May 2017 Session 2 / Fine Art

Transcription

1 May 2017 Session 2 / Fine Art

2 P156 Lionel Smit Woman in Profile

3 Session 2 / Fine Art Saturday, 13 May :00 PM t f c e rka@global.co.za Like us on Facebook facebook.com/rkauctioneers

4 P1 Battiss, Walter Whall (SA ) Nude Figures Pen and coloured ink on paper, Signed, 16-Nov-75, 37 x 51cm R R

5 P2 Van Essche, Maurice (SA ) Pair of works: Rome Pen, ink and watercolour on paper, Signed, 68, 16 x 22cm each R7 000 R

6 P3 Jean Jansem (French ) La Japonaise Lithograph, Signed, numbered XXXXVI/L, with artist signed certificate pasted to reverse, 73 x 53cm R4 000 R7 000 P4 Catherine, Norman Clive (SA ) Fook cat Lithograph, Signed, numbered 75/100, 46 x 67cm R2 000 R

7 P5 Catherine, Norman Clive (SA ) Critters and Roses on Fook Island Lithograph, Signed, numbered 75/100, 60 x 47cm R2 000 R4 000 P6 Oldert, Johannes (SA ) Still Life with Vase of Lizianthis Oil on board, Signed, 59 x 75cm R3 000 R

8 P7 Braque, George (French ) Oiseaux Colour lithograph, Signed, numbered 71/75, 57 x 42cm R7 000 R

9 P8 Van Der Leek, Casey (SA ) Three Works: Farmhouses in Landscapes Oil on canvas, one unsigned, 23 x 35cm each R3 000 R5 000 P9 Skotnes, Cecil Edwin Frans (SA ) Left Panel No. 3 Explosion Watercolour, Signed, 79, 49 x 32cm R5 000 R

10 P11 P10 Eloff, Zacharias (Zakkie) (SA ) Family Etching, Signed, numbered 38/75, 58 x 69cm R2 000 R4 000 Cattaruzza, Guiseppe (SA ) Windmill and Cattle in Landscape Oil on board, Signed, 35 x 52cm R1 000 R2 000 P12 Eloff, Zacharias (Zakkie) (SA ) Kudu Sparring Watercolour on paper, Signed, 45 x 60cm R2 000 R4 000 P13 Hasegawa, Shoichi (Japanese ) Port du l Avenir Colour etching, Signed, numbered EA 2/10, 65 x 55cm R2 000 R

11 P14 Schwanecke, Ulrich (SWA ) Triptych, landscape Watercolour, Signed, 80, 65 x 113cm R5 000 R8 000 P15 Oldert, Johannes (SA ) Near George Oil on board, Signed, 60 x 90cm R5 000 R

12 P16 Cantrell, Arthur (SA ) Market Scene Oil on board, Signed, 1998, 60 x 79cm R5 000 R8 000 P17 Romm, Nina (SA ) Cat Woman Mixed media on paper, 1999, 61 x 58cm R2 000 R3 000 P18 Braque, George (French ) Vase de fleurs jaunes Colour etching, Signed, numbered 298/300, 54 x 37cm R4 000 R

13 P19 Braque, George (French ) Marine Noire Colour lithograph, Signed, numbered 54/400, 54 x 74cm R5 000 R8 000 P20 Tobiasse, Theo (Israeli/French, ) Je Traverse une Ville, Sur un Cheval de Papier Colour lithograph, Signed, numbered 17/175, 51 x 65cm R1 500 R

14 P21 Battiss, Walter Whall (SA ) Study of a Young Boy Watercolour on paper, Signed, 38 x 28cm R R

15 P22 Battiss, Walter Whall (SA ) Nude Abstract Composition Khoki on paper, Signed, 15-Oct-80, 27 x 19cm R8 000 R

16 P23 Feni - Mhlaba, Dumile (SA ) Three Women Pen and ink on paper, Signed, 1967, 33 x 23cm R R

17 P24 Oldert, Johannes (SA ) Bluegums near Barberton Oil on board, Signed, 29 x 42cm R2 000 R3 000 P25 Skotnes, Pippa Ann (SA ) Cape Farm House Etching, Signed, 1980, numbered 7/8, 35 x 27cm R1 000 R2 000 P26 P27 Armstrong, Geoffrey (SA ) Abstract Composition Oil on board, Signed, 1971, 122 x 122cm R2 500 R3 500 Matthew Whippman (South African, ) Abstract Composition Mixed media on board, Signed, 66, 71 x 49cm R3 000 R

18 P28 Cattaruzza, Guiseppe (SA ) Harrismith near OFS Oil on board, Signed, 34 x 47cm R1 000 R2 000 P29 Hasegawa, Shoichi (Japanese ) Le Neit Coloured etching, Signed, numbered 38/55, 52 x 63cm R2 000 R3 000 P30 Van Der Merwe, Charles (SA ) Cape Flats Oil on board, Signed, 92, 29 x 59cm R3 000 R5 000 P31 Van Der Merwe, Charles (SA ) Cottages in Landscape Oil on board, Signed, 92, 14 x 29cm R1 000 R

19 P32 Battiss, Walter Whall (SA ) Abstract Forms Linocut, Signed, 18 x 24cm R4 000 R6 000 P33 Cantrell, Arthur (SA ) Commissioner Street, Johannesburg Mixed media on paper, Signed, 57, 34 x 54cm R1 000 R2 000 P34 Lekgetho, Simon Moroke (SA ) Tree in Landscape Oil on board, Signed, x 60cm R5 000 R

20 P35 Bardavid, Regi (SA ) Being a Gypsy Oil on canvas, Signed, 95, 23 x 18cm R1 000 R1 500 P36 Jensma, Wopko (SA ) Figure Crayon on paper, Signed, 85, 25 x 17cm R4 000 R6 000 P37 (This image cannot be displayed due to licence/royalty constraints) Mason Attwood, Judith Seelawder (SA ) Profile Lithograph, Signed, 1982, numbered 16/100, 36 x 39cm R1 000 R

21 P38 Cantrell, Arthur (SA ) Island Scene Oil on board, Signed, 60 x 79cm R5 000 R8 000 P39 Claerhout, Fr. Frans (SA ) Two Female Nudes Mixed media on paper, Signed, 55 x 38cm R2 000 R

22 P40 Skotnes, Cecil Edwin Frans (SA ) Figures Photolithograph, Signed, numbered 40/100, 48 x 32cm R1 000 R2 000 P41 Hilder, Rowland (British ), Port De Sylvas, Spain Watercolour, Signed, provenance, Everard Read Gallery label to reverse, 25 x 35cm R3 000 R5 000 P42 Goldblatt Sidney (SA ) Figures and Horses Monoprint, Signed, 43 x 48cm R1 200 R

23 P43 Bisschoff, Olaf (SA ) Good Luck Oil on board and reverse painted glass, Signed, 2016, 39 x 39cm R4 000 R7 000 P44 Bhengu, Gerard (SA ) Zulu Elder Watercolour on paper, Signed, 37 x 27cm R8 000 R

24 P45 Fasciotti, Titta (SA ) Sunset in The Knysna Lagoon Oil on board, signed T. Scotty, 29 x 42cm R3 000 R5 000 P46 Hasegawa, Shoichi (Japanese ) Byzance Colour lithograph, Signed, numbered E.A. 6/10, 34 x 43cm R1 000 R

25 P47 Donaldson, Kim (SA ) Elephants Near Kariba Pastel on paper, Signed, 66 x 96cm R R P48 (This image cannot be displayed due to licence/royalty constraints) Kobeli, Eli (SA ) Mokabrar Mixed media on paper, Signed, 97, 44 x 65cm R1 500 R2 500 P49 Palmer, Alfred (SA ( ) Removing a Thorn Pastel and charcoal on paper, Signed, diameter 31cm R2 000 R

26 P50 Schwanecke, Ulrich (Swa ) Pair of Works: Landscapes Watercolour, Signed, 84, 18 x 12cm each R1 000 R2 000 P51 Britz, Phillip (SA ) Cape Street Scene Oil on board, Signed, 89 x 121cm R4 000 R7 000 P52 Du Plessis, Hannes (SA ) Abstract Composition Acrylic on board, Signed, 73 x 114cm R2 500 R

27 P53 Westbrook, Walter (SA ) Namibian Landscape Watercolour, Signed, 48 x 71cm R4 000 R6 000 P54 Kokoschka, Oskar (Austrian ) Harbour Scene Lithograph, Signed, numbered 52/75, 62 x 90cm R5 000 R8 000 P55 Braque, George (French ) The Chaise Colour lithograph, Signed, numbered 286/300 has acid damage to surround, 37 x 28cm R2 500 R

28 P56 Woodrow, Mervyn (SA ) Musicians Oil on board, Signed, 59, P57 30 x 24cm R2 000 R3 000 Brangwyn, Sir Frank (British ) Sketch of A Man Etching, Signed, 40 x 37cm R4 000 R7 000 P58 Brangwyn, Sir Frank (British ) The Tree, Hammersmith Etching, Signed, 39 x 31cm R4 000 R

29 P59 P60 Brangwyn, Sir Frank (British ) A Street in Tours Etching, Signed, 30 x 24cm R3 000 R5 000 Brangwyn, Sir Frank (British ) The Bridge, Barnard Castle Etching, Signed, 29 x 36cm R3 000 R5 000 Sir Frank Brangwyn was one of the most highly esteemed artists in the world in the early 1900s. Over the course of eight decades, he was prolific and versatile, making over individual artworks across media. He had a particular fondness for etching, and printmaking more generally, because of its accessibility to wider audiences. Having designed upwards of original prints, he is commonly named as one of the most prolific printmakers of the 20th century. The subject matter of these prints is primarily cityscapes. Brangwyn was particularly fascinated with technology and structural development: much of his oeuvre is dominated by windmills, bridges and boats. Rarely did Brangwyn include human figures as primary subjects and as such Sketch of a Man is a particularly special work. Strikingly, the human figure is presented without much suggestion of a background. In all Brangwyn's works, there is an incredible play of chiaroscuro, which lends a drama and theatricality to the images, while they simultaneously remain rooted in the real. P61 Brangwyn, Sir Frank (British ) Castle Wall Etching, Signed, 37 x 32cm R4 000 R

30 P62 Brangwyn, Sir Frank (British ) Street Scene with Figures and Carriages Etching, Signed, 12 x 14cm R1 500 R2 500 P63 Batha, Gerhard (SA ) Maidens Mixed media on paper, Signed, 90 x 120cm R6 000 R9 000 P64 Whippman, Matthew (SA ) Still Life vase of Flowers Oil on canvas, Signed, 66, 60 x 50cm R3 000 R

31 P66 P65 Cattaneo, Guiseppe (SA ) Gable Screenprint, Signed, 86, numbered 96/100, 50 x 69cm R1 500 R2 500 Du Plessis, Hannes (SA ) Abstract Composition Acrylic on board, Signed, 122 x 81cm R2 500 R3 500 P68 P67 Boonzaier, Gregoire Johannes (SA ) Portrait of an Elderley Woman Pencil on paper, Signed, 1966, 42 x 31cm R3 000 R Wood, Trevor (Zimbabwe ) Worlds Within a World Oil on board, Signed, 64, 60 x 98cm R4 000 R7 000

32 P69 Page, Frederick Hutchison (Fred) (SA ) The Journey(3) Linocut, Signed, 33 x 42cm R4 000 R7 000 P70 Page, Frederick Hutchison (Fred) (SA ) Wind Linocut, Signed, 66, numbered 1/12, 48 x 27cm R4 000 R7 000 P71 Voigt, Harold (SA ) Landscape Oil on board, Signed, 42 x 89cm R7 000 R

33 P72 Battiss, Walter Whall (SA ) Rock Artist Screenprint, Signed, 1979, numbered 91/250, 30 x 42cm R8 000 R

34 P73 Baitler, Zoma (Uruguayan ) View of Jerusalem Oil on board, Signed, 29 x 39cm R2 000 R3 000 P74 Baldinelli, Armando (SA ) Reclining Nude Lithograph, Signed, 16/8/2001, inscribed, 51 x 69cm R1 500 R2 500 P75 Calder, Alexander (American ) Humanite Lithograph, Signed, x 56cm R3 000 R

35 P76 Volschenk, Jan Ernst Abraham (SA ) Helderberg Stellenbosch Oil on canvas, Signed, 1928, 14 x 22cm R R P77 (This image cannot be displayed due to licence/royalty constraints) Clarke, Peter (SA ) Man with White Cock Linocut, Signed, , numbered 14/54, 17 x 11cm R5 000 R

36 P78 (This image cannot be displayed due to licence/royalty constraints) Clarke, Peter (SA ) Reclining Buck Linocut, Signed, , numbered 27/30, 13 x 13cm R5 000 R8 000 P79 Brigg, Melvin (Mel) (SA ) Farm Landscape Oil on board, Signed, 49 x 74cm R4 000 R

37 P80 De Jongh, Tinus (Marthinus - Johannes) (SA ) Mountainous Landscape Oil on canvas, Signed, 25 x 30cm R R

38 P81 Battiss, Walter Whall (SA ) The World of Icarus Before He Flew Pen and ink on paper, Signed, 51 x 73cm R R

39 P82 Nice, Christiaan (SA ) Street Scene with Traders Oil on board, Signed, 75, 25 x 34cm R7 000 R P83 Madge, Don (Donald James) (SA ) Farmhouse in Landscape, Near Franschoek Oil on board, Signed, 50 x 75cm R4 000 R

40 P84 Battiss, Walter Whall (SA ) Profile Watercolour on card, Signed, 16 x 19cm R6 000 R

41 P85 Boyley, Errol (SA ) Seascape Oil on board, Signed, 39 x 49cm R R

42 P86 Boyley, Errol (SA ) Building and Figures Oil on board, Signed, 23 x 45cm R R

43 P87 Dumas, Marlene (SA ) Gelukkig 1984, New Year message from Rento Brattinga Lithograph, Signed, numbered A.E. 83/84, 66 x 49cm R R

44 P88 Boshoff, Adriaan (SA ) Figures and house in the Trees Oil on board, Signed, 16 x 29cm R R

45 P89 Fasciotti, Titta (SA ) Zulu Maidens Oil on canvas board, Signed, 76, 40 x 30cm R R

46 P90 Skotnes, Cecil Edwin Frans (SA ) Two Heads Oil on carved and incised panel, Signed, 13 x 20cm R R

47 P91 (This image cannot be displayed due to licence/royalty constraints) Clarke, Peter (SA ) Guitarist Linocut, Signed, , numbered 24/34, 15 x 12cm R6 000 R9 000 P92 Serfontein, Henk (SA ) Fragmented, Ordered and Displayed II Oil on panel, Signed, 2001, 50 x 149cm R R

48 P93 Battiss, Walter Whall (SA ) Woman with Skipping Rope Screenprint, Signed, numbered 1/10, 50 x 68cm R8 000 R

49 P94 Shilakoe, Cyprian Mpho (SA ) My Childhood Remembrance Woodcut, Signed, numbered 5/25, 32 x 47cm R8 000 R

50 P95 Rose - Innes, Alexander (SA ) House in Landscape Oil on board, Signed, 39 x 49cm R R

51 P96 Claerhout, Fr. Frans (SA ) Village Scene: Houses, Figures and Goats Oil on board, Signed, 48 x 58cm R R

52 P97 Jentsch, Adolph Stephan Friedrich (Swa ) Südwestafrika Watercolour, Signed, 1957, 21 x 36cm R8 000 R

53 P98 Bell, Deborah Margaret (SA ) Odyssey Three Aquatint and drypoint etching, Signed, 2004, numbered 17/18, 113 x 78cm R R

54 P99 Gradwell, Margaret (SA ) Still Life and Mantelplace Oil on canvas, Signed, 69, 76 x 101cm R4 000 R7 000 P100 Koenig, Dezso (SA ) Three Figures in an Interior Setting Oil on canvas, Signed, 76 x 51cm R2 000 R

55 P101 Battiss, Walter Whall (SA ) Bird and Boy Screenprint, Signed, special print and inscribed To Munirah Nazli wishing her great happiness, 53 x 40 R8 000 R

56 P102 Boyley, Errol (SA ) Seascape Oil on board, Signed, 29 x 40cm R6 000 R

57 P103 Bakker, Kenneth (South African, ) Geostructure No. 32 Mixed media relief construction, Signed, 69, 91 x 91cm R R By the late 1960s, Kenneth Bakker s oeuvre was almost completely devoid of references to the outside world at first sight. For the most part, as Esmé Berman contends, Bakker s work was always largely devoid of social implications despite his earlier work being dominated by seascapes (1970: 52). The title, Geostructure No. 32, however, implies a foundation in nature: the etymology of the word geostructure begins with the Ancient Greek geo, which directly translates to earth. Bakker was largely limited to his home in Simonstown due to illness, and the ocean was quite literally his backyard. In an article in the June 1970 edition of Lantern, in which this painting is featured, Amanda Botha suggests that the Geostructure series was based on studies of eroded rocks in the shallow pools of the beachfront. In Geostructure No. 32, it is quite possible to read the white areas framing the image at top and bottom as an abstracted rendition of a clearing in the water to reveal the structures beneath. The organic circles that overlap may similarly be related to ripples in the water, bubbles that catch the light at their edges. However, what this reading seems to deny is a broader interpretation that moves beyond illustration. Berman describes these later works as excavations behind the picture plane, which prompts a reading of these works not merely as meditations on the world around us, but projections into an imagined earth beyond comprehension, beyond the senses. Here we may begin to investigate the second part of the word geostructure, which functions not only as a noun but as an action. Bakker s works seem to float between the real and the imagined, as studies in the natural as well as the metaphysical. References: Berman, E Art and artists of South Africa: an illustrated biographical dictionary and historical survey of painters & graphic Artists since Cape Town: Balkema. pp Botha, A Die Taal van Kenneth Bakker. Lantern. June: Vol. XIX, No. 4, pp. 14/19, ill

58 P104 Cilliers - Barnard, Bettie (SA ) Head Acrylic on board, Signed, x 55cm R R

59 P105 Herbo, Fernand (French, ) Voiliers Dans le Port Oil on canvas, Signed, 53 x 80cm R7 000 R

60 P106 Goldblatt Sidney (SA ) Abstract Landscape Oil on board, Signed, 1967, 55 x 74cm R R

61 P107 Sumner, Maud Eyston (SA ) Mrs Shackleton Oil on canvas, Signed, 1928, 75 x 56cm R R

62 P108 Van Wouw, Anton (SA ) Portrait of Koen Roorda Bronze, Signed, height 28cm ex base R R Illustrated on page 136 of Anton Van Wouw: The Smaller Works (2008). This incredibly charming bust of a young boy is a portrait of a friend s son: Koenraad Willem Koen Roorda, who confirmed in 1983 to A. E. Duffey that he sat for the portrait in Anton van Wouw was friendly with the Roorda family who also lived in Doornfontein at the time and had also recently immigrated from the Netherlands. Koen was 6 years old when van Wouw made the portrait and remained in South Africa for most of his life. He passed away in 2012 at the age of 92. The portrait is a testament to van Wouw s, almost pedantic, attention to detail, which results not only in the extreme life-like nature of his subjects but captures gesture in a very powerful way. Sometimes titled Child s Head, this portrait is an essay on youthfulness: Koen s tussled, slightly curly hair suggests an energy that is suspended in the moment captured. Van Wouw was inclined to work from life rather than imagery and it s a mystery for how long young Koen would have needed to sit still. His posture is perhaps one clue: with his shoulders curled inwards and his chin slightly lifted, he gives the impression of a reluctant obedience. In his book Anton Van Wouw: The Smaller Works, Duffey captures the power of works like this: All these small sculptures do not only attest to Van Vouw s meticulous workmanship but also his profound knowledge of his subject matter, eventually entailing that each individual work of art not only possesses minute detailing but also inner power and monumentality Duffey (2008:77). Interestingly, Koen s sister Catherina Margaretha Cato Roorda, is thought to be the model for van Wouw s famous sculpture of a Boer Woman and her children which was created for the Voortrekker Monument in Pretoria in the late 1940s. References: Cohen, M.J Anton Van Wouw: Sculptor of South African Life. Johannesburg: Radford, Adlington, Ltd. Duffey, A.E Anton Van Wouw: The Smaller Works. Pretoria: Protea Book House

63 P109 P110 Hoets, Digby (SA ) ash glaze over combed slip lidded jar Height 41 x diameter 52cm R3 000 R5 000 Hoets, Digby (SA ) dolomite white glaze over a combed slip pot Height 45 x diameter 57cm R3 000 R5 000 P111 Munyaradzi, Henry (Zimbabwean, ) Head Soapstone, Signed, height 18cm R5 000 R

64 P112 Nel, Hylton (SA ) The Ritz Carlton Seoul Ceramic bowl, Signed, 6.98, diameter 26cm R2 500 R3 500 P113 Braque, George (French ) Oiseaux Lithograph, Signed, numbered 25/75, 70 x 58cm R6 000 R9 000 P114 Amshewitz, John Henry (SA ) The Dancer Oil on canvas, Signed, 60 x 91cm R9 000 R

65 P115 Van Essche, Maurice (SA ) Harlequin Oil on canvas, Signed, 75, 63 x 53cm R R Maurice van Essche s paintings of clowns or harlequins are commonly described in terms of the tragicomic condition of man that is captured in the conflict between their attire and context and their sorrowful expressions (See Buchner, 1967 & Berman, 1970). Most of the works in this series image the clowns standing in front of deep red backgrounds, some like in this case, furthering the carnivalesque theme by referencing the theatricality of the circus. However, there are never any references to other members of their troupe, which emphasises their isolation and forlorn character. It is arguable, perhaps, that these portraits are not a series of harlequins, but a close study of the same figure: in most portraits the man is characterised by the same dark hair, receding slightly and often punctuated by one loose strand curving across the forehead. Similarly, the figure is typically characterised by his slightly elongated face and neck, high cheekbones and dark, almost empty eyes. The style of these paintings is reminiscent of the cubists and fauvists, who commonly featured similar characters. This influence can likely be traced back to van Essche s short time training under Henri Matisse in France, after having met him by chance at an artist's supply shop in Cagnes on the Riviera. References: Buchner, C van Essche. Cape Town: Tafelberg. Berman, E Art and artists of South Africa: an illustrated biographical dictionary and historical survey of painters & graphic Artists since Cape Town: Balkema. pp

66 P116 Boshoff, Adriaan (SA ) Herding Cattle Oil on board, Signed, 20 x 30cm R R

67 P117 Piper, John (British ) White Cliffs Gouache and ink on paper, Signed, label to reverse when loaned to Johannesburg Art Gallery for The Master Works on Paper exhibition 1984, 53 x 68cm R R What is perhaps most fascinating about John Piper s practice as an artist is that despite experimenting with abstraction in his early works, he reverted completely to naturalism by the early 1940s in the opposite direction of many other British artists. This work is likely to have been done between 1943 and 1950 during which the artist spent time documenting the mountains of North Wales. Piper travelled to Wales at the bequest of the War Artists Advisory Committee who commissioned him to record the interior of Manod Mawr quarry. Despite the commission falling through, Piper spent a substantial amount of time travelling to Wales and he and his family eventually rented a cottage in the Nant Ffrancon valley in the mountainous region of Snowdonia. The winter weather during this time resulted in a series of studies of mountain landscapes unshaken by gusts of wind and dark skies. In White Cliffs, the wind whirls behind the snow covered jagged outcrops. Commenting on his time in Wales, Piper describes the mood he attempted to evoke in these images: I felt then that I was seeing the mountains for the first time and seeing them as nobody had seen them before (1986). Piper s notes offer more detail on his image-making process. For instance, he describes white spirals and ochre colours referencing the different species of lichen that floated off rock faces (Munro 2012). This work featured in the exhibition: Masterworks on Paper, at the Johannesburg Art Gallery in 1984 and the South African National Gallery in Reference: Munro, M John Piper: A Journey Through Snowdonia. National Museum of Wales. Available: Snowdonia/

68 P118 Smith, Richard John Templeton (SA ) The Garden Oil on canvas, Signed, 91 x 122cm R8 000 R

69 P119 Vermeulen - Breedt, Marie (SA ) The Verandah Oil on paper on board, Signed, 54 x 74cm R6 000 R9 000 P120 Van Der Leek, Casey (SA ) Farmhouse at Foot of Mountains Oil on canvas, Signed, 59 x 89cm R3 000 R

70 P121 Agam, Yaacov (Israeli 1928) Double Metamorphosis V Screenprint, Signed, numbered 65/180, 92 x 127cm R R

71 P122 (This image cannot be displayed due to licence/royalty constraints) Laubser, Maggie (Maria Magdalena) (SA ) Flowers Watercolour and pencil, Signed, 1946, 30 x 22cm R R

72 P123 Welz, Jean (SA ) Tradouwspass Pen and ink on paper, Signed, 41, 21 x 31cm R3 000 R5 000 P124 Roon, Gerrit (SA ) Landscape Oil on canvas, Signed, 51 x 76cm R1 500 R2 500 P125 Batha, Gerhard (SA ) Interior scene with Table and Chandelier Watercolour, Signed, 70 x 60cm R4 000 R

73 P126 Watson, W H (British) Pair of Works: Sheep and Cattle on Mountainside Oil on canvas, Signed, 1924, 39 x 59cm each R8 000 R

74 P127 Whippman, Matthew (SA ) Boats on Lake Oil on canvas, Signed, 61, 44 x 60cm R5 000 R

75 P128 Goldblatt, Sidney (SA ) Street Scene Oil on canvas, Signed, 59 x 75cm R R

76 P129 Ampenberger, Stefan (SA ) Landscape Oil on board, Signed, 44 x 59cm R7 000 R

77 P130 Murray, Brett (SA ) Mr Entitled Oil and gold leaf on steel, 122 x 96cm R R

78 P131 Voigt, Harold (SA ) Landscape Oil on card, Signed, 40 x 57cm R4 000 R7 000 P132 Naude, Andre (SA ) Still Life of Vases Oil on board, Signed, 96, 33 x 41cm R2 000 R3 000 P133 Badenhorst, Philip (SA ) Still Life of Lilies Oil on board, Signed, 95, 48 x 48cm R4 000 R

79 P134 Kentridge, William Joseph (SA ) Beheading of Prisoners (from Triumphs and Laments) Laser - cut black Canson paper mounted on found book pages, Signed, 2016, inscribed Thato Thank You, 24 x 31cm R R In 2016, William Kentridge concluded a monumental site-specific work along the banks of the River Tiber. Responding and reflecting on Roman history, Kentridge designed a 500 by 13-metre procession which was inscribed onto a wall adjacent to the river. Layered onto the wall is the accumulation of time through pollution and dirt. Using a process of stencilling, Kentridge washed away the negative areas of the design and thereby used the contrast of the clean and dirty areas to render the image. Commenting on the work, Beatrice Zamponi declares: Kentridge has therefore managed to capture the very essence of the city, to represent the sense of passing time, of the cultures and eras which follow one another, of the richness of stratification; understanding how much Rome is a sophisticated example of beauty born of contamination (2016). This work is one of the studies for the wall and is processed in a similarly interesting way. Referencing the stencilling technique, Kentridge renders the negative of the image through black laser-cut paper, mimicking the process of creating the site-specific work. By placing the stencil over a page of text, Kentridge creates a comparative metaphor in relation to history: by masking some text, he engages in a process of over-writing, similar to the build-up of pollution on the wall. The image, the title prompts, is a reference to histories of capital punishment in Rome. The page onto which this scene is superimposed seems to be drawn from a gazetteer (a geographical dictionary) of sorts, in Italian, which features several American place names including Garrettsville, Georgetown and Gasconada. In Kentridge s typical style, the references are not intended to be illustrative by provocative, leading us as the viewer to find connections between the elements of the image. Reference: Zamponi, B William Kentridge: Triumphs and Laments - Art - Domus. Available: html [2017, May 04]

80 P135 Battiss, Walter Whall (SA ) Running Man - Sleeping Girl Watercolour, khoki and gouache on paper, Signed, , 20 x 29cm (unframed) R8 000 R

81 P136 Bettie Cilliers Barnard Portfolio symbols: ten photolithographs Signed, numbered 35/100, 58 x 45cm each R8 000 R

82 P137 P138 Skotnes, Cecil Edwin Frans (SA ) Shaka Kills The Leopard Woodcut, Signed, 1973, numbered 145/225, 50 x 33cm (unframed) R2 000 R4 000 Skotnes, Cecil Edwin Frans (SA ) Shaka Kills The Mamba Woodcut, Signed, 1973, numbered 145/225, 50 x 33cm (unframed) R2 000 R4 000 P139 Eloff, Zacharias (Zakkie) (SA ) Dassies Pen and ink on paper, Signed, 26 x 34cm (unframed) R1 200 R

83 P140 (This image cannot be displayed due to licence/royalty constraints) Clarke, Peter (SA ) House with Palm Tree Upper Malay Quarter Simonstown Pen, ink and watercolour on paper, Signed, 17 Nov. 1951, 12 x 17cm (unframed) R4 000 R6 000 P141 (This image cannot be displayed due to licence/royalty constraints) Clarke, Peter (SA ) Rocks and Sea Simons Bay Pen, ink and watercolour on paper, Signed, 25-Jan-52, 12 x 15cm (unframed) R4 000 R6 000 P142 (This image cannot be displayed due to licence/royalty constraints) Clarke, Peter (SA ) The Derry Duver Pen, ink and watercolour on paper, Signed, Aug-51, 11 x 15cm (unframed) R4 000 R

84 P143 (This image cannot be displayed due to licence/royalty constraints) Clarke, Peter (SA ) Two Ladies Pen, ink and watercolour on paper, Signed, Nov-52, 12 x 7cm (unframed) R4 000 R6 000 P144 Willie Bester, Louis Maqhubela, Fritha Langerman, Stephen Inggs, Malcolm Payne, David Brown and Gavin Young, Pippa Skotnes Eight colour lithographs from The Homage Portfolio Signed, numbered 14/50, (unframed) R4 000 R

85 P145 (This image cannot be displayed due to licence/royalty constraints) Pemba, George Mnyalaza Milwa (SA ) Basket Weaver Oil on board, Signed, 1951, exhibited and catalogued Limpopo, Modern and Contemporary Art Then, Now and Beyond, 2008, 26 x 23cm R R

86 P146 Van Wouw, Anton (SA ) Leemans, The Postman Bronze, Signed, Marinelli posthumous cast, height 40cm excl base R R

87 P147 Eloff, Arend (SA ) Rhino Bronze, Signed, numbered 4/30, 18x 29cm incl base R4 000 R7 000 P148 Mkhize, Johannes Fanozi (Chickenman) (SA ) Gone Fising (sic) Oil on masonite, 56 x 22cm R1 500 R

88 P149 Skotnes, Cecil Edwin Frans (SA ) Two Heads Oil on carved and incised panel, Signed, 59 x 70cm (76 x 91cm with frame) R R

89 As one of the most recognisable motifs from Cecil Skotnes woodcarvings, the connotations of the head have been a long fascination for art historians trying to interpret his work. While most often likened to masks, Skotnes has been fairly clear that this was not a direct influence. Rather he recounts anecdotally happening upon the iconography while drawing a wicker work chair in the 1950s: [the chair] had a malacca cane structure with batons to support your body at the back. I drew the chair, which was curved, and I cut out the negative spaces leaving the black lines for the structure. When I turned it [the drawing] upside down it became a face. Obviously that didn t happen the first time I looked, but it certainly developed in the first three or four months (quoted in Harmsen 1996) Over time, figures of abstracted heads would come to evoke totems, masks, bodies, as well as landscapes both real and imaginary. In Skotnes woodcarvings, in particular, the wicker chair seems oddly present in the cross hatching that recedes into the background. Another prominent character captured in Two Heads is Skotnes predilection for pairing or coupling images. Here, the heads seem to be caught in a face-off of some kind, a confrontation that suspends them in this intimate moment. Reference: Harmsen, F Cecil Skotnes Retrospective Catalogue Cape Town: SA National Gallery

90 P150 Shilakoe, Cyprian Mpho (SA ) The Head Etching, Signed, 1969, numbered 1/10, 35 x 29cm R R

91 P151 Portway, Douglas Owen (SA ) Standing Nude Etching, Signed, numbered 22/75, 48 x 32cm R4 000 R

92 P152 Battiss, Walter Whall (SA ) Hide and Seek White ink on black paper, Signed, , 34 x 49cm R R P153 Korzennik, Mickey (SA ) Abstract Composition Oil on board, Signed, 07, 118 x 148 R7 000 R

93 P154 Brangwyn, Sir Frank (British ) The Gate Etching, Signed, 40 x 47cm R4 000 R7 000 P155 Van Essche, Maurice (SA ) Two Figures Gouache on paper, Signed, 34 x 27cm R5 000 R

94 P156 Smit, Lionel (SA ) Woman in Profile Oil on canvas, Signed, 2007, 120 x 120cm R R These two monumental images of the same model are typical examples of Lionel Smit s oeuvre. Working in both sculpture and painting, Smits focus is on the portrait. Most commonly, he presents his figures tightly cropped in a magnified close up that is at least ten times life size. This results in mountainous heads which evoke landscape as much as they do portrait. Of Smit's more recent works, these two portraits are comparatively stripped of unnecessary colour planes and floating interruptions. The focus in the relative bareness of the paintings is thus the exquisite way that Smit evokes the play of light across the figure's skin. Many of Smits works seem to evoke the world of advertising: his models are primarily women, beautiful women, who seem familiar in their inarticulacy. Out of context, we might imagine them selling us perfume, or makeup, or simply a lifestyle of consumerism. Many bear a strong resemblance to fashion photography, not only because of the naturalistic rendition of the subject but because of their style, pose and gesture. In these two portraits, however, we are not confronted by the gaze of the sitter; she looks off into the distance in the one and down towards her feet in the other. She is thus not engaging us in the way of the other characters in Smit s scenes. This is perhaps why these portraits feel so much more intimate, so much more particular than many others. This mysterious woman cannot be understood at the pace of a moving car. Rather, we are invited to study her luminous skin, her strong chin and her girl-next-door style in a potentially fruitless attempt to read her thoughts

95 P157 Smit, Lionel (SA ) Woman Looking Down Oil on canvas, Signed, 2007, 120 x 120cm R R

96 P158 Batha, Gerhard (SA ) Still Life vase of flowers Oil on board, Signed, 130 x 150cm R R

97 P159 De Jong, Ernst (SA ) Minaret Gold leaf, nail and wire assemblage on board, Signed, May-64, 26 x 18cm R5 000 R8 000 P160 Battiss, Walter Whall (SA ) Figure Studies Pen and ink and collage on paper, Signed, , 38 x 27cm R5 000 R

98 P161 Battiss, Walter Whall (SA ) Liza Screenprint, Signed, numbered 23/50, 67 x 54cm R8 000 R

99 P162 LAWRENCE, R (20th CENTURY) Jock of The Bushveld Bronze, Signed, diam 24 x height 14cm R2 500 R3 500 P163 Mabasa, Noria (SA ) Seated figure with Staff Carved wood, Signed, height 59cm R5 000 R

100 P164 Mabasa, Noria (SA ) Standing Figure Carved wood, Signed, height 134cm R5 000 R8 000 P165 Stone, Simon Patrick (SA ) Nude Watercolour on paper, Signed, 93, 20 x 26cm R4 000 R

101 P166 Squibb, Ruth Audrey (SA ) Farm Landscape Oil on board, 59 x 89cm R4 000 R7 000 P167 Fasciotti, Titta (SA ) Scenery Near Caledon, C.P. Oil on board, signed T. Scotty, 29 x 40cm R3 000 R

102 P168 Hofmann, Eugen (SA ) Flamingos Copper sheet metal, Signed, height 121cm R5 000 R8 000 P169 Battiss, Walter Whall (SA ) Nude Figures Linocut, Signed, first proof, 23 x 28cm R5 000 R

103 P170 Van Essche, Maurice (SA ) Man Resting Gouache on paper, Signed, 52, 41 x 32cm R5 000 R8 000 P171 Battiss, Walter Whall (SA ) Chariot of Fire Photolithograph, signed by Giles and numbered 99/100, 48 x 70cm (unframed) R1 500 R

104 P172 Van Essche, Maurice (SA ) Nude Pen and ink on paper, Signed, x 27cm R3 000 R

105 P173 Alexander, Keith Savel (SA ) The Anniversary Oil on canvas, Signed, 81, 46 x 61cm R R

106 Notes

107 Notes

108 P115 Maurice Van Essche Harlequin auctioneers&