4,178.30 350 8,356.60 351 8,356.60 352 8,356.60 353 8,356.60 361 1,790.70 364 11,938.00 365 11,938.00 367 9,550.40 369 10,147.30 370 12,755.60 371 12,755.60 372 11,938.00 377 23,192.00 378 3,103.88 380 3,581.40 382 9,950.40 383 5,372.10 386 7,462.80 388 8,356.60 401 222,800.00 403 77,980.00 404 445,600.00 405 334,200.00 406 267,360.00 407 200,520.00 408 189,380.00 409 167,100.00 410 144,820.00 411 144,820.00 413 66,840.00 417 167,100.00
422 6,565.90 424 18,144.00 430 23,192.00 431 32,468.80 432 9,550.40 434 23,192.00 435 11,938.00 438 17,394.00 441 17,394.00 442 13,915.20 443 8,356.60 444 8,356.60 445 8,356.60 446 34,788.00 448 17,394.00 452 27,830.40 454 27,830.40 457 11,938.00 458 20,872.80 463 3,581.40 468 63,778.00 469 9,550.40 47 11,938.00 484 8,566.60 485 9,178.50 486 9,178.50 491 7,162.80 493 9,550.40 495 7,162.80 498 46,384.00 505 10,147.30 506 12,755.60 507 12,755.60 510 13,915.20 511 16,234.40 512 19,713.20 513 9,550.40 514 3,581.40 515 1,223.80 519 6,565.90 521 92,768.00 525 231,920.00 526 52,182.00 528 28,990.00 529 32,468.80 532 37,107.20 535 34,788.00 537 19,713.20 538 25,511.20 539 81,172.00 540 81,172.00 542 81,172.00 543 40,586.00 544 185,536.00 545 1,159,600.00 548 811,720.00 549 40,586.00 551 17,394.00 555 40,586.00 562 69,576.00 563 34,788.00 564 86,970.00 567 41,745.60 571 2,148.84 572 2,865.12 574 2,387.60
575 4,297.68 577 12,755.60 578 32,468.80 580 5,372.10 581 5,372.10 587 3,342.64 588 5,372.10 590 6,565.90 591 2,865.12 593 2,238.84 594 2,148.84 595 13,915.20 597 1,432.56 600 2,865.12 601 6,565.90 602 8,356.60 603 92,768.00 604 6,565.90 605 2,865.12 606 1,432.56 607 2,984.50 608 2,148.84 611 2,387.60 612 5,372.10 613 7,605.00 615 3,820.16 616 4,536.44 617 13,915.20 618 7,162.80 623 1,313.18 624 1,611.63 626 10,744.20 627 18,553.60 628 1,193.80 629 5,372.10 630 8,953.50 631 17,394.00 633 69,576.00 634 2,865.12 635 37,107.20 637 7,520.94 638 3,820.16 639 6,000.00 640 1,671.32 641 1,910.08 682 27,830.40 683 3,342.64 684 3,103.88 685 3,820.16 686 10,147.30 687 75,374.00 688 57,980.00 689 20,872.80 690 2,626.36 691 23,192.00 692 10,147.30 693 7,759.70 694 9,550.40 695 8,953.50 696 139,152.00 697 2,626.36 698 10,744.20 699 3,103.88 700 1,551.94 701 4,536.44 702 5,372.10
741 34,788.00 744 46,384.00 771 20,872.80 772 18,553.60 773 6,565.90 774 2,148.84 775 1,313.18 776 5,372.10 777 5,730.24 779 3,581.40 780 1,910.08 781 40,586.00 782 9,550.40 783 7,162.80 784 8,356.60 785 13,915.20 786 40,586.00 787 3,342.64 789 23,192.00 790 25,511.20 792 25,511.20 794 3,307.80 797 4,178.30 798 3,820.16 801 67,256.80 802 3,581.40 803 2,626.36 804 1,074.42 805 1,193.80 806 1,193.80 808 4,775.20 809 9,311.64 810 4,536.44 811 5,969.00 813 16,234.40 814 1,551.94 816 18,553.60 818 955.04 819 2,626.36 822 28,990.00 823 32,468.80 824 2,626.36 828 3,103.88 829 27,830.40 830 4,536.44 831 1,671.32 832 12,755.60 834 19,380.00 835 18,553.60 837 2,228.00 838 5,372.10 839 1,551.94 840 15,074.80 843 115,960.00 844 2,673.60 846 37,107.20 849 25,511.20 850 32,468.80 851 1,910.08 852 11,938.00 854 5,372.10 862 25,511.20 863 2,984.50 864 46,384.00 868 23,192.00 869 32,468.80
872 3,731.40 873 4,178.30 877 3,581.40 880 25,511.20 881 11,938.00 882 8,356.60 884 17,394.00 885 13,915.20 886 23,192.00 889 16,234.40 890 19,713.20 892 11,341.10 894 7,162.80 895 22,032.40 896 1,193.80 897 5,969.00 898 12,755.60 899 6,565.90 900 13,915.20 901 5,969.00 902 5,969.00 903 19,713.20 904 4,178.30 905 1,910.08 906 1,671.32 907 3,581.40 908 4,178.30 909 17,394.00 910 63,778.00 911 40,586.00 912 34,788.00 913 1,790.70 914 7,162.80 915 1,551.94
177
ARTISTS’ INDEX
A Abrahams, S Aggenbach, S Andersen, N S Arigliano, G Aschenborn, D
400 440 515 313 395
B Barker, W C 508 Battiss, W W 337, 338, 339, 340 370, 371, 399 449, 450, 460 Bell, D M 342 Behrmann, G 504 516 Blom, W Boekkooi, F 358, 425 383, 384, 385 Boonzaier, G J 393, 457, 481 Borbereki, Z 405 Boshoff, W H A 341 Botha, W 416 494 Boyley, J Boyley, E S 518 BĂźchner, C A 446, 509 Bush, R 475 Buthelezi, M 434
C 314 Caldwell, E 423, 424, 456 Catherine, N C Cheng, D 312 Cilliers-Barnard, B 503 Clarke, P 326 507 Coetzee, C Continental School 317 Cooke, A R 311
178
G Gilliot, M 500, 501 Goldblatt, D 347 Gwelo Goodman, R 372
H Harrs, H Hindley, M Hlungwani, J M S Hodgins, R G
406 461 408 342, 452, 453 454, 455
K Kannemeyer, P 464, 560 353, 354, 355 Kay, D 356, 357 Kentridge, W J 321, 322, 323 324, 342, 458, 462 Klar, O 391, 392, 467 497 Kotze, K Korzennik, M 407 Kumalo, S 411, 412, 502
L Legae, E K S Lekgetho, S Lewis, D Little, B
352 394, 479 418 403
D Da Silva, A 417 de Beer, A 463, 499 de Jongh, G C 476, 477, 478 de Jongh, T M J 483, 484 de Lima, V 489 de Sanderes Hendrikz, W 419, 420
M Maggs, M 496 Makamo, N 363 Marinovich, G 350 Marx, I 360 McCreedy, C M 519, 520 Meerkotter, D A 325, 472 Megaw, T 415, 445 Mfupi, J V 430, 431, 432 Mitford-Barberton, I 427 Mogano, P D 490 Mohl, J K 451 Mokgosi, N 366, 367, 368, 369 Muafangejo, J N 332, 333
E Eloff, Z Enslin, G Everard, B
N Ngatane, E M Ngwenya, M Nhlengethwa, J S
398 469, 470 390
487 510 344
Nice, C P Niemann, H Niemann, H C Nigrini, M Nkosi, S Ntukwana, H Ntuli, H
O Oldert, J
480 447, 448 386, 439 388, 389 365 364 426
473, 474, 495
P Palmer, R Paravano, D Perahim, J Pierneef, J H Preller, A Preston, R
428 381 320, 436 330, 331 359 351
R Renoir, P A Roworth, E
316 498
S 404 Sachs, L Schadeberg, J 348 Schianchi, F 315 Schwanecke, U 373, 374, 375, 471 Segogela, J 401, 402 Serneels, C E T M 382 Sibiya, L M 506 Sihlali, D B 488 Skosana, Z 485, 486 Skotnes, C E F 318, 319, 327 328, 329 Smit, L 334, 335, 336, 438 Spears, F S 387 Stern, I 459
T Taylor, A 409, 410, 421, 422 Teffo, M 437 493 Theys, C N D Tillim, G 349 Tugwell, C 465, 466, 492 546, 547
U Ullmann, E
343
V van Essche, M C L 361, 362 van Heerden, P G 468 Veleko, N 345, 346 Vermeulen Breedt, M 441, 442 443, 513 Villa, E 413, 414 Volschenk, J E A 482 Vorster, G F 397 W Wareing, R Westbrook, W Wiles, W G
433 376, 377, 378 379, 380 517
Z Zander, K 396 Zeelie, A Z 435, 511, 512, 514
179
NOTES
180
Fourth Floor | South Tower | Nelson Mandela Square Corner Rivonia Road & 5th Street | Sandton www.stephanwelzandco.co.za