Cape Town July 2019 Auction

496
Terence John McCaw
(South African 1913 - 1978)
COMMISSIONER STREET, JOHANNESBURG
signed and dated 42
oil on canvas
51,5 by 59cm
R 25 000 - R 40 000

496
497
Sidney Goldblatt
(South African 1919 - 1979)
MEDITERRANEAN LANDSCAPE
signed
oil on board
49 by 59cm
R 25 000 - R 40 000

497
Fine Art | 149

498 498
Dirk Adriaan Meerkotter
499 (South African 1922 - )
150 | Fine Art ABSTRACT COLLAGE
signed and dated ‘69
mixed media on canvas
R 20 000 - R 30 000

499
Paul du Toit
(South African 1922 - 1986)
ABSTRACT COMPOSITION
signed and dated ‘75
watercolour on paper
55,5 by 76,5cm
R 30 000 - R 50 000

500
Robert Bevan Slingsby
(South African 1955 - )
STILL LIFE WITH FISH AND MELONS
signed and dated 1994
mixed media on card
51 by 63cm
R 20 000 - R 30 000

500
501
Gail Catlin
(South African 1948 - )
FALLING FIGURE
signed
liquid crystal on glass
198,5 by 108cm
R15 000 - R22 000

501
Fine Art | 151

502 German-born Starcke began his profession as an artist in South Africa, having his first
Helmut Starcke solo exhibition in Cape Town. Prior to this, he worked as a graphic designer and remained
(South African 1935 - ) interested in the field throughout his career, starting his own graphic design studio and
UNTITLED becoming a senior lecturer in the practice at Michaelis School of Fine Art. In terms of art,
signed, dated ‘94 and inscribed Starcke was selected to participate in the Venice Biennale in 1964 and 1966, and later the
with the title on the reverse Sao Paola Biennale. He also held an exhibition at the Iziko Old Town House in 2004, titled
acrylic on canvas The Muse of History, which sought to critique the visual and design elements of the Dutch
200 by 145cm Colonial period.
R 60 000 - R 90 000
His paintings make use of striking contrast and bold colours that fill the work with a sense
152 | Fine Art of high drama. They bear the mark of an artist who knows design. Starcke’s works come
across as statement pieces, often featuring elements of chiaroscuro and photorealism. “I
wanted to capture what was out my window,” the artist claimed. He was an accomplished
acrylic artist working on canvas predominantly, although he has dabbled in sculpture
and print-making as well. Starcke’s work can be found in major South African public
collections, and has been included in international corporate collections. - L.D.

Everard Read, “Helmut Starcke.” Accessed 24 May 2019.
Art Times, “SA Acclaimed Artist Helmut Starcke 1935 -2017.” Accessed 24 May 2019.

Mary Corrigall, Replicating nature’s balance pop artist’s aim, Cape Times, January 18, 2018.

503 504

503 504
Rembrandt van Rijn
Judith Mason (Dutch 1606 - 1669)
(South African 1938 - 2016) A PEASANT IN A HIGH CAP, STANDING WHILE LEANING ON A STICK
signed and dated 1639 in the plate; inscribed with the collector’s initial in pencil in the margin
CHRIST AT THE COLUMN ecthing, second state of two
sheet size: 9,8 by 5,9cm
inscribed with the title in the margin
graphite on paper R 25 000 - R 40 000
73 by 80cm This lot features a delicate Rembrandt etching, depicting an older man who appears to be on a journey.
He dons a tall fur-like hat, baggy clothes, and a worn down walking stick upon which he leans his
R 15 000 - R 22 000 weight. His left shoe is broken, exposing his foot.
Rembrandt van Rijn remains one of the most celebrated artists of the Dutch Golden Age (c. 17th
Century), known for mastering the arts of draughtsmanship, print-making, and painting. The artist’s
oeuvre consists of a diverse amount of subject matter and thematic depictions. - L.D.

Fine Art | 153

Lady
BarAnnanrde

It is with great pride that Stephan Welz & Co debuts two important and
exquisitely executed watercolours by Lady Anne Barnard from her momentous
visit to the Cape of Good Hope during the First British Occupation (1795-
1801). Her work is rarely on the market, and these works are accompanied by
indisputable documentary provenance. A handwritten letter from Lady Anne
Barnard to Henry Dundas in 1801, will be offered alongside these lots.

154 | Fine Art

RE-RIGHTING be surveyed for lives read ‘against the grain of infancy as was all too common at the time.
Lady Anne Barnard history’. This requires a very close reading of her While much is easily found about Van Reenen
writings in relation to her watercolours, and their and his children, it is harder to find out about the
by Tracey Randle wider connection to other colonial era documents arms that cradled and nursed her: the nursemaid
and archives. Lady Anne noted to be called ‘Teresa’. In the
Much has been written of the life and times of Slave Office records kept in the Western Cape
Lady Anne Barnard, wife to the Colonial Secretary These two watercolours by Lady Anne represent Provincial Archives, there is a register beginning
of the Cape, Andrew Barnard. Lady Anne is best not just rare works of art never seen on the in 1817 for the widow of the late Jacob Van
known for her extensive detailed diaries and market, but a potential archive of marginalised Reenen, born Maria Catharina Persoon4. A long
letters recording their time at the Cape between stories yet untapped, untold and unwritten. 18 years after Lady Anne paints the delicately
1797 - 1802. Often insightful, entertaining, witty, Regrettably South African society has been searing nursing Madonna scene, we can expect
and sometimes scandalous and cutting, her allowed very little access to the visual archive that a great deal may have changed to Van
diaries reflect her as an unconventional and outside of a few exclusive publications. It is also Reenen’s slave holdings. There is no aging Teresa
extraordinary woman of her time. Her writing has significant that these watercolours are of two listed – it is probable that she was sold or passed
captured the fascination, and even obsession, of women, and two mothers. The visceral curves of away in the nearly twenty years since. Maria
authors, academics, artists, social commentators their bodies breastfeeding and holding infants Catharina’s register for instance also lists a wash
and even poets for generations. Looking at in and around their arms is testament to the maid named Diana from Mozambique, aged 29 in
her life in the present context of South Africa, physicality of women’s lives lived in South Africa 1817. She was reported to have died on the 18th
her very human personal weaknesses are also even in the present day: caring for children (their February 1819.
apparent as well as the greater injustices caused own and other peoples) is a responsibility born
by the wider colonial empire she was part of. by the body as well as the mind. Lady Anne does And yet, there is a name in the list all too familiar:
not draw European or Dutch women in the same a female slave named ‘Theresia’ from the Cape
While we may caution ourselves to judge Lady way, despite her comments that Dutch women at listed, aged only three years old. Could this be a
Anne too harshly from our present vantage point, the Cape indecorously breastfeed in public1. daughter of our nursemaid Teresa? This young
her life and writings continue to offer a window Theresia is noted on 4th August 1826 as having
into the complexity of the Cape’s past and the One might be tempted to wax lyrical only about born a son Abraham on 1 August 1826. She would
multiplicity of people who lived here. Her diaries the aesthetic aspects of what these two paintings have been 12 years old at the time at the birth
have mostly been mined for the social relations embody, but that would be to malign the of Abraham if her age in the records is correctly
and politics of her elite contemporaries – from restorative work that can be done in finding out given. In working with these registers, I have
members of the Cape gentry and the governors who these women and children are. The Sleeping found time and again that ages and the spelling
of the Cape to British royalty. Lady Anne, Madonna and Child is the only known watercolour of names are a rough indicator and tend to
however, was herself interested in the lives of in a series of sketched versions that Lady Anne fluctuate across different documents. One aspect
all she encountered at the Cape, from slaves to painted on the same subject. In her diary she I have seen is that children are often named after
indigenous people and fellow dynamic visitors writes of making a sketch of ‘Van Renins (sic) their mothers – might Theresia be the child of
to the Cape such as the Persian nobleman Abu youngest infant who fell asleep as I was drawing our nursemaid Madonna? Both Theresia and her
Talib ibn Muhaammad Khan (1752 – 1806) whom as did Teresa its nurse & by that means I had the son Abraham are transferred on the 23 October
she introduced through her letters into London power of doing an imperfect sleeping Madonna’2. 1827 to Jacob Versfeld, a family relation of the
society . Van Reenens. Slaves were often transferred and
This is the child of the very same Jacob Van even bequeathed within the same family line
We may continue to be intrigued or wearied by Reenen who owned Ganze Kraal, the farm she of ownership. Perhaps we might still find our
her in the years and centuries ahead. One of the visited twice in the winter (20 – 24 July) and Madonna Teresa in one of Van Reenen’s wills or
legacies she has left in both her watercolours and spring (10 - 13 October) of 1799. Looking at another document relating to his estate.
her writings are encounters with marginalised the birth dates of Van Reenen and wife Maria
lives. As South African historiography and social Catharina Persoon’s last born child, we find their If these first exploratory investigations start
studies underwent a refocusing on ‘ordinary’ lives eighth child was christened on the opening up for us different lived experiences
and silent narratives in the post-apartheid period, 29th of November 1798: Sebastina Catharina Van beyond the paintings and writings of the slaves
Lady Anne’s writing and drawings have yet to Reenen, the most likely fit as the baby being held encountered by Lady Anne, it is even more
in Teresa’s arms, being around 8 months old at arduous to enter into the lives of the nameless
the time3. Sebastina Catharina did not survive indigenous people she engaged with. By some

Fine Art | 155

twist of fate, however, on those same trips to the has similarities to our indigenous Khoi mother similarly fluctuate in names and ages are hard to
farm Ganze Kraal, Lady Anne writes of spending watercolour, but she might indeed be someone correlate from one year to the next. But here we
time with a family of Khoi women and children. In else. Lady Anne painted the very place where this might have the potential names that match the
fact, her encounter and drawing of this maternal encounter happened at ‘Hans Craal the Plaace matriarchal family of women and children painted
line of Khoi woman happens on the very same of Jacob van Reenen’. In the background of the by Lady Anne, some of whom might even be the
day as she paints the perfect sleeping Teresa (22 painting we see the farm she describes as looking children of some of the slave men owned by Van
July 1799): “…at a distance like a little village’ with slave Reenen.
houses, stables, cow houses, poultry, a dairy and
“ This day the gentlemen went a moderate dwelling house”8. In the foreground, At the core of the basic disinheritances of
off again a shooting and in their absence I however she has painted the ‘compass of a few colonialism has been the destruction and
entertained myself at a Hottentots Craal at some reeds and rushes’ - what I suggest is the living disregard for the family units and bonds made by
little distance where I saw four ages contained space of the very same Khoi family of women and and between slaves and indigenous people. There
in Human nature in the compass of a few reeds children she describes above. A woman dressed are no family trees published in print and the
& rushes, the old Hottentot Vrow of sixty [years] in a red skirt and white blouse sits cradling internet for the families of Teresa and Griet that
old5, her daughter then nursing a young child – possibly a baby in her arms, with another child we can look up and create a line of belonging and
her granddaughter nursing her own and the Kint to her side. In the far-right foreground it also descendance to the present day.
itself, but as there was another some years older looks like Lady Anne has painted a matjieshuis, a
belonging to this last girl who was only seventeen reed mat house that Khoikhoi labourers were still Lady Anne’s paintings might be critiqued to
I dare say the old woman may see her great great noted living in on farms they worked for well into be much romanticised, as was the fashion for
great grand child….how uncommonly sweet and the 19th century. Their living area is positioned the period of educated travellers and artists,
pleasing the countenance of this girl was, She run indeed just a few short steps from the farm werf, and perhaps even allegorical in subject matter.
from the house where it was her business to work where we already know from her description that Certainly, her art was tainted by her own
in the kitchen to nurse the urchin, and while she one of the young Khoi mothers was working in worldview. However, armed with a different set of
sat like a black madonna her method of kissing the kitchen. questions in this present tense, we need to return
it from time to time had a softness in it which I to her writings and watercolours. There is still
think had I been a man woud have inchanted me In 1812 Stellenbosch farmers had to register the so much we can learn through her (rather than
as it pleased and surprised me as a woman – I Khoikhoi and ‘Freeblack’ workers living on their about her). We also have more recoupable work
could not however get her or the young one to farms due to a proclamation of 23 April of that to do with these paintings, into the lives of Teresa
sit still long enough to do any thing equal to what year9. In the years 1812, 1813 and 1814 we find a and the Khoi women and children she painted
I saw & felt might be done taking in the groupe large Khoi family registered as living on Jacob and others like them.
of her two other children naked who stood van Reenen’s farm consisting of a 90-year-old
bye while she in the Innocence of her children man called Adam, a 38-year-old woman called At the Cape, these are the lives of our ancestors,
indevoured to explain to me that this one had not Griet. Also listed are what seems to be Griet’s a resource that can illustrate to future generations
for his Faeder the faeder of the Ander but that daughters, Sara aged 20 (with her children stories of ordinary survival, determination and
Abraham was father to this, & Adonis to that, and Adam aged 12 and Kordam aged 10) and Griet bravery. Having these paintings in South Africa
somebody else to the other.”6 aged 18 (with her children Jan aged 16 months, is nothing less than adding two unseen family
Piet 6 months and another one-month old child portraits to our South African family wall.
What Lady Anne has written in a heady rush is Willem born in 1813). There is also a 50-year-old They make the picture of our past fuller, more
the genealogical and familial lines of a Khoi family woman named Marie and a 10 year old child Klaas representative. It is an act of restitution that
of women living on Ganze Kraal at the turn of the and a girl called Mietjie who is noted to be the we can now start to learn their names: Teresa,
19th century7. Lady Anne painted watercolours ‘weeskint’ or orphan, of a Sara aged 89 years old. Theresia, Diana, Abraham, Adam, Griet, Adam,
of this ‘black Madonna nursing her child’ as These records written in scrawling script that Kordam, Sara, Piet, Griet, Jan, Marie, Klaas. We
well as ‘her grandmother’. This ‘black madonna’ remember you.

1 - Lenta, Margaret and Le Cordeur, Basil (ed). The Cape Diaries of Lady Anne Barnard 1799 – 1800. Van 7 - Dan Sleigh has meticulously researched the early history the VOC outpost Ganze Kraal. His work shows
Riebeeck Society. Second Series. 1999. Vol. II Pg. 278 that it is a site that has a long history of indigenous habitation and use. It is also a site connected to a long
history of slaves and even exile labour on the post. In the mid 18th century a Khoikhoi group were known to
2 - Ibid. Cape Diaries Vol.I. Pg. 366 live and work on the post doing odd jobs and seasonally harvesting the barley. In fact, it was at Ganze Kraal
that the famous Swedish botanist Thunberg witnessed how Khoi people collect, dry and powder boegoe to
3 -South African Genealogies. Genealogical Institute of South Africa (GISA). Jacob Van Reenen b1c8. rub onto their bodies. Sleigh, Dan. Die Buiteposte. Protea Boekhuis. 2004. Pg. 510 - 517

4 - WCPAS Slave Office Records SO 6/ Stellenbosch Register for Van Reeen on fol. 95 and 163 8 - Cape Diaries, Vol. I. Pg. 197

5 - This is the same old woman that Lady Anne asks Van Reenen about her religious beliefs on her later trip 9 - This was part of a process that began with British Caledon Code of 1809 which sought to formalise “the
to Ganze Kraal. See Cape Diaries Vol I. Pg. 292 - 295 established practice of binding Khoikhoi labourers to colonial masters” in the wake of the slave trade in
1806. Penn, Nigel. The Forgotten Frontier: Colonist and Khoisan on the Cape’s Northern Frontier in the 18th
6 - Ibid. Vol I. Pg. 199
Century. Double Story Books. 2005. Pg. 269 -270

156 | Fine Art

505
Lady Anne Barnard
(British 1750 - 1825)
MOTHER AND CHILD
provenance and artist’s name
inscribed on the reverse
watercolour on paper
20,5 by 16,5cm
R 50 000 - R 80 000

Fine Art | 157

506

Lady Anne Barnard
(British 1750 - 1825)

BLACK MADONNA

provenance and artist’s name
inscribed on the reverse
watercolour on paper
18 by 14cm

PROVENANCE
Accompanied by letter with
Balcarres letterhead discussing
this painting

R 50 000 - R 80 000

158 | Fine Art

507

Lady Anne Barnard The autograph letter by Lady Anne Barnard is the Barnards at The Vineyard until embarking
(British 1750 - 1825) one of the last she wrote to Henry Dundas (a to continue their journey to the East. Although
powerful personality in the British East India good friends, the visit placed Lady Anne in the
HANDWRITTEN LETTER, SIGNED, 25 JULY 1801, Company and British politics) during her stay unfortunate position of having to break the news
TO HENRY DUNDAS at the Cape. In fact, it adds to the existing to Lady Clive that her brother had died.
correspondence recorded in books. Robinson1 In the letter the discussion of the changed
3 pages on one folded sheet within Francis speculates that “there must have been more” circumstances of the Clive’s then transitions to
Edwards Antiquarian Bookseller (London) letters to Dundas after May 1801 - this is one of the Barnards’ own situation. Andrew Barnard’s
folder, papermaker watermark “W Elgar 1796”, those letters. leave of absence had been approved, but Lady
gilt edges, letter tanned with shadowing from Anne mentions that she wishes him to have a
reverse, pencil note in top corner, small notch in The letter gives valuable insight into this period “proper and safe opportunity”. She also writes “I
fore edges, two small holes in fold of letter, band of the Barnards’ life by touching on matters begin to long recently to get home”. Both these
of discolouration on blank back of letter, pencil domestic, political and personal. By July 1801 remarks showing that the Barnards were ready to
notes on folder, folder extensively foxed the Barnards lived at The Vineyard. The touch of leave the Cape.
Also included, THE LETTERS OF LADY ANNE melancholy in the letter reflects the replacement
BARNARD edited by A M Lewin Robinson, of their earlier happiness in the Cape with the She concludes the letter by asking Dundas to
Cape Town: Balkema, 1973 and PARADISE, THE need to change their circumstances. make up his mind to forgive “time and [? chance]
CASTLE AND THE VINEYARD edited by Margaret for many ill hid traces they have left on [her]
Lenta, Johannesburg: WITS University Press, It starts with warm congratulations on the birth of countenance”, and that she was looking forward
2006 Dundas’ grandchild. Lady Anne notes she has the to seeing him again.
opportunity to write, because the ships are forced
PROVENANCE to stop at the Cape to load provisions. However, Lady Anne added a postscript rejoicing that Sir
In the 1920s Sir Leicester Harmsworth, a she continues by pointing out the difficulty in Abercromby “beat the French in Egypt” and
descendant of Henry Dundas (Lord Melville), sold supplying these ships, as the corn storehouses congratulating Dundas’ daughter Montague since
the Melville Papers with the assistance of Francis have been converted into barracks. Abercromby was her father-in-law.
Edwards, an antiquarian bookseller in London. Less than six months later, in January 1802, Lady
This letter was acquired by Graham Mackeuton The letter then mentions that Lady Clive, the Anne Barnard left the Cape. - L. R.
and sold by his estate to the current owner. wife of the governor of Madras, stayed with
1. Robinson, A. M. Lewis, The Letters of Lady Anne Barnard, Cape
R 15 000 - R 20 000 Town: Balkema, 1973, p. 267

Fine Art | 159

508 509

508 509

Abraham de Smidt Jan Vermeiren
(South African 1829 - 1908) (South African 1949 - )

UNSPANNEN CASTLE, LAKE BRIENZ STILLEWE MET AMARILLA

signed, dated 1884 and inscribed with the title; signed
label inscribed with artist’s name adhered to oil on canvas
the reverse 63,5 by 54cm
watercolour on card
28 by 40,5cm R 20 000 - R 30 000

R 8 000 - R 12 000

Born in Cape Town in 1829, Abraham de Smidt is most well-known as the Surveyor-General of the Cape Colony from 1873 – 1889. He was an active member
in Cape art communities and held a keen interest in promoting the arts to the general public. With this intention at heart, he became one of the founders of
the South African Fine Arts Association in 1871, as well as became a trustee for the Thomas Bayley Collection.

In addition to being a patron of the arts, he also painted original works of various landscapes. He exhibited his work at the 2nd fine art exhibition in Cape
Town in 1852, which was the start of many other shows across the town, and studied European art in England in 1857.

This lot features a beautiful view from Unspunnen Castle in Switzerland, which overlooks Lake Brienz. De Smidt captured a picturesque view of the glacier-
fed lake, revealing the timeless quality of a landscape that may be enjoyed across centuries. The solid, yet thin white highlights have been achieved using
Chinese watercolour.

In 1889, de Smidt left South Africa for England, following his retirement, where he lived until his death in 1908. - L. D.

160 | Fine Art

510 Known as a prolific, witty painter with a keen eye for composing theatrical scenes, the late Stanley Pinker has excited
the interest of major collectors and institutions around the world. After travelling extensively in Europe, the artist
Stanley Pinker finally settled in South Africa, claiming that he realised that “everything [he] want[s] is here.”1 His artistic sensibility has
(South African 1924 - 2012) inspired many of the young artists he has mentored, including internationally renowned painter, Marlene Dumas.

PASTEL STILL LIFE Although Pinker has painted many still lifes, this rather unique work falls outside of the artist’s usual colour palette,
WITH LEMONS boasting unobtrusive pastel shades of purples, greens, blues and yellows. Pinker’s work was often inspired by the
20th Century European art movements of Cubism, Dadaism and Surrealism2. In this work, the artist makes use of
signed multiple planes of perspective, which split the image and compartmentalise it into overlapping squares. The softer
oil on board colours provide a calming effect on the viewer and tie the composition together, counteracting the cubist-inspired
38,5 by 34,5cm perspective. The painting is highly reminiscent of Pablo Picasso’s cubist still lifes, featuring the patterned wallpaper
in the background and relatively organic shapes, which just border abstraction. Esmé Berman, South African art
R 100 000 - R 150 000 historian, noted that the artist, “attempt[ed] to create a new psychological dimension within his canvases by distorting
space and recomposing elements of observable reality within this new environment.”3 - L.D.

1 Michael Stevenson, Stanley Pinker (Cape Town: Michael Stevenson), 17.
2 Michael Stevenson, Stanley Pinker (Cape Town: Michael Stevenson), 7 – 9.
3 IOL, “Pinker touched more than a paint brush.”

Fine Art | 161

162 | Fine Art

In 1947, Gerard Sekoto travelled to Paris to further his studies, he remained in exile for many years, mainly living
in Paris. Sekoto attended the Académie Populaire d’Arts Plastiques in Paris from 1963 – 1965. Many of Sekoto’s
work from his time in Paris evidence a concern with formal elements, influenced by his fellow students, who were
exhibiting their work in Paris at the time.

During his time in South Africa, Sekoto tended towards simplifying the facial features of his subjects, positioning
them in stances where their faces were streamlined almost to the point of abstraction. This inclination increased
during his time away from South Africa.

This preference altered from 1963 to the mid-1970’s, when Sekoto repeatedly painted what became known as his
‘blue heads’, a series of busts primarily of women, most frequently with the use of a blue palette. Unlike his previous
portrait studies, these busts did not rely on the direct observation of a sitter.

In all of the blue head paintings, Sekoto loaded his brush and applied the paint in broad, flat strokes. Mostly, the
composition is cropped just above the subject’s head and just below the collar bone, the neck elongated. Unlike his
more typical busts, Head of an African Woman contains fewer contrasting colours and highlights. Rather than the
white, beige and occasionally yellow highlights found on other busts, the highlights in Head of an African Woman,
are subtler, and the artist has incorporated softer blues. The red umber and burnt sienna that Sekoto seemingly
used straight out of the paint tube in other blue head paintings, are almost entirely absent here apart from a few
select strokes on the headscarf. Most of his busts share the same pose, where the subject faces the viewer directly,
their eyes either directly connecting with the viewer, or cast downwards

Many of the blue heads were produced around 1963, while Head of an African Woman is signed 1968. The subject in
this painting wears a headscarf which adds height to her head. The headscarf is undetailed, painted with expressive
brushstrokes, giving it the appearance of a headdress. She wears hanging earrings and her eyes connect directly
with the viewer, although the slight hoods of her eyes give her otherwise confrontational expression a demure
quality. The vertical brushstrokes of navy paint emphasise her strength, and form a pleasing geometry with the
triangular sloping of her elegant neck and sharp collarbones. Head of an African Woman portrays a regal quality in
the sitter that other blue busts do not possess.

In 1960, before he began painting his first blue heads, Sekoto produced a ballpoint pen on paper sketch of Miriam
Makeba which he inscribed with the title Inspiration - Miriam Makeba. Makeba was known at the time as the ‘Queen
of African song’ due to the inspiration she drew from the music of South Africa and other African countries. The
songstress went into exile in 1959 and was accepted as an African icon by both those living in South Africa and
those also in exile. In 1960, when the drawing was created, Makeba had just arrived in New York to much acclaim
and photographs of her had featured on the cover of Time magazine.

The pen drawing of Miriam Makeba features the same composition as Sekoto’s blue heads, with the singer directly
facing outwards, the head cropped closely to the frame. It is possible that Sekoto’s pen drawing of Miriam Makeba,
produced in 1960, may have been the inspiration for his blue head paintings of African women, which he began
painting around 1963. It must be noted that some of the blue heads also resembled portraits that the artist made
of his mother.

Sekoto wrote of his practice of painting the blue heads that he wanted to express the beauty of the women of his
own race, as opposed to the white female beauties that he felt were so abundantly portrayed by artists throughout
history. - S.D.

Lindop, B. Sekoto: The Art of Gerard Sekoto. Great Britain: 1995.
Johannesburg Art Gallery: Gerard Sekoto: Unsevered Ties. Johannesburg: 1989

Fine Art | 163

511
Gerard Sekoto
(South African 1913 - 1993)
HEAD OF AN AFRICAN WOMAN
signed and dated 68; label adhered on the reverse inscribed with the title and ‘Maximum Fund Trust’
oil on canvas laid down on board
59 by 48cm
R 600 000 - R 900 000

164 | Fine Art

Fine Art | 165

512

Durant Basi Sihlali
(South African 1935 - 2004)

WAITING FOR THE CLINIC

signed and dated 90
oil on board
86 by 69cm

R 50 000 - R 70 000

166 | Fine Art

513 Using enticing colour combinations of soft sky-blues, rich
browns and sombre greys, Pablo Picasso draws the viewer into
Pablo Picasso a delectable still-life of a table set with a glass, a plate and a
(Spanish 1881 - 1973) popular European dessert, a charlotte or icebox cake. The white
highlight at the centre of the composition hints at a curtain being
NATURE MORTE AU CHARLOTT partially drawn back to illuminate the table setting. This particular
image is derived from an original painting by the artist, Nature
signed and editioned 136/350 in Morte à la Charlotte (1924), which is currently housed in the
pencil in the margin; label adhered to the collection of the Centre Pompidou, Paris1
reverse bears the artist’s name and title .
screenprint printed in colours The style of the print speaks to synthetic Cubism, of which
68,5 by 57cm Picasso was one of the pioneers. This entails 3-dimensional
objects being depicted from multiple viewpoints while
PROVENANCE simultaneously flattening the depth of the image, inspired by Paul
Wolpe Gallery Cezanne’s words in 1907, “You must see in nature the cylinder, the
sphere, and the cone”2. Although staying true to its conventions,
R 20 000 - R 30 000 Picasso has also introduced more organic shapes and lines in this
work, adding subtlety to the striking disjointedness that Cubism
NO LOTS 514 - 520 may convey. - L.D.

1 Centre Pompidou, “Nature Morte à la Charlotte.”
2 Robert Fisher, Picasso (New York: Tudor Publishing, 1967), 6-7

View, Register and Bid on any lot through our Digital Saleroom – www.swelco.co.za Fine Art | 167

168

Session 5

Tuesday | 2 July | 10am

Lots 521 - 639
Clocks

Pocket & Wristwatches
Jewellery

Designer Handbags

169

BUYERS ARE ADVISED THAT A SERVICE IS RECOMMENDED FOR ALL CLOCKS PURCHASED

521 522

521 522
A FRENCH BRASS REPEATER
CARRIAGE CLOCK, L’EPEE A FRENCH BRASS STRIKING
The rectangular white dial with Roman hour CAPUCINE CLOCK WITH ALARM,
numerals, calibrated outer ring, subsidiary LATE 18TH/EARLY 19TH CENTURY
seconds dial, five bevelled glass case on a
plinth base, shaped handle The 7,5cm white circular enamelled dial with
13cm high excluding handle Roman hour numerals and minute markers,
R 5 000 - R 8 000 spring barrel anchor recoil escapement with
silk suspension, alarm function, repeat lever
170 | Clocks to the side, the case surmounted by finials to
each corner, top bell surmounted by an urn
finial with shaped handle, on toupie feet,
wear to case and hands
24,5cm high including handle

R 10 000 - R 12 000

524 525 526

523 524 526

A 14CT HUNTER-CASED POCKET A LADY’S GOLD WRISTWATCH, A GENTLEMAN’S STAINLESS STEEL
WATCH, INTERNATIONAL WATCH CO, PATEK PHILIPPE WRISTWATCH, CARTIER SANTOS GALBEE
SCHAFFHAUSEN
The gold oval dial with baton hour markers, The square white dial with Roman hour
The circular white enamel dial with Arabic on a gold mesh strap numeral hour markers, calibrated inner ring,
hour numerals, calibrated outer ring, width of dial approximately 16mm sweeping seconds hand, date aperture at 3
subsidiary seconds dial, gilt-metal hands, the o’clock,
movement numbered 602085, the case with R 60 000 - R 65 000 on a stainless steel bracelet
engine-turned decoration width of dial approximately 19mm
diameter of dial 39mm 525
R 25 000 - R 35 000
R 15 000 - R 18 000 A GENTLEMAN’S STAINLESS STEEL
WRISTWATCH, CARTIER TANK FRANCAISE NO LOTS 527 - 530

The square white dial with Roman numeral
hour markers, calibrated inner ring, sweeping
seconds hand, date aperture at 6 o’clock,
on a stainless steel bracelet
width of dial approximately 20mm

R 35 000 - R 45 000

Pocket & Wristwatches | 171

531

AN AMETHYST, PEARL AND DIAMOND
NECKLACE

Designed as a row oval mixed-cut amethysts,
graduated in size, in pinched-collet settings,
suspending an associated pendant centred
with an oval mixed-cut amethyst highlighted
with senaille-cut diamonds and a fringe of
pearls, approximately 43,5cm in length; and
A Pair of Amethyst Ear Clips, each with a
circular mixed-cut amethyst in pinched-collet
setting, screw fittings, in 9ct gold (3)

R 15 000 - R 20 000

172 | Jewellery

532

532 533 533

A VICTORIAN TURQUOISE AND SEED A LATE VICTORIAN/EDWARDIAN SEED
PEARL LOCKET PENDANT PEARL AND TURQUOISE FRINGE NECKLACE

Oval, the hinged cover applied with a Centred with a ribbon-bow motif suspending
navette-shaped motif embellished with a heart-shaped pendant embellished with
circular turquoise cabochons and seed scrolls, graduated fringe, decorated to the
pearls, the reverse vacant, opening to reveal centre with seed pearls and highlighted with
two glazed portrait compartments, acid tested circular turquoise cabochons, to a cable-link
as 14ct gold chain, in 15ct gold
approximately 4,6cm in length approximately 43cm in length

R 5 000 - R 7 000 R 7 000 - R 9 000

Jewellery | 173

538

537

534 536 538

A VICTORIAN GARNET AND SEED PEARL A RUBY AND DIAMOND RING, A DIAMOND, SEED PEARL AND ONYX
PENDANT, CHARLES GREIG AND SON,
BANGLE, NATHAN BROTHERS, BIRMINGHAM CHESTER, 1901 CIRCA 1955

Oval, the hinged open worked frame set to Pavé-set to the centre with a round-cut ruby, Centred with an oval onyx plaque applied with
the centre with claw-set round-brilliant cut flanked by two old-cut diamonds and two a floral spray motif and enclosed within an
garnets alternating with seed pearls, in 9ct round-cut rubies, in 18ct gold, ring size O 1/2 openwork scroll surround, embellished with
gold single- and senaille-cut diamonds and seed
inner width approximately 5,6cm R 3 000 - R 5 000 pearls, in platinum, approximately 4,4cm in
length, accompanied by a fine cable-link chain,
R 3 000 - R 5 000 approximately 53cm in length, and by a case
printed: Chas. Greig & Son, Watchmakers &
537 Jewellers, Market Street, Johannesburg

535 A DIAMOND BRACELET, R 18 000 - R 20 000
EARLY 20TH CENTURY
A VICTORIAN SEED PEARL AND PERIDOT 539
PORTRAIT PENDANT A diamond bracelet, each diamond encrusted
link designed as a bow, claw-set to the centre A DIAMOND AND PEARL BROOCH
Designed as a wreath of shamrocks and with an old-cut diamond, the diamonds
scrolls and centred with a circular glazed weighing approximately 3,5ct in total, in 18ct Designed as an openwork geometric panel
frame enclosing a portrait of a young child, in white gold embellished with a spray of ribbons, centred
15ct gold approximately 18cm in length with a pearl and highlighted with round
approximately 5,3cm in length brilliant- and single-cut diamonds, in platinum,
R 35 000 - R 37 000 with safety chain
R 3 000 - R 5 000 approximately 6,3cm in length

R 40 000 - R 50 000

539

174 | Jewellery

540 543 546

NO LOT A DIAMOND PENDANT NECKLACE A PAIR OF DIAMOND EARRINGS

541 Collet and millegrain set with an old-cut Each claw-set marquise-cut diamond
diamond surrounded by millegrain-set old-cut suspending two graduating claw-
A DIAMOND AND GEMSTONE diamonds suspended by a marquise-shaped set marquise-cut diamonds weighing
CLUSTER RING drop millegrain set with five old-cut diamonds, approximately 3ct in total, in white gold (2)
Tube set to the centre with an old-cut the cable-link chain centred by a millegrain-set
diamond surrounded by gemstones and diamond, set in 18ct white gold R 70 000 - R 75 000
diamonds, the shank pierced and scrolling, approximately 42cm in length
in 14ct gold, ring size L
R 18 000 - R 20 000 547
R 1 500 - R 2 000
544 A DIAMOND RING
542
A GARNET AND OPAL CAMEO PENDANT Set with a round brilliant-cut fancy yellow
A CORAL RING BROOCH diamond weighing approximately 2,7ct,
Designed as a stylised snake coiled around a ring size N1/2
rounded coral bead measuring approximately Carved as a woman in profile to sinister, the
8mm in diameter, in 9ct gold, ring size J top, bottom and sides with opposing scrolls R 90 000 - R 120 000
centred by a claw-set garnet, acid tested as
R 1 000 - R 2 000 18ct gold

R 6 000 - R 9 000

545

A PAIR OF GOLD AND CARNELIAN
PENDANT EARRINGS

Each lever hook earring centred with an
orb-shaped carnelian suspending a
teardrop-shaped carnelian, acid tested
as 18ct gold (2)

R 3 000 - R 5 000

542
547

Jewellery | 175

548
A VICTORIAN CASED ENAMEL AND GEM-SET SERPENT BRACELET,
RETAILED BY HOWELL JAMES AND CO, LONDON
In the form of a snake, the head and tail decorated with turquoise-blue
enamel, the head embellished with old-cut diamonds and ruby-set eyes,
the tapering body formed by overlapping hollow links, with safety chain,
acid tested as 18ct gold, accompanied by a fitted case with gilt stamp to
the reverse: HOWELL JAMES & CO REGENT STREET
approximately 19cm in length
R 25 000 - R 35 000

Serpents have been an enduringly desirable motif throughout the history
of jewellery design. The symbol of a snake devouring its own tail, known as
Ouroboros, was revered in ancient Egypt. It came to represent the unending
and unchanging cycle of life and was associated with royalty and the divine.
Serpent-inspired jewellery experienced an unprecedented revival in Victorian
England when Prince Albert proposed to Queen Victoria with a jewel-
encrusted serpent-shaped ring. Royal endorsement of the serpent-design
invigorated age-old notions of romance, everlasting love and perfection.
Whilst the snake and its lethal venom could signify imminent danger and
the end of life, the serpent may equally be viewed as an emblem of renewal
through the shedding of its skin echoing the unbroken cycle of the ‘tail
devouring snake’. - J. J.

176 | Jewellery

Jewellery | 177

549 551 553

549 551 553

A DIAMOND RING AN EMERALD AND DIAMOND RING, A THREE-STONE DIAMOND RING
CHRISTOFF
Claw-set to the centre with a round Claw-set to the centre with a round
brilliant-cut diamond surrounded by a spiral of Claw-set to the centre with an oval-cut brilliant-cut diamond flanked by two round
round brilliant-cut diamonds and marquise-cut emerald weighing approximately 4ct, flanked brilliant-cut diamonds weighing approximately
diamonds, part trifurcated shoulders, by two emerald-cut diamonds weighing 1,8ct in total, in 18ct white gold, ring size N
in 18ct white gold, ring size P approximately 0,80ct in total, in 18ct white
gold, ring size N1/2 R 50 000 - R 55 000
R 100 000 - R 110 000
R 60 000 - R 65 000

550 552 554

A DIAMOND RING A DIAMOND RING A PAIR OF DIAMOND STUDS

Claw-set to the centre with a round brilliant Claw-set to the centre with a round brilliant- Each claw-set with a round brilliant-cut
cut diamond weighing approximately 0,90ct, cut diamond weighing approximately 0,80ct, diamond weighing approximately 1ct in total,
flanked by two marquise-cut diamonds, in the shank encrusted with nineteen round in 18ct white gold (2)
platinum and 18ct yellow gold, ring size NÐ brilliant-cut diamonds. in platinum, ring size
M 1/2 R 25 000 - R 27 000
R 70 000 - R 75 000

R 60 000 - R 65 000

550 554

178 | Jewellery

555 555 559 559

557

A PAIR OF GREEN TOURMALINE EAR CLIPS A DIAMOND ETERNITY RING A DIAMOND ETERNITY RING

Each centred with a rectangular step-cut Claw-set with twelve round brilliant-cut Claw-set with round brilliant-cut diamonds
green tourmaline weighing approximately diamonds weighing approximately 7ct in total, alternating with four millegrain set round
2,6ct in total, enclosed within a surround of in 18ct white gold, ring size L brilliant-cut diamonds, in 18ct white gold,
stylised leaves, acid tested as 18ct gold, ring size L 1/2
clip-on fittings R 90 000 - R 95 000
approximately 1,8cm in length (2) R 4 000 - R 4 500

R 6 000 - R 7 000 558

556 A DIAMOND ETERNITY RING 560

A GREEN TOURMALINE AND DIAMOND Claw-set with sixteen round brilliant-cut A DIAMOND TENNIS BRACELET
RING diamonds weighing approximately 3,5ct in
total, in platinum, ring size L 1/2 Claw-set with thirty-seven round brilliant-cut
diamonds weighing approximately 16ct in
Centred with an emerald-cut green tourmaline R 65 000 - R 70 000 total, in 18ct white gold
weighing approximately 2,38ct, flanked by two approximately 18cm in length
pairs of round brilliant-cut diamonds weighing
approximately 0,32ct in total, acid tested R 150 000 - R 170 000
as 14ct gold, ring size I

R 3 000 - R 5 000

560
Jewellery | 179

561
A DIAMOND TENNIS BRACELET
Claw-set with thirty-eight round brilliant-cut
diamonds weighing approximately 14,5ct in
total, in 18ct white gold
approximately 18,5cm in length
R 130 000 - R 140 000

180 | Jewellery

562 566

562 564 566

A DIAMOND TENNIS BRACELET A DIAMOND PENDANT A SAPPHIRE AND DIAMOND RING

Tube set with forty-four round brilliant-cut Centred by a claw-set pear-shaped Claw-set to the centre with an oval cut
diamonds weighing approximately 7ct in total, diamond surrounded by twelve claw-set sapphire weighing approximately 5ct,
in platinum round brilliant-cut diamonds weighing surrounded by fourteen claw-set round
approximately 18,5cm in length approximately 1,5ct in total, in 18ct white gold brilliant cut diamonds weighing approximately
1,7ct, in a halo setting, in platinum,
R 80 000 - R 85 000 R 35 000 - R 37 000 ring size M 1/2

R 60 000 - R 65 000

563 565 567

A PAIR OF DIAMOND EARRINGS AN AQUAMARINE AND DIAMOND RING A PAIR OF DIAMOND STUDS

Each claw-set with a round brilliant-cut Claw-set to the centre an aquamarine Each claw-set with a round brilliant-cut
diamond suspending two graduating weighing approximately 30ct, flanked by five diamond weighing approximately 1,34ct in
tube- and claw-set marquise-cut diamonds, round brilliant-cut diamonds on either side, in total, in 18ct gold (2)
weighing approximately 2,5ct in total, in 18ct 18ct gold, ring size N
white gold (2) R 35 000 - R 37 000
R 10 000 - R 18 000
R 60 000 - R 65 000

567

565
Jewellery | 181

568

568 570 572 570

A PAIR OF SAPPHIRE AND DIAMOND A DIAMOND RING A PAIR OF DIAMOND STUDS
EARRINGS
Claw-set with a round brilliant-cut diamond Each claw-set with round brilliant-cut
Each claw-set oval-cut sapphire weighing weighing approximately 0,80ct, each shoulder diamonds weighing approximately 1,5ct in
approximately 9,78ct in total, surrounded by encrusted with twelve pavé-set diamonds, in total, in 18ct gold (2)
twelve round brilliant cut diamonds weighing 18ct white gold, ring size J 1/2
approximately 4,05ct in total, in a halo setting, R 55 000 - R 57 000
in 18ct white gold (2) R 15 000 - R 18 000

R 80 000 - R 85 000 571 573

569 A SAPPHIRE AND DIAMOND RING A SAPPHIRE AND PEARL HINGED BANGLE

A SAPPHIRE AND DIAMOND RING The claw-set circular-cut sapphire weighing The circular open-work frame claw-set with
approximately 6ct surrounded by twelve sapphires and pearls, in 14ct gold
Designed as a stylised flower, claw-set to the round brilliant-cut diamonds, in a halo setting, inner diameter approximately 5,7cm
centre with an oval-cut sapphire, surrounded weighing approximately 3,5ct, in 18ct white
by two rows of twenty eight claw-set round gold, ring size M R 7 000 - R 9 000
brilliant-cut diamonds on a part-trifurcated
diamond-encrusted shank, in 18ct white gold, R 50 000 - R 55 000
ring size H

R 60 000 - R 65 000

571

182 | Jewellery

574 576 578

574 576 578
A RUBY AND DIAMOND RING
Claw-set to the centre with three oval-cut A SAPPHIRE AND DIAMOND RING A TANZANITE AND DIAMOND RING
rubies flanked by six round brilliant-cut Claw-set to the centre with an oval-cut
diamonds, in 18ct gold, ring size L sapphire flanked by two round brilliant-cut The claw-set radiant-cut tanzanite weighing
diamonds, openwork shank, in 18ct gold, approximately 18ct flanked by three marquise-
R 6 000 - R 9 000 ring size P cut diamonds to each side, split shank, in 18ct
white gold, ring size M 1/2
575 R 6 000 - R 9 000
A DIAMOND RING R 30 000 - R 35 000
Claw-set with five round brilliant-cut
diamonds weighing approximately 0,40ct in 577 579
total, in 18ct white gold, ring size K
A SAPPHIRE AND DIAMOND RING A DIAMOND RING
R 6 000 - R 8 000
Claw-set to the centre with an oval-cut Claw-set with a round brilliant-cut diamond
sapphire weighing approximately 1,2cts weighting approximately 0,30ct, in platinum,
surrounded by sixteen round brilliant-cut ring size M 1/2
diamonds weighing approximately 0,32cts in
total, split shank, in 18ct gold, ring size M R 12 000 - R 15 000

R 6 000 - R 9 000

575 577 579
Jewellery | 183

580 582 584

580 582 584

A PAIR OF LAPIS LAZULI EAR CLIPS AN AMETHYST RING A PAIR OF PEARL EAR CLIPS

Each collet set with an oval lapis lazuli Claw-set to the centre with an oval-faceted Each of stylised spray design, each
cabochon weighing approximately 20.5ct in amethyst weighing approximately 7,5ct, the embellished with two pearls, graduated in size,
total, in 9ct gold, clip-on fittings basket and shoulders with twisted wire detail, measuring approximately 7,8mm and 6,2mm
approximately 2cm in length (2) in 9ct gold, ring size K 1/2 respectively, in 14ct gold, clip-on fittings
approximately 3cm in length (2)
R 2 000 - R 2 500
R 3 000 - R 4 000

R 2 500 - R 3 500

581 583

A DIAMOND RING AN AMETHYST AND DIAMOND RING 585

Claw-set to the centre with a round brilliant- Claw-set to the centre with an emerald-cut A PAIR OF AMETHYST AND DIAMOND
cut diamond weighing approximately 0,50ct, amethyst weighing approximately 6.8ct, EARRINGS
flanked by two claw-set round brilliant-cut highlighted above and below with trios of
diamonds and forty pavé-set round brilliant- single-cut diamonds weighing approximately Each of ribbon-and-leaf design, claw-set
cut diamonds, to a trifurcated shoulder, in 18ct 0,3cts in total, the shoulders with scrolling with an oval mixed-cut amethyst weighing
white gold, ring size N foliage and embellished with marquise-cut approximately 8,3ct in total, highlighted with
diamonds weighing approximately 0,13ct in brilliant-cut diamonds weighing approximately
R 15 000 - R 18 000 total, in 18ct gold, ring size M 1/2 0,03cts in total, acid tested as 18ct gold, post-
and-clip fittings, one diamond lacking
R 4 500 - R 5 500 approximately 2,9cm in length (2)

R 2 000 - R 3 000

581 583 585
184 | Jewellery

586 588

586 588 590

AN AMETHYST RING A DIAMOND RING A CASED GOLD AND DIAMOND PENDANT

Claw-set to the centre with an emerald-cut Claw-set to the centre with an emerald-cut The heart-shaped pendant pavé-set with five
amethyst weighing approximately 5,17ct, the diamond weighing approximately 0,75ct, round brilliant-cut diamonds, suspended on
shoulders with engraved scrolling decoration, surrounded by two stepped rows of round a popcorn-link chain and a pair of earrings,
in 9ct gold, ring size M brilliant-cut diamonds, the shoulders claw-set en suite, each pavé-set with seven round
with round brilliant-cut diamonds weighing brilliant-cut diamonds, in 18ct white gold (3)
R 2 000 - R 3 000 approximately 0,25ct in total, in 18ct white
gold, ring size O R 9 000 - R 12 000

587 R 25 000 - R 27 000 591

A DIAMOND RING 589 A TURQUOISE RING

Claw-set with five round brilliant-cut A PAIR OF DIAMOND PENDANT EARRINGS Centred with a domed oval plaque
diamonds weighing approximately 2ct in total, embellished with gently undulating diagonal
in 18ct gold, ring size M Each designed as a stylised flower, millegrain- rows of round turquoise cabochons
set throughout, on a millegrain surmount, the alternating with twisted wire decoration, in
R 45 000 - R 50 000 diamonds weighing approximately 2,5ct in 18ct gold, ring size S
total, in 18ct white gold (2)
R 4 500 - R 6 500

R 35 000 - R 37 000

587 589 591
Jewellery | 185

592 594 596

A TURQUOISE RING A SILVER AND TURQUOISE BRACELET 596
AND PENDANT
Centred with a dome pavé-set with round A TOPAZ AND DIAMOND PENDANT,
turquoise cabochons, the split shank (2) BROWNS
embellished with a spherule at each shoulder,
in 9ct gold, ring size J R 800 - R 1 200 Claw-set with an emerald-cut topaz weighing
approximately 2ct, the bale pavé-set with
R 2 500 - R 3 500 595 three round brilliant-cut diamonds, on a
box-link chain, in 9ct white gold
593 A DIAMOND AND TOPAZ PENDANT
R 2 500 - R 3 500
A GOLD BRACELET Claw-set to the centre with an oval
mixed-cut topaz, weighing approximately 597
Designed as rows of articulated links, lock 48ct, embellished above and below with
clasp and safety chain, acid tested as 14ct 18 pave-set round brilliant-cut diamonds, A TOPAZ AND GEMSTONE CROSS
gold the bail encrusted with four pavé-set round
approximately 16cm in length brilliant-cut diamonds, in 18ct gold Set to the centre with an oval-cut topaz
weighing approximately 8ct, the beaded
R 1 800 - R 2 000 R 15 000 - R 20 000 cross set with cabochon oval and emerald cut
gemstones, in 9ct gold
approximately 7,7cm in height

R 1 800 - R 2 000

595

186 | Jewellery

598 600

598 600 602

A CITRINE RING AN OPAL RING, POSSIBLY ERNEST JONES A GOLD AND PEARL BRACELET
AND COMPANY, LONDON 1987
Centred with a princess-cut citrine, in 14ct Comprising a centre row of twenty four fresh
gold, ring size M 1/2 The cabochon opal with five graduating water cultured pearls, secured by wires within
cabochon opals in a scrolling filigree setting, two rows of belcher links, secured by a box
R 1 500 - R 2 000 in 18ct gold, ring size N clasp, hallmarked 9ct with an intricate leaf and
ornate design, set with a rectangular pearl-
R 6 000 - R 9 000 coloured stone, engraved DW
599
R 6 000 - R 7 000
AN OPAL AND DIAMOND RING 601
603
The claw-set cabochon white opal surrounded AN OPAL PENDANT
by twelve round brilliant-cut diamonds A DOUBLE-STRAND PEARL NECKLACE
weighing approximately 1,4ct in total, in 18ct The claw-set oval opal suspended within a
white gold, ring size M gold and seed-pearl circle, on a cable-link Composed of two rows of pearls
chain, in 9ct gold approximately 8,5mm in size, the scrolling
R 20 000 - R 25 000 clasp millegrain set with diamonds centred by
R 3 000 - R 4 000 an emerald cut aquamarines in 18ct white gold
approximately 59cm in length

R 18 000 - R 22 000

603 - DETAIL
599

Jewellery | 187

604 607 609

604 606 609

A GOLD AND GARNET HINGED BANGLE A DOUBLE-ROW CULTURED A GOLD CHARM BRACELET,
PEARL NECKLACE TIFFANY AND CO
Oval, the cross-over design with twenty two
claw-set garnets in 9ct gold Composed of two rows of cultured pearls Suspending a heart encrusted with five
inner width approximately 5,8cm approximately 6,2mm in size, to a 9ct gold diamonds and a champagne bottle in a
clasp set with a pearl diamond-encrusted ice bucket, the circle and
R 6 000 - R 9 000 approximately 28,5cm in length flat link chain with lobster clasp, in 18ct gold
approximately 20,5cm in length
605 R 4 500 - R 5 500
R 17 000 - R 20 000
A PAIR OF RUBY AND PEARL EARRINGS 607
610
Each designed as a bow centred with a seed A DIAMOND HINGED BANGLE
pearl and suspending a stylised flowerhead A GEM-SET BRACELET
embellished with round mixed-cut rubies and Pavé set to the front with twenty one
pearls diamonds weighing approximately 1ct in total, Each articulated link centred with a claw-set
approximately 3,6cm in length (2) acid tested as 14ct gold oval-cut gemstone within a filigree setting,
inner diameter approximately 6cm each separated by an S-shaped filigree scroll
R 3 000 - R 5 000 link, in 9ct gold
R 10 000 - R 12 000 approximately 20cm in length

608 R 14 000 - R 18 000

A DIAMOND RING

Set to the centre with ten baguette-cut
diamonds weighing approximately 1,4ct in
total, in 18ct white gold, ring size O

R 17 500 - R 20 000

605

608

188 | Jewellery

614

611 614 617

A GOLD BRACELET A JADE BRACELET A DIAMOND RING

Designed as a double strand of rolo links, acid Designed as a series of curved jade panels Claw-set with a trillion-cut diamond weighing
tested as 14ct gold alternating with circular links pierced with 2,29cts, the shoulders claw-set with fourteen
approximately 13cm in length various Chinese script characters, in 9ct gold round brilliant-cut diamonds weighing
approximately 18,5cm in length approximately 0,20cts in total,
R 3 000 - R 3 500 in 18ct white gold, ring size L
R 2 500 - R 3 500
612 Accompanied by a GIA certificate, number
615 1279392704 stating the colour E and clarity
A SUITE OF SMOKEY QUARTZ JEWELLERY SI1, weighing 2,29cts
A JADEITE AND SILVER BROOCH
Comprising: a ring set to the centre with R 270 000 - R 300 000
an emerald-cut smokey quartz weighing Set to the centre with an oval-shaped floral-
approximately 20ct, a pendant centred by caved and pierced jadeite between pierced 618
a claw-set round-faceted smokey quartz and scrolling silver mounts, surmounted by
weighing approximately 17ct, and a pair of stylised gemstone flowers A PAIR OF DIAMOND EARRINGS
emerald-cut smokey quartz earrings weighing approximately 7,9cm in width
approximately 3ct in total, in 9ct gold (4) Each claw-set with a round brilliant-cut
R 1 500 - R 2 000 diamond weighing 4,07cts in total, in 18ct
R 4 500 - R 6 500 white gold
616
613 Accompanied by an EGL certificate, number
A SAPPHIRE AND DIAMOND 140301002/9904 stating the colour I and
A GEMSTONE BRACELET HINGED BANGLE clarity VS2, weighing 2,0cts and an IDL
certificate, number J16060347 stating the
Set with six cabochon gemstones, in 9ct gold; Oval, centred with a row of baguette-cut colour I and clarity VS2 weighing 2,06cts
and A Pair of Cabochon Tigers Eye Earrings, sapphires between tapered borders engraved
en suite (3) with ribbed pattern and highlighted with R 420 000 - 450 000
senaille-cut diamonds, in 18ct gold
R 5 000 - R 7 000 inner width approximately 5,7cm 619

R 18 000 - R 28 000 A MELEE OF UNMOUNTED SAPPHIRES,
RUBIES AND EMERALDS

Various cuts, colours and weights

R 30 000 - R 35 000

NO LOT 620

616
Jewellery | 189

621 623

621 623

A LOUIS VUITTON MONOGRAM COQUETTE POCHETTE BUNNY A LOUIS VUITTON BRONZE LEATHER THEDA PM LIMITED EDITION
PINK HANDBAG HANDBAG
Textile with Louis Vuitton monogram embroidered into the fabric,
black leather strap for closure that features fold pointed studs, dust Monogram embossed leather, oversized mock lock contrasts with
mini “lock chain”
R 23 000 - R 24 000
Part of the Spring/Summer 2004 collection, created to celebrate the
622 company’s 150-year anniversary

A LOUIS VUITTON MONOGRAM MOTARD MINAUDIERE GREY R 17 000 - R 18 000
CLUTCH HANDBAG
Silver chain shoulder strap top bar and frame, gold Louis Vuitton 624
latch, leather interior
A LOUIS VUITTON CANVAS POLKA DOT PANAMA TINKERBELL
R 16 000 - R 17 000 IVORY LIMITED EDITION HANDBAG

Canvas with a surface of applied buttons, ivory leather trim, rolled
leather top handles with gold hardware

R 11 000 - R 12 000

622

190 | Designer Handbags 624

625 627

625 627

A LOUIS VUITTON SATIN WITH SILVER SEQUIN MONOGRAM BY A LOUIS VUITTON MONOGRAM MOTARD MINAUDIERE BLACK
MARC JACOBS LIMITED EDITION HANDBAG CLUTCH HANDBAG
Gold tone chain shoulder strap, top bar and frame and a gold Louis
lizard and leather handle Vuitton latch, leather interior

R 25 000 - R 26 000 R 16 000 - R 17 000

626 628

A LOUIS VUITTON GREEN MONOGRAM VELOURS ALLIGATOR A LOUIS VUITTON SUNSET BOULEVARD MONOGRAM VERNIS
GRACIE PM LIMITED EDITION HANDBAG RED CLUTCH HANDBAG
Pomme d’amour embossed monogram vernis, gold tone hardware
Part of the Fall/Winter 2004 Runway Collection, released in with removable chain link leather strap allowing for bag to be warn
extremely limited quantities on the shoulder or handheld.

R 28 000 - R 29 000 R 11 000 - R 12 000

628
626

Designer Handbags | 191

629 629 631

A LOUIS VUITTON SARAH LONG DEEP GREEN WALLET 631

Vernis monogram leather with brass hardware, tonal leather lining, A LADY’S LEATHER HANDBAG BY
dual slit pockets under flap, dual interior bill compartments, single LOUIS JANSEN VAN VUUREN
interior change compartment with zip closure and snap closure at Fabric painted with a scene of Notre Dame on both
front the front and reverse
R 2 000 - R 4 000
R 8 000 - R 9 000
632
630 A LADY’S OSTRICH LEATHER HANDBAG
R 3 000 - R 5 000
A LOUIS VUITTON MONOGRAM PEGASE 45 VERNIS RED
SUITCASE
Patent leather, rolling wheels, carry on/ travel bag

R 25 000 - R 26 000

632

630

192 | Designer Handbags

634 635

633 635 637
A LOUIS VUITTON PORTE-DOCUMENTS
A COLLECTION OF THREE EVENING BAGS A CHANEL SHOULDER BAG VOYAGER BAG
Comprising: a beaded clutch, an ostrich skin 22cm high Classic monogram canvas with top handle
clutch in bottle green and an ostrich skin over
body handbag (3) R 6 000 - R 8 000 R 13 000 - R 15 000

R 3 000 - R 5 000 636 638
A LOUIS VUITTON FAVORITE MM CLUTCH
634 A LOUIS VUITTON SPEEDY 25 CERISES HANDBAG
CHERRY MONOGRAM LIMITED EDITION Monogram canvas with a tan leather shoulder
A LOUIS VUITTON EPI LEATHER REVERIE HANDBAG strap
SHOULDER BAG Monogram canvas, designed by
Uniquely shaped with resin loop, the opening Takashi Murakami R 20 000 - R 22 000
with magnetic button closure
R 25 000 - R 27 000 639
R 4 000 - R 6 000 A LOUIS VUITTON PEGASE 55 LEGERE
BROWN SUITCASE
Monogram canvas, vachetta leather

R 22 000 - R 24 000
END OF SALE

View, Register and Bid on any lot through our Digital Saleroom – www.swelco.co.za Designer Handbags | 193

IMPORTANT NOTICE TO PROSPECTIVE BUYERS

Swelz (Pty) Ltd Trading as Stephan Welz & Co., (“The Company”)

GLOSSARY OF CATALOGUING TERMS
The following are examples of the terminology used in this catalogue. Please note that any statement made in this catalogue as to authorship,
attribution, period, date, age, culture, source, provenance, condition or origin for any property are qualified statements, not to be taken as a statement
of fact, and are made subject to the provisions of the Conditions of Business and Terms of Sale by Auction printed in this catalogue. We reserve the
right in forming our opinion, to consult and rely upon any expert or authority considered by us to be reliable.

CERAMICS WORKS OF ART 9 The term bears a signature and/or date and/
1 Thomas Baines or inscription means that in our opinion the
Fine Meissen Cup and Saucer; circa 1735 signature and/or date and/or inscription have
This title states three things: the cup and saucer In our opinion, a work by the artist. When the been added by another hand.
are in excellent condition, both pieces were made artist’s forename(s) is not known, a series of
at the Meissen factory, and they were made asterisks, followed by the surname of the artist, 10 Dimensions are given height before width.
around the year 1735. The adjective ‘fine’ is the only whether preceded by an initial or not, indicates 11 Pictures are executed in oil on canvas and
adjective used in a title to describe condition of that in our opinion the work is by the artist
important lots. named. framed unless otherwise stated.

Meissen Cup and a Saucer, circa 1735 2 Attributed to Thomas Baines SCULPTURE
This states that the cup and saucer were made In our opinion, probably a work by the artist, but Casts in bronze, terracotta and other material are
at the Meissen factory around 1735, but it also less certainty as to authorship is expressed than catalogued with the full name and dates of the
indicates that the cup and saucer may not have in the preceding category. artist who created the original model. In most
been ‘born’ together. cases, however, this does not mean that the cast is
3 Studio of Thomas Baines by the hand of the artist of that precise date, but
Meissen Cup and Saucer, 1730-50 In our opinion, a work by an unknown hand in rather cast after the model by that artist.
This states that the cup and saucer were made at the studio of the artist which may or may not UPHOLSTERED FURNITURE
the Meissen factory some time between 1730 and have been executed under the artist’s direction. Whilst every care is taken in cataloguing these
1750. items, no guarantee can be given to the originality
4 Circle of Thomas Baines of the timber covered by upholstery or fabric.
Meissen Cup and Saucer, dated 1735 In our opinion, a work by an as yet unidentified CONDITION OF LOTS OFFERED FOR SALE
This states that the cup and saucer were made at but distinct hand, closely associated with the We are pleased to give a condition report on
the Meissen factory and that the date 1735 appears named artist, but not necessarily his pupil. request. Nevertheless, prospective buyers are
within the decoration, although it may not be the reminded that all lots are sold as shown and
actual year of manufacture. Only in the case of 5 Style of ...: Follower of Thomas Baines their attention is drawn to Clause B.5 of the
factories such as Sêvres, Frankenthal and Vienna, In our opinion, this is a work by a painter Conditions of Business. The absence of reference
which incorporated date letters or numbers into working in the artist’s style, contemporary or to condition of the lot in the catalogue description
their marks, does the term ‘dated’ mean the actual nearly contemporary, but not necessarily his does not imply that the lot is free from faults or
year of manufacture. pupil. imperfections.
OVERSEAS BIDDERS
Meissen Cup and Saucer, 19th Century 6 Manner of Thomas Baines Overseas bidders are advised that courier
This states that the cup and saucer are of Meissen In our opinion, a work in the style of the artist companies such as RAM, Fedex and DHL do not
type, and although of the date specified, not and of a later date. insure jewellery being sent between South Africa
necessarily made at the Meissen factory. and overseas countries. Insurance will therefore
7 After Thomas Baines become the responsibility of the buyer.
Meissen Cup and Saucer In our opinion, a copy of a known work of the
This title without a date simply states that the artist.
pieces were made at the Meissen factory, but
does not specify when, implying that their age is 8 The term signed and/or dated and/or
questionable. inscribed means that in our opinion the
signature and/or date and/or inscription are
from the hand of the artist.

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Swelz (Pty) Ltd Trading as Stephan Welz & Co., (“The Company”)
Registration number 2017/100174/07

Bidder Number

(for office use only)

Sale: Fine Art & Design – Cape Town ABSENTEE BIDDER TELEPHONE BIDDER
Sale Name: KAURISale No: SA1905 | Sale Date: 1 & 2 July 2019

Please see the important information regarding absentee/telephone bidding on the reverse of this form. Forms should be
completed in ink and emailed to the bid department. Email: [email protected]

Buyer’s Premium: 14% plus VAT for items selling at or above R 10 000 | 17% plus VAT for items selling below R 10 000

Title: First name: Surname:

Identity number (Passport number for overseas bidders): (work):
Fax:
Company Name: VAT No.
(if the invoice must be in a Company’s name)
Address:

Postal code:

Telephone (home): or 2)
Cell:
Email:
In the case of a telephone bid, please call me at either 1)

Please fax or email my invoice to:

Bids should be submitted in SA Rands by 5pm on Sunday, 30 June 2019
First time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and the back of a valid

credit card. A sum of R 5 000 may be reserved prior to the auction. International Clients: Will receive a virtual invoice for payment.

Lot Number Title/Description R Bid Price
(excluding premium and VAT)
R
R
R
R
R
R
R

PLEASE COMPLETE

I will collect my purchases in person from the CT office SHIPPING COSTS BETWEEN OUR OFFICES
Kindly have my purchases sent to your JHB office for collection The packing and transport costs will be calculated as follows
(The buyer to pay 100% of the shipping costs) (one bulk shipment between offices):
Shipping between our Cape Town and Johanneburg offices will be for the buyers
account and must be paid prior to the goods leaving Cape Town
Insurance not included.
I will settle my account via credit card EFT
Please forward the shipping document together with my invoice. The transport and insurance costs are for my account.
Kindly provide me with a quotation for the delivery of my purchases to the following alternative address
Cut here and fax

________________________________________________________ ___________________________________ 195
SIGNATURE DATE
*See Payment and Despatch of Purchases which is published in the catalogue.

GUIDE FOR ABSENTEE / TELEPHONE BIDDERS

Swelz (Pty) Ltd Trading as Stephan Welz & Co., (“The Company”)
If you are unable to attend an auction in person, you may give the Company’s Bid Department instructions to bid on your behalf by completing the
Absentee/Telephone Bidders form. This service is confidential and available at no additional cost.

BEFORE THE AUCTION If you are arranging a telephone bid, please Any person who intends to bid on behalf of
Buyers are solely responsible to satisfy clearly specify the telephone numbers on which another person (i.e. on behalf of a company)
themselves prior to the auction as to the you can be reached at the time of the sale, must produce a letter of authority that
condition of each lot and should exercise and including the country code. We will call you expressly authorises him or her to bid on
rely on their own judgement as to whether the from the sale room shortly before the relevant behalf of that person and that person and
lot accords with the description or not. The lot is offered. the person bidding on his or her behalf
Buyer, before buying, must read the Rules of We will try and purchase the lot(s) of must meet the requirements set out above.
Auction. Please request condition reports from your choice for the lowest price possible Where a person is bidding on behalf of a
the respective department prior to finalising (dependent on the reserve price and other company the letter of authority must appear
your absentee/telephone bids. bids) and never for more than the maximum on the letterhead of the company and must
The Company takes no responsibility for any bid amount you indicate. Where appropriate, be accompanied by a certified copy of the
incorrect, inaccurate or defective description your bids will be rounded down to the nearest resolution authorising him or her to bid on
of the goods listed for auction in the catalogue amount consistent with the auctioneer’s behalf of the company.
or in any condition report as per the terms and bidding increments. CONDITIONS OF ABSENTEE AND
conditions of business. Please place your bids Telephone Bids – we suggest you leave a TELEPHONE BIDDING
as early as possible, as in the event of identical maximum bid which we will execute on your Such bids are executed at the bidder’s risk and
absentee bids the earliest received will take behalf in the event that we are unable to reach undertaken subject to the Company’s other
precedence. Bids must be submitted at least you by telephone. Because this method cannot commitments at the time of the auction. The
24 hours before the auction. be entirely free from risk of communication Company therefore cannot accept liability
CITES PERMITS, IMPORT, EXPORT, breakdown, the Company cannot be held for any error or failure to place such bids. All
COPYRIGHT RESTRICTIONS & LICENCES responsible for losses arising from missed bids are subject to the Conditions of Business
The Company suggests that buyers check bids. The Company reserves the right to record applicable to the sale printed in the sale
with their own government regarding wildlife telephone bidding and all bidders consent to catalogue. Buyer’s premium, at the stated
import requirements prior to placing a bid. such recording. current rates will be added to the hammer
It is the Buyer’s sole responsibility to identify CLIENT INFORMATION price, plus VAT and any other applicable
and obtain any necessary export, import, Anyone that intends to bid at the auction as an expenses. All bidders are deemed to have
endangered species or other permit for the lot. absentee or telephone bidder must register on read the Rules of Auction prior to any bidding.
COMPLETING THE FORM the Absentee/Telephone Bidders form prior AFTER THE AUCTION AND PAYMENT
The Absentee/Telephone Bidders form to the commencement of the auction and such In the event that you are successful, payment
should be used for one sale only. Please tick registration must meet the requirements of is due immediately after the sale unless
the appropriate box – Absentee Bidder or FICA (Financial Intelligence Centre Act, 2001) otherwise agreed in advance. Successful
Telephone Bidder. Please record accurately the in respect of the establishment and verification absentee/telephone bidders will receive an
lot numbers, descriptions and the maximum of identity of the person and the person must invoice detailing their purchases together with
hammer price you are willing to pay for each sign the registration entry and in particular the Company’s banking details for payment.A
lot. Instructions to “buy” or unlimited bids will must include the following information: shipping document will accompany the
not be accepted. Your full names; identity/passport number; invoice. This document is to be completed and
Bids must be numbered in the same order as physical address; postal address; contact returned to the shipping department.Payment
the lots appear in the catalogue. Alternate numbers; fax number; email address; copy of is due immediately after the auction and may
bids for items can be made by placing the your identity document, as per requirement of be made by the following methods:
word “OR” between lot numbers. This means the Consumer Protection Act 68 of 2008. Electronic Funds Transfer – only bank transfers
if your bid on an early lot is successful, we will First-time buyers must provide the Company or electronic funds transfer will be accepted.
not continue to bid on subsequent lots for you. with a copy of their identity document or No cheque or cash payments will be accepted.
Or, if your early bids are unsuccessful, we will passport and a photocopy of the front and Credit Cards – we accept all major credit
continue to execute bids for the remaining lots back of a valid credit card. A sum of R5,000 cards, with the exception of American Express
listed on your absentee bid form. may be reserved prior to the auction. and Diners Club
196

BID ANYWHERE,
ANYTIME

Register for our Online Bidding or Absentee Bidder Form Online bidding managed
and participate in our Live Auctions, no matter where you are. by ATG Media SA through
www.the-saleroom.com
Complete the form in this catalogue or on our website. Europe’s leading portal for
Alternatively you may use the bidding platform live art and antiques
register to bid online via our website or www.the-saleroom.com auctions.

www.swelco.co.za In Partnership with:

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