Cape Town Auction 4 & 5 February

296 298 300

Brommer, Bea et al (eds.) Stanford, Edward Various

COMPREHENSIVE ATLAS OF THE DUTCH MAP OF THE EASTERN FRONTIER JUTA’S MAP OF SOUTH AFRICA
UNITED EAST INDIA COMPANY, OF THE CAPE COLONY FROM THE CAPE TO THE ZAMBESI
VOLUME V: AFRICA
London: Edward Stanford, 1856 Cape Town: J.C. Juta & Co., 1889
Utrecht: Voorburg, 2009
folding map in protective folder, each of 24 folding map, 32 panels mounted on linen, recased
FIRST & LIMITED EDITION, numbered 1163 panels separately mounted on linen backing, with original cloth laid down, date written on
of 1600 copies, folio in slipcase and wooden ex-library with two stamps on reverse, one cancel front cover, some deterioration of linen, some
slipcase, 420 pp stamp on map key, very light foxing, a large foxing and tanning, remains of paper label on
brown spot on two panels, also affecting 6 other spine, Frikkie Botha book plate
R 4 000 - R 6 000 panels, some foxing, tanning along folds in linen 93,5 by 130,0cm
95,5 by 105cm
297 R 3 000 - R 5 000
ILLUSTRATED ON OPPOSITE PAGE
Bellin, Jacques N. 301
R 15 000 - R 18 000
PLAN DU FORT ET DE LA VILLE DU CAP Duggan-Cronin, Alfred M.
DE BONNE ESPÉRANCE 299
THE BANTU TRIBES OF SOUTH AFRICA,
Hague: Pierre du Hondt, 1747 - 1767 Wyld, James 10 VOLS

2 sheets combined with 4cm split at bottom, WYLD’S NEW MAP OF THE WITWATERSRANDT Cambridge: Deighton, Bell & Co., 1928 – 1954
pencil notes in margin, two tape residue marks GOLD FIELDS & DISTRICT, (TRANSVAAL)
on reverse, one with a date, engraved by Jacob 4to, 308 text pp and 335 plates in total, original
van der Schley London: James Wyld, 1888 stiff paper wraps and clear plastic covers with
20,5 by 26,5cm exception of Vol III Sec IV in red cloth, tanning
folding map, 36 panels mounted on linen, along margins of paper wraps, spines cracked
R 1 500 - R 2 000 recased with original spine and cloth laid down, in 9 volumes with some plates loosening and
blue crayon on front cover and reverse, library one loose, 3 vols with previous owner’s name
numbers on ep, linen folds deteriorating with on front cover and auction numbers; Vol I Sec I:
some folds split, a few numbers and notes in ink minimal foxing affecting a few plates; Vol III Sec
on map, some foxing and tanning III: ex-library with associated stamp and number
62,6 by 101,8cm on front cover; Vol III Sec IV: ex-library with stamp
on ep and text block edge, library number on
R 9 000 - R 12 000 printer’s page, bookseller and library impressed
stamp in prelims, sticker remains on title page;
Vol III Sec V: pencil number on ep, foxing on text
block edge affecting fore margin on some pages
and plates; Vol IV Sec I: fading stamp on front
cover; Including Vol I Sec I, Vol II Sec I – III, Vol III
Sec I, Vol III Sec III – V, Vol IV Sec I – II (10)

ILLUSTRATED

R 90 000 – R 120 000

NO LOTS 302 - 340

301
Books & Maps | 99

100

Session 3

Monday | 4 February | 19h00

Lots 341 - 500
Furniture
Fine Art

101

342

341 342 343

A REGENCY STYLE WALNUT AND A SET OF TEN REGENCY MAHOGANY A REGENCY WALNUT SETTEE
MAHOGANY EXTENDING DINING TABLE DINING CHAIRS
the reeded broken swan-neck top rail centred
the oval crossbanded top above a reeded comprising: a pair of carvers and eight side by a curved shell motif, padded back, sides
frieze, on a baluster-shaped column, on four chairs; each curved top rail above a carved and seat between curved reeded arms, reeded
reeded outswept legs terminating in brass mid-rail, stuff-over drop-in seat, on turned apron, on ring-turned tapering legs, on castors
caps, on castors, with one leaf extension tapering legs (10) 224cm long
75cm high, 88cm wide, 163cm fully extended
ILLUSTRATED ILLUSTRATED
R 9 000 - R 12 000
R 9 000 - R 12 000 R 8 000 - R 12 000

343

102 | Furniture

344 344
345 A WILLIAM IV MAHOGANY EXTENDING
DINING TABLE
the moulded rectangular top above a plain
frieze, on turned and gadrooned legs, on later
castors, with two leaf extensions
76cm high, 117cm wide, 230cm fully extended
ILLUSTRATED
R 10 000 - R 15 000

345
A WILLIAM IV ROSEWOOD BOOKCASE
the outswept cornice surmounted by a
rectangular pediment flanked by foliate
pierced scrolls, plain frieze, a pair of glazed
and panelled doors below enclosing four
shelves, flanked by carved and fluted columns,
shaped apron, on plinth feet
214cm high, 148cm wide, 53cm deep
ILLUSTRATED
R 12 000 - R 15 000

346
A VICTORIAN MAHOGANY AND WALNUT
INLAID EXTENDING DINING TABLE
each crossbanded D-end on a turned tapering
column, on hipped outswept legs, on castors,
with one leaf extension
74cm high, 159cm wide, 255cm fully extended
R 12 000 - R 15 000

Furniture | 103

349

348

347 348 349

A PAIR OF CONTINENTAL OAK AND A FRENCH GILT AND JACQUARD-LINED A FRENCH SATINWOOD BED,
UPHOLSTERED ARMCHAIRS, 19TH CENTURY THREE PANEL SCREEN, 19TH CENTURY 20TH CENTURY

each padded back between shaped carved the central shaped panel surmounted by a the ormolu-mounted parquetry shaped
acanthus-leaf arms, on upturned baluster central shell motif, a shield-shaped glazed head-and footboard with a diamond-shaped
supports, stuff-over seat, on turned-and-block panel below in a conforming dart-and-leaf design centred by various designs between
legs joined by a turned H-stretcher, frame, the rectangular jacquard-lined panel ormolu-mounted sides, later base,
on lion-paw feet (2) below in a conforming frame, flanked by two on restrained outswept legs terminating
shaped panels enclosing four glazed panels in foliate caps
R 2 500 - R 3 000 within dart-and-leaf surrounds surmounted by 151cm high, 168cm wide, 204cm long
a ram’s head, conforming jacquard-lined panel
and surround below, on fluted toupée feet ILLUSTRATED
174cm high, 135cm fully extended
R 8 000 - R 10 000
ILLUSTRATED

R 2 500 - R 3 500

104 | Furniture

351 350
352
A SET OF SIX FRENCH WALNUT
UPHOLSTERED SIDE CHAIRS
each padded back within a conforming carved
and moulded surround, carved and scrolling
supports, stuff-over seat, above a carved
apron, on restrained cabriole legs,
on castors (6)

R 4 000 - R 6 000

351

A FRENCH MARBLE-TOPPED, WALNUT AND
BRASS-BOUND BOWFRONTED CHEST OF
DRAWERS, 19TH CENTURY
the rectangular moulded red-veined marble
top above four crossbanded graduating long
drawers, conforming sides, canted and fluted
corners, shaped apron centred by a foliate
brass cartouche, on rounded bracket feet
adorned with sabots
91,5cm high, 116cm wide, 48,5cm deep

ILLUSTRATED

R 5 000 - R 7 000

352

A FRENCH WALNUT AND CANED SUITE,
19TH CENTURY
comprising: two bergères and a stool; the
shaped rectangular caned seat between
pierced scrolled foliate-shaped and caned
sides, foliate-carved frieze, on restrained
cabriole legs terminating in scrolled feet,
loose seat cushion; the bergères, en suite, with
loose seat cushion (3)

ILLUSTRATED

R 1 500 - R 2 500

Furniture | 105

354 353
355
A DUTCH WALNUT HANGING CABINET, 19TH CENTURY
359
106 | Furniture the gabled pediment centred by a shell carved keyblock, a cottage-pane glazed door below
enclosing two shaped shelves, canted glazed sides, on a moulded plinth base, distress
53cm high, 57cm wide, 22,5cm deep

R 2 000 - R 3 000

354

AN OAK LEGAL BOOKCASE, 20TH CENTURY

in four parts, the rectangular top above an egg-and-dart frieze, above four graduating hinged
glazed doors and a compartment, on square-section legs
157cm high, 87cm wide, 32cm deep

ILLUSTRATED

R 3 000 - R 5 000

355

AN ARABIAN FRUITWOOD, CLOSENAILED AND BRASS-BOUND CHEST

the moulded hinged lid closenailed in various patterns, enclosing a compartment and a smaller
lidded compartment, the sides adorned with brass carrying handles, the front with closenailed
design, on bracket feet, distress, restorations
37,5cm high, 94cm wide, 42,5cm deep

ILLUSTRATED

R 3 000 - R 5 000

356

A CHINESE SOFTWOOD AND BURGUNDY LACQUERED LOW SIDE TABLE,
HEBEI PROVINCE, QING DYNASTY, 19TH CENTURY

the rectangular top housing a floating panel within a beaded frame above shaped and carved
aprons and spandrels, on beaded square-section legs joined by hump-backed stretchers,
the legs terminating in hoof feet, distress
53cm high, 94cm wide, 46,5cm deep

R 2 000 - R 3 000

360

361

357 359 361

A NORTHERN CHINESE YUMU A CAPE REGENCY STINKWOOD A CAPE CEDARWOOD WASTAFEL,
(NORTHERN ELM) FORMAL SIDE TABLE, ROCKING CHAIR 19TH CENTURY
SHANXI PROVINCE, QING DYNASTY,
LATE 17TH CENTURY the shaped top rail above a riempie back, the rectangular moulded top centred
curved arms, riempie seat, on turned tapering by an aperture, the shaped frieze
the rectangular top consisting of a floating supports, on rockers centred by a dummy drawer,
panel fitted into an ice-plate moulded frame on square-section tapering legs
above an arched and cusped apron, beaded ILLUSTRATED ON OPPOSITE PAGE 71cm high, 91,5cm wide, 58,5cm deep
apron and square-section legs centred with
incense stick beading, foliate-shaped lower R 4 800 - R 5 800 ILLUSTRATED
legs joined by double side-stretchers with
indented corners, distress, restorations 360 R 6 000 - R 8 000
82cm high, 41cm wide, 111cm deep
A WEST COAST LEMOENHOUT 362
R 4 000 - R 6 000 CORNER CHAIR
A SET OF SIX CAPE STINKWOOD
358 the curved top and bottom rail between SIDE CHAIRS
upright supports, a curved armrest to one
A CAPE REGENCY STINKWOOD side on a square-section support, riempie each top rail above a reeded bottom rail
ROCKING CHAIR seat, on square-section tapering legs joined joined by square-section slats, caned seat,
by a box-stretcher plain apron, on square-section tapering legs
the shaped top rail above a riempie back, joined by an H-stretcher, distress, restorations
curved arms, riempie seat, on turned tapering ILLUSTRATED (6)
supports, on rockers, restorations
R 4 000 - R 6 000 R 5 000 - R 7 000
R 4 800 - R 5 800

Furniture | 107

364 364
363
A PAIR OF MODEL 2257 ARMCHAIRS
363 AKTIESELSKABET DESIGNED IN THE 1950s
BY BØRGE MOGENSEN FOR FREDERICIA
A MODEL 1611 ‘MATRRASS CHAIR’ DESIGNED STOLEFABRIK
BY ROB PERRY FOR GELDERLAND,
THE NETHERLANDS each curved slatted back and webbed seat
with two upholstered cushions,
the sprung back and webbed seat between square-section arms on square-section
square-section shaped supports, with padded supports, on square-section legs joined
Kvadrat cushions, triangular square-section by an H-stretcher, manufacturer’s paper
shaped arms on square-section supports, label, serie nr 1184 and 1286 respectively (2)
on splayed square-section legs
ILLUSTRATED
ILLUSTRATED
R 10 000 - R 12 000
R 8 500 - R 10 000

108 | Furniture

366
365

365 366

A JH-478 LOUNGE CHAIR AND OTTOMAN AN EVA HIGH BACK LOUNGE CHAIR
DESIGNED BY HANS J. WEGNER FOR DESIGNED IN THE 1940s BY BRUNO
JOHANNES HANSEN CABINETMAKERS, MATHSSON MANUFACTURED BY
COPENHAGEN BRUNO MATHSSON INTERNATIONAL

the curved padded back between upright the curved button-back and seat between
supports, webbed seat, loose seat cushion, curved supports, on curved square-section
on curved arm supports, on square-section legs, front and back stretchers, detachable
legs, manufacturer’s plaque; the ottoman, button-back head cushion,
en suite, manufacturer’s plaque (2) manufacturer’s stamp

ILLUSTRATED ILLUSTRATED

R 15 000 - R 18 000 R 14 000 - R 16 000

Furniture | 109

367 367

368 A PAIR OF J152 MIKADO CHAIRS DESIGNED
110 | Furniture IN 2014 BY FOERSOM & HIORT-LORENZEN
FOR FDB MØBLER

each splayed stick-shaped back above a
hard seat, on splayed turned tapering legs,
manufacturer’s mark, numbered 211 21415 and
214 81215 respectively (2)

ILLUSTRATED

R 6 000 - R 8 000

368

A ROSEWOOD SIDEBOARD DESIGNED IN
THE LATE 1950s BY ARNE VODDER FOR
SIBAST MØBLER

the rectangular top above a pair of lockable
tambour doors enclosing three drawers and
six compartments, in sizes, plain apron,
on square-section legs
62cm high, 45cm wide, 203cm long

ILLUSTRATED

R 45 000 - R 60 000

369 369
370 A PAIR OF SAFARI CHAIRS DESIGNED IN
THE 1960s BY KAARE KLINT FOR RUD
RASMUSSEN
each leather back and seat between leather
sling arms, on square-section tapering
supports terminating in turned feet (2)
ILLUSTRATED
R 20 000 - R 22 000

370
A STAINLESS STEEL AND GLASS PK61A
TABLE DESIGNED IN 2007 BY PAUL
KJAERHOLM FOR FRITZ HANSEN
the rectangular loose glass top with black
edging, on a chromed square-section frame,
on square-section legs, manufacturer’s paper
label and stamp, numbered 53465410KRD
32,5cm high, 40,5cm square
ILLUSTRATED
R 20 000 - R 30 000

Furniture | 111

371 371
Eben van der Merwe
372 (South African 1932 - )
112 | Fine Art STILL LIFE WITH WHITE AND RED
CARNATIONS
signed ‘09
oil on board
41 by 53cm
ILLUSTRATED
R 12 000 - R 18 000

372
Irmin Henkel
(South African 1921 - 1977)
STILL LIFE WITH ROSES
signed and dated 74
oil on canvas
40,5 by 35cm
ILLUSTRATED
R50 000 - R70 000

373

Christo Coetzee
(South African 1929 - 2000)

STILL LIFE WITH ROSES AND AN APPLE

signed and dated ‘96
mixed media on board
119,5 by 118cm

PROVENANCE
Acquired directly from the artist by the
current owner

R 100 000 - R 150 000

During his early career, Christo Coetzee
was well known for his floral still lifes. He
abandoned this genre, however, for his more
abstract compositions, only revisiting it in the
late 1980s. The imagery of the rose became
a staple in his visual vocabulary, making
appearances in his portraits, still lifes and
even his more abstract works. His depiction
of roses saw a vast evolution from being the
life like subjects of his still life paintings to the
worm like forms of his abstract compositions.
Not only were roses an important subject
in Coetzee’s paintings, they played a part in
his lifestyle too - his Tulbagh home boasted
many beautiful rose bushes, large and small,
creeping and hanging. - K. W.

Christo Coetzee Collection (1929 - 2000). Edited by
Gerard de Kamper. Pretoria: University of Pretoria
Museum, 2011. Exhibition catalogue.

Fine Art | 113

374 374

375 Caryn Scrimgeour
114 | Fine Art (South African 1970 - )

THE EMPTY GLASS

signed
oil on canvas
40 by 130cm

PROVENANCE
Everard Read Gallery

ILLUSTRATED

R 15 000 - R 22 000

375

Henry Wyatt
(British 1794 - 1840)

LADY READING A BOOK

signed and dated 1833
oil on panel
43 by 35cm

ILLUSTRATED

R 30 000 - R 50 000

376

Maurice van Essche
(South African 1906 - 1977)

PORTRAIT OF A WOMAN

oil on canvas
51,5 by 41cm

R80 000 - R120 000

Maurice van Essche came to South Africa
equipped with a sound understanding of
European art history, a sympathy towards the
formalist currents of modern art and a fresh
personal approach to interpreting African
themes. Upon his arrival he was immediately
accepted as a member of the New Group and
quickly established himself as an important
contributor to the burgeoning South African
art scene.

During his youth, van Essche worked in a
stained glass studio and his experience there
greatly informed his artistic output. This is
most noticeable in his almost obsessive use of
reds and blues which dominated his palette
and can be seen in the background and
garment of Portrait of a Woman.

Van Essche’s treatment towards portraiture
was decidedly modern. His semi-cubist
analysis of facial features and simplification
of the human form approaches abstraction.
As an artist, van Essche often courted certain
ideas of abstraction, but never committed
to the notion entirely. Despite his use of
geometric conventions, he never sacrificed the
human qualities of his sitters in his concern
with formal values. -K. W.

Berman, E. Art & Artists of South Africa. Cape Town: A. A.
Balkema, 1974

Fine Art | 115

377 377
Csaba Markus
378 (Hungarian 1953 - )
116 | Fine Art LADONNA
mixed media on canvas
90 by 70,5cm
ILLUSTRATED
R 40 000 - R 60 000

378
Robert Griffiths Hodgins
(South African 1920 - 2010)
ROME
signed, dated ‘09, editioned PP 2/3 and
inscribed with the title in pencil in the margin,
impressed with The Artists’ Press chopmark
lithograph printed in colours
sheet size: 57 by 76,5cm
ILLUSTRATED
R 25 000 - R 40 000

379 380

379 380
Anton Smit Sydney Alex Kumalo
(South African 1954 - ) (South African 1935 - 1988)
HEAD HEAD
signed and dated 90 signed and dated 1978
bronze on a wooden base clay
height: 80cm (excluding base) height: 27,5cm
ILLUSTRATED ILLUSTRATED
R 20 000 - R 30 000 R 100 000 - R 150 000

Fine Art | 117

381

381 382 383

Diane Victor Matthew Hindley Matthew Hindley
(South African 1964 - ) (South African 1974 - ) (South African 1974 - )

GOING TO THE DOGS, triptych HUMAN ANATOMY PIETER

each signed, dated 93 and editioned 19/25 signed, dated 2008 and inscribed signed, dated and inscribed
lithograph and silkscreen printed in colours with the title on the reverse with the title on the reverse
70,5 by 50cm each (3) oil on canvas oil on canvas
116 by 150cm 150 by 116cm
LITERATURE
Rankin, E. & von Veh, K., Diane Victor, ILLUSTRATED ON OPPOSITE PAGE ILLUSTRATED ON OPPOSITE PAGE
Johannesburg: David Krut Publishing, 2004,
illustrated on p14-15 R 25 000 - R 40 000 R 25 000 - R 40 000

ILLUSTRATED

R 25 000 - R 40 000

118 | Fine Art

382 383

Matthew Hindley is an accomplished artist who won the Michaelis artist presented black and white photographs of his friends where he
Prize, awarded by the Michaelis School of Fine Art, University of had emphasised the pigment in his subject’s skin.
Cape Town, in 2002. He has worked in a variety of media, including
physical computing, for which he was selected as the winner of the In Pieter Hindley has separated the subject from the viewer not
Permanent Public Art Installation Competition, from the IZIKO South only through the reproduction of photography, but it appears that
African National Gallery in 2003. In recent years Hindley has selected there is a sheet of glass that the subject is pushing against with his
painting as his chosen medium. outstretched hand, and possibly with the back of his other hand. The
figure refuses to confront the gaze of the viewer by closing his eyes
Both Human Anatomy and Pieter appear to be staged in the artist’s and turning his head away.
studio, where he creates tableaus of models and props which
he then mediates through photography, producing his paintings Human Anatomy appears to be a constructed narrative of a
from this source imagery. Lloyd Pollack writes of this process as: momento mori. A skeleton, perhaps death, beckons for what appears
“…a synthesis of photography, cinema, theatre and performance to be a dead or dying man with his head resting on a woman’s lap.
deployed in discontinuous and fragmented narratives.”1. Hindley has The woman placed between death and the man, attempts to shield
begun to produce paintings similar to that of the Leipzig School, herself from the skeleton, while a kneeling figure in a confident red
where the artists incorporate myth, metaphor and history which they cape, confronts the skeleton directly. In this instance we can assume
portray as illusion and artifice. that the human anatomy that the work refers to is the transience of
human life that the skeleton, as in many vanitas paintings, represents.
Hindley usually uses professional models and actors that he does not - S. D.
know socially, to create his tableaus. When he does use his friends
as models, he attempts to keep their relationship impersonal during 1 - Lloyd Pollack, An Everlasting Once and the Terrible Silence, 8.
the staging of the scene. The painting Pieter is a portrait of Matthew
Hindley’s friend, the photographer Pieter Hugo. In turn Pieter Hugo Michael Stevenson Gallery. “Pieter Hugo.” Accessed December 17, 2018.
used his fellow artist as muse when he produced a series from 2011 http://archive.stevenson.info/exhibitions/hugo/index2012_hell.html
– 2012 titled There’s a Place in Hell for Me and My Friends where the
Pollack, Lloyd. “An Everlasting Once and the Terrible Silence.” In Matthew Hindley: An
Everlasting Once, edited by Jacqueline Nurse, 8 – 23. Cape Town: Hansa Print, 2011.

Fine Art | 119

384 385

384 385
Nelson Makamo
(South African 1982 - ) Nelson Makamo
BOY RUNNING (South African 1982 - )
signed and dated 13
monotype GIRL STANDING
sheet size: 115 by 81,5cm
ILLUSTRATED signed and dated 13
monotype with pastel on paper
R 80 000 - R 120 000 sheet size: 125 by 81,5cm

120 | Fine Art ILLUSTRATED

R 80 000 - R 120 000

386 Bambo Sibiya’s work takes as its subject the migrant culture of Johannesburg townships.
During the apartheid years, men from rural areas would journey to Johannesburg and other
Bambo Sibiya mining towns in search of work. In an attempt to give both themselves and their families a sense
(South African 1985 - ) of pride, they would often sport stylish suits upon their visits back home, where they would
practice looking slick for their friends and neighbours. This performative practice earned these
THE WATCHERS II men the title of Swenkas, derived from the English word, swank. Swenkas would partake in
weekend competitions based on style, dance moves, chess and other activities that would affirm
signed and dated 2017 their status in their immediate society.
charcoal and acrylic on canvas
140 by 180cm Sibiya’s fascination lies in the way Swenkas, despite the oppression of the Apartheid regime,
found a way to flourish and draw strength and refuge in music, fashion, dance and board
EXHIBITED games. These facets would indeed become an integral part of township life. Sibiya’s portraits of
Tales of Migration, Red Room Art, Swenkas and township life show us that even at the most basic level of human existence, where
Cape Town, February 2017 oppression is abundant and discrimination is fierce, art and cultural activity have the power to
transform human society and elevate unity amongst a people. - K. W.
R 50 000 - R 80 000

Red Room Art, Tales of Migration, Cape Town, 2017. Exhibition catalogue.

Fine Art | 121

387 387

388 Philip Dillon Barrett
122 | Fine Art (South Africa 1958 - )
MOTHMAN
signed, dated ‘99 and editioned 12/12
bronze
height: 30,5cm
ILLUSTRATED

R 20 000 - R 30 000

388

Henry Moore
(British 1898 - 1986)
RECLINING FIGURE
signed and editioned 39/50 in pencil
in the margin
lithograph printed in colours
sheet size: 43 by 51cm
ILLUSTRATED

R25 000 - R35 000

389 390

389 390 These two prints are from Quatorze Planches Gravées pour Les Fleurs du Mal
(Fourteen Engraved Prints from the Flowers of Evil) suite, which were originally
Georges Rouault Georges Rouault printed between 1926 - 1927. They are not to be confused with the set of twelve
(French 1871 - 1958) (French 1871 - 1958) aquatints printed in colours between 1936 – 1938. Although both suites bare the
name Les Fleurs du Mal, they consist of entirely different images.
COURTISANE DE FACE FLEUR DU MAL
Plate 6 from QUATORZE Plate 4 from QUATORZE Rouault spent much of his career as a painter and only turned to printmaking when
PLANCHES GRAVÉES PLANCHES GRAVÉES he was 40. He is now appreciated as a competent printer willing to experiment
POUR LES FLEURS DU POUR LES FLEURS DU with a number of printmaking processes. The artist based this series of prints on
MAL MAL Baudelaire’s Les Fleurs du Mal (The Flowers of Evil), a volume of poems detailing
decadence and eroticism. Rouault chose to depict the poems in a number of
signed and dated 1926 signed and dated 1926 portraits, where perhaps the sitters might live out the poet’s text, rather than
in the plate in the plate illustrate the poems themselves.
drypoint and aquatint drypoint and aquatint
sheet size: 44 by 33,5cm sheet size: 44 by 33,5cm 500 impressions of each plate were printed by Jacquemin in 1927 for Rouault’s
publisher, Ambroise Vollard, who kept them until his death. In 1966 the book was
LITERATURE LITERATURE finally published using the original impressions. Since many of the impressions had
Chapon & Rouault Chapon & Rouault suffered damage of some sort over time, only 425 copies could be issued.
Catalogue Raisonné Catalogue Raisonné
number 214-27 number 214-27 Widewalls. “Quatorze Planches Gravées pour Les Fleurs du Mal.” Accessed December 17, 2018. https://
www.widewalls.ch/artwork/georges-rouault/quatorze-planches-gravees-pour-les-fleurs-du-mal/
ILLUSTRATED ILLUSTRATED

R 10 000 - R 15 000 R 10 000 - R 15 000

Fine Art | 123

391 every eleven years from 1855 to 1900 with work of a number of artists calling themselves
the intention of drawing the world to France the Groupe Impressioniste et Synthetiste.
Paul Gauguin where the best of French industry and culture While the exhibition was barely reviewed at
(French 1843 - 1903) was on display. the time, it would come to be known as the
Volpini Exhibition and would be regarded later
LES VIEILLES FILLES À ARLES from Artists such as Claude Monet and Auguste as a defining moment in Gauguin’s career.
THE VOLPINI SUITE Rodin took advantage of the influx of It is at this time that his ‘synthesist’ style of
international visitors to Paris by putting on abstracting lines and form in order to evoke
signed in the plate exhibitions of their work at the same time that the artist’s inner thoughts and emotions, came
zincograph (second state) the fair took place. Gauguin recognized the to the fore.
sheet size: 21 by 23cm opportunity as well, but with a guerilla style
tactic, the artist chose to infiltrate the actual Theo van Gogh, Vincent van Gogh’s younger
LITERATURE grounds of the fair, without the authorisation brother, a manager of a gallery and an
Kornfeld Catalogue Raisonné number 9 of the state that other artists of the Académie advocate of Gauguin’s, encouraged Gauguin
des Beaux-Arts were awarded to exhibit in the to supplement the seventeen canvasses
R 40 000 - R 60 000 grand halls. exhibited with a portfolio of eleven prints, due
to the growing appeal of printmaking at the
Les Vielles Filles à Arles (Old Maids of Arles) The venue for the show was Grand Café des time.
from the Volpini suite, was created for an Beaux-Arts where an order of mirrors which
exhibition that took place in a café during the were to be used to decorate the café, fell All of the prints in the portfolio are inspired
1889 World Fair. The world fairs were staged through. Gauguin persuaded the owner of the by the artist’s travels between 1886 and 1888.
café, Monsieur Volpini, to rather display the The subject matter of the print comes from a
124 | Fine Art painting that Gauguin made the year before
when he stayed with Vincent van Gogh in
Arles. The artist found the women of Arles
to be quite noble and he depicted them
strolling through the park across the street
from van Gogh’s house. They are dressed in
the traditional shawls and headdresses of
the region. They are an example of Gauguin’s
fascination with rural life and the genuineness
he found there, which would ultimately lead
him to Tahiti, in search of further authenticity.

The Volpini Suite was Gauguin’s first attempt
at printmaking, and he may have learned
the technique of lithography printed on zinc
plates from Emile Bernard, who also exhibited
in the Volpini show. For his first state Gaugain
used canary yellow paper, and his second
simili-Japan paper, which may have reflected
his appreciation of Japanese ukiyo-e prints,
which he collected. This print is from the
second state.

While the exhibition was commercially
unsuccessful, the show and the prints
produced mark an important arc in the
mythology of Gauguin and his desire to
seek alternatives to what he found to be a
restrictive way of being. - S. D.

The Nelson-Atkins Museum of Art. “Old Maids of
Arles.”Accessed December 17, 2018.https://art.nelson-
atkins.org/objects/30823/old-maids-of-arles

Christies. “Volpini Suite.” Lot Essay. Accessed December
17, 2018. https://www.christies.com/lotfinder/prints-
multiples/paul-gauguin-suite-volpini-ten-plates-5730426-
details.aspx?from=searchresults&intObjectID=5730426&si
d=116eeb30-7678-4878-b921-7afe14e95723

392 James Abbott McNeil Whistler was a
significant artist in America, although primarily
James Abbott McNeill Whistler based in England, he was a forerunner of the
(American 1834 - 1903) Post-Impressionist movement. He was both a
master painter and printmaker.
ROTHERHITHE
The subject matter of this etching is the
signed and dated in the plate view from Rotherhithe on the south side
etching (sixth state) of the Thames, London, overlooking the
sheet size: 40 by 30,5cm river to Wapping on the north bank, which
explains why this print has been referred
R 30 000 - R 50 000 to as Wapping in the past. However, most
cataloguers believe the Rotherhithe tavern to
be more prominent than the view and have
called the print Rotherhithe.

The print was etched from the balcony of
a pub on the banks of the Thames called
The Angel, an inn that still operates in
Cherry Gardens, Bermondsey, adjacent to
Rotherhithe. The etching depicts two men
who may be sailors or boatmen, wearing
caps and smoking from long clay pipes. One
of the men appears to gaze at the viewer.
Behind them the River Thames and the docks
are busy with ships. Between the masts and
rigging of the ship on the left, the dome of St
Paul’s Cathedral can be seen. Which is now
dominated by Tower Bridge.

Whistler painted a closely related work,
Wapping, which includes the same inn
balcony with figures seated in the foreground.
In 1861 Whistler wrote to his friend Henry
Fantin-Latour about the difficulties of
capturing the busy waterway:

“The background is like an etching – and was
unbelievably difficult!...There are also many
small boats and buildings which I cannot
put into the sketch…I assure you that I have
never attempted such a difficult subject – it
will certainly be said that it is not finished –
because as the boats leave I have only just
time to put in their shades of colour… “ .

This is the sixth state of this plate. This state
is differentiated by the diagonal drypoint lines
which enhance the shading across the chest
and pipe of the man on the left. There are 118
known impressions of this etching. - S. D.

Margaret F. MacDonald, Grischka Petri, Meg Hausberg,
and Joanna Meacock, “James McNeill Whistler: The
Etchings, a Catalogue Raisonné.” Accessed December
17, 2018. http://etchings.arts.gla.ac.uk/catalogue/search/
display/index.php?catno=K066&q=rotherhithe&xml=sub

Fine Art | 125

393 394

393 394
Maggie Laubser
(South African 1886 - 1973) Maggie Laubser
STUDY FOR LANDSCAPE WITH HUTS, SHEEP (South African 1886 - 1973)
AND A FIGURE CARRYING A BUNDLE
signed STUDY FOR FIGURE IN A LANDSCAPE:
pencil and watercolour on paper SHEPHERD, SHEEP, CLOUD AND SEASCAPE
20 by 26,5cm WITH BOATS
LITERATURE
C. F. Dalene Marais, Maggie Laubser: signed and dated ‘28
Her Paintings, Drawings and Graphics. graphite and coloured crayon on paper
Johannesburg: Perskor, 1994, illustrtaed on 26,5 by 18cm
p. 287, catalogue number 1153
ILLUSTRATED LITERATURE
R 15 000 - R 22 000 C. F. Dalene Marais, Maggie Laubser:
Her Paintings, Drawings and Graphics.
126 | Fine Art Johannesburg: Perskor, 1994, illustrtaed on
p. 198, catalogue number 610

ILLUSTRATED

R 15 000 - R 22 000

395

Dora Noyes
(British 1864 - 1903)

TWO AT A STILE

signed and dated 1894
oil on canvas
184,5 by 138cm

R 250 000 - R 350 000
Dora Noyes was born to a
family of three daughters, all
of whom were exceptionally
creative. Her sister, Ella, was a
respected travel writer, writing
extensively of her sojourns
to Italy. Many of her books
were illustrated by Dora,
who found great pleasure in
accompanying Ella on her
expeditions.

While celebrated for her
illustrative watercolours,
Noyes ventured into more
serious art too, in which she
favoured landscapes and
portraits, especially portraits
of children. Noyes exhibited
at all the principal galleries in
London but most illustriously,
she exhibited at the Royal
Academy. The current lot,
Two at a Stile, formed part
of her 1894 Royal Academy
Exhibition.

Creative Wiltshire, “Inspired by Home-
Grown Beauty” Last modified 24
August 2016. https://creativewiltshire.
com/2016/08/24/inspired-by-home-
grown-beauty/

Fine Art | 127

396 397

396 397
Judith Mason
(South African 1938 - 2016) Salvador Dali
THE CRUCIFIX (Spanish 1904 - 1989)
charcoal on paper
103 by 43,5cm THE BISHOP CUM TROUBADOUR
ILLUSTRATED from THE DIVINE COMEDY
R 15 000 - R 22 000
signed in the plate and embossed with
128 | Fine Art ‘Les Heures Claires’ on the sheet
lithograph
sheet size: 33 by 26cm

ILLUSTRATED

R 10 000 - R 15 000

398
Salvador Dali
(Spanish 1904 - 1989)
GAD from THE TWELVE TRIBES OF ISRAEL
signed and editioned 181/195 in
pencil in the margin
etching printed in colours
sheet size: 47,5 by 61cm
ILLUSTRATED
R 12 000 - R 18 000

398

399
Irma Stern
(South African 1894 - 1966)
EX LIBRIS, three
each signed in the plate
lithographs printed in colours
14 by 10cm each (3)
ILLUSTRATED
R 15 000 - R 22 000

399

Fine Art | 129

400

Flemish School & French School
(European 1300 - 1600)

SIX FLEMISH RENAISSANCE
STAINED GLASS PANELS

depicting heraldic shields, the holy family and the
magi, donors or bishops respectively; and Another
Two, French, Montfort Lamaury School, depicting
the nativity

the largest 78 by 43,5cm (8)

R 15 000 - R22 000

The historic centre of Antwerp on the banks of
the River Schelde is a declared UNESCO World
Heritage site and is distinguished by magnificent
architecture and multi-storied elegant town houses.
The most notable being the Italian inspired Baroque
masterpiece designed and built by the great Flemish
artist Sir Peter Paul Rubens in the early 1600’s.

Around the corner in the Diamond district, a more
restrained row of Flemish Renaissance style homes
stand in Arenberg Street. Built in the 16th century,
No.12 Arenberg Street was the original home to this
set of eight stained glass panels. Created by skilled
Flemish and possibly French artists, they were
installed in the front façade on either side of the
entrance door with family crests and coats of arms
identifying the occupants and religious symbolism
declaring their virtue.

The eight windows were saved from destruction
when they travelled to South Africa via the Congo
with the owners after World War II. They were
installed in a house near the University of Cape Town
and subsequently some were loaned to the South
African Cultural History Museum (now Iziko Social
History Collections at the Slave Lodge) where they
were exhibited.

This set of eight stained glass
panels is an exceptional
surviving example of the
flourishing visual arts that
graced buildings in the golden
period of Flanders under
Spanish rule. - C. K.

12 Arenberg Street

130 | Fine Art

401 402

401 402

Blessing Ngobeni Blessing Ngobeni
(South African 1985 - ) (South African 1985 - )

MUSICIAN WHATS NEXT (sic.)

signed signed
acrylic on paper acrylic on paper
73,5 by 49cm 73,5 by 49cm

ILLUSTRATED ILLUSTRATED

R 15 000 - R 22 000 R 15 000 - R22 000

Fine Art | 131

403 403
Lisa Brice
404 (South African 1968 - )
132 | Fine Art ADULT SHOW
signed
acrylic and reflective vinyl on board
100 by 200cm
ILLUSTRATED
R 40 000 - R 60 000
404
Kendell Geers
(South African 1968 - )
ET IN ARCADIA EGO
silkscreen
58,5 by 83cm
ILLUSTRATED
R 10 000 - R 15 000

405

405
Peter Clarke
(South African 1929 - 2014)
THE CORPULANT KHAMA SUTRA COUPLE (sic.)
signed and dated 11 · 3 · 2007
mixed media on paper
50 by 35cm
ILLUSTRATED ON OPPOSITE PAGE
R 20 000 - R 30 000

406
Robert Bevan Slingsby
(South African 1955 - )
CREDIT CRUNCH
signed and dated 2008
oil on canvas
80 by 85cm
ILLUSTRATED
R 50 000 - R 80 000

406

407
Anton Karstel
(South African 1968 - )
ABSTRACT COMPOSITION
oil on canvas
84 by 106cm
ILLUSTRATED
R 20 000 - R 30 000

407
Fine Art | 133

408 The 1960s heralded widespread social, political and cultural change, introducing to the world
the personal computer, the audio cassette recorder, the laser, the first cardiac pacemakers and
Alexis Preller the contraceptive pill. On the socio-political front the 1960s saw an awakening to the causes of
(South African 1911 - 1975) human freedom and civil rights. It was in this same decade that many African colonies gained
independence from colonial rule. Preller was a ferocious reader and kept well abreast of current
CONSTELLATION affairs. Possibly the greatest influence on his artistic output was humankind’s first ventures into
outer space.
signed and dated ‘65
oil on canvas The 1960s also saw the development of new art movements like Minimalism, Op Art and
91,5 by 102,5cm Conceptualism. South African artists of the time found themselves working in a very different
cultural and political climate to their international counterparts, and were thus not generally
R 800 000 - R 1 200 000 inclined to adopt the latest global trends. South African artists were, however, increasingly
receptive to the appeal of Abstract Expressionism, Art Informel and Taschisme which had
preceded the 1960s global art trends.

Preller became fascinated with abstraction’s departure from the figurative. While he never
deserted the figurative completely, the 1960s saw Preller’s oeuvre take on a decidedly abstract
overtone. His figures and collected images found themselves reinterpreted and placed in a very
different setting to the previous dreamscapes employed in Preller’s more surrealist works.

Preller enjoyed the freedom that informal Abstract Expressionism afforded him. He would
typically begin his compositions of this time by almost covering his canvas with a flat shape.
Over this foundation he would begin inscribing the basic shapes of his desired imagery with
highly liquid paint, allowing it to trickle freely down the canvas. Constellation clearly exemplifies
this technique. Here Preller places egg-like forms within an abstract black and blue surround.
Hitherto, eggs had been a recurring image in Preller’s output, but always rendered far more
realistically than we see in his works of this time. Constellation thus combines Preller’s evolving
technique of this period, his recurring egg motif and his new found fascination with outer space.
- K. W.

Berman, E. & Nel, K. Alexis Preller: Africa, the Sun and Shadows. Johannesburg: Shelf Publishing, 2009.

134 | Fine Art

Fine Art | 135

409 409
Charles Sekano
410 (South African 1943 - )
FACES, recto and THREE FIGURES, verso
signed on recto
mixed media on paper
59,5 by 83cm
ILLUSTRATED
R 10 000 - R 15 000

410
Marion Arnold
(South African 1947 - )
DUAL VISION
signed and dated 85
oil on canvas
152,5 by 152,5cm
ILLUSTRATED
R 10 000 - R 15 000

411
Christo Coetzee
(South African 1929 - 2000)
ABSTRACT COMPOSITION
signed, dated 87, numbered 83-14
and inscribed ‘Tulbagh, Cape’
mixed media on paper
49 by 63cm
ILLUSTRATED
R 12 000 - R 15 000

411

136 | Fine Art

412 413

412 413
Cloete Breytenbach
Cloete Breytenbach (South African 1928 - )
(South African 1928 - ) CARNAVAL, DISTRIC SIX,
CAPE TOWN, C. 1968
DISTRICT SIX, CAPE TOWN, C. 1960 signed and inscribed with the title in the
margin, accompanied by a certificate of
signed and inscribed with the title in the authenticity
margin, accompanied by a certificate of silver gelatin print, printed in the 1970s
authenticity plate size: 44,5 by 29,5cm (2)
silver gelatin print, printed in the 1970s LITERATURE
plate size: 29,5 by 44,5cm (2) Breytenbach, C., The Spirit of District Six, Cape
Town: Purnell & Sons, 1970 illustrated on p.73
ILLUSTRATED ILLUSTRATED
R 10 000 - R 12 000
R 12 000 - R 15 000
Fine Art | 137

414 Neo-Expressionism is a style of painting and sculpture that developed between late Modernism
and early Postmodernism. Some scholars, in fact, believe Neo-Expressionism played a vital role
A R Penck aka Ralf Winkler in the transition between Modernism and Postmodernism in that Neo-Expressionism accepted
(German 1939 - 2017) and rejuvenated historical and mythological imagery, as opposed to late modernism’s tendency
to reject storytelling completely. Though many artists have practiced and revived aspects of
COLOSSEUM, 1990 the original Expressionism movement, it would appear that only the Neo-Expressionists have
had far-reaching success. Georg Baselitz was a leading component, instigating a revival that
signed dominated German art in the 1970s. By the 1980s this resurgence had become part of an
acrylic over silkscreen on canvas international return to the sensuousness of painting, and a broad step away from the stylistically
180 by 240cm cool, distant sparseness of Minimalism and Conceptualism. All over the world artists began
turning towards expressive directions, creating works that affirmed the redemptive power
R 250 000 - R 300 000 of art in general and painting in particular, drawing upon a variety of themes including the
mythological, cultural, historical, nationalist and erotic.

A. R. Penck is one of many pseudonyms of Ralph Winkler, a German Neo-Expressionist fine
artist and jazz drummer. Penck is best known for his paintings and sculptures characterized by
simplified figures and forms, and neo-primitive symbols and patterns. These lend his work a
graffiti like quality, as is evidenced in Colosseum, 1990. Living in communist East Berlin, Penck
was unable to exhibit his works. This led him to smuggle his works out to West Berlin and
Switzerland, where he received enough acclaim to provide him with some protection from the
East German authorities, until he was able to escape and settle in London. This background
explains why Penck’s style fuses spontaneous self-expression with restraint, and pop culture and
art historical influences with political and social concerns.

Of the key tenets of Neo-Expressionism was the depiction of subject matter in a brutish
manner. The frequently large-scale works, typical of the movement, exhibited highly textural and
expressive brushwork and intense colours that had been rejected by the immediately preceding
art movements. We see these ideas developed in the following lots by Penck, Jüchser, Morgner,
Uhlig, König and Gallasch, all proponents of the Neo-Expressionist movement.

Artsy. “A. R. Penck.” Accessed: 17 December 2018. https://www.artsy.net/artist/ar-penck

The Art Story. “Neo-Expressionism.” Accessed: 17 December 2018.
https://www.theartstory.org/movement-neo-expressionism.htm

138 | Fine Art

Fine Art | 139

415 416

415 416
Hans Jüchser Michael Morgner
(German 1894 - 1977) (German 1942 - )
IMPRESSION UNTITLED
signed and dated 63 signed and dated 25.7.1996
oil on canvas mixed media on paper laid down on canvas
73 by 63cm 130 by 90cm
ILLUSTRATED ILLUSTRATED
R 50 000 - R 80 000 R 30 000 - R 50 000
140 | Fine Art

417 418 419

417 418 419

Max Uhlig Rolf König Harald Gallasch
(German 1937 - ) (German 1939 - ) (German 1949 - )

GROßER KOPF AFRICAN HEART ORAKEL III

signed and dated 84 signed and dated 1991 signed and dated 95
chalk and watercolour on paper watercolour on paper laid down on canvas acrylic on canvas
76 by 51cm 200 by 160cm 120 by 90cm

ILLUSTRATED ILLUSTRATED ILLUSTRATED

R 12 000 - R 18 000 R 15 000 - R 22 000 R 18 000 - R 25 000

Fine Art | 141

420 420
Anton Karstel
421 (South African 1968 - )
142 | Fine Art STREET SCENE
signed and dated 03
oil on canvas
170 by 253cm
ILLUSTRATED
R 50 000 - R 80 000

421
Gregoire Johannes Boonzaier
(South African 1909 - 2005)
HOUSES
signed and dated 1958
oil on canvas
26 by 50cm
ILLUSTRATED
R 30 000 - R 50 000

422
Axel Johansen
(Danish 1872 - 1938)
ROSENBERG CASTLE
signed
oil on canvas
30 by 41cm
ILLUSTRATED
R 15 000 - R 22 000

422

423
George Hyde Pownall
(British 1866 - 1939)
THE OLD CURIOSITY SHOP
signed
oil on panel
14,5 by 23cm
ILLUSTRATED
R 10 000 - R 15 000

423
Fine Art | 143

424 During the 1960s, Walter Battiss began a series of trips to the East Coast of Africa and the
Middle East. Of his desire to travel, Battiss has remarked: “Do I not love travel and seeing other
Walter Whall Battiss people and moving about? The wanderlust.” Battiss has explained that curiosity had been his
(South African 1906 - 1982) excuse for the experiences he gained through travelling. His sought new places, people and art
in a quest to extend himself, in order to become a more complete person.
EAST AFRICAN SCENE
These travels had a marked effect on Battiss’ use of colour, subduing his palette for the most
signed part, yet also incorporating bright colours. Particularly the intense blue of the vast African sky
oil on canvas left a great impression on him and injected many of the paintings he produced at the time with
34,5 by 50cm bright turquoise.

PROVENANCE Cerulean dominates the canvas of East African Scene, making up a third of the flat sky area,
Sold: Stephan Welz & Co., Cape Town, which then fuses with a band of blue creating the diffused horizon line. Here the point where the
18 October 2016, lot 500 sky meets the land is undefined, just like the heat waves in a dry, hot climate blend the horizon
with the vast African plains. The same strong blue of the sky infiltrates the rest of the painting
R 280 000 - R380 000 where it can be seen in the woman’s clothing, and details of the shacks.

Many paintings that Battiss completed in the mid-1960s include figures, particularly women,
often covering the canvas with a number of women in a patchwork like composition.
In East African Scene, the artist has restrained himself to depict just one solitary figure in the
foreground who faces the viewer directly, much like many of the African women he painted
during this period. The woman wears a headscarf which may indicate that she is Muslim, the
dominant religion of many of the East African cities and centres of trade that he had visited over
that time.

In the middle ground, the artist has chosen to mainly use a bright orange that contrasts and
thus emphasizes the blue green paint layer beneath it. Here, and in the quick gestures that
create the shacks, Battiss uses a palette knife and brush to apply paint, as well as the back end
of his paintbrush or another sharp instrument to mimic the corrugated iron used to build the
shacks, forming an uneven, dishevelled logic that creates the structures found in the landscape
of an informal settlement. Battiss employed these painting techniques during the course of
the 1960’s. Battiss began to scratch into wet paint with a sharp implement in the early 1960s,
revealing the colour of the canvas beneath. He adopted this technique, referred to as sgraffitto,
due to a combination of his love for graffiti and southern African petroglyphs, a form of rock art
where the top layer of rock is incised and cut away to form an image.

The artist consciously began painting with a palette knife after he overheard Heather Martiensen
and Cecily Sash of the Wits Fine Art Department discouraging their students from applying
paint with this method. Always the nonconformist, Battiss admitted that he used a palette knife
as a form of rebellion. - S. D.

Schoonraad, Murray. Walter Battiss. Cape Town and Johannesburg: C. Struik Publishers, 1976.

Harmsen, Frieda. “Walter Battiss: Universal Traveller.” In Walter Battiss: Gentle Anarchist, edited by Jillian Carman and
Susan Isaacs, 43 – 48. Johannesburg: Standard Bank Gallery

Siebrits, Warren, “The Five Lives of Walter Battiss” In Walter Battiss: I Invented Myself, edited by Warren Siebrits, 10 – 241.
Johannesburg: Multiprint Litho

144 | Fine Art

Fine Art | 145

PROCEEDS FROM THE SALE OF THE Pieter Wenning lived a short life, yet his acclaimed period of landscape painting was by comparison
FOLLOWING LOT WILL BENEFIT fleeting. A modest and congenial man, Wenning, who had a Dutch upbringing, came to South Africa
DIE BURGER KERSFONDS already married in his early 20’s.

425 In some ways his life was tragic, as he was virtually unrecognized and unable to make a living from both
his art and his career in publishing. His health was not good and he was childless although he married
Pieter Willem Frederick Wenning twice. Sadly, he never realized his dream of owning a home in which to raise a family due to enduring
(South African 1873 - 1921) poverty.

GROEN LANDSKAP These circumstances shaped his world view as well as his artistic production. Lacking any pretentions
of social grandeur, Wenning found ample subject matter in the bucolic and decaying landscapes
signed around him, particularly in the Cape during its “Green Season”. He acutely observed and recorded the
oil on board remnants of the early colony as it disappeared at a time of global turmoil at the turn of the century.
19,5 by 29,5cm Looking at the artists’ Cape landscape paintings it is difficult to reconcile these pastoral views with the
urban, gentrified world we know a century later. Malta Farm, Salt River is a case in point. A favourite
R 100 000 - R 150 000 subject of the artist’s, he returned to paint it frequently, and it has since become an iconic work.
Regrettably, the 17th century Cape farmhouse was destroyed in the 1970s to be replaced by a huge
industrial park.

Groenlandskap is characteristic of Wenning’s style in which the sky encompasses two thirds of the
canvas and a cluster of modest farm buildings gives way to an intensely green foreground. It was in the
green African vistas that Pieter Wenning found his true expression and acclaim as the foremost South
African landscape painter of his time. - C. K.

146 | Fine Art

PROCEEDS FROM THE SALE OF THE
FOLLOWING LOT WILL BENEFIT
DIE BURGER KERSFONDS
426
Pieter Willem Frederick Wenning
(South African 1873 - 1921)
MALTA FARM, SALT RIVER
signed
mixed media on paper
27,5 by 34,5cm
EXHIBITED
Pieter Wenning 1873 - 1921, Pretoria Art
Museum, March 1967
ILLUSTRATED
R 20 000 - R 30 000

426

427
Conrad Nagel Doman Theys
(South African 1940 - )
LANDSCAPE WITH HOUSES
signed and dated 1930
oil on canvas
38 by 50cm
ILLUSTRATED
R 35 000 - R 45 000

427

Fine Art | 147

428 428
Antoine Bouvard
429 (French 1870 - 1956)
148 | Fine Art VENICE WITH THE CHIESA SAN SIMEON
PICCOLO
signed
oil on canvas
48 by 63cm
ILLUSTRATED
R 30 000 - R 50 000

429
Antoine Bouvard
(French 1870 - 1956)
VENICE WITH GONDOLIER
signed
oil on canvas
48 by 63cm
ILLUSTRATED
R 30 000 - R 50 000