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auctioneers&property

Fine ArtSession 2

Fine Art11 May 2013

Session 2

auctioneers

P93 Peter Clarke, Lovers in a bleak landscape

Art Auction

Saturday, 11 May 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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Mbatha, Eric (SA 1948 - )Miners in cageEtching, signed, 2000, edition 3/2058 x 44cm R2 000 – R3 000

Mbatha, Eric (SA 1948 - )Township sangomaEtching, signed, 2000, edition 23/2058 x 44cm R2 000 – R3 000

Mason Attwood, Judith (South African 1938 - )Patchwork I & IILithograph, signed, 1981, edition 11/60, 70 x 49.5cm R3 000 – R5 000

P01

P02

P03 (This image cannot be displayed due to license/royalty constraints)

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Bailey, Beezy (SA 1962 - )Abstract composition with boatOil on canvas, signed45 x 41cm R10 000 – R15 000

P04

Macala, Benjamin Mzimkulu (Ben) (South African 1938 - 1997)HorsePastel on paper, signed, 62 x 100cm R1 200 – R1 800

P05

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Vasarely, Victor (French/Hungarian, 1906-1997)Tuz (Gardes series)Silkscreen, signed, edition 36/34040 x 39,5cm R5 000 – R8 000

Vasarely, Victor (French/Hungarian, 1906-1997)Geometric composition purple and greenSilkscreen, signed, edition 84/20064 x 64cm R6 000 – R9 000

P06

P07

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Forain, Jean Louis (French, 1852-1931)The PatientPastel on paper, signed17 x 21,1cm R2 000 – R3 000

Van Heerden, Pieter Gerhardus (Piet) (South African 1917 - 1991)Golden landscapeOil on canvas laid on board, signed24 x 30cm R15 000 – R20 000

P08

P09

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Goldblatt, Sidney (SA 1919 - 1979)Village sceneOil on board, signed43 x 74,5cm R15 000 – R20 000

P10

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Marini, Marino (Italian 1901 - 1980)Figure and horseLithograph, signed, edition 34/7551 x 61cm R7 000 – R9 000

Matsoso, Leonard (SA 1949 - )Xhosa womanPen, ink and pencil, signed26 x 17cm R1 000 – R1 500

P11

P12

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Catherine, Norman Clive (South African 1949 - )Dreaming of horrible things and lizardsAirbrush on paper, signed, has paper stains32 x 26,5cm R500 – R1 000

De Jongh, Marthinus Johannes (Tinus) (SA 1885 - 1942)Rhodes monument Cape TownEtching, signed25 x 30cm R500 – R1 000

Battiss, Walter Whall (SA 1906 - 1982)Belly D.G.Watercolour, signed, 1978/11/0445 x 33,5cm R4 000 – R7 000

P13

P15

P14

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Battiss, Walter Whall (SA 1906 - 1982)NudesSilkscreen, signededition 71/7945 x 64cm R4 000 – R7 000

Oldert, Johannes (South African 1912 - 1984)BluegumsOil on board, signed60 x 45cm R1 500 – R2 500

Fern, Emily Isabel (SA 1881 - 1953)Cottages in the woodsOil on board, signed39 x 44cm R4 000 – R7 000

P16

P17

P18

Macala, Benjamin Mzimkulu (Ben) (South African 1938 - 1997) Lady holding calabashMixed media on paper, signed79,5 x 58cm R1 000 – R1 500

P19

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Macala, Benjamin Mzimkulu (Ben) (South African 1938 - 1997)Woman holding calabashMixed media on paper, signed79,5 x 58cm R1 000 – R1 500

Boys, George (South African 1930 - )CosmosOil on board, signed59 x 79cm R3 000 – R5 000

Meerkotter, Dirk Adriaan (SA 1922 - )Abstract compositionSilkscreen, signed, 1974, three works in the lot edition 15/25, 40 x 40, 38 x 49 & 51 x 31cm R1 200 – R1 800

P21

P22

P20

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Vasarely, Victor (French/Hungarian, 1906-1997)Gaia II greenSilkscreen, signed, edition 93/25083 x 83cm R8 000 – R12 000

P23

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Vasarely, Victor (French/Hungarian, 1906-1997)GlobeSilkscreen, signed, edition 63/25065,5 x 65,5cm R6 000 – R9 000

P24

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Hodge, Simon (Scottish 1903 - 1973)Gateway DamascusWatercolour, signed44 x 65cm R1 500 – R2 500

Catherine, Norman Clive (South African 1949 - )IdentikitSilkscreen, signed, 1983, edition 30/4047,5 x 56,5cm R3 000 – R5 000

P25

P26

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Schreuders, Claudette (South African 1973 - )Voels IColoured etching, signed, edition 4/2526 x 28cm R3 500 – R4 500

Schreuders, Claudette (SA 1973 - )Voels IIColoured etching, signed, edition 4/2526 x 28cm R3 500 – R4 500

Schreuders, Claudette (SA 1973 - )Voels IIIColoured etching, signed, edition 4/2526 x 28cm R3 500 – R4 500

P27

P28

P29

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Koenig, Dezso (SA 1902 - 1972)Man with pipePastel on paper, signed44 x 30cm R800 – R1 200

Dyaloyi, Ricky (South African 1974 - )CabPastel, signed49 x 38cm R4 500 – R5 500

Dyaloyi, Ricky (South African 1974 - )The familyPastel, signed47 x 51cm R4 500 – R5 500

Mokgosi, Nat (Nathaniel) (SA 1946 - )Man with pot on his headPastel on paper, signed83,5 x 58,5cm R2 500 – R3 500

P30

P31 P32

P33

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Seage, Lucas (South African, 1957)Abstract compositionMixed media and collage, signed49 x 69cm R4 500 – R5 500

Du Toit, Paul (South African, 1965)Abstract composition of a manAcrylic, signed, 200867 x 103cm R40 000 – R50 000

P34

P35

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Catherine, Norman Clive (SA 1949 - )Private showOil stick on paper, signed74 x 100cm R40 000 – R50 000

P36

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Van Den Berg, Chris (South African 1937 - )Crucifi xionOil on board, signed, 1959, from his fi rst exhibition - Cape Town, 49,5 x 39cm R2 000 – R3 000

P38

Catherine, Norman Clive (South African 1949 - )A tribute to King Ferd IIILithograph, signed, AP 469 x 77cm R1 500 – R2 500

P37

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Battiss, Walter Whall (SA 1906 - 1982)Rainbow family group, Gila riverPencil sketch, signed, 6.7.1977, 26 x 34cm R10 000 – R13 000

P39

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Diedericks, Chris (SA 1965 - )Chance II inside outSigned, February 200218 x 97cm R5 000 – R7 000

Cohen, Steven (SA 1956 - )Crowned madonnaHandcoloured silkscreen on fabric196 x 134cm R15 000 – R25 000

P40

P41

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Battiss, Walter Whall (SA 1906 - 1982)OrgyPencil sketch, signed, has some spotting20 x 30cm R4 000 – R6 000

Battiss, Walter Whall (SA 1906 - 1982), Lady GreyInk on paper, signed, 194428 x 38cm R5 000 – R8 000

P42

P43

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De Jongh, Marthinus Johannes (Tinus) (SA 1885 - 1942)MeiringsportOil on board, signed51 x 76cm R45 000 – R55 000

P44

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Catherine, Norman Clive (SA 1949 - )Fast foodOil on canvas, signed40,5 x 51cm R35 000 – R45 000

P45

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Lock, Freida (South African, 1902-1962)Bo-Kaap in the fortiesOil on canvas laid on board, signed, 194359,5 x 49,5cm R200 000 – R300 000

Freida Lock was a founding member of the Cape Town based New Group and exhibited on their fi rst exhibition in 1938. Born in Cheshire, England, and having studied there in 1932, Lock was closely associated with “progressive painting” in the context of early 20th century Cape Town. Bo-Kaap in the Forties shows the infl uence of European Impressionist and Post Impressionist movements in its use of visible brushstrokes and vivid, shimmering light. The image is a study of a street scene in the Bo-Kaap, historically inhabited by the Cape Malay community, which was predominantly Muslim before its recent ‘gentrifi cation’. Lock captures the painted facades of buildings that are quintessentially associated with the neighbourhood as well as the tip of Table Mountain, which dominates the skyline behind the buildings. The image is peaceful in quality; people stroll along the quiet streets and a keenly observed red rickshaw is parked in the near distance. S V*Reference: BERMAN, E. 1970. Art and Artists of South Africa. Cape Town: A. A. Balkema. pp. 183 – 184.

P46

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Cohen, Steven (SA 1956 - )Boy with sunglassesHand coloured silkscreen on fabric237 x 130cm R20 000 – R30 000

P47

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The images that Lucky Sibiya has left the world are distilled and refi ned in a way that is evocative of early South African rock paintings and even some aboriginal sand drawing. His ability to manoeuvre abstract forms into the surface of an image was recognised by his close mentor and friend Cecil Skotnes, who not only helped to develop Sibiya’s work, but also drew on it in his own artistic practice. This large, painted relief carving is an accumulation of abstract forms that form a kind of landscape, in which simplifi ed naturalistic and abstracted fi gures interact. As such the image reads in one sense like a kind of storyboard, drawing the viewer’s eye through a number of scenes. The largest fi gure depicted has three heads and a large elongated body, which ends in a set of tiny legs. The fi gure’s arms are open wide – beckoning, giving it a Christ-like appearance – and all other fi gures throughout the fragmented image seem to reach towards it mirroring its pose. On another pictorial level the delineated shapes that frame these scenes are map-like and the strong linear elements suggest a way of walking or moving through the image that defi nes the realms of the fi gures, but also seems completely separate. S V*Reference: PEFFER-ENGELS, J. 1999. In Memoriam: Lucky Madlo Sibiya, 1942 – 1999. African Arts 32(3):86.

Sibiya, Lucky Madlo (SA 1942 - 1999)Abstract fi gural compositionCarved, incised and painted panel, signed90 x 60cm R50 000 – R70 000

P48

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Alexander, Keith (South African, 1946-1998)SuburbiaOil on canvas, signed, 199559 x 64cm R130 000 – R180 000

Alexander, who passed away suddenly in his early fi fties, is mostly recognized for his hyper-real, post-apocalyptic landscapes inspired by the Namib Desert. This late painting is unique in that it is one of the few closed off interior spaces depicted in the artist’s oeuvre – most interior scenes open up to vistas of endless sandscapes or at the very least are fi lled with sand, such as in the paintings of Kolmanskop – the largest ghost town on the Skeleton Coast. Suburbia retains the typical level of photographic detail common to Alexander’s work and in addition has a sense of deep space and timelessness that is evoked so clearly in his images of the desert, despite the limited pictorial depth. This immaculately empty scene is dominated by an ornate lamp, which astutely characterizes the suburban quality of the image referenced in the title. However, the narrative is not without depth or drama – a spider is camoufl aged in the darkness and the open curtains reveal not a window, but a padlocked steel screen. The lamp is switched on, implying human presence, but at the same time the image is so entirely bare and quiet: a suspension of time in an empty world. S V*Reference: ROBBINS, D. 2000. Keith Alexander: The Artist in Retrospect. Johannesburg: Jonathan Ball.

P49

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Skotnes, Cecil Edwin Frans (SA 1926 - 2009)Two fi guresWoodblock print, signed, edition VI/VIII20 x 24cm R1200 – R1 800

Van, Rijn, Rembrandt (Dutch, 1606-1669)The artist’s mother seated in black widow’s dress and glovesEtching, signed in the plate top left - Reference B344 H+9119 x 14,5cm R2 500 – R3 500

Romm, Nina (SA 1949 - )Punk rock hero (slash) criminal memoriesOil, mirror and mixed media on canvas, signed51 x 40,3cm R8 000 – R12 000

P50 (This image cannot be displayed due to license/royalty constraints)

P51

P52

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Kentridge, William Joseph (SA 1955 - )Nose 3Etching, signed, edition 2/5036,3 x 41,2cm R30 000 – R40 000

P53

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Joseph, Helen (South African)Nude fi gure studyCharcoal on paper, signed53 x 39cm R1 500 – R2 500

Mokgosi, Nat (Nathaniel) (SA 1946 - )MusiciansPastel on paper, signed49 x 69cm R2 000 – R3 000

Buthelezi, Mbongeni (SA 1965 - )Portrait study yellowMolten plastic on plastic, signed, 200870 x 55cm R8 000 – R12 000

P54

P55

P56

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Glossop, Allerley (Joe) (SA 1870 - 1955)Landscape with riverOil on board, signed28,5 x 37cm R3 000 – R5 000

Battiss, Walter Whall (SA 1906 - 1982)Trees in landscapePen and ink, signed, 192933 x 42cm R10 000 – R15 000

P57

P58

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Claerhout, Frans Martin Fr (South African 1919 - 2006)LabolaOil on board, signed50 x 59cm R25 000 – R35 000

P59

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Thackwray, James Vicary (South African 1919 - 1994)Lady with blue scarfOil on board, signed44 x 25,6cm R3 000 – R5 000

Claerhout, Frans Martin Fr (South African 1919 - 2006)Portrait of a young girlOil on board, signed57 x 39cm R14 000 – R18 000

P60

P61

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Davis, Miles (American)Dancing fi gure, lithographedition 164/45065 x 48cm R4 000 – R5 000

P62

Zerffi , Florence (South African, 1882-1962)Still life with potplantOil on canvas, signed62 x 39,5cm R20 000 – R30 000

P63

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Dykman, Henry John (1893 - 1972)Still life with rosesOil on board, signed60 x 76cm R1 200 – R1 800

Paravano, Dino (SA 1935 - )Farm cottagesOil on board, signed51,5 x 77cm R6 000 – R8 000

P64

P65

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Du Toit, Paul (SA 1922 - 1986)LandscapeOil on board, signed, 195255 x 59cm R45 000 – R55 000

Buthelezi, Mbongeni (SA 1965 - )Portrait studyMolten plastic on plastic, signed, 200788x 60cm R8 000 – R12 000

P66

P67

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Catherine, Norman Clive (SA 1949 - )HeavyweightOil on canvas, signed40,5 x 51cm R35 000 – R45 000

Heavyweight is a fairly atypical example of Norman Catherine’s work insofar as the image depicted is more or less naturalistic and lacks the artist’s usual animal-human hybrids. The painting has a light-hearted and comical quality that is quite alluring. The only subject is a muscular fi gure who kneels under the weight of a large barbell in the traditional weightlifting pose. His gaze is raised as if looking to the heavens for assistance and a large toothy grimace spread across the lower half of his face. There are subtle moments where Catherine’s style is so plainly clear, as in the subject’s widely set, almost snout-like, nose and the pliability of his bent legs. The use of the colour red is also interesting. It overwhelms the background so much so that it refl ects off the fi gure and the edges of the weights. Catherine’s work is archetypally invested with political comment and we can safely assume that although blithe, Heavyweight is certainly not a simple depiction of a body builder straining under the burden of his task. S V*Reference: FRIEDMAN, H. et al. 2000. Norman Catherine. Johannesburg: Goodman Gallery.

P68

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Roux, Francois (Jacobus) (Zimbabwe/South Africa 1927 - )SeascapeOil on board, signed32 x 39cm R3 000 – R5 000

Roux, Francois (Jacobus) (Zimbabwe/South Africa 1927 - )Rocky OutcropOil on canvas, signed55 x 70cm R3 000 – R5 000

Ullmann, Ernest (South African 1900 - 1975)Grecian fi guresOil on board, signed32 x 29cm R3 000 – R5 000

P69

P71

P70

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Boshoff, Willem (SA 1951)Neves IEtching, signed, 2003, edition 18/2553 x 61,5cm R5 000 – R8 000

Boshoff, Willem (SA 1951)Neves IIEtching, signed, 2003, edition 18/2553 x 61,5cm R5 000 – R8 000

P72

P73

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Mahlangu, Speelman Makwe (SA 1958 - 2004)Two ladiesOil on board, signed59 x 74,5cm R4 000 – R5 000

Oldert, Johannes (South African 1912 - 1984)Farmhouse and treesOil on board, signed59,5 x 90cm R2 500 – R3 500

P75

P76

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Clarke, Peter (SA 1929 - )Coming from shoppingGouache, signed, 31.1.196718 x 12cm R25 000 – R35 000

P77

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Carter, Sydney (South African 1874 - 1945)Figures in farmyardOil on canvas laid on board, signed44 x 60cm R12 000 – R16 000

P78

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Le Sueur (Louis) (South African 1942 - )Pig at high velocityBronze, edition 1/1 exhibited at Lidchi in 1966, 23cm height x 22 x 24cm R2 000 – R3 000

Alexander, Keith (South African, 1946-1998)Abstract formCarved wood, signed80cm height R8 000 – R10 000

Alexander, Keith (South African, 1946-1998)Abstract form Straight top, carved wood, signed67cm height R8 000 – R10 000

P79

P80 P81

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South African 20th CenturyHeadBronze48cm height R2 000 – R3 000

Welz, Jean Max Friedrich (SA 1900 - 1975)Portfolio64 x 52cm R3 000 – R4 000

P82

P83

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Verster, Andrew Clement (SA 1937 - )Seferis portfolioSilkscreen, signed, ten works in the portfolio - edition 37/10059 x 42,5cm R13 000 – R16 000

P84

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Rabinowitz, Hyme (South African 1920 - 2009)Bowl with sgrafi tto decoration in tenmoku glaze10 x 13cm R500 – R800

Rabinowitz, Hyme (South African 1920 - 2009)Square dish with fl oral decoration8 x 20 x 24,5cm R600 – R900

Rabinowitz, Hyme (South African 1920 - 2009)Bottle vase with sgrafi tto decoration in celedon glaze22cm height R1 000 – R1 500

Rabinowitz, Hyme (South African 1920 - 2009)Rectangular dish in tenmoku glaze51 x 22 x 6cm R1 000 – R1 500

Rabinowitz, Hyme (South African 1920 - 2009)Tile31 x 31cm R400 – R600

P85

P86

P87

P88

P89

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Reynolds, Patrick (South African)Nude studyBronze, signed, edition 3/2537cm height R4 000 – R6 000

Tretchikoff, Vladimir Griegorovich (SA 1913 - 2006)Ring bound book and self portrait printBoth signed, 32 x 25,5cm R1 200 – R1 800

P90

P91

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Ngatane, Ephraim (SA 1938-1971)MusicianOil on board, signed, 196939,5 x 29,5cm R50 000 – R60 000

P92

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Clarke, Peter (SA 1929 - )Lovers in a bleak landscapeGouache, signed, 3.6.196624 x 30,5cm R60 000 – R80 000

Earlier this year, Peter Clarke was featured in a major retrospective exhibition at Rivington Place gallery in London. The show, entitled Peter Clarke: Wind Blowing on the Cape Flats follows the 2011/12 major exhibitions at the Iziko South African National Gallery in Cape Town and the Standard Bank Gallery in Johannesburg. Clarke’s impressive oeuvre spans over the last sixty years and includes an incredibly versatile range of media, formats and even styles. Clarke is an accomplished printmaker, draughtsman, and painter and most recently he has used collage and concertina books. Lovers in a Bleak Landscape, characteristically depicts fi gures within a dry and harsh setting. Clarke’s keen observation of subjects within space began in Simon’s Town, where he grew up: he would draw from his bedroom window, which looked out over the ocean. In the late 1950’s Clarke moved to Tesselaarsdal (near Calendon in the Overberg district) and started working full time as an artist. The images made in this early stage of Clarke’s career were fi lled with anxiety and a sense of hopelessness, tracing the despair of the disintegrating communities after the institution of the Group Areas Act of 1950. Interestingly, Clarke dates this painting to a particular day, 3 June 1966, which gives it a sense of intense specifi city that is quite rare in depictions of this kind. In some sense the date further alienates the two subjects, allowing us to feel the coldness of the winter air in which they embrace. S V*Reference: HOBBS, P. & RANKIN, E. 2011. Listening to Distant Thunder: The Art of Peter Clarke. Johannesburg: Standard Bank of South Africa.

P93

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William Kentridge, perhaps South Africa’s most famous contemporary artist, created these two larger-than-life linocut prints for an exhibition entitled Self at the Klein Karoo National Arts Festival in 2002, curated by Clive van den Berg. Since then, both images have been exhibited all over the world and have made their way into prominent art collections including the Metropolitan Museum of Art, the Museum of Modern Art (MoMA) as well as the Virginia Museum of Fine Arts. Walking Man was also included in the seminal blockbuster exhibition Impressions from South Africa: 1965 to Now, which took place at the MoMA in 2011.

One editioned set of these two linocut prints was originally printed on Japanese rice paper, but in 2003 Kentridge set out to print an additional set on canvas. The edition was interrupted by the tragic fi re at the Artist Proof Studios in Johannesburg, in which both linocut plates were destroyed, resulting in the Walking Man set being limited to only 4 out of the 9 copies. In this sense, each of these editions was the last run of each linocut plate.

The two processional images seem to reference the multiplicity of approaches to art-making that Kentridge employs: both have a quality of movement that seems almost like animation and both also evoke the large public sculpture Firewalker, which Kentridge designed with fellow South African artist Gerhard Marx in 2010. The monumentality of the two images is part of what makes them so powerful; the bodies of the anamorphic fi gures are so intimately relative to our own that there is almost a sense of empathy into the psychology of the two subjects.

In Walking Man a large tree takes the place of the head of the subject, leaving his suit-clad body leaning forward under its immense weight. The fi gure dominates the fi nely gradated background: an endless sky and in the far distance a set of electricity pylons watch the fi gure go by. The image can be interpreted on a number of levels: in one sense it evokes a relationship between man and nature and in another it calls back to the protest action associated with apartheid.

Telephone Lady on the other hand, is morphed from the waist up into a large rotary telephone. Her bare legs and feet are covered only by a sheer fl oral skirt, which billows up as she takes an enormous step forward. In some sense this reads as a comment on the relationship between man and technology, but also carries the connotations of voice that is symbolised by the telephone.

S V*References: 1. MCCRICKARD, K. 2012. William Kentridge. London: Tate. p.39. 2. HECKER, J. 2010. William Kentridge: Trace: Prints from the Museum of Modern Art. New York: Museum of Modern Art; London: Thames and Hudson. pp. 13; 61.

P94 & P95

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Kentridge, William Joseph (SA 1955 - )Walking manLino cut on canvas, signed, edition 4/9, only four canvasses were printed as the lino was destroyed in a fi re before the edition was completed245 x 102,5cm R230 000 – R330 000

P94

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Kentridge, William Joseph (SA 1955 - )Telephone ladyLino cut on canvas, signed, edition 7/9209 x 102cm R230 000 – R330 000

P95

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Roworth, Edward (Prof) (SA 1880 - 1964)Farmhouse in landscapeOil on board, signed29 x 38cm R5 000 – R8 000

McCaw, Terence John (SA 1913 - 1978)Villa Medici RomeWatercolourSigned, 196735 x 48cm R2 500 – R3 500

P96

P97

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Tennant, Alice (SA 1890 - 1976)ProteasOil on board, signed, 47,8 x 56cm R3 000 – R5 000

Catherine, Norman Clive (South African 1949 - )Stamp sheet King Ferd III commemorationLithograph, signed, AP 4/4037 x 46cm R3 000 – R5 000

Murray, Brett (South African 1961 - )Soccer ball lampSteel and perspex, with paper tag33cm diam R800 – R1 200

P98

P100

P99

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Klar, Otto (SA 1908 - 1994)Houses and huts in landscapeOil on board, signed30,5 x 55cm R15 000 – R25 000

P101

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Higgs, Cecil (SA 1900 - 1986)ShellCharcoal sketch, signed35 x 49cm R2 000 – R3 000

Koenig, Dezso (SA 1902 - 1972)Farmhouse at riverOil on canvas, signed35 x 50cm R1 200 – R1 800

P102

P103

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Portway, Douglas Owen (SA 1922 - 1993)Abstract compositionSoft-ground etching with aquatint in colour, signed, 196750 x 37cm R3 000 – R5 000

P105

Cilliers-Barnard, Bettie (SA 1914 - )Pink HeadMonotype, signed, 197964 x 49cm R4 000 – R7 000

P104

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Van Den Berg, Chris (South African 1937 - )SphinxOil on canvas, signed, 197091 x 60cm R8 000 – R12 000

P106

Chris van den Berg was born in Namibia and studied at Michaelis School of Art at the University of Cape Town. Painting intermittently throughout his life, van den Berg has primarily worked as a designer in the performing arts industry. His paintings have a Surrealist quality and often tend to reference the work of South African modernist Alexis Preller. In Sphinx, an abstracted female torso transforms into a window, framed by her crossed arms, revealing a camoufl aged wall constructed upon a rocky hilltop. The wall evokes the ruins of Great Zimbabwe in the way that it is built into the landscape. The female fi gure is also a kind of landscape; the delineated shapes which defi ne her arms, her chest and her face are like sand dunes in the way they sharply undulate. Her face is also segmented into two halves like the dramatic masks of comedy and tragedy. Another reference to performance is the peculiar mask she holds in one hand, which on one side has a gargoyle-style face and on the other resembles a collection of bones. Van den Berg’s sensitivity to the theatrical is clearly evident in this otherworldly painting.

S V*

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Klopcanovs, Alexander (SA 1912 - 1997)Eight ladiesOil on canvas, signed, 197354 x 74cm R1 500 – R2 500

Hinwood, Lionel (South African, 1936-2012)Abstract red compositionOil on board, signed108,8 x 66cm R5 000 – R8 000

P107

P108

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Rundle, Margaret (South African 20thC)Abstract composition with chequersOil on canvas, signed90 x 121cm R2 000 – R3 000

Vermeulen-Breedt, Marie (SA 1954 - )Refl ectionOil on paper, signed48 x 36cm R3 000 – R5 000

P109

P110

- 64 -

Hinwood, Lionel (South African, 1936-2012)Fantasia with creeperOil on board, signed84 x 104cm R5 000 – R8 000

P111

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Roux, Francois (Jacobus) (Zimbabwe/SA1927 - )GullyOil on canvas, signed 60 x 50cmR5 000 – R8 000

P112

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Valadie, Jean- Baptiste (French, 1933)Mother and daughterOil on canvas, signed59 x 36cm R3 000 – R5 000

Roux, Francois (Jacobus) (Zim/SA 1927 - )RocksOil on canvas, signed40 x 46cm R3 000 – R5 000

P114

P115

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Roux, Francois (Jacobus) (Zimbabwe/South Africa 1927 - )GrassesOil on board, signed22 x 29cm R5 000 – R8 000

P116

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Meerkotter, Dirk Adriaan (SA 1922 - )Abstract compositionSilkscreen, signed, 1976, edition 65/9050 x 58cm R800 – R1 200

Verster, Andrew Clement (SA 1937 - )PortraitPencil sketch, signed, 197525 x 20cm R500 – R1 000

Penstone, Constance (SA 1865 - 1928), Hottentots Holland mountains20 x 32cm R2 000 – R3 000

P117

P118

P119

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Fasciotti, Titta (South African 1927 - 1993)House in winter landscapeOil on board, signed29 x 40cm R10 000 – R15 000

P120

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Jaroszynski, Tadeusz (SA 1933 - )The conspiratorsOil on canvas, signed49,8 x 44,5cm R10 000 – R15 000

Jaroszynski was born in Makarska, Yugoslavia (now Croatia) but moved to South Africa with his parents as a teenager. He studied at an art school in Helsinki where he met his wife Karin who also practiced as an artist. In the 1970’s and 80’s he exhibited regularly in Johannesburg as well as in Paris at the Romanet Gallery. The Conspirators was featured in an exhibition at the Gertrude Posel Gallery at the University of the Witwatersrand in 1976, where he showed alongside his wife. The painting depicts a window behind which four mask-like faces huddle together, each gazing out at the viewer with derisive suspicion. The dramatic quality of the image lies in Jaroszynski’s use of light and dark – in some cases revealing starkly pale skin and in other instances disguising the subjects under a veil of shadows. The style of the conspiratory faces is characteristic to Jaroszynski who, as Esmé Berman argues, drew on a “psychological and artistic background far removed from sunny southern Africa…” retaining instead the “haunting mental images of the symbolical masked carnivals he witnessed in his Yugoslavian childhood…”S V*Reference: BERMAN, E. 1970. Art and Artists of South Africa. Cape Town: A. A. Balkema. p. 149.

P121

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Roux, Francois (Jacobus) (Zimbabwe/South Africa 1927 - )ProteasOil on board, signed 29 x 34cmR3 000 – R5 000

Skotnes, Cecil Edwin Frans (SA 1926 - 2009)HeadWoodblock print, signed, 1979, edition 2/1053,5 x 38cm (sheet size) R2 000 – R3 000

De Clercq, Hannetjie (SA 1958 - )Horse and dogOil on board, signed, 199943,2 x 34cm R3 500 – R5 500

P122

P123 (This image cannot be displayed due to license/royalty constraints)

P124

- 72 -

Tucker, Arthur (British, 1864-1929)Yewdale Farm CornistonWatercolour, signed29,5 x 46,8cm R1 200 – R1 800

Miro, Joan (Spanish, 1893-1983)Abstract compositionLithograph, circa 1970s unsigned48,5 x 35cm R1 500 – R2 500

Roux, Francois (Jacobus) (Zimbabwe/South Africa 1927 - ), SeascapeOil on board, signed, 25 x 37,5cm R2 500 – R3 500

P125

P127

P126

- 73 -

After Battiss, Walter Whall (SA 1906 - 1982)Fook stampsPhotolithograph, 42 x 54cm R2 500 – R3 500

Coignard, James (French 1925 - 2008)Man and blue circleColoured etching, signed, edition E.A.38 x 49cm R1 500 – R2 500

Tretchikoff, Vladimir Griegorovich (SA 1913 - 2006)Ndebele ladyPrint, signed50,5 x 61cm R800 – R1 200

P128

P129

P130

- 74 -

Vasarely, Victor (French/Hungarian, 1906-1997)Vega Fel – rouge/vertSilkscreen, signed, edition 66/26758 x 58cm R6 000 – R9 000

Hinwood, Lionel (South African, 1936-2012)Abstract fl owersAcrylic on paper, signed49 x 49cm R600 – R900

P131

P132

- 75 -

Mene, Pierre Jules (French, 1810-1879)The huntBronze, signed24cm height R25 000 – R35 000

P133

- 76 -

Joseph, Helen (South African)Sill life with chairsCharcoal on buff paper, signed101 x 49cm R6 000 – R9 000

Helen Joseph had her fi rst solo exhibition in 1999 at the Art Space gallery in Johannesburg. Trained by South African artist, Bill Ainslie, in the 1980’s, she has produced a plethora of studies of the nude female fi gure calling up and drawing upon the traditions of the genre. Her study of the body is not purely academic, however: Joseph’s works tend to project a different kind of looking at these bodies in a way that challenges the dominion of the male gaze, which has dominated the practice of fi ne art over the last four centuries or so. In Still Life with Chairs, the main subject is a large armchair upon which a two-legged carved African stool is perched. In the background is an image within an image; it seems like a fi gure study by Joseph hangs on the wall behind the chairs. The scratchy texture of the charcoal gives the image a large amount of energy and verve despite the stillness of the scene. In one sense there is a clear feminist reading of this image – the African stool is visceral in the way it is presented: two legs beneath a pelvis. Chairs also reference a kind of construction of the feminine – as passive domestic objects. S V*

P134

- 77 -

Cohen, Steven (SA 1956 - )Alice in PretoriaHandcoloured silkscreen on fabric116 x 102cm R12 000 – R18 000

This large silkscreen by performance artist, Steven Cohen, is an early work probably originating from his fi rst solo exhibition Alice in Pretoria, which showed at the Market Gallery in Johannesburg in 1988. The assortment of silkscreens made by a young Cohen, who dropped out of the army to attend the Ruth Prowse School of Art in Woodstock, draw on Lewis Carroll’s celebrated story “Alice in Wonderland” (1866). Rather than a magical utopia, however, Alice’s environment is fi lled with cockroaches, army tanks, hand grenades and the iconic faces of political fi gures. Indeed Alice’s face becomes the face of apartheid leader Paul Kruger. In the centre of the silkscreen, four images of the Cheshire cat’s fl oating head are mirrored by the fl oating head of what may be Steve Biko, layered with an assortment of strange headgear – perhaps even imagined as a kind of mad-hatter. The format used here reads like a textile design, for the ways in which it uses repetition, layering and pattern, resulting in a comical satire of the apartheid government that is as layered and complex in meaning and reference, as it is in composition. S V*References: 1. SASSEN, R. 2008.“Under Covers: South Africa’s Apartheid Army – an Incubator for Artists’ Books”. The Blue Note Book: Journal for Artists’ Books 3(1): 1715-1712. 2. DE WAAL, S & SASSEN, R. 2003. Surgery without anaesthetic: The art of Steven Cohen. Steven Cohen Taxi-008. Johannesburg: David Krut Publishing.

P135

- 78 -

Catlin, Gail Deborah (SA, 1948)Figure studyOil and mixed media on perspex, signed, 1992, provenance Everard Reed gallery Cape Town sticker on reverse, 161 x 126cm R25 000 – R35 000

P136

- 79 -

Battiss, Walter Whall (SA 1906 - 1982)A rare plantSilkscreen, signed, AP45 x 64cm R10 000 – R15 000

P137

Battiss, Walter Whall (SA 1906 - 1982)GoddessSilkscreen, signed, AP 3/545 x 64cm R10 000 – R15 000

P138

- 80 -

Battiss, Walter Whall (SA 1906 - 1982)Flying fi guresSilkscreen, signed, AP 4/545 x 64cm R10 000 – R15 000

P139

Battiss, Walter Whall (SA 1906 - 1982)UntitledSilkscreen, signed, AP 1/145 x 64cm R10 000 – R15 000

P140

- 81 -

Catherine, Norman Clive (South African 1949 - )Luminous ZyptezookAirbrush on paper, signed, 198633 x 45cm R10 000 – R15 000

P141

- 82 -

Catherine, Norman Clive (South African 1949 - )Deep Sea Fookery Fish During Mating SeasonAirbrush on paper, signed, 198640 x 45cm R8 000 – R12 000

P142

- 83 -

Catherine, Norman Clive (South African 1949 - )Rare GaboobLithograph, signed, AP 4 70 x 48,5cmR3 000 – R5 000

Catherine, Norman Clive (South African 1949 - )Twittering TwookLithograph, signed, AP 4 48,5 x 70cmR3 000 – R5 000

Catherine, Norman Clive (South African 1949 - )Luminous Fook MookLithograph, signed, AP 4 70 x 48,5cmR3 000 – R5 000

P143

P145

P144

- 84 -

Coignard, James (French 1925 - 2008)Untitled - with newspaperEtching, signed, edition XIII/XV 56 x 76cmR3 000 – R5 000

Coleman, Trevor (1936 - )Abstract compositionOil on canvas, signed 51 x 89cmR8 000 – R12 000

P146

P147

- 85 -

Bailey, Beezy (SA 1962 - )Easter danceColoured etching, signed, edition AP134 x 106cm R8 000 – R10 000

P148

Battiss, Walter Whall (SA 1906 - 1982)Nude studiesPen and ink on paper, signed, 197427 x 38cmR8 000 – R12 000

P149

- 86 -

Dali, Salvador (Spanish 1904 - 1989)Untitled - nudeColoured etching with glitter, signed, edition E.A. 50 x 34,5cmR4 000 – R6 000

Dali, Salvador (Spanish 1904 - 1989)Untitled - faces and fi gure on horseColoured etching with glitter, signed, edition E.A. XCV/C, 50 x 34,5cmR4 000 – R6 000

P150

P151

- 87 -

Kentridge, William Joseph (SA 1955 - )Preparing the fl ute - Goodman gallery 2005, posterSigned, edition 55/20079,5 x 67cm R2 500 – R3 500

Kentridge, William Joseph (SA 1955 - ) 9 Films, drawings for projection March 2004, posterSigned, edition 123/12584 x 59cm R2 500 – R3 500

P152

P153

- 88 -

Kentridge, William Joseph (SA 1955 - )Goodman gallery 1999, posterSigned, Edition 91/22067 x 95,5cm R2 500 – R3 500

Kentridge, William Joseph (SA 1955 - )Annandale galleries 2004, posterSigned, edition 123/12556 x 90cm R2 500 – R3 500

P154

P155

- 89 -

Pierneef, Jacob Hendrik (South African 1886 - 1957)Cape farmhouse with treesOil on card, signed21 x 25cm R90 000 – R110 000

P156

- 90 -

Macdonald, Longford (British) (SA 1905 - 1957)The income tax formOil on board, signed and titled on reverse40 x 50cm R2 000 – R3 000

Nel, Mathijs Isak (Thijs) (SA 1943 - )Abstract compositionPastel on paper, signed54 x 41,5cm R1 000 – R1 500

Pasmore, Victor (British, 1908-1998)When the lute is broken melodies are remembered notEtching, signed, 1974, 70 x 60cmR3 000 – R5 000

Pasmore, Victor (British, 1908-1998)UntitledEtching, signed, 1974, edition 41/60 69 x 61,5 cmR3 000 – R5 000

P157

P158

P159 P160

- 91 -

Tobiasse, Theo (French/Israeli, 1927)Festival dinnerLithograph, signed, edition 18/15054 x 75cm R4 000 – R6 000

Macdonald, Longford (British) (South African 1905 - 1957)The WheelwrightOil on board, signed, 1943, signed and titled on reverse46 x 40cm R2 000 – R3 000

Amshewitz, John Henry (South African 1882 - 1942)The mournerEtching, signed 23,7 x 19,8cmR1 000 – R1 500

Lossgott, Kurt (South African 1941 ) Song of strength Steel59cm heightR1 200 – R1 800

P161

P162

P163

P164

- 92 -

Notes

- 93 -

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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P46 Freida Lock, Bo-Kaap in the forties