Cape Town July 2019 Auction

193 192 193

189 191 193

A CHINESE CANTON FAMILLE ROSE A CHINESE UNDERGLAZE-BLUE AND RED A PAIR OF CHINESE BLUE AND WHITE PLATES,
‘ROSE MEDALLION’ BOWL ‘BAMBOO-NECK’ VASE, ‘XIANWENPING’ LATE REPUBLIC PERIOD, 1912 – 1949

The interior brightly enamelled with alternating Raised on a slightly splayed foot, the baluster- Each enamelled, gilded and painted to the centre
shaped cartouches painted with birds and shaped body rising to a tapering neck encircled with a flautist entertaining a seated lady serving
butterflies, maidens and officials in terraced by two ‘bow-string’ bands imitating bamboo tea amongst large porcelain vessels, a songbird
pavilions, the exterior similarly decorated below a wide galleried-mouth with incurved at her side perched in a hoop, the rim enamelled
28,4cm diameter rim, the body painted with a magpie on a rocky with white lotus blooms and tendrils on a blue
outcrop amongst bamboo and prunus blossoms, ground interspersed by flowers, all contained
R 2 000 - R 3 000 the neck painted with a magpie in flight, pseudo within a T-pattern border and Batavian-brown gilt
underglaze-blue six-character Kangxi mark, chips rim, firing irregularities, pitting, gilt loss
to foot, wear to mouth 22,2cm diameter (2)
25,3cm high
R 5 000 - R 7 000
R 2 500 - R 3 500

190 192 194

A CHINESE FAMILLE ROSE BOWL, A CHINESE GRISAILLE AND IRON RED PLATE, A CHINESE BLUE AND WHITE ‘NANKIN
QING DYNASTY, 18TH/19TH CENTURY LATE REPUBLIC PERIOD, 1912 – 1949 PATTERN’ PLATE, QING DYNASTY, QIANLONG,
1736 - 1795
The deep rounded sides rising from a short Painted to the centre in black and iron-red with
foot, the exterior enamelled with lotus, figures gathered around a table, the cavetto Painted to the centre with a broad river
chrysanthemum and prunus flowers, the interior decorated with a gilt spearhead border, the rim landscape, the near bank with a pavilion amongst
well painted with a bat and peach, the base with enamelled with floral sprays in cobalt and white trees and rocks, the distant rocky bank similarly
an iron-red endless knot, age wear enclosed by a scrolling gilt border painted, the cavetto with a diamond-diaper
13,6cm wide 22,7 cm diameter pattern, the edge painted with floral sprays,
Batavian-brown rim, exterior rim chip
R 1 200 - R 1 800 R 2 500 - R 3 500 30cm diameter

R 2 500 - R 3 500

Decorative Arts | 49

196

195 196 197

A CHINESE BLUE AND WHITE A CHINESE HARDSTONE ARCHAISTIC A CHINESE HARDSTONE FIGURE OF A MAIDEN
‘FISH AND FLOWER’ PLATE ‘PHOENIX’ VASE AND COVER
Standing attired in a flowing robe, her hair
Painted to the centre with a crab within a double The pale-celadon coloured vessel carved and upswept in a shaped topknot, her right hand
ring enclosed by fish, the cavetto painted with pierced as a phoenix, its wings closed with raised holding a tray and lidded cup; and
stylised flowers, the incised and scalloped rim upswept tips above a mythological creature, Another, similarly carved and holding a blossom,
decorated with flowers and fruit, the reverse the stylised phoenix suspending a loose ring each raised on a carved wooden stand, the stone
with floral sprays, pseudo underglaze-blue four- beneath the beak, the shoulder pierced and of even celadon tone
character Kangxi mark carved with a pair of Chilong, the cover the taller 20cm high (2)
25,5 cm diameter decorated with a trifid-tail Chilong
16,5cm high R 1 200 - R 1 800
R 800 - R 1 200
R 6 000 - R 8 000

50 | Decorative Arts

198 200 202

A CHINESE CELADON JADE A CHINESE CELADON-WHITE JADE A CHINESE JADE ‘DOUBLE GOURD AND
‘GOOSE AND LOTUS’ CARVING, ‘WINTER MELON’ CARVING, QING DYNASTY, LINGZHI’ CARVING, QING DYNASTY,
QING DYNASTY, LATE 19TH CENTURY LATE 19TH CENTURY LATE 19TH CENTURY

The recumbent bird resting on a lotus leaf, The two segmented melons suspended from The double gourd carved to the reverse with a
the russet head and neck turned resting on its a vine amongst leaves, the pale celadon-white smaller gourd hanging from a vine, a pierced
back, the wings and feathers incised, the celadon stone with black inclusions; and Another similar carved and incised lingzhi mushroom to the side,
stone with russet skin, natural stone fissures, celadon and russet jade example, age wear age wear
hardwood stand the larger 5,8cm long (2) 4,3cm long
5,3cm wide
R 3 000 - R 5 000 R 1 500 - R 2 000
R 2 500 - R 3 500

199 201 203

A CHINESE CELADON JADE ‘MAGPIE AND A CHINESE CELADON JADE ‘LINGZHI CLUSTER’ A CHINESE CELADON JADE ‘MONKEY’ GROUP,
PEACH’ PENDANT, QING DYNASTY,
LATE 19TH CENTURY QING DYNASTY, LATE 19TH CENTURY QING DYNASTY, LATE 19TH CENTURY

Carved with a magpie perched atop a peach Carved as a group of four lingzhi mushrooms; and The seated monkey holding her infant, the pale
amongst foliage and prunus blossom; and A A Celadon and Russet Jade Carving of a winter celadon stone with minor russet inclusions; A
Pierced and Carved stylised Chilong and Shou melon amongst vines and butterflies Celadon Jade Monkey and Gourd Group; and A
Plaque the larger 6,8cm long (2) Celadon Jade Recumbent Horse and Monkey
6,7cm long (2) Group
R 1 500 - R 2 000 the largest 4,7cm wide (3)
R 2 000 - R 3 000
R 2 500 - R 3 500

198
Decorative Arts | 51

208 204

A CHINESE CELADON JADE SEAL,
QING DYNASTY, 19TH CENTURY

The square seal rising to conical sides
surmounted by a pierced suspension loop, the
base incised with a four character mark, the deep
celadon stone with russet inclusions, age wear
3,7cm long

R 2 500 - R 3 500

205

A CHINESE CELADON JADE ARCHER’S RING,
LATE 19TH/EARLY 20TH CENTURY

Of cylindrical form rising to a bevelled edge, the
deep celadon stone of even tone, natural stone
fissure to interior edge, wear
3,5 cm diameter

R 1 500 - R 2 000

206

A CHINESE JADEITE FIGURE OF AN IMMORTAL,
EARLY 20TH CENTURY

The seated figure clad in flowing robes, his hair
tied into a topknot, his left hand grasping a Ruyi
sceptre, the mottled stone with green and russet
inclusions; and A Celadon Jade Carving of a boy,
later hardwood stand
8,2cm high (2)

R 1 200 - R 1 800

207

A NEAR PAIR OF CHINESE
HARDSTONE HORSES

Each semi-rearing horse carved with a saddle,
with one leg raised, the open mouth with bridle
and reigns, the crupper strap suspending tassels,
the dark green stone with brown and
cream-coloured inclusions (2)

R 1 200 - R 1 500

52 | Decorative Arts

208

A CHINESE SHOUSHAN CARVING OF THE
IMMORTAL ‘GUANDI’, LATE REPUBLIC PERIOD,
1912-1949

Seated on rockwork, wearing voluminous robes
concealing his armour, his left knee exposed
revealing his tunic decorated with a tiger-head,
the hair swept into a high chignon under a tied
headdress, the face with narrowed eyes studying
the Confucian classic Zuozhuan held in the right
hand, his finely combed beard clasped within
the left, the ochre stone with buff and russet
inclusions, scuff marks, age wear
24cm high

ILLUSTRATED ON OPPOSITE PAGE

R 4 000 - R 6 000

209 211

A PAIR OF CHINESE SANCAI-GLAZED
POTTERY FIGURES OF ATTENDANTS,
MING DYNASTY, 1368-1644

Each standing on a hexagonal base, wearing long
green and amber-glazed robes, the arms folded
within wide sleeves, the male supporting a box,
the woman holding an amber-glazed basin tilted
forward as if in offering, each face cold-painted
white with features detailed in black, surmounted
with a tall headdress, restoration, over-painting,
chips, losses, hairline cracks
the taller 50 cm high (2)

R 5 000 - R 7 000

210 211 212

A CHINESE EMBROIDERED LADY’S INFORMAL A LARGE JAPANESE BRONZE SINGING BOWL, A BRONZE BOMBE-SHAPED INCENSE BURNER,
SHORT JACKET, WAITAO, QING DYNASTY, ‘DOBACHI’, MEIJI PERIOD, 1868-1912 19TH CENTURY
19TH CENTURY
The hand-hammered bowl with deep rounded The compressed bombe body rising to an everted
The deep cobalt ground embroidered with sides and resting on a padded cushion, all rim, supported on a slight flaring foot, the sides
peonies, butterflies, bats and melons in satin contained within a red-lacquered gilt-wood stand, cast with opposing lion-mask handles, pseudo
and knot-stich, the pale-peach silk borders the pierced and carved waist above a shaped Xuande mark to base, tarnishing, wear
embroidered with floral sprays and auspicious apron supported by cabriole legs with scrolling 10 cm high, 24cm diameter
symbols edged in cornflower-blue satin, the feet on a circular stretcher, together with a
interior lined with pale-blue silk, age wear, minor leather-clad striker, age related wear R 5 000 - R 7 000
losses and fragmentation 53,5cm high including stand

R 3 000 - R 5 000 R 6 000 - R 8 000

NO LOTS 213 - 220

Decorative Arts | 53

221 224 227

A GEORGE III SILVER SALVER, JOHN CORMICK, A GEORGE III SILVER FIDDLE, THREAD AND AN IRISH SILVER MILK JUG, DUBLIN
LONDON 1772 SHELL PATTERN FISH SLICE, Wavy rim, the body engraved with swags
RICHARD WHITFORD, DUBLIN, 1817 and the initials JSA
Circular, the beaded rim centred by an armorial, 13cm high, 136g
on shell and scroll feet The rectangular blade reeded and pierced, the
20,5cm diameter, 700g terminal engraved with a phoenix R 2 000 - R 2 500
28cm long, 135g
R 5 000 - R 7 000 228
R 900 - R 1 200
222 A GEORGE IV SILVER MARROW SCOOP,
225 WILLIAM SCHOFIELD, LONDON 1821
A PAIR OF GEORGE III SILVER SALTS, LONDON, The reverse engraved with a crest
1810 A GEORGE III SILVER VINAIGRETTE, 12,5cm long, 55g
JOSEPH WILLMORE, BIRMINGHAM
Of rectangular form with gadrooned rim, the R 500 - R 800
body engraved with a centaur below a crown, The hinged rectangular cover with engine-turned
later plastic liners, on a conforming plinth foot, decoration and foliate borders, the base with 229
maker’s mark rubbed engine-turned decoration, the gilt interior with
194g (2) scrolling, pierced and engraved grille A GEORGE IV SILVER TWO-HANDLED TEA
4cm wide, 29g TRAY, BIRMINGHAM 1822
R 1 100 - R 1 500 Oval, the shaped border with openwork handles,
R 1 200 - R 1 500 on scrolling feet
54,5cm wide over handles, 1650g
223 226
R 10 000 - R 12 000
A GEORGE III SILVER FIDDLE PATTERN A GEORGE III SILVER SAUCE BOAT,
PUDDING TROWEL, THOMAS WILKES BARKER, MATHEW WEST, DUBLIN
LONDON 1815
With beaded rim, the body embossed with floral
The spade-shaped blade pierced and chased with decoration, leaf-capped scroll handle raised on
scrolls and foliage three hoof feet
28,5cm long, 129g 13cm high,322g

R 1 000 - R 1 200 R 1 800 - R 2 200

221

54 | Silverware

233 236

A VICTORIAN ELECTROPLATE BISCUIT A VICTORIAN GILT APOSTLE SIFTER SPOON,
BARREL, ATKINS BROTHERS, SHEFFIELD POSSIBLY GEORGE WILLIAM ADAMS FOR
CHAWNER AND CO, LONDON 1866
Oval, with beaded borders, on a conforming
pierced base raised on four claw-and-ball feet, The stem modelled as a serpent 17cm long, 66g
the sides and hinged cover engraved with scenes and A Gilt Figural Spoon, the terminal modelled
of pagodas, birds, figures and foliage, the cover as a mother and three children
with oval beaded finial 18,5cm long, 56g (2)
19cm high, 22cm wide
R 600 - R 900
R 500 - R 800
237
230 234
A VICTORIAN SILVER SAUCE LADLE,
230 A VICTORIAN SILVER CREAM JUG, CHARLES MAKER’S MARK RH, LONDON 1882
THOMAS FOX AND GEORGE FOX, LONDON,
A PAIR OF GEORGE IV SILVER PLATES, 1841 Barley-twist handle with figural terminal, the bowl
EDWARD FARRELL, LONDON, 1824 with beaded rim, 31g; and A Victorian Hanoverian
Shaped rim, beaded scrolling handle, the baluster Pattern Silver Sauce Ladle, Robert Candelent,
Each repoussé border decorated with various body embossed with flowers, raised on three London 1902, the terminal engraved Ávancez’
fruits, the centre engraved with a lion with raised shell-shaped legs, on shell feet above a lion head, shell-shaped bowl, 48g; and
paw 14,7cm high, 168g A French Gilt Serving Spoon, Paris 1838, the
25,5cm diameter, 783g all in (2) terminal with embossed floral decoration,
R 800 - R 1 000 shell-shaped bowl
R 4 000 - R 6 000 113g (3)
235
231 R 800 - R 1 200
EIGHT VICTORIAN SILVER
A PAIR OF WILLIAM IV SILVER FIDDLE AND THREAD PATTERN FORKS, 238
FIDDLE-PATTERN TABLE SPOONS, CHARLES BOYNTON II, LONDON, 1849
WILLIAM CHAWNER II, LONDON 1833 A VICTORIAN SILVER NOVELTY TABLE
Each terminal engraved with a pair of pheasants; LIGHTER, BIRMINGHAM, 1886
150g; and A Silver Silent Butler, Birmingham 1961, and Five Silver Fiddle Pattern Teaspoons, George
retailed by John H. Lunn, the cover engraved with William Adams for Chawner and Company, In the form of an Aladdin’s lamp, scroll handle
a sailing ship within a wreath and inscribed Senior London 1880 with an eagle mask terminal,
Service, with opposing openwork handles, the 620g all in (13) maker’s mark rubbed
base with beaded rim 8,8cm high, 126g all in
11cm wide over handles 128g (3) R 3 200 - R 3 600
R 1 500 - R 1 800

R 1 300 - R 1 500

232

THREE WILLIAM IV SILVER FIDDLE AND
THREAD PATTERN SERVING SPOONS, JOHN,
HENRY AND CHARLES LIAS, LONDON, 1836

Each terminal engraved with a pair of pheasants
307g (3)

R 1 800 - R 2 200

235 Silverware | 55

240 239 243

242 A VICTORIAN SILVER BOWL, JOHN BODMAN A VICTORIAN SUGAR CASTER,
CARRINGTON FOR CARRINGTON AND CO, WALKER AND HALL, SHEFFIELD 1896
244 LONDON 1890
56 | Silverware The octagonal body with moulded girdle,
The gadrooned body with repoussé acanthus the detachable pierced cover with urn finial,
decoration, the handles cast as dragons, on a on a reeded spreading octagonal footrim
circular spreading foot 19cm high, 138g
8,5cm high, 21cm wide over handles, 322g
R 900 - R 1 200
R 1 800 - R 2 200
244
240
A VICTORIAN SILVER SALVER,
A VICTORIAN SILVER-MOUNTED CLARET JUG, WALKER AND HALL, SHEFFIELD, 1900
JOHN ALDWINCKLE AND THOMAS SLATER,
LONDON, 1893 Circular, the cast border of foliage and acanthus,
the centre engraved with acanthus decoration,
The hinged gadrooned cover applied with a finial, raised on three outswept feet
the neck with C-scroll and acanthus decoration, 30,5cm diameter, 786g
scrolling acanthus leaf-capped handle, the ovoid
body moulded with floral decoration R 7 000 - R 9 000
24cm high
245
R 8 000 - R 10 000
A VICTORIAN SILVER CHATELAINE,
241 SAMUEL LEVI, BIRMINGHAM, 1900

A VICTORIAN CASED PAIR OF SILVER Pierced and centred with a mask of a woman
PEPPERETTES, GOLDSMITHS AND flanked by scrolls and acanthus leaves,
SILVERSMITHS COMPANY, LONDON, 1895 suspending a spectacle case containing a pair of
spectacles
Each with pierced detachable cover, gadrooned 23cm long, 71g excluding spectacles (2)
urn-shaped body raised on a circular foot
6cm high, 47g all in (2) R 1 200 - R 1 500

R 700 - R 900 246

242 A VICTORIAN SILVER PRESENTATION TROWEL,
JAMES DIXON AND SONS, SHEFFIELD, 1901
AN ELECTROPLATE WINE COASTER, LONDON,
LATE 19TH CENTURY NOT SUITABLE FOR EXPORT

With acanthus embossed rim and sides The flat blade with acanthus engraved border,
17,5cm diameter shell pattern ivory handle
32cm long, 206g all in
R 3 000 - R 4 000
R 2 000 - R 2 500

247 251 247

A VICTORIAN SILVER TABLE MIRROR, AN EDWARDIAN SILVER TEA CADDY, 252
CHARLES HENRY DUMENIL, LONDON, 1901 BARKER BROTHERS LIMITED, CHESTER, 1909 Silverware | 57

The bevelled glass within a conforming frame The hinged cover with openwork handle,
pierced and decorated with C-scrolls and tapering sides, on paw feet
acanthus, headed by a vacant cartouche, 11,4cm high, 319g
easel-back support
51,5cm high R 2 500 - R 3 000

R 10 000 - R 12 000 252

248 A PAIR OF EDWARD VII SILVER THREE-LIGHT
CANDELABRA, HAWKSWORTH,
A VICTORIAN SILVER CHALICE, EYRE AND CO LTD, SHEFFIELD, 1909
IMPORT MARKS FOR JOHN GEORGE
PIDDINGTON, LONDON, 1901 Each with a knopped fluted column raised on
a square stepped base with canted corners,
20,5cm high 376g each detachable candleholder with detachable
sconces, loaded
R 1 800 - R 2 200 28cm high (2)

249 R 10 000 - R 15 000

A VICTORIAN SILVER SALVER, 253
EDWARD BARNARD AND SONS,
LONDON, 1904 A GEORGE V SILVER SUGAR CASTER,
GEORGE NATHAN AND RIDLY HAYES,
Circular, with pie-crust rim, raised on three BIRMINGHAM, 1914
pointed hoof feet
15,3cm diameter, 217g Pear-shaped, the body with moulded
girdle, the detachable pierced cover with
R 1 800 - R 2 000 urn-shaped finial, on a spreading footrim;
and Another, similar, Chester, 1915,
250 indistinct maker’s mark
442g all in (2)
AN EDWARDIAN SILVER CIGARETTE BOX,
BIRMINGHAM 1906 R 2 500 - R 3 000

The rectangular hinged cover enclosing a 254
cedar-lined interior of compartments, in sizes
18cm wide A GEORGE V SILVER SALVER,
LAMBERT AND CO, LONDON, 1915
R 1 800 - R 2 000
Of circular form with shaped scroll and shell rim,
raised on three scrolling feet
15,5cm diameter, 198g

R 900 - R 1 200

255 - PART LOT 255

A GEORGE V SET OF LILY PATTERN SILVER
CUTLERY, JOHN ROUND AND SONS,
SHEFFIELD, 1923

Comprising: twelve table knives, twelve table
forks, twelve fish knives, twelve fish forks, twelve
dessert knives, twelve dessert forks, twelve fruit
knives, twelve fruit forks, twelve soup spoons,
twelve dessert spoons, twelve tea spoons, twelve
coffee spoons, two sauce ladles, a serving spoon,
a ladle, two salt spoons and two mustard spoons
7275g all in (152)

R 35 000 - R 45 000

256

A GEORGE V FOUR PIECE SILVER TEA
SERVICE, WALTER AND CHARLES SISSONS,
SHEFFIELD 1926 AND 1927

Comprising: a teapot, hot water jug, milk jug and
two-handled sugar bowl, each with acanthus leaf
and egg-and-dart rim, the teapot and hot water
pot with ebonised handles, the sugar bowl and
milk jug with leaf-capped handles, each reeded
base raised on flat bun feet
the teapot 19,5cm high, 2200g all in (4)

R 16 000 - R 20 000

257

A GEORGE V SILVER MILK JUG,
ALEXANDER CLARK AND COMPANY LIMITED,
SHEFFIELD, 1929

Of typical form, the moulded rim above an oval
body, raised on an oval foot, 10cm high; and A
Silver Sauce Boat, Viner’s Limited, Sheffield 1931,
shaped rim raised on three pad feet
5,5cm high, 293g all in (2)

R 1 700 - R 1 900

256

58 | Silverware

263

258 260 263

A GEORGE V SILVER SUGAR BASKET, A GEORGE V PAIR OF SILVER SAUCE BOATS, A CASED SILVER SALVER, VINER’S LIMITED,
BARKER BROTHERS SILVER LIMITED, VINER’S LIMITED, SHEFFIELD, 1932 SHEFFIELD 1958
BIRMINGHAM, 1931
Each with wavy rim, raised on pad feet Circular, with a gadrooned rim, raised on
With circular beaded rim, pierced swing handle 6cm high, 214g all in (2) three scrolling leaf-capped feet
and sides, blue glass liner, on a pierced and 31,5cm diameter, 899g (2)
beaded circular foot, 7cm high excluding handle, R 2 000 - R 3 000
73g; and a Silver Chocolate Pot, George Howson R 6 500 - R 9 500
for Harrison Brothers and Howson, Sheffield, 261
1930, hinged cover above an ovoid body, scolling 264
handle on a reeded circular foot A GEORGE VI SILVER SALVER,
14,5cm high, 335g MAPPIN AND WEBB, SHEFFIELD, 1946 A PAIR OF SILVER BON BON DISHES,
MAKER’S MARK L.P, LONDON 1961
R 2 200 - R 2 600 Circular, with an egg-and-dart rim, raised on four
scrolling feet Oval, each with scrolling borders, embossed
259 49cm diameter, 2600g body, centred by a vacant cartouche, 10,6cm
wide, 89g all in; and A Silver Bon Bon Dish, The
A GEORGE V SILVER SALVER, BARKER R 20 000 - R 25 000 Goldsmiths and Silversmiths Company, London,
BROTHERS SILVERSMITHS LIMITED, 1900, oval, with pierced sides
BIRMINGHAM, 1931 262 15,5cm wide, 98g (3)

With moulded pie-crust rim A SILVER SPECIMEN VASE, BIRMINGHAM R 800 - R 1 200
20,5cm diameter, 312g
The tapering body with an everted rim,
R 1 600 - R 1 900 on a circular foot, loaded
16cm high

R 900 - R 1 200

Silverware | 59

265 271

A SILVER TOPPED BOWL, BROADWAY AND CO, A CONTINENTAL SILVER CIGARETTE BOX,
BIRMINGHAM, 1965 20TH CENTURY

The body with diagonal bands, 6,5cm high, and A Rectangular, the hinged cover engine-turned
Miscellaneous Collection of Silver Topped Bottles, within an engraved foliate border, centred with an
various makers and dates oval cartouche engraved with the initial ‘W’
the largest 13cm high (6) 11,5cm wide, 152g

R 1 400 - R 1 800 R 600 - R 900

266 269 270 272

A SILVER HANUKIAH TWO RUSSIAN SILVER CUPS, A GERMAN SILVER FIVE PIECE TEA SERVICE,
UNKNOWN MAKER AND DATE LAZARUS POSEN WITWE, BERLIN AND
Each leaf-capped C-scroll support surmounted FRANKFURT, LATE 19TH CENTURY
by a sconce, on a moulded circular foot, Each tapering body engraved with a vacant
lacking snuffer cartouche, on a beaded spreading circular foot; Comprising: a teapot, a hot water jug, a milk
20,8cm high, 260g and Another, Unknown Maker and Date, beaded jug, two-handled sugar bowl and cover, all with
rim, tapering body engraved with a vacant ebonised handles, raised on beaded scrolling feet,
R 1 500 - R 2 000 cartouche, on a circular spreading foot and a circular tray, with beaded border
the largest 10,7cm high, 73g all in (3) the tray 41,7cm diameter, the teapot 19,5cm high
267 2978g all in (5)
R 3 000 - R 5 000
A PAIR OF ELECTROPLATED CANDLESTICKS, ILLUSTRATED ON OPPOSITE PAGE
NORBLINI, WARSAW 270
R 20 000 - R 25 000
Each baluster-shaped column raised on a A PAIR OF RUSSIAN SILVER CANDLESTICKS,
square-shaped base with C-scroll decoration, MAKER’S MARK M.P., KOSTROMA, 273
detachable sconces EARLY 20TH CENTURY
39cm high (2) AN ITALIAN SILVER TEA STRAINER,
Each tapering square-section column embossed FIRENZE, CIRCA 1970
R 3 000 - R 5 000 with wreaths, ribbons and bell flowers, on a
square base embossed with ribbons and swags, Designed as a pierced snail shell suspended from
268 raised on outswept feet, loaded a shaped handle with beaded terminal
33,5cm high, loaded (2) 12cm long, 32g
A RUSSIAN SILVER TEA GLASS HOLDER,
UNKNOWN MAKER, MOSCOW, R 20 000 - R 30 000 R 600 - R 900
LATE 19TH/EARLY 20TH CENTURY
274
The body pierced and embossed with grapes
and deciduous fruit, leaf embossed handle, A SWEDISH SILVER GOBLET,
on a circular foot L LARSSON AND CO, GOTEBORG, 1856
8,5cm high, 89g
Urn-shaped, the bulbous body embossed with
R 1 000 - R 1 200 four foliate bands, raised on a conforming circular
domed base, gilt interior
13,9cm high, 234g

R 1 400 - R 1 600

60 | Silverware

275 278 281

A FRENCH SILVER-PLATE PERLES PATTERN A CHINESE EXPORT SILVER CIGARETTE BOX, A CAPE SILVER FIDDLE PATTERN SERVING
CUTLERY SET, CHRISTOFLE INDISTINCT MAKER’S MARK, SPOON, WILLEM GODFRIED LOTTER
EARLY 20TH CENTURY
Comprising: twelve soup spoons, twelve table And A Cape Silver Fiddle Pattern Serving Spoon,
knives, twelve table forks, twelve tea spoons, The rectangular hinged cover engraved with Unknown Maker, each terminal engraved N.J
twelve cake forks, seven dessert spoons, twelve Chinese characters within a foliate engraved 128g all in (2)
desert knives, twelve dessert forks, a ladle, a border flanking a vacant cartouche, cedar-lined
cheese knife, a butter knife, a cake lifter, interior R 1 000 - R 1 500
two serving spoons (97) 12,5cm wide
282
R 30 000 - R 40 000 R 2 000 - R 2 500
THREE CAPE SILVER SERVING SPOONS,
LAURENCE BYLEVELD

And a Cape Silver Fiddle Pattern Fork,
Laurence Byleveld
246g all in (4)

R 1 500 - R 2 000

272 279 283
276 A MISCELLANEOUS COLLECTION OF CAPE
A CHINESE SILVER CARD CASE, SILVER FIDDLE PATTERN FLATWARE,
A COLLECTION OF DUTCH SILVER FIGURAL POSSIBLY GEM WO, CANTON WILLIAM MOORE
TEASPOONS AND CAKE FORKS Comprising two teaspoons, three dessert spoons
Rectangular, with conforming cover, decorated and a fork
Comprising: six with windmill finials, to one side with a writhing four-claw dragon 231g all in (6)
six with sailing ship finials, five with stork finials amongst Linghzi-shaped clouds surrounding
and one with a milkmaid finial; and A Dutch a shield-shaped cartouche, the reverse with a R 1 200 - R 1 500
Figural Sugar Spoon, pierced bowl with a stork second dragon, it’s outstretched claw firmly
finial clutching a flaming pearl 284
269g all in (18) 9,5cm high, 67g SIX CAPE SILVER FIDDLE PATTERN SERVING
SPOONS, WILLIAM MOORE
R 1 400 - R 1 800 R 3 000 - R 5 000 374g all in (6)

277 280 R 2 200 - R 2 600

A CHINESE EXPORT SILVER DRAGON BOX AND TWO CAPE SILVER KONFYT FORKS, NO LOTS 285 - 290
COVER, SHANGHAI, EARLY 20TH CENTURY DANIEL BEETS

Circular, the cover moulded with a sinuous Each with a tapering tubular handle; and
dragon, its face with tufts of hair and a pair of A Cape Silver Fiddle Pattern Konfyt Fork,
horns, soaring amongst Ruyi-shaped clouds possibly William Moore
encircling a vacant cartouche, the sides similarly 48g all in (3)
decorated, maker’s mark indistinct
6cm high, 9cm diameter, 134g R 1 500 - R 2 000

R 1 800 - R 2 200

View, Register and Bid on any lot through our Digital Saleroom – www.swelco.co.za Silverware | 61

62

Session 3

Monday | 1 July | 4pm

Lots 291 - 420
African Art
Fine Art

63

Gordon Crawford

Born in 1954, Charles Gordon Crawford has lived his entire life in Africa. He has always lived in close
proximity to the various Nguni peoples of Malawi, Zimbabwe, South Africa and Swaziland. In Swaziland
he is known by the name Malangabi which was given to him when he joined the Swazi Inyatsi regiment
of traditional warriors. The name means a 'bright smokeless flame'.

Gordon’s love for African artefacts started as a child, when he used to visit a traditional blacksmith
and woodworker in rural Malawi. He spent hours watching these men produce beautiful barbed arrows
and other items. In 1989, after escaping the trauma of war in Zimbabwe and the racial conflict in South
Africa, he moved to Swaziland as a qualified mechanical engineer. Here with his wife Judy, they found a
safe haven to raise four sons John, Matthew, Aaron and Phillip.

He has travelled extensively in Africa, especially in preparation for his book Sicebile (see below)
where he visited all the Nguni peoples including those in the diaspora in South Africa, Mozambique,
Zimbabwe, Malawi and Tanzania. While in Swaziland he travelled extensively throughout the kingdom
interviewing the elderly and recording their stories.

Gordon is best known outside Swaziland for his book Sicebile. Swaziland’s Cultural Adornment and
Artefacts (Reach Publishers, 2008), it opens with a brief history and focuses on the carving and
beaded traditions of the country. The editor wrote “the book provides a window into what is a
little-known and fast-dying art. The author’s obvious dedication and commitment to a world and
people he knows and loves, and the thoroughness of his research has resulted in a book which serves
a very necessary purpose, and should prove indispensable to all those interested in our colourful and
chequered cultural and historical past.”

To write the book Crawford spent twenty years doing research, visiting related groups in seven African
countries and collecting thousands of items. He interviewed numerous elderly people to get their
various viewpoints, kept detailed notes and commissioned experienced craftsmen to show how various
items were made. In this book the Swazis are given a chance to speak for themselves and tell their own
story. The author wrote “I was always amazed that Zulu traditional art was so widely written about and
sought after and yet the neighbouring Swazi art had been totally ignored.”

Gordon has received recognition for his expertise in many ways from Professor William Dewey of UCLA
and Dr Michael Connor with whom he collaborated on the northern Ngoni, to assisting the National
Museums of Scotland correct errors in the colonial collections and being asked by the National
Museum of Swaziland to write Sicebile. - R.B.

64 | African Art

291
SWAZI MILK PAIL
Large oval container undecorated, flat base,
blackened.
wood
height: 42cm
PROVENANCE
Collection of Gordon Crawford
LITERATURE
Chapter on Milk Pails In Sicebile p. 47-50.

R 6 000 - R 7 000

292
SWAZI MILK PAIL
Oval container, undecorated, four lugs one with a
hole for hanging, patina
wood, small piece missing from the rim
height: 28cm
PROVENANCE
Collection of Gordon Crawford.
LITERATURE
Illustrated in Sicebile p.47.
291 R 6 000 - R 8 000

293
THREE XHOSA PIPES, 19TH CENTURY
Three pipes with short stems, each is different,
one with wire around stem
wood, metal, tobacco residue
length: 17, 17.5 and 20cm, respectively (3)
PROVENANCE
Collection of Gordon Crawford.
Auction deceased estate, Chailey, East Sussex,
UK, May 2013.

R 18 000 - R 24 000

293

African Art | 65

294

294 295

A COLLECTION OF BEADWORK ITEMS STRUNG A COLLECTION OF WEAPONS FROM VARIOUS
ON SINEW, 19TH CENTURY NORTH NGUNI AND NGONI REGIONS

glass beads, grass, sinew Metal arrow shaped spear heads, two with barbs,
various sizes attached to wooden hafts, two decorated with
bound brass/copper wire, and leather, barbed
PROVENANCE spears one with beaded section on the shaft
Collection of Gordon Crawford. and the second with leather and fur tied to the
Auction deceased estate Chailey, East Sussex, UK, opposite end
May 2013. metal, wood, glass beads, hide with hair
largest: 58cm (5)
R 18 000 - R 25 000
PROVENANCE
Collection of Gordon Crawford

LITERATURE
“Sword copied by Zulu blacksmiths from British
swords” p.85.
Chapter on Spears in Sicebile two illustrated
barbed spear p.84, sword, p. 89.

R 6 000 - R 9 000

295 - DETAIL

66 | African Art

296 299 299
300
A COLLECTION OF SMALL BEADED GOURD COLLECTION OF CLUBS WITH ASYMMETRICAL
CONTAINERS FROM VARIOUS NORTH NGUNI HEADS, FROM SWAZILAND
AREAS WOODEN MEAT PLATTER FROM
PONGOLA REGION, KWAZULU-NATAL Sticks with asymmetrical knobs, Swazi, three with
grooved knobs (lingledla) and two flat headed
Small containers with beaded decoration clubs (gebu)
additions, various shapes and sizess wood
gourds, beads, horn tallest 106cm, shortest 63cm (5)
largest height: 11cm (6)
PROVENANCE
PROVENANCE Collection of Gordon Crawford
Collection of Gordon Crawford, field collected
LITERATURE
LITERATURE Chapter on War Clubs in Sicebile p 71-74.
Necklace with an elongated gourd is is a snuff Illustrations on p. 72
container, illustrated in Sicebile, p.32,
R 5 000 - R 10 000
R 6 000 - R 8 000
Swazi clubs are different from other sticks found
297 in Southern Africa in that they are asymmetrical.
“The preferred method of manufacture is
SWAZI HEADREST to select a branch that is the correct handle
thickness, about as thick as a man’s thumb. This is
Platform with two fluted supports on either then removed from the tree together with a short
end; markings on the edges of the upper bar, section of the main trunk, and the thick trunk
suspended lug in the centre of the underside of section is carved to form the head of the club.
the upper bar. Generally only the head is carved, the branch
wood handle is frequently left covered in the natural
13 by 42cm bark” - Sicebile, p. 71.

PROVENANCE 300
Collection of Gordon Crawford.
A COLLECTION OF EIGHT SNUFF CONTAINERS
LITERATURE FROM NORTH NGUNI AREAS
Headrests chapter in Sicebile p. 51-58.
A collection of snuff and medicine containers,
R 6 000 - R 8 000 from various North Nguni areas
horn, wood, gourds, one local repair
298 largest 9cm (8)

SWAZI HEADREST PROVENANCE
Collection of Gordon Crawford
Platform with two fluted supports on either end;
marked on the edges of the upper bar, suspended LITERATURE
lug in the centre of the underside Chapter on Snuff Containers in Sicebile, and the
of the upper bar repaired on illustrated on p. 39
wood
13cm by 42cm R 11 000 – R 15 000

PROVENANCE African Art | 67
Collection of Gordon Crawford.

LITERATURE
Headrests chapter in Sicebile p. 51-58.

R 6 000 - R 8 000

301

A RARE ZULU WEDDING GIFT CONSISTING OF
SLEEPING AND EATING MATS AND HEAD REST

A rare Zulu wedding gift set consisting of a
beaded sleeping mat, beaded eating mat and
headrest. Woven mats with beads
grass, glass beads, wood
Eating mat 38 by 50cm (3)

PROVENANCE
Collection of Gordon Crawford.

LITERATURE
Mat illustrated Sicebile p. 88.
"The Zulu headrest shows amasumpa style
reminiscent of Zulu beadwork known as ‘breaking
the pattern’ where expected design is purposely
broken”, (Crawford).

R 8 000 - R 10 000

302

COLLECTION OF 10 NGONI BEADWORK ITEMS,
EAST AND CENTRAL AFRICA

Seven panels and three bags, of various sizes,
geometric patterns, some with strings attached,
characteristic colour range of Ngoni; one bag
distressed
glass beads, pearl beads, string
largest: 11 by 79.11cm (10)

PROVENANCE
Gordon Crawford, from the Maseko Ngoni
central Malawi

LITERATURE
Conner, M.W The art of the Jere and Maseko
Ngoni of Malawi 1818-1964. African Studies Series,
1993.

R 10 000 - R 12 000

301
68 | African Art

303 305 307

FOUR PAIRS OF BEADED LOIN CLOTHS, SWAZI FIVE NORTH NGUNI WOODEN SPOONS AND SET OF THREE WOODEN DISHES, FROM NEAR
GRASS HOLDER, NORTH NGUNI, FROM NEAR PONGOLA, KWAZULU-NATAL
Small rectangular pieces of hide, enhanced with PONGOLA, KWAZULU-NATAL
horizontal registers of beadwork with ties. Dishes of different sizes; double, oval round.
Worn by Zunda dialect Zulu speakers in southern Five spoons of different designs and ages, in a A wooden meat platter with oblong relish
Swaziland and surrounding South African areas. woven grass holder made for spoons (impontshi) container and two bowl-shaped containers on
Hide (locally tanned), beads, fabric with four beaded bands either side, set on small round legs. Embellished
smallest with red ties 19,4 by 19cm (8) wood, grass, glass beads with geometric carving
largest spoon: 36cm long (6) wood, blackened
PROVENANCE double 59cm by 21 cm, oval 54cm by 24 cm,
Collection of Gordon Crawford PROVENANCE small 24cm by 15cm, respectively (3)
Collection of Gordon Crawford
LITERATURE PROVENANCE
Illustrated in Sicebile p.87 and 89. LITERATURE Collection of Gordon Crawford
Illustrated in Sicebile p.88-89cm. Previously owned by an old Swazi colonial family.
R 6 000 - R 8 000
R 4 000 - R 6 000 LITERATURE
304 Illustrated in Sicebile Chapter on Swazi Dishes
306 p.43-46
SWAZI BEADED GRASS BELTS
FIVE NORTH NGUNI SPOONS AND A HOLDER R 6 000 - R 9 000
Beaded horizontal panels attached to a grass FROM NEAR PONGOLA, KWAZULU-NATAL
backing with ties at each end, now rare. 308
beads, grass, fabric, hide, bottle tops Five wood spoons of different designs and
middle belt: 66cm (without the ties) (5) ages in a woven grass holder made for spoons A CLAY POT, ZULU
impontshi with beaded band at the rim
PROVENANCE Wood, grass, glass beads Signed and dated Shongwazi P.H. Magwazi,
Collection of Gordon Crawford spoons vary from 33 - 36 cm long (6) 10/11/2003
blackened clay
LITERATURE PROVENANCE height: 27cm
Illustrated and described in Sicebile p. 17-19. Collection of Gordon Crawford
PROVENANCE
R 2 500 - R 5 000 LITERATURE Purchased in KwaZulu-Natal in 2003.
Illustrated in Sicebile p.88-89cm
R 5 000 - R 7 000
R 3 000 - R 5 000
309

THREE KNIVES, MANGBETU, DEMOCRATIC
REPUBLIC OF CONGO

Sickle-shaped blades with holes and small
protrusions, wire bound handles, one with
round end.
metal wood, wire, studs
height: 42, 41,5 and 44,8cm, respectively (3)

R 6 000 - R 9 000

Many items in Africa can be multi-functional or
the purpose can change or accrue value over
time. The trumbash is such an example. Initially
designed for harvesting with the sickle shaped
blade, holes and small extensions to the blade
and short handles, they could also be used as
weapons and over time became associated with
presentation and prestige.

309
African Art | 69

312 311 312
310
A MFENGU (XHOSA) MARRIED WOMAN'S ZULU WEDDING CAPE (ISIKOTI), BERGVILLE
XHOSA CEREMONIAL NECK PIECE, BLANKET, PEDDIE DISTRICT EASTERN CAPE, AREA, KWAZULU-NATAL
MID-TWENTIETH CENTURY AND ONE OTHER MID-20TH CENTURY
Nine pieces of overlapping fabric in plain colours
Two circular neck pieces worn on special Ochre-dyed blanket with rows of beaded panels with a top layer of brilliant blue. The lower ends
occasions by men and women, in characteristic and braid project and are edged with a band of beadwork.
colour range of blue pink and white A good example of the style of beaded blankets The whole is frame edged with bands of white
glass beads, thread from the mid-20th centruy that are no longer beads. The horizontal bands were made by
largest: 34cm (2) made and are now rare. female members of the two families and can be
Signs of age appropriate usage and marks, some read and interpreted. Framed.
R 700 - R 900 colour changes in the blanket, a few missing glass beads, fabric
beads. 135 by 120cm
100.5 by 134.5cm (folded top)
R 17 000 - R 20 000
R 6 000 - R 9 000

70 | African Art

313

Solomon Belachew, THE BATTLE OF ADWA, 1940s

paint on canvas
Shows the important battle of the 1896 when the Ethiopian
army defeated the invading Italian army thus avoiding colonial
imposition. Each side is lined up in the centre watched over by
Saint George, the patron Saint of Ethiopia, in a circle in the sky.
The Ethiopians look towards the spectator while the enemy are
shown in profile.
85 by 136cm

PROVENANCE
Acquired in Addis Ababa, 1940s, thence by descent
to the current owners

R 8 000 – R 12 000

The text translated from the Amharic reads: “Emperor Menelik II
after fighting the BAD Italians through the gift of God with the
help of Saint George after defeating the Italians returned to Addis
Ababa in victory. The artist Solomon Belachow from Gojjam and
donated to Emperor Haile Selassie, in the time of Haddis, month
313 of Nehassie (July-August) in 1940 Ethiopian years, (about 7-8
years) in Addis Ababa. Amen.”

314

THE LEGEND OF THE QUEEN OF SHEBA, 1940s

paint on canvas
Divided into 44 panels, 11 by 4 sections, it is a visual narrative
which reads from the top right to bottom. “Depicts in some detail,
the meeting of King Solomon and the Queen of Sheba. The result
of this meeting was a child from whom Ethiopians claim as their
first Emperor.” Translation of the text in Amharic, the language of
Ethiopia.
84 by 135 cm wide (unfarmed)

PROVENANCE
Acquired in Addis Ababa, 1940s and then by descent to the
current owners

LITERATURE
Contemporary Ethiopian Painting in Ethiopian Painting in
Traditional Style. From Church-based to Tourist Art" Afrian Arts,
2009, University of California. p.14

R 8 000 - R 12 000
314

There is a long tradition of church painting in Ethiopia but
this changed in the 20th century with the introduction of art
education and new markets and audiences. A new category
of painting emerged which Elisabeth Biasco has labelled
"Contemporary Ethiopian Painting in Traditional Style." The
Legend of the Queen of Sheba and the Battle of Adwa are two of
the most popular themes in contemporary Ethiopian art.

NO LOTS 315 - 320

African Art | 71

322

321 323 323

321 322 Sydney Goldblatt
(South African 1919 - 1979)
Hennie Niemann Jnr Daniel Novela
(South African 1972 - ) (South African 1964 - ) NARRATIVE COMPOSITION WITH HORSES

CHARGING ELEPHANT BULL NGUNI COWS IN A POND signed and dated 78
ink and acrylic on card
signed and dated '99 with label from L'Oiseau signed; signed and dated December 2018 with 37,5 by 62cm
Bleu, Paris the title inscribed on the reverse
gouache on paper oil on canvas laid down on board R 12 000 - R 18 000
48 by 33cm 50,8 by 77cm

R 4 000 - R 6 000 R 10 000 - R 15 000

72 | Fine Art

326
324

325 327

324 325 326 327

Hardy Botha Braam Kruger Louis Jansen van Vuuren Otto Klar
(South African 1947 - ) (South African 1908 - 1994)
(South African 1950 - 2008) (South African 1949 - )
SCENE WITH A NDEBELE WOMEN AND
STRIPED CENTAUR TAFELBERG RITER BIRDS NEST CHILD

signed, dated 77 and signed and dated 24.3.83 signed and dated 1999 signed
inscribed with artist's coloured pencil on paper oil on board oil on board
monogram 118 by 154,5cm 45 by 37cm 19 by 14cm
watercolour on paper
35,5 by 35,5cm R 5 000 - R 8 000 R 3 000 - R 5 000 R 3 000 - R 5 000

R 3 000 - R 5 000

Fine Art | 73

329 330 330

328 329 Leonard Tshehla Mohapi Matsoso
(South African 1949 - )
Ben Macala Sizwe Khoza
(South African 1938 - 1997) (South African 1990 - ) PORTRAIT OF A WOMAN

DOWNCAST FIGURE NOMVULA signed and dated '88
crayon on paper
signed signed, and dated 15 and inscribed with the title 31,5 by 24cm
pastel on paper mixed media on paper
30,5 by 24cm sheet size: 95 by 94,5cm R 6 000 - R 9 000

R 1 000 - R 1 500 R 8 000 - R 12 000

Matsoso, born in Pimville (1949) is a South African artist with an enigmatic presence. He is a painter and graphic artist known best for his monochromatic
paintings of the early 1970’s. Matsoso has exhibited across South Africa, Brazil, Greece, Australia and most notably at the Sao Paulo Biennale in 1973 and
1979. Portrait of a Woman (dated 1988) forms part of his later work and is imbued with various colours. By combining different archetypal elements Matsoso
creates lines and form that overlap to create a hybrid image of a woman. The work is almost architectural, with traditional dress draping over the woman to
create an abstract incarnation of the human form. - Jamie Lee Money

74 | Fine Art

331

334 332 334 334

331 John Ndevasia Muafangejo 333 Pieter van der Westhuizen
(Namibian 1943 - 1987) (South African 1931 - 2008)
Hannetjie De Clercq Johannes Petrus Meintjes
(South African 1958 - ) RICH MAN (South African 1923 - 1980) BOY WITH BLUE HAT and
BOY WITH STRIPE (sic.)
WAVING WOMAN signed, inscribed with the SELF-PORTRAIT SHIRT, two
WITH BLUE SKY title and dated 1985 on the
plate; signed and editioned signed and dated 1946 signed and dated '89; signed
signed and dated '91 37/150 in pencil in the charcoal on paper and dated '89; inscribed
watercolour on paper margin 50 by 44cm with the title on an Edritch
65,5 by 94cm linocut label on the reverse,
sheet size: 47,5 by 35,5cm PROVENANCE respectively
R 6 000 - R 9 000 Gifted by the artist's family pencil and watercolour on
R 6 000 - R 8 000 and thence by descent to paper; print, respectively
the current owner 6 by 9,5cm; 13,5 by 9cm,
respectively (2)
R 15 000 - R 22 000
R 2 000 - R 3 000

Fine Art | 75

335 336 337

335 336 337
Carl Adolph Büchner Pieter van der Westhuizen Douglas Portway
(South African 1921 - 2003) (South African 1931 - 2008) (British 1922 - 1993)
BLUE PORTRAIT COUPLE KISSING EMBRACING FIGURES
signed signed and dated '87 in pencil signed
oil on board mixed media on card gouache and ink on card
58 by 41,5cm 34,5 by 31cm 65 by 49,5cm
R 10 000 - R 15 000 R 10 000 - R 15 000 R 10 000 - R 15 000

76 | Fine Art

An unknown artist has skillfully replicated, 338
Fragonard’s best known work The Swing,
which was originally painted in 1767. At the centre After Jean-Honoré Fragonard (1732 - 1806)
of the composition the mistress of the Baron de (19th Century)
Saint-Julien, sits on a swing wearing an elaborate
pink dress. She is pushed by a man who stands THE SWING
subdued in the shade, at the bottom right of the
composition. He smiles, unaware of the second oil on canvas
man at the bottom left of the painting, partially 57,5 by 44cm
hidden by shrubs and positioned so that he can
peer up the skirt of the mistress. She gazes down R 12 000 - R 18 000
at him, aware of his view. The scene is set against
an unruly forest, with overgrown, swirling foliage.
From the woman’s outstretched foot, a shoe has
slipped and is suspended in the air, pointing at a
statue.

The subject of the artwork, a girl on a swing being
pushed by her husband, while her hidden lover
looks on from the bushes, as her shoe flies off her
foot, was dictated to Fragonard by the Baron de
Saint-Julien. But rather than an immoral allegory,
the artist chose to portray a commentary on the
transience of pleasure. During the 18th century,
a swing was understood to be a metaphor for
sex, due to the similarity of movement as well as
the position of the sitter’s body, with their legs
outstretched at the moment when the arc of the
swing reaches its height, or climax. During this
period in history, to lose one’s shoe implied a loss
of innocence. The women’s plentiful skirts echo
the shrubbery below her, inferring that she too
will fade and wilt after being plucked, her beauty
transitory.

Fragonard designed the composition to be read
from right to left, so that the viewer notices the
husband, then the girl, her foot which leads one
to see the shoe, and then revealing the lover in
the bushes. Fragonard intended the narrative to
be akin to a scene from a play, a private revealing
moment that the viewer witnesses.

The artist who painted this version may have
reproduced the painting as a form of flattery, or
a means of learning from a master by imitating
their every brushstroke. The artist has completed
his exercise with an impressive amount of skill.
While not a master, the artist has used delicate
brushwork and acute observation to impressive
effect in his chosen artwork. - S. D.

The Art Story: The Swing (1767). Accessed June 1, 2019. https://www.
theartstory.org/artist-fragonard-jean-honore-artworks.htm

Fine Art | 77

339 340
339 340
John Henry Amshewitz
(South African 1882 - 1942) Gregoire Johannes Boonzaier
THE PLEDGE (South African 1909 - 2005)
signed and inscribed with the title and artist's
name on a plaque TWO BARE OAKS, NEWLANDS
oil on canvas laid down on board
39 by 30cm signed and dated 1968
R 5 000 - R 8 000 watercolour and ink on card
37,5 by 28cm
78 | Fine Art
R 10 000 - R 15 000

341 342
341 342

Amy Beatrice Hazell Sheila Rutzen-Brown
(South African 1864 - 1946) (South African 1959 - )

NASTURTIUMS POPPIES AND TULIPS IN DELFT VASE

signed and inscribed with the title and artist's signed and dated '19
name on the reverse oil on canvas
oil on board 60,5 by 45,5cm
30 by 24cm
R 3 000 - R 5 000
R 4 000 - R 6 000

Nasturtiums in a blue and white vase was painted early in the life of the artist, while she was living in Harrow, England, before she came to South Africa. This
delightful still life has all the seasonal appeal of spring in a Delft vase, and is surrounded with a gilded Italianate frame hand made by the custom framers of
C. F. Woodhouse, also of Harrow.

Beatrice Hazell was an under-rated, yet talented still life painter who came to South Africa at the age of 21 and studied at the Cape Town School of Art
where she developed her skill. In 1903 her work was shown on the second South African Society of Artist’s exhibition, a singular distinction as she was the
only woman still-life painter to be included in a male dominated genre. Buoyed by her success, she encouraged her friend the young Maggie Laubser to take
up painting at the time. Two of her works were shown in 2002 at the Iziko South African National Gallery on the exhibition entitled The Advancement of Art:
The South African Society of Artists and its exhibitors, 1902 -1950 and are featured in the accompanying catalogue by ISANG Curator Hayden Proud. - C.K.

Berman, E. 1974. Art and Artists of South Africa. AA. Balkema. Cape Town and Rotterdam.
Proud. H. 2002. ‘The Advancement of Art’: The South African Society of Artists and its exhibitors, 1902 -1950. Iziko Museums of Cape Town/SASA: Cape Town.

Fine Art | 79

343

Andrew Clement Verster
(South African 1937 - )

PORTFOLIO OF ELEVEN ETCHINGS

portfolio of eleven etchings from drawings made
in notebooks between June and October 1985,
edition limited to 25 copies; each print signed,
dated 86, inscribed with pencil in the margin and
impressed with the Caversham Press chopmark,
this set numbered 2/25
etching
each sheet size: 35 by 24,5cm (11)

PART ILLUSTRATED

R 6 000 - R 9 000

Although predominantly known as a painter
and writer, Johannesburg-born Andrew Verster
has produced a charming set of eleven etchings
informed by a past stay at Cite Internationale des
Arts, Paris. This is an acclaimed artist-in-residence
program established in 1965, which attracts
practicing artists from all over the world. Verster
participated in a total of five residencies at the
Parisian studios between 1985 and 1995, with the
first being awarded by the South African National
Association for Visual Arts (SANAVA)1.

This portfolio consists of scenes of the artist’s
friends and their belongings, as well as portraits
of well-known artists and writers, such as Pablo
Picasso and Oscar Wilde. The prints feature
monochrome linework that denotes a simplistic
elegance, reminiscent of Henri Matisse. The works
are printed on ivory Fabriano Rosapina paper,
and published by Caversham Press in Howick,
KwaZulu Natal. Verster’s work has appeared in
multiple exhibitions across the world, including
London, Hong Kong and Germany. He has also
been awarded two retrospectives at the Durban
Art Gallery, cementing his position as a key figure
in the South African art scene2. - L.D.

1 Cite Internationale des Artes, correspondence, April 30, 2019.
2 Kwazulu Natal Society of Arts, “Andrew Verster”

80 | Fine Art

345
346

344

344 345 346

Dutch School *** Robertson Continental School
(17th/18th Century) (Continental School - ) (19th/20th Century)

PORTRAIT OF A BEARDED GENTLEMAN LINDSAY FAMILY PORTRAIT PORTRAIT OF A GIRL

Darter Bros & Co. label adhered to the reverse inscribed with the artist and subject's names on oil on canvas
oil on board the frame 30,5 by 25cm
29,5 by 21,5cm enamel on porcelain
13 by 14cm R 4 000 - R 6 000
R 3 000 - R 5 000
R 2 000 - R 3 000

Fine Art | 81

William Mitcheson Timlin was an illustrator of a 347 347
number of fantasy books, which he illustrated 348
with elaborate and delicate watercolours. Lots William Mitcheson Timlin
347 and 348 are two fine examples of his intricate (South African 1893 - 1943)
illustrations.
ILLUSTRATION FROM
Lot 348 is an illustration from the book, 'THE HIDEOUS HERMIT'
An Essence of the Dusk by Francis William Bain BY A. NOYES
(published in 1923). Bain was a writer of fantasy
novels that he claimed were translated from signed and inscribed with
original manuscripts in Sanskrit. the title
watercolour on paper
Lot 347 is an illustration from the book 14 by 22,5cm
The Hideous Hermit by A Noyes. It shares the
same intricate detailing as the first illustration, but R 18 000 - R 20 000
with an entirely different colour palette.
348
William Timlin was a gifted child, and unlike other
boys born in Ashington, England to coal miners, William Mitcheson Timlin
he did not find himself destined for the same (South African 1893 - 1943)
work. His academic gifts earned the young Timlin
a scholarship to Morpeth Grammar School, just ILLUSTRATION FROM THE
outside his home town, where he excelled. In 1909 ESSENCE OF THE DUSK
he earned an Associate in Arts, University BY J.W. BAIN
of Oxford with distinction.
signed and inscribed with
Soon after graduating he followed his family the title;
to Kimberley where his father had taken up a original backing board
position with De Beers Mines. In 1910 he joined inscribed with
D W Greatbach to become an articled architect, the title adhered to the
where he remained for ten years, but always reverse
found time to dedicate to his art. His artistic watercolour on paper
achievements included a design for a war 26,5 by 18cm
memorial in 1913. He also taught art classes.
In 1915 he illustrated Dante’s Inferno, and a fantasy R 20 000 - R 30 000
book called Fairy Jewels in 1918. He designed
the Standard Bank building in 1922-23 and was
elected Licentiate of the Royal Institute of British
Architects (LRIBA) 1925 number 3112. He was
perhaps one of the founder members of the SA
Institute of Architects 1928 and his design was
chosen for the logo of the institute.

Timlin produced numerous sketch books,
in which he recorded landscapes which he later
reproduced in watercolours, pastels, etchings and
oils. No matter the medium, Timlin’s work always
contained his signature delicate, intricate details.
As well as an illustrator, artist and architect,
the accomplished Timlin also composed music,
authored stories, plays and fantasy books.

Timlin’s style may be gentle, but the artist
has been described as “eccentric” and even
“tempermental”, easily turning down commissions
for artwork if he disliked the customer. He worked
in great bursts, taking to his studio, not to be
disturbed, for several days. Upon emerging he
would have 50 to 60 completed works. - S.D.

Based on confirmation with Tim Timlin, grandson of William Timlin:

May 2019

82 | Fine Art

349 350 351

349 350 351

Continental Artist John Meyer Jean Max Friedrich Welz
(19th Century) (South African 1942 - ) (South African 1900 - 1975)

PORTRAIT OF A LADY PORTRAIT OF RON ASHTON PORTRAIT OF ANNE

watercolour and pencil on paper signed and dated 15/1/61 signed and dated July 1967
46,5 by 33,5cm graphite on paper charcoal on paper
33 by 28,5cm 61 by 46,5cm
R 6 000 - R 9 000
R 3 000 - R 5 000 PROVENANCE
Gifted by the artist

R 8 000 - R 12 000

Fine Art | 83

352 353

352 353
Mieczyslaw Chojko
(Polish 1919 - 1978) Hannetjie De Clercq
NUDE FIGURE STUDY (South African 1958 - )
signed and dated 43 WOMAN BELOW A CRESCENT MOON
charcoal on paper signed and dated '92
47 by 37cm watercolour on paper
R 3 000 - R 5 000 95,5 by 68cm

84 | Fine Art R 6 000 - R 9 000

354
Ryno Swart
(South African 1945 - )
TWO BURLESQUE DANCERS
signed and dated 83/85
oil on canvas
88,5 by 119cm
R 12 000 - R 18 000

354

355
Ryno Swart
(South African 1945 - )
DANCE REHEARSAL
signed and dated '85
oil on canvas
88,3 by 119cm
R 12 000 - R 18 000

355
Fine Art | 85

356 358
Christiaan Nice
Anton Smit (South African 1939 - )
(South African 1954 - ) RIVER LANDSCAPE
signed
NUDE WITH ARMS REACHING oil on board
UPWARD 34 by 49cm
ILLUSTRATED ON OPPOSITE PAGE
signed, dated 2004, editioned 1/24 R 10 000 - R 15 000
and stamped with the Bronze Age
Foundry mark 359
bronze William Joseph Wadham
height: 36cm (British 1863 - 1950)
ALBANY WITH SPRING COREOPIS
R 8 000 - R 12 000 signed; includes a contemporary press review
leaflet in an envelope adhered to the reverse
357 watercolour on paper
28,5 by 46cm
Wolf Kibel ILLUSTRATED ON OPPOSITE PAGE
(South African 1903 - 1938) R 6 000 - R 9 000

BATHERS

etching
11,5 by 11cm

R 2 500 - R 4 000

360

Hugh Monahan
(Irish 1914 - 1970)

BIRDS FLYING OVER NORFOLK BROADS

signed and dated 1948
oil on canvas
74,5 by 99,5cm

PROVENANCE
Inherited, thence by descent

ILLUSTRATED ON OPPOSITE PAGE

R 5 000 - R 8 000

356
86 | Fine Art

361

James Spence Ogilvy
(British 1863 - 1917)
RURAL CANAL SCENE IN ENGLAND
signed and dated 92
watercolour on paper
27 by 37cm
PROVENANCE
Inherited, thence by descent
358 R 8 000 - R 10 000

362

James Spence Ogilvy
(British 1863 - 1917)
BRIDGE AT SUNSET
signed and dated 92
watercolour on paper
26,5 by 37cm
PROVENANCE
Inherited, thence by descent

R 8 000 - R 10 000

359 363

James Spence Ogilvy
(British 1863 - 1917)
COUNTRY SCENE WITH TWO FIGURES
AND WATER TOWER
signed
watercolour on paper
27,5 by 38,5cm
PROVENANCE
Inherited, thence by descent

R 8 000 - R 10 000

360
Fine Art | 87

364 364
365 Pattie Eleanor Parsons-Norman
(British 1866 - 1945)
RIVER REED LANDSCAPE
signed
watercolour on paper
32,5 by 47cm
R 3 000 - R 5 000

365
Henry George Hine
(British 1811 - 1895)
HELCA, BETWEEN BRIGHTON AND SHOREHAM
signed, dated 1861 with label adhered to the
reverse inscribed with details of the scene and
autobiographical details of artist
watercolour on paper
26,5 by 51,5cm
R 8 000 - R 12 000

366
*** Boudin
(20th Century)
AFTER THE BATTLE OF ARRAS
signed; dated 1917 and inscribed with the title on
the reverse
oil on canvas laid down on board
101,5 by 127cm
R 6 000 - R 9 000

366

88 | Fine Art

367
James Clarke Hook
(British 1819 - 1907)
SEASCAPE, FRANCE
signed
oil on board
44,5 by 64,5cm
PROVENANCE
Inherited, thence by descent
R 5 000 - R 8 000

367

368
Christopher Tugwell
(South African 1938 - )
SEASCAPE
signed
oil on canvas laid down on board
59,5 by 120,5cm
R 5 000 - R 8 000

368

369
Robert Gwelo Goodman
(South African 1871 - 1939)
SEA WITH CLIFFS
signed
watercolour on paper
34,5 by 50,5cm
R 6 000 - R 9 000

369
Fine Art | 89

370 370
371 John Stein
(South African 1942 - )
HAMILTON HOUSE, ST JAMES
signed and dated 2016 on the reverse
oil on canvas
101,5 by 127cm
R 6 000 - R 9 000

371
John Stein
(South African 1942 - )
KALK BAY HARBOUR
signed and dated 2015 on the reverse
oil on canvas
101,5 by 127cm
R 6 000 - R 9 000

372
Edward Clark Churchill Mace
(South African 1863 - 1928)
VIEW OF SIMON'S TOWN
signed
oil on board
22,5 by 32,5cm
R 6 000 - R 9 000

372

90 | Fine Art

373
Edward Clark Churchill Mace
(South African 1863 - 1928)
FALSE BAY
signed
oil on board
18 by 27,5cm
R 6 000 - R 9 000

373

374
Gabriel Cornelis de Jongh
(South African 1913 - 2004)
SOUTH AFRICAN RIVERBANK
signed
oil on canvas
59,5 by 90cm
R 10 000 - R 15 000

374

375
Franz Schaffner
(German 1876 - 1951)
FISHING BOATS ON THE NORTH SEA
signed; label with artist's biography
adhered to the reverse
oil on board
48 by 64,5cm
R 5 000 - R 8 000

375
Fine Art | 91

376 377
376 377

Daniel Novela Daniel Novela
(South African 1964 - ) (South African 1964 - )

CHILDREN FETCHING WATER WOMAN CARRYING LOCAL ENERGY
UNDER THE BRIDGE
signed; signed, dated with the title
signed; signed and dated 2019 with the title inscribed on the reverse
inscribed on the reverse oil on canvas
oil on canvas laid down on board 78,5 by 65cm
50,8 by 77cm
R 10 000 - R 15 000
R 10 000 - R 15 000

Daniel Novela is an emerging South African artist known for his bold use of color and depictions of realistic domestic scenes. At a young age, the artist
moved from South Africa with his mother and siblings to be with their father in Mozambique. His early years of education were spent at a rural school, where
he was taught under the trees. This is where he was first inspired by the landscape that surrounded him. In 1982 Novela approached the Director of the
Department of Education requesting a government grant to finish his education and was given a bursary to attend a boarding school in Maputo. In 1984 he
enrolled at Escola De Artes Visuais in Maputo.

Novela then moved back to South Africa and began painting professionally after registering at the Vaal Triangle Technikon to study Fine Arts. With the initial
assistance of his patrons Les and Sylvie Lategaan, Novela’s repertoire grew and he has now exhibited across the country, with some of his works held in both
public and private collections. Several of Novela’s works have been sold on prior auctions at Stephan Welz & Co.

Children Fetching Water Under the Bridge and Woman Carrying Local Energy are perfect examples of Novela’s bright painting style; he paints the life that is
around him. He begins each painting in the environment and later moves to his studio to finish the work. It is clear by these two pieces that he observes his
subjects and their surrounds; what he sees is a vibrant picture that is full of life. Both artworks are typical scenes from rural South Africa where people travel
great distances to fetch wood and water for their homes. - Jamie Lee Money

92 | Fine Art

Allerley Glossop 378 378
379 Allerley Glossop
Born Alice and known to her (South Africa 1870 - 1955)
circle as ‘Joe’, Allerley Glossop BORDER STORE IN BASUTOLAND, QUA QUA
came to South Africa in 1900 as (WIETZIES HOEK)
a mature artist with an enviable inscribed with the title and
British academic training. She the artist's name on the reverse
rapidly achieved success with oil on board
her luminous, cloudy montane 24 by 29cm
landscapes and windswept vistas R 8 000 - R 12 000
populated with horses and played
a prominent role in the South 379
African Society of Artists who Stefan Ampenberger
regarded her as their leading light. (South African 1908 - 1983)
While living in Cape Town she run MOUNTAINS OF FOURIESBERG
a studio frequented and shared by signed; label adhered to the reverse inscribed
her contemporaries, Nita Spilhaus, with the artist's name and details
Ruth Prowse and Beatrice Hazell. watercolour on paper
28 by 39,5cm
Glossop’s excellent training R 3 000 - R 5 000
contributed to her acclaim, with
major public collections including 380
the South African National Gallery Piet Kannemeyer
and the Johannesburg Art Gallery (South African 1927 - 1995)
acquiring her work. LANDSCAPE WITH FARM HOUSE
signed
Breaking colonial stereotypes, oil on board
Glossop was known as 58,5 by 58,5cm
adventurous, journeying alone PROVENANCE
- dressed in men’s clothing and Sold: Stephan Welz & Co., Cape Town, 24
smoking a pipe - to remote regions February 2009, lot 156
to paint. She was not alone in this R 6 000 - R 9 000
endeavour as women artists such
as Barbara Tyrell and Irma Stern Fine Art | 93
similarly broke the bounds of
convention of early 20th century
society in order to pursue their
metier.

In 1925, Glossop moved to the
Natal highlands and it is at this
time that she executed Border
Store in Basutoland, Qua Qua
(Wietzies Hoek) a well-known site
in Basutoland, as it was called at
the time. The artist’s competence
and her rather solid academic style
are embodied in this atmospheric
and serene study of the remote
Mountain Kingdom.
- C.K.

Proud.H.2002. The Advancement of Art: The
South African Society of Artists and its exhibitors,
1902-1950. Iziko and SASA. Iziko, Cape Town,

SA History on Line https://www.sahistory.org.za/
people/allerley-glossop Accessed 23 May 2019

380

382

381 383 383

381 382 Tinus de Jongh
D. Carey Morgan Tinus de Jongh (South African 1885 - 1942)
(British School ) (South African 1885 - 1942)
CAPE HOMESTEAD CAPE COTTAGES WITH CHICKENS CAPE FARMHOUSES
signed signed
pastel on paper oil on canvas signed
43 by 31,5cm 31 by 46,5cm oil on canvas
R 3 000 - R 5 000 R 25 000 - R 40 000 25,5 by 39,5cm

94 | Fine Art R 12 000 - R 18 000

384
Tinus de Jongh
(South African 1885 - 1942)
COTTAGE NEAR CALITZDORP
signed
oil on canvas
24 by 30cm
R 15 000 - R 22 000

384
385
Titta Fasciotti
(South African 1927 - 1993)
ZOAR MISSIONS VILLAGE (CAPE)
signed with the label adhered to the reverse
oil on canvas
29 by 39,5cm
R 5 000 - R 8 000

385
386
Tinus de Jongh
(South African 1885 - 1942)
COTTAGE NEAR BOSKLOOF, CLANWILLIAM
signed
oil on canvas
32 by 48cm
R 15 000 - R 22 000

386
Fine Art | 95

387 388

389 389 389
387
Erich Mayer 388 389
(South African 1876 - 1960)
LANDSCAPE WITH BOULDER David Phoshoko Mogano Tinus de Jongh
signed and dated 1928 (South African 1932 - 2000) (South African 1885 - 1942)
watercolour on paper
18 by 26cm OLD PIMVILLE 'MALAY CHURCH CAPE TOWN'; 'FROM
R 6 000 - R 9 000 BANHOEK'; 'OLD CAPE FARM STELLENBOSCH'
signed and dated 74
96 | Fine Art watercolour on paper signed and inscribed with the title in pencil in the
52 by 71,5cm margin
etching
R 8 000 - R 10 000 sheetsize: 14 by 18,5cm; 24,5 by 29,5cm;
23 by 28cm; respectively (3)

R 3 000 - R 5 000

390
Copley Fielding
(British 1787 - 1855)
LANDSCAPE WITH THATCHED HOUSES
signed
watercolour on paper
21 by 30,5cm
R 3 000 - R 5 000

390
391
Edward Roworth
(South African 1880 - 1964)
LANDSCAPE WITH TWO FIGURES
oil on board
49 by 58,3cm
R 5 000 - R 8 000

391
392
School of J.M.W. Turner
MOUNT OF ST. MICHAEL
the frame bears the inscription, 'J.M.W. Turner. R.A.'
watercolour on paper
20 by 28,5cm
PROVENANCE
Inherited, thence by descent
R 6 000 - R 9 000

392
Fine Art | 97

394

393 395 395
393
Willem Hermanus Coetzer 394 Terence John McCaw
(South African 1900 - 1983) (South African 1913 - 1978)
MOUNTAIN LANDSCAPE John Neil Rodger
signed and dated '43 (South African 1941 - 2013) VILLA HADRIAN, TIVOLI
oil on board
23,5 by 19cm FOREST LANDSCAPE signed, dated '57 and inscribed with the title in
R 18 000 - R 20 000 charcoal
signed and dated 1973 watercolour and charcoal on paper
98 | Fine Art watercolour and glaze on paper 23,5 by 35,5cm
28,5 by 41cm
R 6 000 - R 9 000
R 10 000 - R 15 000