24 October 2015 Session 2 Fine Art

Transcription

1 auctioneers 24 October 2015 Session 2 Fine Art - 1 -

2 P87 William Kentridge, Drawing for Faustus in Africa

3 auctioneers Art Auction Saturday, 24 October :00 PM t f c e rka@global.co.za Like us on Facebook facebook.com/rkauctioneers

4 P01 Battiss, Walter Whall (SA ) My Studio Pen and ink on paper, signed, 20 June x 43cm R R

5 P02 Battiss, Walter Whall (SA ) Male Nude and Cat Pen and ink on paper, signed 25 x 19cm R R P03 P04 Vanderveen, Loet (Dutch ) Monkey Bronze, signed, numbered 1/8 height 24,5cm R R Vanderveen, Loet (Dutch ) Polar Bear Bronze, signed, numbered 1/8 height 19cm R R

6 P05 Jensma, Wopko (SA ) and Burwitz, Nils (SA ) Two works: Abstract Two Beasts and Locust Swarm Woodcut and screenprint, signed, 73 & , Proof & numbered 20/100, 64 x 46cm & 53 x 67cm (one unframed) R R P06 Jensma, Wopko (SA ) and Burwitz, Nils (SA ) Two works: Abtract Composition Pink and Trompe l Oeil/Turning point Monotype and double sided colour lithograph, signed, 74, numbered 28/50 54 x 39cm & 80 x 70cm R R

7 P07 (This image cannot be displayed due to license/royalty constraints) Skotnes, Cecil Edwin Frans (SA ) No III Woodcut print, signed, 80, numbered 1/10 53 x 37cm R R P08 Ivanoff, Victor Archipovich (SA ) and Burwitz, Nils (SA ) Two Works: Paris Scene and N. Tlostsu Oil on board and unframed etching, signed, 57 & 1946, 34 x 44cm & 25 x 20cm R R P09 Hasegawa, Shoichi (Japanese ) Montparnasse au Matin Colour etching, signed 62 x 51cm (unframed) R R

8 P10 After Pierneef, Jacob Hendrik (SA ) Matala, Pietersburg & Twee Jongezellen, Photolithographs, unframed 27 x 31,5cm each R 800 R P11 Boys, George (SA ) Cosmos Oil on board, signed 120 x 89cm R R P12 Catherine, Norman Clive (SA ) Mr Chow Screenprint, signed, numbered 54/90 45 x 61cm R R

9 P13 Britz, Phillip (SA ) Cows grazing in a Field Oil on board, signed 45 x 60cm R R P14 Vorster, Gordon Frank (SA ) Brindled Gnu in Winter Landscape Watercolour, signed 67 x 96cm R R P15 (This image cannot be displayed due to license/royalty constraints) Mahlangu, Speelman (SA ) Female Figure Mixed media on paper, signed, x 49cm R R

10 P16 Boonzaier, Gregoire Johannes (SA ) Mosque Tower, District Six Linocut, signed, x 24cm R R P17 Mayer, Ernst Karl (Erich) (SA ) Landscape with Trees Pastel on paper, signed 9,5 x 18cm R R P18 Dixon, Paul (SA 20th Century) Untitled Pastel on paper, signed, x 72cm R R

11 P19 Vorster, Gordon Frank (SA ) Elands Grazing Pastel on paper, signed 45 x 67cm R R P20 (This image cannot be displayed due to license/royalty constraints) Kobeli, Eli (SA ) Preparing for Xmas Pudding Mixed media on paper, signed,1/72 49 x 34cm R R P21 Boonzaier, Gregoire Johannes (SA ) Outa se Skoene Linocut, signed, x 31cm R R

12 P22 Pierneef, Jacob Hendrik (SA ) House and Trees Linocut, signed 17 x 29cm R R

13 P23 Van Der Westhuizen, Pieter (SA ), Mamre, K.P. Pen and ink on paper, signed, x 27cm R R P24 (This image cannot be displayed due to license/royalty constraints) Mahlangu, Speelman (SA ) Man and Ram by Candlelight Mixed media on paper, signed, x 54cm R R

14 P25 Britz, Phillip (SA ) Arniston Cottages Oil on board, signed 44 x 59cm R R P26 P27 Claerhout, Fr. Frans (SA ) Female Nude Charcoal on paper, signed 57 x 47cm R R Britz, Phillip (SA ) Girls Flying a Kite Oil on board, signed 49 x 45cm R R P28 Mautloa, Pat (SA ) Shopping Women Colour lithograph, signed, 98, numbered 16/50 57 x 76cm R R

15 P29 Mokgosi, Nat (Nathaniel Ntwayakgosi) (SA ) Faces Mixed media on paper, signed, x 71cm R R P30 Kannemeyer, Piet (SA ) Landscape with Houses and Donkey Oil on board, signed, x 56cm R R

16 P31 Vorster, Gordon Frank (SA ) Zebra and Gemsbuck at Mariepskop Watercolour, signed 67 x 96cm R R P32 Van Aswegen, Hennie (SA 20th Century) Extensive Farm Landscape Oil on canvas laid down on board, signed, 83 x 109cm R R

17 P33 Boonzaier, Gregoire Johannes (SA ) City Scene Hand coloured linocut, signed, numbered 104/ x 19cm R R P34 P35 Klar, Otto (SA ) Mamre, C.P. Pen and ink on paper, signed, x 19cm R R Klar, Otto (SA ) Huts under Trees Pencil on paper, signed, x 20cm R R P36 Guhrs, Pam (SA ) Still life with Skulls II Mixed media on paper 89 x 60cm R 800 R

18 P37 Tose, Martin (SA ) Soccer Player Mixed media on panel, signed 55 x 72cm R R P38 Maseko, Joe (Joseph Ramapulane) (SA ) Affi rmative Action Acrylic on board, signed 99 x 113cm R R P39 Papart, Max (French ) Eyes Colour lithograph, signed, numbered 72/ x 74cm R R

19 P40 (This image cannot be displayed due to license/royalty constraints) Sihlali, Durant (SA ) The Wall Colour woodblock, 91, numbered 2/8 74 x 58cm R R P41 Benade, Hanneke (SA ) Listen Speak People Pastel on paper 91 x 68cm R R

20 P42 Britz, Phillip (SA ) Girl at Dressing Table Oil on board, signed 57 x 41cm R R P43 Carter, Sydney (SA ) Landscape with River Gouache on paper, signed, 25 x 38cm R R P44 Roworth, Edward (PROF) (SA ) Three works: Landscape with mountains Watercolours, signed, x 24cm, 16 x 25cm & 18 x 26cm R R

21 P46 Xakaza, Mzuzile Mduduzi (South African ) Kwa Shange Outside Pietermaritzburg Oil on canvas, signed, x 91cm R R P47 Roworth, Edward (Prof) (SA ) Aasvogel Krantz, Kogman s Kloof Oil on board, signed 69 x 89cm R R P48 Ferri, Fleur (South African ) Portrait of Man Wearing Spectacles Oil on board, signed 88 x 83cm R R P49 Hoefsloot, Tjeerd (Ted) (SA ) Farm Cottages Watercolour, signed, x 73cm R R 2 000

22 P50 (This image cannot be displayed due to license/royalty constraints) Mahlangu, Speelman (SA ) Untitled, Abstract Composition Mixed media, signed 97 x 69cm R R P51 Dixie, Christine (SA ) Three works: In Gaps and Absences, In the Shuttered Late Afternoon and Of Another World Entire Etchings, signed, 97, numbered 19/20 and 7/20 53,5 x 37cm R R

23 P52 Ploner, Wilhelm (SA ) Extensive Farm Landscape Oil on board, signed 75 x 100cm R R P53 Benade, Jaco (SA ) Noughts and Crosses Mixed media on paper, 98 79,5 x 79,5cm R R P54 (This image cannot be displayed due to license/royalty constraints) Mahlangu, Speelman (SA ) Metamorphosis I Mixed media on paper, signed, x 63cm R R

24 P55 Alice, Bonita (SA ) Three works: The Immigration Offi cial, Suspended and Balanced Wool dust and archival glue on paper, signed, x 69cm & 69 x 100cm R R P56 Bailey, Beezy (SA ) Desert Woman Oil on board, signed and titled verso 19 x 13cm R 800 R P57 Van Den Berg, Clive (SA ) Watchtower Oil on canvas, signed, x 25cm R R

25 P58 Preller, Alexis (SA ) Study of Sculpture Pencil on paper, signed 19 x 13cm R R P59 Dixie, Christine (SA ) Under Wetly Jewelled Robes Coloured etching, signed, 1992, A.P. 62 x 32cm R R P60 Saoli, Winston (SA ) Playing on Keyboard Ink and conte on paper, signed, x 26cm R R

26 P61 (This image cannot be displayed due to license/royalty constraints) Laubser, Maria Magdalena (Maggie) (SA ) Bird Studies Pencil on paper, signed 28 x 19cm R R P62 Michelow, Berenice (SA ) Umbali Pastel on handmade paper, signed, x 58cm R R P63 Barker, Wayne Cahill ( ) Two works: Confl ict and Abstract Monotype and watercolour, signed, 2007, 29 x 56cm R R

27 P64 Brittan, Matthew (SA ) Persephone Descended I Oil on canvas, signed, x 30cm R R P65 Claerhout, Fr. Frans (SA ) Still Life with Flowers Mixed media on paper, signed 91 x 36cm R R

28 P66 (This image cannot be displayed due to license/royalty constraints) After Stern, Irma (SA ) Bust of a Woman Colour photolithograph, inscribed portfolio and numbered 89/100, 61 x 48cm R R P67 (This image cannot be displayed due to license/royalty constraints) After Stern, Irma (SA ) Standing Woman Colour photolithograph, inscribed portfolio and numbered 89/100, 61 x 48cm R R P68 Maqhubela, Louis Khela (SA 1939) Airscape Gouache on paper, signed, x 75cm R R

29 P69 Carter, Sydney (SA ) Lady Picking Flowers Gouache on paper, signed 36 x 24cm R R P70 Nhlengethwa, Jabulane Sam (SA ) Ode to Charles Mingus Colour lithograph, signed, 94, numbered 28/30 64 x 44cm R R

30 P71 Steffani, Luigi (Italian ) Fisherman by Shore Oil on canvas, signed 40 x 59cm R R

31 P72 Legae, Ezrom (SA ) Quarter to Twelve to Implosion Screenprint, signed, 86, numbered 53/100 54x38 cm R R P73 Britz, Phillip (SA ) Beach Scene Oil on board, signed 45 x 55cm R R P74 Mayer, Ernst Karl (Erich) (SA ) Study of a Girl by a Stool Pencil on paper, signed 32 x 24cm R R

32 P75 Haskins, Christopher (SA ) Crowned Crane Oil on board, signed 47 x 58cm R R P76 Cohen, Steven (SA ) Nose and Mouth Screenprint on napkin 29 x 21cm R R

33 P77 (This image cannot be displayed due to license/royalty constraints) Clarke, Peter (SA ) Two works: Wind on The Cape Flats and Bouquet Photolithographs, signed 12 x 9,5cm & 13,5 x 10cm R R P78 Baldinelli, Armando (SA ) Doves in Flight and Proteas Mixed media on paper, signed 59 x 45cm R R P79 Romm, Nina (SA ) Sweetie pie framed ceramic bowl, 26cm diameter and Two Cups and Saucers and two mugs from the Johannesburg Art Gallery table ware exhibition, signed, 1995, diameter of bowl 26cm R 800 R P80 Sebidi, Helen (SA ) Sharing Spirits Together Linocut, signed, 99, AP 39 x 34cm R R

34 P81 Spears, Frank Sydney (SA ) Still Life with Bowl of Roses Oil on board, signed 48 x 60cm R R

35 P82 Boyley, Errol (SA ) Seascape Oil on board, signed 59 x 89cm R R

36 P83 Kentridge, William Joseph (SA ) Domestic Scenes poster Unique hand coloured screenprint, signed 47 x 60cm R R This one-of-a-kind poster was made for William Kentridge s fi rst exhibition in Cape Town in The exhibition was a showing of one of his fi rst series of prints, which he titled Domestic Scenes. About fi fty prints in total, the series explored how the personal was so deeply imbibed with the political in 1980s South Africa. In her seminal book on South African resistance art, fellow artist Sue Williamson calls these works skirmishes on the home front. This poster quotes the images of two of the primary characters from the etchings: the white breadwinner, who has a stark resemblance to Kentridge himself, and a caricatured domestic worker who performs serving a cup of tea as if she is about to launch into a rendition of the can-can. Kentridge has a particular love of posters, as is evidenced in his prolifi c production of them over the last thirty years, and it is clear in this early example that he is a profound image-maker. The fairly inexpensive brown paper that acts as the backdrop to this image is not a mere choice of thriftiness, but sets a stage on which to maximise the contrast between black and white and the pastel pink shades that shroud the Victorian style uniform of the domestic worker. The brown paper also has an especially domestic quality: a manila envelope or package fresh out of the post box or the cladding of a child s schoolbook. The poster is thus an invitation to look at what is hidden beneath the surface and gives further indication of this in the outline of a pink high-heeled foot and leg, which peaks out at an odd angle from behind the shoulder of the domestic worker. Both characters in the image look towards this disturbance, distracted for a moment by what is perhaps behind-the-domestic-scenes. S V* Reference: 1. Williamson, S Resistance art in South Africa. Cape Town: David Philip. p

37 P84 Klar, Otto (SA ) Fishermen s Cottages Oil on board, signed 26 x 48cm R R

38 P85 Tugwell, Christopher (SA ) Freestate Landscape Oil on board, signed 27 x 58cm R R

39 P86 After Picasso, Pablo (Spanish ) From the Vollard Suite Etching, embossed Plitt 29 x 35cm R R

40 P87 Kentridge, William Joseph (SA ) Drawing for Faustus in Africa Charcoal and collage on paper, signed, with signed Faustus program 18,5 x 27cm R R In 1995 William Kentridge collaborated with the Handspring Puppet Company to produce a play, which they titled Faustus in Africa. Inspired by Johann Wolfgang von Goethe s impenetrable Faust, which Kentridge received as a gift for his Bar Mitzvah as a young teen, the play translates the famous German tragedy into a scathing critique of the colonial consumption of Africa: The legend of Faust is based on the story of the sixteenth-century learned scholar who squandered his fortune and then sold his soul to the devil in exchange for additional time to search for the meaning of existence through travel and indulgences. After making his pact with the devil, Handspring s Faustus goes on a safari. Indulging in elaborate feasts and buying sprees, Faustus attempts to consume all that Africa has to offer. Transposed to Africa his desires become those of the archetypal greedy colonialist his victims the African people and their land. This rare and unusual drawing of a bank note by Kentridge was most probably produced for the fi rst scene in Act 2 of the play in which two offi ce clerks print money to fund Faustus consumptive travels. In his research for the play, Kentridge consulted various archives and libraries in Johannesburg and as such it is no surprise to see a wealth of colonial imagery throughout the image-regime of the play. Here it is a typical explorer posed with a walking stick inside an oval tondo frame who looks out towards the rest of the scene on the bank note as if in surveyance. The odd denomination of 101 pounds is further complicated by the clock that stands in for the number zero. In some sense, this imagery echoes the premise of the play: that Faustus is given time to fi nd the meaning of life. A quirky element in the image is the prominent inclusion of Standard Bank who helped enable the production of the play through their sponsorship of the National Arts Festival where the play showed in its fi rst run. S V* References: 1. Handspring Puppet Company Faustus in Africa. Available: [2015, October 19]. 2. Kentridge, W Faustus in Africa. Contemporary Theatre Review. 9(4): DOI: /

41 P88 Dingemans, Johannes (JAN) (SA ) Group of Figures in a Landscape Oil on board, signed, x 80cm R R

42 P89 Wesselmann, Tom (American ) New Bedroom Blonde Doodle Colour screenprint, signed, numbered 77/ x 83cm R R

43 P90 Catherine, Norman Clive (SA ) Untitled from Birds of a Feather Colour digital print, signed, numbered 43/45 15 x 13cm R R P91 Catherine, Norman Clive (SA ) Untitled from Birds of a Feather Colour digital print, signed, numbered 43/45 15 x 13cm R R P92 Catherine, Norman Clive (SA ) Untitled from Birds of a Feather Colour digital print, signed, numbered 43/45 15 x 13cm R R

44 P93 Nhlengethwa, Jabulane Sam (SA ) Gossipers Colour lithograph, signed, 06, numbered 3/50 29 x 38cm R R P94 Meerkotter, Dirk Adriaan (SA ) Man Pushing Cart Oil on board, signed 39 x 28,5cm R R

45 P95 Bell, Deborah Margaret (SA ) Notebook Etching, signed, 04, numbered 23/40 47 x 35cm R R

46 P96 Battiss, Walter Whall (SA ) People in Love with Trees Colour lithograph, 1981, signed by Giles, numbered AP 11/20 37 x 52cm R R P97 Roos, Nico (Nicholas Oswald) (SA ) Desert Storm Acrylic on paper, signed 62 x 73cm R R P98 Tugwell, Christopher (SA ) Bluegums in landscape Oil on board, signed 40 x 80cm R R

47 P99 Nhlengethwa, Jabulane Sam (SA ) Ingolvuana Lithograph, numbered 12/35 18 x 22cm R R P100 Battiss, Walter Whall (SA ) Space Games Pencil and watercolour on paper, signed, x 35cm R R P101 Loubser, Ryan (SA ) Dancing Caledon Street Oil on canvas laid down on board, signed, inscribed and dated 2015 verso 14 x 18cm R R

48 P102 Hodgins, Robert Griffiths (SA ) Solitary Etching, signed, 08, numbered 6/20 43 x 37cm R R

49 P103 Jansem, Jean (French ) Nu Japon Colour lithograph, signed, numbered 81/ x 26cm R R P104 Jansem, Jean (French ) Nu aux Jambieres Colour lithograph, signed, numbered 99/ x 26cm R R P105 Kentridge, William Joseph (SA ) The Benediction of Shade Poster, numbered 28/ x 62cm R R

50 P106 Appollis, Tyrone Errol (SA ) Negotiations and settlement Oil on paper, signed 36 x 46cm R R P107 Van Der Westhuizen, Pieter (SA ) The Couple Mixed media on paper, signed, x 26cm R R

51 P108 Portway, Douglas Owen (SA ) Abstract Composition with Four Squares Mixed media on paper, signed, x 65cm R R

52 P109 Nice, Christiaan (SA ) Township Scene Oil on board, signed 34 x 39cm R R P110 Loubser, Ryan (SA ) Baobab Oil on canvas laid down on board, signed and inscribed verso 20 x 26cm R R

53 P111 Loubser, Ryan (SA ) Kokerboom Oil on canvas laid down on board, signed and inscribed verso 17 x 17cm R R P112 Battiss, Walter Whall (SA ) Tane, Tahiti Pencil on paper, signed, x 35cm R R

54 P113 Van Den Berg, Shany (SA ) En Daar Was A Man Oil and string on found book, signed, x 25cm R R

55 P114 Mayer, Ernst Karl (Erich) (SA ) Near Clarens Watercolour, signed, ,5 x 23,5cm R R

56 P115 Battiss, Walter Whall (SA ) Shape on a Sea-Seat Watercolour, signed,.19 April x 43cm R R

57 P116 Battiss, Walter Whall (SA ) Male Nude Study Pen and ink on paper, signed, x 36cm R R

58 P117 Enslin, George (SA ) Harbour Scene Oil on canvas, signed, x 90cm R R P118 Britz, Phillip (SA ) Show Jumping Oil on board, signed 49 x 45cm R R

59 P119 Baker, Kenneth (Kenny) (SA ) Street View to the Ocean Oil on board, signed 45 x 37cm R R

60 P120 Ferri, Fleur (South African ) Lady in Green Dress Oil on board, signed, x 64cm R R P121 Jensma, Wopko (SA ) and Burwitz, Nils (SA ) Two works: Eleven Headed Figure and Those who Glitter Screenprints, signed, 73, Numbered AP 3/4 & 53/60, one unframed 63 x 47cm R R

61 P122 Claerhout, Fr. Frans (SA ) Pieta Oil and mixed media on paper, signed 71 x 47cm R R

62 P123 Batha, Gerhard (SA ) Muizenberg I Oil on canvas, signed 90 x 120cm R R

63 P124 McCaw, Terence John (SA ) Village at Sante Maria Panza Oil on board, signed, x 59cm R R

64 P125 Battiss, Walter Whall ( SA ) Lisa Colour screenprint and collage, signed, numbered 1/50 63 x 50cm R R

65 P126 Jean, Philippe (French ) Torreador Bronze, signed, numbered 18/ x 20 x 26cm R R P127 Jean, Philippe (French ) Jeunes fi lles Bronze, signed, numbered 78/300 height 54cm R R P128 Jean, Philippe (French ) Abstract Form Bronze, signed, numbered 19/ x 24 x 10cm R R

66 P130 Segogela, Johannes Mashego (SA ) Couple Oil on carved wood 26cm height R R P131 Segogela, Johannes Mashego (SA ) Woman Dressed in Orange Holding a Baby Oil on carved wood 33cm height R R

67 P132 P133 Battiss, Walter Whall (SA ) Green Beach Poster, signed, numbered AP 6/11 51 x 63cm (unframed) R R Battiss, Walter Whall (SA ) Fishing Lithograph, signed, numbered 51/ x 50cm (unframed) R R P134 Catherine, Norman Clive (SA ) King Ferd the III Commemoration by Norman King Norman Poster, signed, numbered 93/ x 71cm (unframed) R R P135 Catherine, Norman Clive (SA ) and Kruger, Braam (SA ) Two works: Cactus Man and Het Sterckshof XI Screenprints, signed, 82, numbered 14/90 and EA 10/12 71 x 50cm & 52 x 77cm (unframed) R R 3 000

68 P136 Hodgins, Robert Griffiths (SA ) Show How Beautiful his Heart is Poster, signed, 96, numbered 92/ x 84cm (unframed) R R P137 P138 Sebidi, Helen (SA ) The Chameleon Story Screenprint, signed, 95, numbered 24/45 39 x 54cm R R Sebidi, Helen (SA ) Tselane!!Tselane!!Tselane!! Ngwanaka Screenprint, signed, 95, numbered 24/45 39 x 54cm R R P139 Mautloa, Pat (SA ) Untitled Mixed media on paper, signed 59 x 84cm R R

69 P140 Scouller, Glen (Scottish ) Desert Taxis, Morocco Oil on canvas, signed 102 x 112cm R R

70 P141 (This image cannot be displayed due to license/royalty constraints) Clarke, Peter (SA ) Two works: Tesselaarsdal and Thistledown Photolithographs, signed 14,5 x 10cm & 12 x 9,5cm R R P142 Costello, Michael (SA 1948) Mythological Nude Oil on paper, signed, x 32cm R R P143 Mautloa, Pat (SA ) Conversation Mixed media on board, signed, x 50cm R R P144 Sekete, Paul (SA ) Figures and Houses Oil on canvas, signed, x 100cm R R

71 P145 Ndlovu, Sipho (SA 1968) Tribute to Julius Mfete II Oil on canvas, signed 44 x 111cm R R

72 P146 Dario Manjate Milorho dreams Collage on canvas, signed, x 124cm R R

73 P147 Ballen, Roger (SA ) Portrait of Joan with her Pugs and Lillian Photograph, signed, 1999, numbered 12/35 36 x 36cm R R P148 Woodborne, Judy (SA ) Dies Nox et Omnia Etching, signed, 1993, numbered 41/50 45 x 21cm R R P149 Woodborne, Judy (SA ) Et Omnia Etching, signed, 1993, numbered 12/50 43 x 19cm R R

74 P150 Papageorge, Georgie (SA ) Africa Rifting, Lines of Fire Lamda print 136 x 44cm R R P Serneels, Clement (SA ) Nu Assise II Oil on canvas, signed, x 70cm R R

75 P153 Swart, Ryno (SA ) Repose Watercolour, signed, x 27cm R R P154 (This image cannot be displayed due to license/royalty constraints) Clarke, Peter (SA ) Two works: Bouquet and Pypies Photolithographs, signed 13,5 x 8cm & 12 x 9,5cm R R P155 Alice, Bonita (SA ) Cat Wool dust and archival glue on paper, signed, 2010, numbered 2/3 71 x 33cm R R

76 P156 Tillim, Guy (SA ) Kunhinga Portraits: Sisters Bertha Chquia and Jamba Rosa and Sisters Louisa Vuyuyu and Maria Mamunga Pigment prints on cotton paper, signed, 2002, numbered 2/12 60 x 75,5cm R R

77 P157 Preller, Alexis (SA ) Nude Pencil on paper, signed 14,5 x 20,5cm R R P158 Amaler-Raviv, Arlene (SA ) He Crossed my Mind Oil on canvas 15 x 30cm R R P159 Ribeiro, Johnny (SA ) Abstract No 1 Carved, incised and painted panel, signed 47 x 35cm R R

78 P160 Nel, Louis (SA ) 24-Aug-13 Oil on canvas, signed, 13, titled verso 40 x 50cm R R P161 Nel, Louis (SA ) 26-Aug-13 Oil on canvas, signed, 13, titled verso 40 x 50cm R R

79 P162 Skotnes, Pippa (SA ) Untitled From Advent Series, etching, signed, numbered 6/20 35 x 34cm R R P163 Skotnes, Pippa (SA ) Untitled, from Advent Series Etching, signed, numbered 6/20 35 x 34cm R R P164 Skotnes, Pippa (SA ) Untitled, From Advent Series Etching, signed, numbered 6/20 35 x 34cm R R

80 P165 Taute, Hannelie (SA ) Quick Tip, Quick Tip Collage and ink on board, signed, x 70cm R R P166 Buthelezi, Mbongeni Richman (SA ) Figures Etching, signed, 2001, numbered 19/ x 58cm R R P167 Sekete, Paul (SA ) Untitled XII Pastel on paper, signed, x 45cm R R

81 P168 Kumalo, Sydney Alex (SA ) Church Lady Pastel on paper, signed, x 55cm R R

82 P169 Meerkotter, Dirk Potpourri Etching and mixed media, signed, x 54cm R R P170 Coquette, Pierre (20th Century) Miriam Makeba North Sea Jazz Festival, Cape Town Photograph, signed, 2004, numbered 3/25 56 x 35cm R R P171 Page, Frederick Hutchison (FRED) (SA ) Derelict House Watercolour, signed, x 37cm R R

83 P172 Nel, Karel (SA ) In - Tact (Johannesburg Centenary) Colour screenprint and collage, signed, 86, numbered 22/ x 55cm R R P173 Skeaping, John Rattenbury (British ) The Toreador Pastel on paper, signed, x 76cm R R

84 P174 Naude, Andre (SA ) CC, Untitled Acrylic on paper, signed, x 55cm R R P175 Neustetter, Marcus (SA ) Two works: Untitled Pen and ink on paper, 2008, one signed 77 x 57cm R R

85 P176 Beauchamp, Vusi (SA ) Danger Acrylic on canvas, signed 91 x 76cm R R

86 P177 Beauchamp, Vusi (SA ) Malignant Acrylic on canvas, signed 92 x 76cm R R

87 P178 Britz, Phillip (SA ) Children on Beach Oil on board, signed 43 x 57cm R R P179 Mbatha, Eric (SA ) Schoolmates Etching, signed, 70, numbered 6/30, unframed 20 x 14cm R R P180 Siopis, Penny (SA ) Passions and Panics Poster, signed, numbered 35/120, unframed 67 x 82cm R R

88 P181 (This image cannot be displayed due to license/royalty constraints) Skotnes, Cecil Edwin Frans (SA ) Reclining Female Figure Woodcut print, signed, 1973, numbered 16/30 image unframed, 8 x 13,5cm R R P182 Goldblatt, David (SA ) Three Men Rest at the Side of the track between Bute Asbestos Mine and Heuningvlei Digital print, signed, numbered 17/60, 42 x 59,5cm (unframed) R R

89 P183 Dzunesani, Maluleke, Two works: Swihundla and Ndhuti Woodblock prints, signed, 13, numbered 1/10 and 4/10, sheet 49 x 70cm (unframed) R R P184 Catherine, Norman Clive (SA ) Endangered Species Colour photolithograph, signed, numbered 4/ x 71cm (unframed) R R P185 Louw, Johann (South African ) Two Works: Lying Head I and Lying Head IV Screenprints, signed, numbered 6/25, sheet 49 x 39cm, image 19 x 25cm (unframed) R R

90 P186 Lipkin, Aileen (SA ) God and Hope from The Egyptian Series Ink, pencil and oil wash on paper, signed, 83, unframed 50 x 65cm R R P187 Naude, Andre (SA ) CC, Untitled Acrylic on paper, signed 39 x 55cm R R P188 Van Schalkwyk, Jaco (SA ) Polish Cavalry #3 Ink on paper, signed, x 57cm R R P189 Kerr, David Ord (British, 1952) Pair of Ravens in Falling Snow Watercolour, signed 85 x 53cm R R

91 P190 (This image cannot be displayed due to license/royalty constraints) Clarke, Peter (SA ) Mending the Nets Colour woodblock print, signed, , artist s proof 22 x 19cm (unframed) R R

92 P191 Ballen, Lynda (SA 20TH C) Diamonds don t fall from the Sky 16 1/16 Carats Ink drawing, gouache and glitter on reconstituted paper, signed, cover image of exhibition catalogue 63 x 43cm R R P192 Romm, Nina (SA ) Springtime meditation Oil on board 51 x 35cm R R

93 P193 Smit, Anton Sydney (SA ) Untitled Carved wood 75 x 75 x 30cm R R P194 (This image cannot be displayed due to license/royalty constraints) Clarke, Peter (SA ) Red Apples Colour linocut, signed, numbered 30/50 10 x 8cm R R

94 P195 Battiss, Walter Whall ( SA ) Self Portrait Pen and ink on paper, signed, x 20cm R R

95 P196 Hodgins, Robert Griffiths (SA ) This is Artemis Water colour and charcoal on paper, signed, x 35cm R R

96 P197 Villa, Edoardo (SA ) Abstract Relief Bronze, signed, 1964, 18,5 x 16cm R R

97 P198 Rorkes Drift Vase P height 13,5cm R 800 R P199 Walford, Andrew (SA ) Glazed stoneware lidded jar height 31cm R R P200 Van Der Westhuizen, Pieter (SA ) Jerusalem Watercolour, signed, x 56cm R R

98 P201 Kentridge, William Joseph (SA ) Heating and Ventilation Lithograph, signed, numbered 68/100 19,5 x 26,5cm R R

99 P202 Froud, Gordon (South African ) The Last Teaparty Version VI Sepia, digital print, signed, 2014, numbered 10/10 sheet 56 x 91cm (unframed) R R

100 P203 Cohen, Steven (SA ) Angels Colour screenprint on fabric 134 x 219cm R R

101 P204 Catherine, Norman Clive (SA ) Red Rubber Neck exhibition poster Signed, numbered 29/120, unframed 80 x 57cm R R P205 Manyoni, Bhekisani (SA ) Simunye Wood 98 x 120 x 125cm R R

102 P206 Kanjiro, Kawai (Japanese ) Glazed stoneware vase Bought on a visit to the artist studio height 16,5cm R R P207 Van Der Reis, Gunther Friedrich Julius (SA ) African Journey Oil on board 103 x 133cm R R

103 P208 Tugwell, Christopher (SA ) Extensive Landscape with Farmhouse and Cattle Oil on board, signed 59 x 90cm R R

104 P209 Battiss Walter Whall ( SA ) Self Portrait Pen and ink on paper, signed, x 20cm R R

105 P210 After Pierneef, Jacob Hendrik (SA ) Two first day covers unframed R 800 R Dumile Feni and Cecil Skotnes Two First Day Covers, unframed R 800 R P210 P211 (This image cannot be displayed due to license/royalty constraints) P212 (This image cannot be displayed due to license/royalty constraints) Dumile Feni, Cecil Skotnes and Frans Oerder Three First day covers unframed R 800 R

106 P213 (This image cannot be displayed due to license/royalty constraints) Clarke, Peter (SA ) Girl frightened by Spider Colour woodblock print, signed, 1982, numbered 11/30 image 18 x 12cm R R

107 P214 McCaw, Terence John (SA ) Hout Bay Oil on board, signed 49 x 59cm R R

108 P215 Bieber, Jodi (SA ) Brett Saretski - I am a Nobody Photograph 56 x 46cm (unframed) R R

109 P216 Battiss, Walter Whall (SA ) Double sided work: Recto Landscape with Two Figures and Verso Landscape with Cattle Watercolour, signed 22,5 x 33cm R R

110 P217 (This image cannot be displayed due to license/royalty constraints) Clarke, Peter (SA ) Haunted Landscape Gouache and collage on paper, signed, x 38cm R R

111 In 1975, Peter Clarke spent 9 months in Ohio, USA on a writing residency. During this time he completed a large oil triptych titled Haunted Landscape, which was littered with ominous symbols of the turbulence that was going on in his home country: a black cat atop a fence, a lonely pram, a trash can, a wheel-less bicycle, a barking dog and two white doves in a brawl, mid-air while three children make their way home. The painting is one of his most famous and interpreted works: Phillipa Hobbs and Elizabeth Rankin dedicate a whole chapter to it in his 2011 monograph titled Listening to Distant Thunder, The Art of Peter Clarke. As they argue, the artwork s seminal place in art history is because of the prophetic quality of the haunted landscape as a harbinger of the trauma that children would suffer in South African townships (2011: 137). Preceding the Soweto Uprising of 1976, the painting begins to suggest the loss of innocence that the country would face during the violent clash between school children and police. This collage of the same name, made three years after the famous triptych, engages this seminal work in a way that is yet to be adequately written and engaged by art historians. The collage adopts some of the iconography of the triptych, most notably the two doves: For Clarke, the birds symbolised frustrating political-party wrangles. Yet he observes that his symbolformulation process in Haunted Landscape was all more intuitive than that and that meaning in this work is intended to be fl uid. Birds, for example, could suggest quite different and more positive readings, as they had in the print series of Clarke recalls that people around Ocean View owned birds that formed benevolent fl ocks, which would swirl in the sunset glow before they settled down for the evening. Or they could be a portent of the promise of a new day. But... Haunted Landscape...casts these birds in a querulous embrace (2011: 136). Elza Miles echoes this interpretation in her essay on Clarke in More than Brothers: Peter Clarke and James Matthews at Seventy when she evocatively describes how the doves are oblivious to what is taking place on the ground (2000: 76). In reusing this imagery so precisely in the 1978 Haunted Landscape, Clarke seems to will us into looking for a narrative. The triptych marks the search for a home for the three children in the centre of the work, but as the title suggests, all they fi nd is a haunted house, empty of comfort and hope. As Miles notes: Here children are denied protected childhood and innocent games. Fear, whether of the ferocious animal or haunted shelter, is their daily companion. When eventually they grow up, their journey leads into desolation (2000:81). In the collage we are presented with no fi gures, no vegetation, no life at all bar the still-fi ghting doves. The house motif remains, as does the jagged path to its front door, and yet it is empty still no smoke rises from its chimney, its door and window show no signs of occupation. Clarke refers directly to haunted houses in his discussion of the work, saying that at the time of the Group Areas Act, one would fi nd little haunted houses everywhere because people were being forcibly removed from their homes (2011: 136). In contrast to the triptych, the collage includes fragments of collaged text, which further provoke a close reading of the narrative. A plane of the desolate hill is formed by a piece of text reading: Director of National Monuments Council and below the large skull of a springbok a fragment reads: Cape Town, To be opened by Prof. J. J. Oberholtser. In 1978 Oberholtser was indeed the director of the National Monuments Council (NMC) and an openly known member of the Afrikaner Broederbond. In National or Nationalist? A Critique of the National Monuments Council, (1991) Franco Frescura argues that the NMC s declaration and sponsorship of monuments during apartheid correlated closely with the political crises that unfolded over time markedly increasing in number until they reached a high point in 1975, fell perceptibly in 1976 after the Soweto Uprising, and rose again from Perhaps Clarkes inclusion of this information in this collage in 1978 points to the lack of memorialising of the violence experienced by young South Africans at the time the image of the springbok skull picked clean of fl esh standing as an unlikely monument to the haunted houses scattered over the countryside. We could also begin to imagine how this work too could be read as prophetic in light of the recent discourse over the country s monuments characterised by the Rhodes Must Fall campaign. Importantly it is not just in terms of subject matter that makes this work vital for those interested in South African art, but also in medium. The work is certainly the fi rst example of Clarke s use of collaged found text in such an integral way. Hobbs and Rankin suggest the possibility of collage was a new avenue of exploration already broached in the scrap paper skies of his Norwegian paintings (2011: 146). This work predates that body of work by at least a year. Clarke s use of collage (and particularly its use in this Haunted Landscape) is also a fi rm move towards more direct political commentary, which is also often credited to his time spent in Norway. S V* References: 1. Lee, D Peter Clarke: Following Dreams and Finding Fame. Johannesburg: Awareness Publishing. 2. Hobbs, P. & Rankin, E Listening to distant thunder: the art of Peter Clarke. Johannesburg: Standard Bank of South Africa. 3. Frescura, F National or Nationalist: The Work of the Monument s Council, National Urban Conservation Symposium held at the University of the Witwatersrand, Johannesburg, July 1990, Editors: Derek and Vivienne Japha. Cape Town: Oakville Press, Ignatius Claassen, Luvey and Rose, Cape Town

112 P218 Podlaschuc, Marianne (SA ) Mother and Children in Village Acrylic on board, signed 59 x 74cm R R

113 P219 Battiss, Walter Whall ( SA ) Exhibition Poster Pretoria 1979 Signed, numbered 143/ x 65cm R 800 R

114 NOTES

115 NOTES Credit *S V Stacey Vorster is a lecturer in the Wits History of Art department as well as the curator of the Constitutional Court Art Collection

116 P203 Steven Cohen, Angels auctioneers