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auctioneers&property

Fine ArtSession 2

Fine Art22 June 2013

Session 2

auctioneers

P39 Peter Clarke, Haunted landscape with rhino headTen percent of the proceeds of this sale will be donated to the Sibuya Rhino Foundation.

Art Auction

Saturday, 22 June 20131:00 PM

www.rkauctioneers.co.za

+27 11 789 7422 +27 11 789 7609 +27 83 675 8468rka@global.co.za

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De Jongh, Marthinus Johannes (Tinus) (South African 1885 - 1942)Cape Town docksEtching, signed, 24 x 27,5cm R1 000 – R1 500

De Jongh, Marthinus Johannes (Tinus) (South African 1885 - 1942)KarooEtching, signed, 26 x 31cm R1 200 – R1 800

Mcque, Adolfo (South African 1949 - )Figures and churchOil on board, signed39 x 59cm R1 200 – R1 800

Dali, Salvador (Spanish 1904 - 1989)Untitled - two fi guresLithograph, signed30 x 23,7cm R1 500 – R2 500

P01

P02

P03

P04

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Ntukwana, Hargreaves (South African 1938 - 1997)GuitaristOil on board, Signed, 48 x 69cm R800 – R1 200

Ntukwana, Hargreaves (South African 1938 - 1997)Banjo playerMixed media on board, signed, 49 x 71cm R800 – R1 200

Boys, George (South African 1930 - ), Composition fl owersMixed media on paper, signed66 x 60cm R1 000 – R1 500

Ntukwana, Hargreaves (South African 1938 - 1997)MusiciansMixed media on board, signed, 63 x 102cm R800 – R1 200

P05 P06

P07

P08

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Boys, George (South African 1930 - ), Abstract compositionMixed media on paper, signed, two works67,5 x 52cm R3 000 – R5 000

Coleman, Trevor (South African 1936 - )Fruit sellerAcrylic on paper, signed, 199280,5 x 58cm R2 000 – R3 000

P11

P12

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Anderson, Ilona (South African, 1948) In conversationMixed media on paper, signed, 198870 x 53cm R1 000 – R2 000

Vorster, Gordon Frank (South African 1924 - 1988)Gemsbok in landscapeOil and mixed media on board, signed78,4 x 165,7cm R3 500 – R4 500

P14

P15

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Romm, Nina (South African 1949 - )Self portrait with catMixed media on paper82,5 x 57,3cm R1 000 – R2 000

Hesselbarth, Berhnard Franz (Berne) (South African 1903 - ) Farmscape with coupleOil on board, signed34,5 x 39,8cm R1 800 – R2 500

Minami, Keiko (Japanese, 1911-2004)Girl and catEtching, signed, edition 32/50, 37,5 x 30cm R1 000 – R1 500

Coignard, James (French 1925 - 2008)PXORColour etching, relief and collage of string, signed, edition 76/7575 x 57cm R2 500 – R3 500

P16 P17

P18

P19

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Ntukwana, Hargreaves (South African 1938 - 1997)Throwing diceMixed media on board, signed70 x 105cm R800 – R1 200

Hendriks, Anton Petrus (South African, 1899-1975)Avenue of trees, FranceWatercolour, signed, 194823 x 30cm R1 200 – R1 800

Labuschagne, Eugene (South African, 1921-1990)Abstract compositionMonotype, signed, 1963, 51,5 x 41,5cm R2 500 – R3 500

Labuschagne, Eugene (South African, 1921-1990)Abstract compositionMonotype, signed, 1963, 51,5 x 41,5cm R2 500 – R3 500

P20

P21

P22 P23

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Corinth, Lovis (German, 1858-1925)Figure studyCharcoal on paper, signed29 x 22,5cm R5 000 – R8 000

P24

Meerkotter, Dirk Adriaan (South African 1922 - )Aerial fragmentsLithograph, signed, edition 8/1037,5 x 44cm R1 000 – R2 000

Agam, Yaacov (Israeli 1928 - )Abstract geometric compositions Lithograph, signed, some staining to paper edge, 26 x 30 cm R1 000 – R2 000

P25

P26

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Barker, Wayne (South African 1963 - )Man and women in booksOil and found object on books23 x 30cm each R3 000 – R5 000

Wayne Barker’s oeuvre is fi lled with visual blasphemy, political incorrectness and bad taste. For good reason: the artist’s aim over the last thirty years has been to destabilise and unsettle political positions, moral values and authority of any kind. His works are often accumulations. He layers found objects, iconic images, paint, yarn, neon lighting, really, anything he can use to draw attention to the fi nal product. As a result his works are incredibly inter-textual. They are rich in references to popular culture, to other artworks, to the visual lexicon of our times. This small sculpture is no different. In it, he uses a recurring object in his body of work, a book, which has been worked over with paint and in which he has inserted two small, sculpted fi gures. On the outer cover of the book the male fi gure stands casually with his hands in his pockets, as if waiting for something. On the inside pages of the book, a female fi gure stands, also waiting, with her hand anxiously grasping the strap of her orange handbag. Painted around these two characters are a sea of crude shapes, not only in their technique but for the ways in which they resemble male and female genitalia. This unusual and witty object is not only an act of rebellion insofar as the artist has vandalised the symbol of knowledge, it also alludes to societal conventions of appropriateness when it comes to sexuality. S V*Reference: 1. LAMPRECHT, A. 2010. Wayne Barker: Super Boring. Cape Town: SMAC Art Pub.

P27

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Hesselbarth, Berhnard Franz (Berne) (South African 1903 - )Trees in gladeOil on board, signed39 x 44,5cm

Schimmel, Fred (South African 1928 - 2009)Abstract compositionMixed media on paper, signed, 197221 x 16cm R1 000 – R1 500

P29

P30

Kobeli, Eli (South African 1932 - 1999)Gumboot dancersMixed media on paper, signed43 x 64cm R3 000 – R5 000

P28

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Mason Attwood, Judith (South African 1938 - )EaglePencil and mixed media on paper, signed, some paper staining49 x 69cm R800 – R1 200

Catherine, Norman Clive (SA 1949 - )ConstitutionSilkscreen, signed, edition 36/4569 x 100cm R4 000 – R6 000

P31 (This image cannot be displayed due to license/royalty constraints)

P32

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Amaler-Raviv, Arlene (South African 1953 - )Lonesome in the suburbsOil on canvas, signed60 x 51cm R8 000 – R12 000

P34

Battiss, Walter Whall (South African 1906 - 1982)The strasse der grossefreiheit, HamburgSilkscreen, signed, proof43 x 76cm R13 000 – R18 000

P33

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Coetzer, Willem Hermanus (South African 1900 - 1983)Drakensberg from lowveldOil on board, signed39,6 x 50cm R20 000 – R30 000

P35

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Scully, Laurence Vincent (Larry) Prof (South African 1922 - 2002)Abstract compositionOil on canvas, signed122 x 122cm R35 000 – R45 000

P36

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Battiss, Walter Whall (South African 1906 - 1982 )Orange river at Kromhoek ZastronPencil, signed, 28/12/194528,1 x 18cm R6 000 – R9 000

P37

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Battiss, Walter Whall (South African 1906 - 1982)Figures and cloudsOil on canvas, signed48,5 x 58,5cm R220 000 – R280 000

In 1950, Walter Battiss exhibited a work called Africans in the Autumn at the Venice Biennale. It was one of the fi rst examples where Battiss used thick oil paint and worked into the surface of the paint to generate a desired effect. According to Marion Arnold, Battiss tended to work very quickly and spontaneously, not waiting for paint to dry or applying it very delicately. She also notes: “His growing interest in the linear rhythms defi ning stylized Bushmen forms led to his adoption of the brush as a drawing instrument or sgraffi to tool” (1985:58). In Figures and Clouds, which was most probably made in the 1960’s, Battiss used this technique of scratching into the surface of the paint with the back of a paintbrush, revealing underlying colours and giving his paintings a kind of sculptural effect. Interestingly, this way of working creates a kind of palimpsest, a layering that is simultaneously about creation and deletion. S V*Reference: 1. ARNOLD, M. 1985. ‘Confronting Paintings’. In Skaran, K. & MacNamara, M. (eds.). Walter Battiss. Johannesburg: AD Donker. pp. 55 – 74.

P38

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Clarke, Peter (South African 1929 - )Haunted landscape with rhino headGouache on paper, signed, 11/09/197551 x 42cm R80 000 – R100 000*

*Ten percent of the proceeds of this sale will be donated to the Sibuya Rhino Foundation.

In 1975, Peter Clarke was invited to participate in a writing programme at the University of Iowa in the USA. From this distance, the artist and author was able to experience South Africa in a very different way, mediated mostly through newspapers. With the news of building violence in his home country, Clarke’s artistic output shifted signifi cantly: from politically loaded observations of daily life to a series of dark and unnerving paintings, which were palpably fi lled with a tense and refl ective quality. One of these works, a triptych entitled Haunted Landscape, has been a focal point of the artist’s career, not only for its artistic merit, but also for the ways in which it depicts the foreboding atmosphere of South Africa shortly before the height of violence that was marked by the June 1976 riots. In the same series, Clarke painted Haunted Landscape with Rhino Head in which a table is set under the dark night sky. A renowned colourist, Clarke captures the simultaneous darkness and luminosity in a way that makes the painting glow blue, giving it a melancholic and eerie feeling. The small wooden table is dominated by the head of a rhino, the focal point of the painting, which stares out at the viewer from one open eye. Below this is a range of other ingredients: carrots, eggs and a chicken, its broken neck hanging off the edge of the table. S V*Reference: 1. HOBBS, P. & RANKIN, E. 2011. Listening to Distant Thunder: The Art of Peter Clarke. Johannesburg: Standard Bank of South Africa.

P39

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Coetzer, Willem Hermanus (South African 1900 - 1983)StellenboschOil on board, signed, 197929,5 x 40cm R15 000 – R25 000

P40

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Amshewitz, John Henry (South African 1882 - 1942)Farmyard with lady carrying vesselOil on board, signed33 x 42,5cm R8 000 – R12 000

P41

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Battiss, Walter Whall (South African 1906 - 1982)Graaff ReinetCrayon and gouache, signed, 194024 x 32cmR8 000 – R12 000

P42

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Oberholzer, Obie (South African 1947 - ), Brothers Emilius and Francis at Lake MalawiPhotograph, signed, 1994, edition 2/540 x 51cm R4 000 – R6 000

Battiss, Walter Whall (South African 1906 - 1982)Figural groupInk on paper, signed17,7 x 23,7cm R7 000 – R9 000

P43

P44

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Battiss, Walter Whall (South African 1906 - 1982)GregoryPencil, signed, 16/02/197828 x 18,8cm R3 000 – R5 000

P45

Macdonald, Longford (British) (South African 1905 - 1957)Collecting hayOil on board, signed44,5 x 55,5cm R3 500 – R4 500

P46

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Niemann, Hendrik Christiaan (Hennie) (South African 1941 - )Pumpkin harvestersOil on paper, signed, 198434 x 39cm R10 000 – R15 000

P47

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Nordau, Maxa (French, 1897-1991)Avenue of cypress treesOil on canvas, signed54 x 44,5cm R2 000 – R3 000

Coetzer, Willem Hermanus (South African 1900 - 1983)Maluti mountainsOil on board, signed39,6 x 50cm R20 000 – R30 000

P48

P49

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Van Heerden, Louis (South African 1941 - )Still life fl owersOil on canvas, signed79 x 58,8cm R7 000 – R10 000

Watermeyer, Robert (South African 1983 - )Border Control Fence, Beit Bridge Port of Entry, LimpopoArchival pigment on cotton paper R4 000 – R6 000

P51

P50

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Garizio, Gian-Piero (South African 1931 - ), Dorp street, StellenboschOil on board, signed59 x 9cmR5 000 – R7 000

Schreuders, Claudette (South African 1973 - )The lost girlLithograph, signed, edition 24/4536 x 26,5cm R6 000 – R8 000

P52

P53

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Dingemans, Johannes Wilhelmus (Jan) (South African 1921 - 2001), Abstract compositionOil on board, signed42 x 29cm R5 000 – R7 000

Amshewitz, John Henry RBA (South African 1882 - 1942)Market sceneOil on board, signed45 x 32cm R6 000 – R9 000

P54

P55

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Stern, Irma (South African 1894 - 1966)Nude study Swazi womanInk on paper, signed, 192936 x 27cm R30 000 – R40 000

P56

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Pierneef, Jacob Hendrik (South African 1886 - 1957)LandscapeWatercolour, signed12 x 18cm R15 000 – R20 000

P57

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Jentsch, Adolph (SWA 1888 - 1977)SWA landscapeWatercolour, signed and titled on mount19 x 28cm R8 000 – R10 000

Vermeiren, Jan (South African 1949 - )Blue headOil on board, signed40,5 x 37cm R5 000 – R8 000

P58

P59

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Boonzaier, Gregoire Johannes (South African 1909 - 2005)VeniceWatercolour, signed30 x 45cm R10 000 – R15 000

P60

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Jaroszynska, Tadeusz (South African 1933 - )Monument to the forestEtching, signed, 1974, edition 5/4057,5 x 43,4cm R1 000 – R1 500

Sihlali, Durant Basil (South African, 1935-2004), WashdayPastel, signed, 69 x 54cm R7 000 – R10 000

P61

P62

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Battiss, Walter Whall (South African 1906 - 1982)PriapusInk on card, signed36,3 x 51cm R20 000 – R30 000

P63

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Battiss, Walter Whall (South African 1906 - 1982)Group of four fi guresWatercolour, signed18,7 x 17cm R8 000 – R12 000

Portway, Douglas Owen (SA 1922 - 1993)Seated nudeColoured etching, signed, edition 30/7528 x 24cm R1 200 – R1 800

P64

P65

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Battiss, Walter Whall (South African 1906 - 1982)Red palimpesestLithograph, signed, proof53,5 x 64,7cm R8 000 – R12 000

Claerhout, Frans Martin Fr (South African 1919 - 2006)Four fi guresPen and ink, signed21,7 x 26cm R800 – R1 200

P66

P68

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Pierneef, Jacob Hendrik (South African 1886 - 1957)Cape farmhouseLinocut, signed, 193013,5 x 18,5cm R7 000 – R10 000

Battiss, Walter Whall (South African 1906 - 1982)JHB skyline from universityLithograph, signed, edition 63/150 - some water damage on edge29,8 x 37,6cm R500 – R800

P69

P70

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Alexander, Keith Savel (South African 1946 - 1998)Groot Marico music saloonOil on canvas laid on board, signed, 197953 x 69cm R75 000 – R85 000

P71

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Alexander, Keith Savel (South African 1946 - 1998)The workersOil on canvas laid on board, signed, 197952,5 x 72,5cm R75 000 – R85 000

Very little is actually known about the late surrealist painter, Keith Alexander. After his untimely death, only one monograph on the artist has been published and even that is not comprehensive in tracking his artistic career. As a result, each artwork is a kind of archive, leading us toward some sense of what the artist’s intention was. Furthermore, Alexander’s artworks are so extraordinarily hyper-real that at fi rst glance they look more like photographs than like paintings, adding to their “documentary-style” effect. This is especially so in the artist’s early work before he began experimenting with a surrealist manipulation of space. Groot Marico Music Saloon and The Workers, are two such examples. Both paintings depict fi gures in the dry and sparse cityscape of Groot Marico, a small town in the North West Province made famous by South African author, Herman Charles Bosman. In some sense, the paintings bear evidence of Alexander’s search for desolation: in his later paintings he would spend much time looking at ghost towns and desert spaces in Namibia. Even though these two paintings seem to be about the fi gures, it is clear Alexander has spent more time carefully recreating the details of the dusty walls, the parched earth and the empty shadows. This level of detail fi lls the empty spaces with potential and draws the viewer in to search every minute brushstroke. In The Workers, for instance, the hint of a face appears in the shadows of the house. This is the archival nature of Alexander’s work; its seduction is in what is unknown, in the spaces beyond what is depicted. S V*Reference: 1. ROBBINS, D. 2000. Keith Alexander: The Artist in Retrospect. Johannesburg: Jonathan Ball.

P72

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Smit, Lionel (South African 1982 - )Scatter series #5Oil on canvas, signed, 2011120 x 120cmR20 000 – R30 000

Son of South Africa sculptor Anton Smit, Lionel Smit is a relatively young artist who has produced a large body of work and achieved acclaim despite his youth. Smit predominantly works in portraiture, producing close up depictions of faces on a large scale. These faces have a very particular quality about them, making them instantly recognisable. Painted using a limited colour palette in bold strokes, which fragment the faces of those depicted, the works nonetheless have an intense sculptural, three-dimensional and structural effect. Smit suggests that this is from growing up in close proximity to his father’s studio, in which, as a child, he was encouraged to work with his own lump of clay. This solidity is evident in Scatter Series #5; the paint bleeds between the background and the fi gure, and yet as it falls upon the face of the young girl it is far from heavy and fl at. Rather, it is as if the blue and red hues are lights falling gently on real skin. Smit’s work is currently featured on the 2013 BP Portrait Award exhibition, which showcases the fi fty-fi ve top entries. S V*Reference: 1. SHAMAN, S. 2010. Lionel Smit. [Unpublished exhibition catalogue]. Cape Town: 34 Fine Art.

P73

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Botes, Conrad (South African 1969 - )The terroristOil on reverse glass panel, signed, 201198cm diameter R30 000 – R40 000

Terrorist was part of Conrad Botes’ third solo exhibition at Stevenson entitled The Temptation to Exist. The title of the show is a reference to the agnostic Romanian philosopher Emil Cioran’s collection of essays of the same name, signaling Botes’ interest in his own existence within a society largely bounded by its relationship to a god-fi gure. Terrorist is reminiscent of a stained glass window in its materiality: the artist characteristically paints in reverse on a sheet of glass and displays the underside. This effect is emphasised by the linear quality and reduced colour palette. Contrary to what the title suggests, the depiction in the artwork is the Virgin Mary, arms outstretched and head slightly bowed as she is often portrayed in religious imagery. The Catholic icon is shrouded in a white gown, which alludes to the female genitalia through its shape and strategically draped folds. Overlaying the fi gure of Mary are Botes’ signature cartoon-like doodles: a swirl of devils, imps, fornicators and lost souls amidst the fl ames of hell. In some sense the image quotes many Renaissance artworks including Michelangelo’s Last Judgement and Hieronymus Bosch’s Garden of Earthly Delights. As a “terrorist” rather than a saint, Botes questions not only the values and norms bounded by Christianity and symbolised by the “Mother Mary”, but also the tradition of art on which his own practice is founded. S V*Reference: 1. The Temptation to Exist. 2011. [Unpublished exhibition catalogue]. Cape Town: Stevenson.

P74

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Kentridge, William Joseph (South African 1955 - )Music box tondoMargin archival pigment print in colour, signed, edition 17/60111 x 111cm R120 000 – R150 000

Music Tondo Box was featured on an exhibition at the New York based Kyle Kauffman Gallery entitled Not So Black and White: South African Contemporary Art in 2007. It was originally produced as part of the artist’s recreation of the opera The Magic Flute. The artwork is a tondo lithographic print, which has been divided into three circular rings. In the outermost layer, a series of birds in various stages of fl ight circle the composition. In the bottom of the ring a telescope points up to a rhinoceros, which seems to hang over a dog bowl. In the middle ring of the work, frames are separated into segments, in a similar way to a dartboard, some depicting bare landscapes, others dark and frantic spaces. At the very centre of the work a circle is fi lled with a void of automatic drawing and writing: textural marks, indecipherable notes and structural lines create a kind of “nothing space”. Superimposed over the entire image are a series of extremely fi ne architectural lines in red and white, which connect different sections of the narrative. This kind of circular format allows something for Kentridge that is not always as clearly present in his rectangular compositions; the tondo encourages movement, creating a kind of storyboard style narrative. In this sense, it is closer in feel to the artist’s fi lms and animations than to his static drawings. S V*Reference: 1. LAW-VILJOEN, B. 2007. Flute. Johannesburg: David Krut Publishing.

P75

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Catherine, Norman Clive (South African 1949 - )Man EaterOil on wood, signed11x 37x 27cm R14 000 – R17 000

P76

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Oltmann, Walter (South African 1960 - )Razor SuitAluminum wire and stainless steel, 201152 x 34 x 43cm R50 000 – R60 000

After winning the Standard Bank Young Artist Award for Visual Arts in 2001, Walter Oltmann has gained international recognition for his labour-intensive and meticulously made artworks. Oltmann has made wire “suits” in various shapes and sizes for most of the last decade. Razor Suit is the smallest of these in which he explores a kind of humanoid exoskeleton that references insects, larvae and cocoons. The suit has a padded effect: ordered bulbous sections of wire protrude out of the surface of the suit reminiscent of a mechanical body-builder. This quality of softness is destabilised by razor sharp spikes, which stick out of the body every which way and as such create an additional layer of bodily space, in much the same way as a caterpillar. The suit also looks quite a bit like something an astronaut may wear, giving the artwork a technological and mechanical feel. As with Oltmann’s other works in this series, the suit refl ects both a sense of vulnerability, for what we assume it protects or once protected, and a dualistic sense of invincibility insofar as it is a kind of armour. This play on interior and exterior is heightened because of the emptiness of the suit and suggests a kind of transformation or transmutation. There is also a considered and thoughtful quality in Oltmann’s work, as if something in his thinking-through-doing is shifting and transforming, adding to the sense of otherworldliness that is present in the subject matter.S V*Reference: 1. SMITH, Kathryn. Walter Oltmann. Artthrob ArtBio. [Online]. Available: http://www.artthrob.co.za/01july/artbio.html. Date Accessed 2013-06-12.

P77

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Rikhotso, Phillip (SA 1945 - )Mythological fi gureCarved and painted wood41 x 11 x 14cm R500 – R800

Smit, Anton Sydney (South African 1954 - )Black headStone cast88cm height R8 000 – R12 000

P78

P79

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Lipkin, Aileen (South African 1933 - 1994)Abstract 19Brassed bronze, signed, 35cm height R2 500 – R3 500

Koenig, Dezso (South African 1902 - 1972)Still life with fruit, clock and jugOil on canvas, signed45 x 60cm R1 200 – R1 800

Battiss, Walter Whall (SA 1906 - 1982)Figures and birds pen and ink, signed, 29.1.8234,3 x 48,8cm R6 000 – R9 000

P80

P81

P82

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Mogano, David (Phoshoko) (SA 1932-2000)Township sceneWatercolour, signed50 x 67cm R8 000 – R12 000

Catherine, Norman Clive (South African 1949 - )Graphic red and greenAirbrush, signed, 197230 x 34,2cm R1 200 – R1 800

P83

P84

- 51 -

Jaroszynska, Karin (South African 1937 - )Mother and childWatercolour, signed, 196553,5 x 40cm R1 500 – R2 500

Crouse, Reshada (South African 1953 - )The MinotaurOil on canvas, signed81 x 61,5cm R2 000 – R3 000

Hinwood, Lionel (South African, 1936-2012)SkullOil on canvas, signed, 199090,5 x 90,5cm R5 000 – R8 000

P85

P86

P87

- 52 -

Sash, Cecily (South African 1924 - )Abstract compositionOil on canvas, signed, 198459 x 89cm R15 000 – R20 000

P88

- 53 -

Rossouw, David (South African 1959 - )Self portraitOil on board, signed122 x 122cm R3 000 – R5 000

Van Loggerenberg, Magriet (South African 1947 - )Seascape with fi shermenOil on board, signed60 x 90cm R800 – R1 200

Hinwood, Lionel (South African, 1936-2012)Abstract composition fl owersOil on board, signed80 x 60cm R2 000 – R3 000

Skotnes, Cecil Edwin Frans (South African 1926 - 2009)Woodcut print, signed, 1978, edition 51/7536,8 x 47,8cm R1 200 – R1 800

P89

P90

P91

P92 (This image cannot be displayed due to license/royalty constraints)

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Nicholson, Ben (British, 1894-1982)St Ives from Trezion, Etching, signed, 1967, edition 29/50, The Tate have this work in their collection http://www.tate.org.uk/art/artworks/nicholson-st-ives-from-trezion-p0123927 x 38cm R5 000 – R8 000

P93

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Hinwood, Lionel (South African, 1936-2012)EmbraceOil on board, signed, 197773 x 48cm R2 500 – R3 500

Papart, Max (French, 1911-1994)Beautiful birdLithograph, signed, edition 60/17577 x 59cm R1 500 – R2 500

P94

P95

- 56 -

Muafangejo, John (South African 1943 - 1987)A beautiful OvambolandLinocut, signed, 1984, edition 10/15058 x 49,8cm R8 000 – R10 000

Thornton, Valerie (British, 1931-1991)CathedralEtching, signed, edition 19/5055 x 42,5cm R800 – R1 200

P96

P97

- 57 -

After Van Wouw, Anton (South African 1862 - 1945)Paul KrugerBronze, signed24,5cm height R7 000 – R10 000

P98

- 58 -

- 59 -

Battiss, Walter Whall (South African 1906 - 1982)Gymnopedes and SatieOil on canvas, signed40 x 51cm R140 000 – R180 000

This unusual portrait by the dynamic Walter Battiss depicts French composer and pianist Erik Satie. ‘Gymnopedes’, in the title, refers to Satie’s three most famous piano compositions entitled Gymnopédies, which are considered as important precursors to modern ambient music. It is likely that Battiss was infl uenced by the eccentric Satie, who was an important fi gure in the early 20th century Parisian avant-garde. ‘Gymnopedes’ also refers to a festival in ancient Greece in which naked youths danced to display their athletic abilities. Battiss visited Greece in the 1960’s and made a number of paintings refl ecting the infl uence of ancient Greek stylizations. In the portrait, two nude male fi gures, done in the sgraffi to style, step over Satie’s shoulder and look towards the bright colours that seep through his forehead. S V*Reference: 1. CARMAN, J. & ISAAC, S. 2005. Walter Battiss: Gentle Anarchist. Johannesburg: Standard Bank Gallery.

P99

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Losgott, Kurt (South African 1941)Rope pullerSteel, signed, 41/7029cm height R2 000 – R3 000

Zeelie, Adelio Zagni (South African 1911 - 1991)HoutbayOil on board, signed90,5 x 120cm R5 000 – R8 000

Schoeman, Giovanni (South African, 1940-1980)Child riding dolphinBronze, signed, 1977,12cm heightR1 200 – R1 800

P100

P102

P101

- 61 -

Essop, Hasan & Husain (South African 1985 - )Photograph80,5 x 121cm R10 000 – R13 000

Rikhotso, Phillip (South African 1945 - )Mythological fi guresCarved and painted wood53 & 83cm height R2 000 – R3 000

P103

P104

- 62 -

Miro, Joan (Spanish, 1893-1983)BarcelonaEtching and aquatint in colour with carborundum, signed, edition 47/50105 x 69,6cm R50 000 – R70 000

P105

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Borbereki, Zoltan (South African 1907 - 1992)Abstract fi gureVerdite, signed50 x 30 x 19cm R10 000 – R13 000

P106

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Stern, Irma (South African 1894 - 1966)Arab man with sheepGouache on paper, signed, 194833,5 x 23,2cm R240 000 – R280 000

P107

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Green, Chris (South African 20thC)Stoneware bowl13 x 30cm diam R600 – R900

Walford, Andrew (South African 20thC)Stoneware teapot18 x 28 x 23cm R1 400 – R1 800

Morris, Tim (South African 1941 - 1990)Porcelain bowl with birds motif12 x 33cm diam R1 200 – R1 600

Glenny, Ian (South African)Stoneware vase16cm height R600 – R1 000

Glenny, Ian (South African)Square stoneware vase22cm height R1 500 – R2 000

P108

P109

P110

P111 P112

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Battiss, Walter Whall (South African 1906 - 1982)Junior classPen on paper, signed19 x 28cm R5 000 – R8 000

Hinwood, Lionel (South African, 1936-2012)Abstract compositionOil on board, signed, 197991 x 51cm R2 500 – R3 500

P113

P114

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Paynter, Catherine (South African, 1949)Still life with cameliasOil on board, signed, Everard Read exhibition 198099 x 99cm R20 000 – R30 000

Catherine Paynter exhibited regularly at the Everard Read Gallery throughout the 1980’s. Typically, her works shimmer with an array of bright, neon and metallic colours. They also tend to be layered with patterns, giving them a frenzied, dazzling composition. Paynter produced several variations of still life paintings in this style, which have become characteristic of her early work. In one of the largest of these, Still Life with Camellias, Paynter depicts a small table arranged with a stack of books and a cat-shaped vase fi lled with sparkling pink camellias and neon orange ‘busy lizzies’. Interestingly, the artist chose to include the titles of two of the books: children’s novel The Water-Babies written by Charles Kingsley in 1863 and J.L.B. Smith’s The Sea Fishes of Southern Africa fi rst published in 1949, the year of Paynter’s birth.

P115

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Kentridge, William Joseph (South African 1955 - )RumoursLinocut, Edition XXIII/LX41,3 x 27cmR12 000 – R15 000

P116

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Notes

Credit

*S V – Stacey Vorster is a part time lecturer in the Wits History of Art department as well as the curator of the Constitutional Court Art Collection.

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