docLOT 521 - Stephan Welz and Co
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LOT 521 - Stephan Welz and Co
LOT 521 FURNITURE • COLLECTABLE CARS DECORATIVE ARTS • PHOTOGRAPHY • PAINTINGS TUESDAY 18 OCTOBER 2016 | 19H00 | LOTS 421 - 580 S|3 FURNITURE ENGLISH FURNITURE 421 AN ENGLISH OAK MULE CHEST, 18TH CENTURY the hinged moulded rectangular top enclosing a compartment, panelled front with a pair of short panelled drawers below, on bracket feet, restorations 87,5cm high, 141cm wide, 47cm deep ILLUSTRATED R 10 000 - R 20 000 421 422 A GEORGE III PADOUK FALL-FRONT BUREAU the rectangular top above a hinged fall-front enclosing compartments and drawers, in sizes, a long drawer below flanked by lopers above three long graduating drawers, on bracket feet, distress, restorations 105,5cm high, 95,5cm wide, 57,5cm deep ILLUSTRATED R 15 000 - R 20 000 422 423 423 424 A REGENCY GILTWOOD OVERMANTEL A QUEEN ANNE WALNUT MIRROR CHEST-ON-STAND the rectangular breakfront top above a beaded frame, a Roman mythological scene above three mirrored panels flanked by reeded columns, on a plinth base 90cm high, 140cm wide in two parts, the rectangular top above a pair of short drawers, three long graduating drawers below, the lower section centred by a short frieze drawer flanked by a pair of box drawers, shaped apron, on flat bun feet, distress, restorations 134cm high, 106cm wide, 50cm deep ILLUSTRATED R 14 000 - R 16 000 ILLUSTRATED R 9 000 - R 12 000 424 58 S|3 FURNITURE 425 A SET OF SIX EDWARDIAN WALNUT CHAIRS comprising: a pair of carvers and four side chairs, each panelled curved back rail, curved reeded bottom rail and carved bellflower mid-rail centred by an inlaid shell cartouche, between reeded supports, drop-in seat above a panelled apron, on ring-turned tapering legs joined by a turned X-stretcher (6) ILLUSTRATED R 12 000 - R 15 000 425 A PIANO 426 A YAMAHA G2 WALNUT BABY GRAND PIANO, CIRCA 1980 426 lockable case, serial number J 3020105, on square-section tapering legs, on castors; and A Piano Stool, en suite 100,5cm high, 147,5cm wide, 166,6cm deep (2) ILLUSTRATED R 100 000 - R 120 000 59 S|3 FURNITURE 427 CONTINENTAL FURNITURE 427 A NORTH ITALIAN WALNUT-veneered, OLIVEWOOD and MARQUETRY BUREAU PLAT, 18TH CENTURY the rectangular crossbanded quarter-veneered top centred by an inlaid patera, a central quarter-veneered crossbanded cockbeaded frieze drawer flanked by a pair of short quarter-veneered crossbanded cockbeaded frieze drawers below, opposing quarterveneered crossbanded cockbeaded panels, the sides similarly inlaid to the top above shaped aprons, on square-section tapering legs, distress, restorations 82cm high, 135cm wide, 68cm deep PROVENANCE By descent to the current owner ILLUSTRATED 60 R 200 000 - R 300 000 427 DETAIL S|3 FURNITURE 428 AN OAK CUPBOARD, LATE 17TH/early 18TH CENTURY the rectangular top above a frieze carved with figures of eight and inscribed TBE 1697, flanked by drop finials, a pair of carved panels below flanked by panelled doors each enclosing a compartment, a carved frieze below above a central panel flanked by panelled doors, each enclosing a shelf, on square-section feet 165cm high, 191cm wide, 58cm deep R 28 000 - R 38 000 429 A DUTCH WALNUT DISPLAY CABINET, LATE 18TH/EARLY 19TH CENTURY the moulded gabled top centred by a carved key block, a pair of arched foliate-carved cottage-pane glazed doors below enclosing three shaped shelves, canted cottage-pane glazed sides, the lower bombé section comprising three graduating long drawers, shaped and carved apron, on claw-and-ball feet, restorations 228cm high, 184,5cm wide, 49cm deep ILLUSTRATED R 15 000 - R 25 000 429 430 A DUTCH BIRDS-EYE-MAPLE AND PAINTED WALL CABINET, 19TH CENTURY the arched pediment above a conforming fruit-and-flower painted glazed door enclosing a compartment, canted corners, glazed arched sides, on flat bun feet 80,5cm high, 80cm wide, 41cm deep ILLUSTRATED R 5 500 - R 10 000 430 61 S|3 FURNITURE 431 431 A FRENCH TULIPWOOD-veneered AND ORMOLU-MOUNTED BUREAU PLAT, MAISON MILLET, PARIS, 19TH CENTURY the breakfront top with gilt-tooled leather inset writing surface, moulded ormolu surround, a central frieze drawer below flanked by two pairs of short drawers, opposing dummy drawers, on restrained cabriole legs, on lion-paw feet, signed Millet à Paris, restorations 79cm high, 167cm wide, 94,5cm deep Maison Millet was established by Théodore Millet in 1853 and traded until 1918 in Paris. The firm specialised in Louis XV and XVI styles and was known for its exceptional craftsmanship and quality. The company won numerous exhibition awards and prestigious gold medals for their furniture and in 1902 the firm was commissioned by the Palace of Versailles to replicate Marie-Antoinette’s celebrated grand cabinet à bijoux. ILLUSTRATED R 450 000 - R 750 000 62 431 DETAIL S|3 FURNITURE 432 COLONIAL FURNITURE 432 A COLONIAL AMBOYNA AND IVORY INLAID JEWELLERY BOX, 19TH CENTURY NOT SUITABLE FOR EXPORT the hinged rectangular top centred by a conforming cartouche, the reverse with an inset mirror, enclosing a removable tray with compartments, in sizes, concealing a compartment 13,5cm high, 29cm wide, 19,5cm deep 433 ILLUSTRATED R 4 000 - R 6 000 433 AN EBONISED SIDE CHAIR the foliate-carved top and bottom rails joined by barley-twist splats between carved square-section supports surmounted by finials, drop-in seat above a foliate-carved apron, on carved block and barley-twist legs, on bun feet joined by a barley-twist box-stretcher, restorations ILLUSTRATED R 12 000 - R 15 000 CAPE FURNITURE 434 A PAIR OF PAINTED CAPE CHAIRS each curved top and bottom rail between square-section supports, riempie seat, on square-section tapering legs joined by an H-stretcher, distress (2) 434 ILLUSTRATED R 1 200 - R 2 200 435 A CAPE REGENCY STINKWOOD AND BRASS INLAID SIDE CHAIR the curved reeded top rail above three conforming bottom rails joined by turned bobbins, between reeded inlaid square-section supports, caned seat, bowfronted apron, on ring-turned tapering legs R 1 500 - R 3 000 436 A CAPE STINKWOOD AND YELLOWWOOD JONKMANSKAS, 19TH CENTURY the rectangular outswept moulded top above a pair of short drawers, a pair of panelled reeded doors below enclosing a pair of shelves, panelled reeded sides, on bracket feet, restorations 131cm high, 112cm wide, 47cm deep ILLUSTRATED R 12 000 - R 18 000 436 63 S|3 FURNITURE 437 A SET OF FOUR SANDVELD SYRINGAWOOD CHAIRS, 19TH CENTURY each reeded top and bottom rail between reeded tapering square-section supports, riempie seat, on square-section tapering legs joined by a box-stretcher (4) ILLUSTRATED R 16 000 - R 20 000 438 A SET OF TEN CAPE REGENCY STINKWOOD CHAIRS each curved reeded top rail above a bow-tie mid-rail, between reeded scrolling supports, caned seat, on ring-turned tapering legs (10) ILLUSTRATED R 12 000 - R 15 000 439 A CAPE SANDVELD LEMOENHOUT CHAIR, 437 19TH CENTURY the curved reeded top rail centred by a diamond motif, reeded bottom rail between tapering square-section supports, riempie seat, on square-section tapering legs joined by a box-stretcher ILLUSTRATED R 1 500 - R 3 000 438 64 439 S|3 FURNITURE 440 440 A CAPE YELLOWWOOD HALL TABLE, 20TH CENTURY the rectangular rounded moulded top above a plain frieze, on six ring-turned tapering legs 80,5cm high, 91cm wide, 405cm long ILLUSTRATED R 30 000 - R 40 000 SOUTH AFRICAN FURNITURE 441 A FLAME MAHOGANY BREAKFRONT BOOKCASE MANUFACTURED BY PIERRE CRONJE, LAST QUARTER 20TH CENTURY in two parts, the broken swan neck pediment centred by an urn finial above a moulded cornice, plain frieze above four cottage-pane glazed doors enclosing three shelves, the lower section comprising four panelled doors, each enclosing a shelf, on a plinth base, distress 260cm high, 247cm wide, 50cm deep ILLUSTRATED R 60 000 - R 80 000 441 65 S|3 FURNITURE 20TH CENTURY CONTEMPORARY DESIGN 442 A DANISH EUROPEAN WALNUT SIDEBOARD DESIGNED IN THE 1960s BY SVEND AAGE LARSEN FOR FAARUP MØBELFABRIK the rectangular top above a pair of tambour sliding doors enclosing four shelves and a compartment flanked by a shelf and a pair of shelves, on turned tapering legs, manufacturer’s label 79,5cm high, 48,5cm wide, 203cm long ILLUSTRATED R 18 000 - R 25 000 442 443 A HARP CHAIR DESIGNED IN THE 1968 BY JØRGEN HØVELSKOV FOR CHRISTENSEN & LARSEN the square-section shaped frame with flag line seat ILLUSTRATED R 12 000 - R 15 000 444 A SET OF FOUR LEATHER JASON LITE 1900 CHAIRS DESIGNED BY EOOS IN 2003 FOR KNOLL, 20TH CENTURY each padded back, sides and seat on four tubular legs, manufacturer’s label (4) ILLUSTRATED R 12 000 - R 15 000 443 444 66 S|3 FURNITURE 445 445 AN INDONESIAN PERSPEX AND PAINTED WOOD TABLE, 20TH CENTURY the rectangular top centred by a perspex panel covering weathered timber, on conforming square-section legs, fitted for electricity 78cm high, 110cm wide, 299,5cm long ILLUSTRATED R 30 000 - R 40 000 446 446 AN IMISO DOCKS COFFEE TABLE DESIGNED AND MANUFACTURED BY ANDILE DYALVANE, 2009 of geometric design, each colourful geometric block on a conforming geometric base, surmounted by a loose oval glass top 30,5cm high, 120cm wide, 66,5cm deep This is a commissioned piece inspired by the close knit houses alongside the ship and container yards in Woodstock. ILLUSTRATED R 30 000 - R 40 000 447 A GIOCASTA FLOOR LAMP DESIGNED BY ANDREA ANASTASIO FOR ARTEMIDE, 20TH CENTURY the chromed steel stand with five arms, three adorned with coloured Murano glass, in various shapes and sizes, the other two terminating in scrolls, on a circular base, fitted for electricity, stamped Relco Italy 210cm high ILLUSTRATED R 20 000 - R 30 000 NO LOTS 448 - 450 447 67 S|3 CARS 451 A 1988 MINI MAYFAIR CONVERTIBLE 1275cc, 4 cylinder motor, 47 900 miles, maroon with grey leather upholstery, German built, two owners since new ILLUSTRATED 68 R 120 000 - R 150 000 COLLECTABLE CARS COLLECTABLE CARS S|3 452 A 1995 FORD MUSTANG CONVERTIBLE 4 speed automatic transmission, 3.8 litre V6, 26 000 miles, black with black leather interior, left-hand drive, one owner since new ILLUSTRATED R 180 000 - R 240 000 69 S|3 DECORATIVE ARTS SOUTH AFRICAN CERAMICS 461 ESIAS BOSCH (1923-2010): A LARGE VITRIFIED PAINTED PORCELAIN PANEL rectangular, painted with starlings perched in a tree before an extensive landscape 125cm by 160cm A similar example sold Stephan Welz and Company (Pty) Limited, Cape Town, 3 October 2012, lot 714 ILLUSTRATED DPS R 300 000 - R 400 000 70 461 DECORATIVE ARTS S|3 71 S|3 DECORATIVE ARTS ORIENTAL CERAMICS 462 A CHINESE PAINTED POTTERY FIGURE OF A BULL, HAN, 206-220 standing at rest on its four feet, the head tilted slightly to the left, with earth adhering, two apertures to head for wooden horns, lacking, and an aperture for wooden tail, lacking, grey marble base Three drill marks for extraction of core clay at Oxford University: The result of Oxford Authentication Ltd. thermoluminescence test no. C112k60 is consistent with the dating of this lot. Whilst most Han Dynasty sculptures are fashioned from grey clay, this figure of a bull is made from a pale buff toned clay. The choice of the paler clay could well have been to distinguish and elevate him from the herd. Livestock were placed in pens or small herds in Imperial Tombs, the majority often being oxen and cows. The gender of the particular Bull is clearly depicted. This along with the stocky rump, wide chest and prominent crest at the neck gives the impression of a well-bred animal that would sire healthy offspring, thus guaranteeing abundance in the afterlife. 72cm long ILLUSTRATED R450 000 – 750 000 72 462 Similar examples can be seen at “Han Yang Ling” the Imperial Mausoleum Museum near Xiang. DECORATIVE ARTS 463 A CHINESE PAINTED POTTERY FIGURE OF A RECUMBENT HORSE, HAN, 206-220 with separately modelled head, facing forward with mouth open, traces of red and white pigments remaining, earth adhering, wooden legs lacking 51cm long, ILLUSTRATED R 50 000 - R90 000 S|3 Throughout China’s history, no animal has impacted its development and culture as greatly as the horse. Chinese Horses were domesticate at least 5 000 years ago and played an important role as pack animals and modes of transport. The expansion of the Chinese Empire was threatened by the invasion of Central Asian tribes. Not only did the nomads have excellent horse-riding skills but their horses were far bigger and swifter in comparison to the smaller native Chinese horses. During the Han Dynasty the Chinese Imperial Court heard rumours of ‘the blood-sweating Horses of Ferghana’. China had to protect itself and the Silk Road and its survival depended on its equestrian prowess. As such, China expended vast resources to obtain horses from Ferghana (modern Uzbekistan). The Kingdom of Ferghana would not trade their horses and the Chinese sent an army of 40 000 men to capture the horses but were defeated. A second army of 60 000 men successfully captured 3 000 horses but it is said that only 50 survived the journey. Upon arrival at the court, the horses were hailed to be the ‘Sacred Heavenly Horses’ and aside from their military importance, they fulfilled the legend of the Heavenly Horse, the vehicle of immortality, that would carry the soul to Heaven, hence their importance as tomb effigies. 73 S|3 DECORATIVE ARTS 464 464 A NEAR PAIR OF CHINESE BLUE AND WHITE VASES, 19TH CENTURY each of slightly tapering cylindrical form, densely painted overall with writhing five-claw dragons amongst waves, the neck with greek-key border, with later metal cylindrical two-handled liners, restoration, rivets, hairline crack 55,5cm high (2) ILLUSTRATED R 40 000 - R 60 000 74 464 S|3 DECORATIVE ARTS GLASS 465 A LARGE AVEM ZANFIRICO MILLEFIORI RED ‘TUTTI FRUTTI’ GLASS VASE, CIRCA 1955 of tapering cylindrical form, with internal multicoloured filigrana, millefiori and zanfirico with silver foil inclusions 49,5cm high ILLUSTRATED R 20 000 - R 30 000 465 WORKS OF ART 466 A JAPANESE SHIBAYAMA INLAID AND METALMOUNTED IVORY TUSK TRIPOD VASE AND COVER, MEIJI, 1868-1912 NOT SUITABLE FOR EXPORT inlaid with mother-of-pearl, stained ivory and tortoise shell with a flower-filled jardinière, the reverse with a kingfisher clasping a fish in its beak amongst foliage beside a stream, silver mount to neck, the foot carved as three feet, the cover with butterflies amongst foliage, rose finial, minor loss, chip, repair 30cm high ILLUSTRATED FULL R 30 000 - R 40 000 466 NO LOTS 467 - 470 75 S|3 PHOTOGRAPHY PHOTOGRAPHY 471 BILLY MONK, (SOUTH AFRICAN, 1937-1982): 43. THE SPURS, 29 DECEMBER 1967, PRINTED LATER, SILVER GELATIN PRINT, LIMITED EDITION 1 OF 10 unexamined out of the frame the plate 38cm by 25cm (2) PROVENANCE By descent to the current owner. Accompanied by a certificate of authenticity from the estate of Billy Monk. PART ILLUSTRATED R 15 000 - R 20 000 471 PART LOT 472 BASIL BREAKEY, (SOUTH AFRICAN, 1938-2015): ABDULLAH IBRAHIM STRANDFONTEIN CT, 1971, PRINTED 1998, SILVER GELATIN PRINT, SIGNED AND INSCRIBED WITH THE TITLE AND DATE ON THE MOUNT, LIMITED EDITION 18 OF 100 the plate 31cm by 47cm ILLUSTRATED R 1 500 - R 1 800 76 472 S|3 PHOTOGRAPHY 473 CONSTANCE STUART LARRABEE, (BRITISH/SOUTH AFRICAN, 1914-2000): NDEBELE, 1947, PRINTED 1988, SILVER GELATIN PRINT, PHOTOGRAPHER’S COPYRIGHT STAMP ON THE REVERSE, SIGNED AND INSCRIBED WITH THE DATE IN THE MARGIN, INSCRIBED WITH THE TITLE ON THE REVERSE unframed the plate 31cm by 30cm PROVENANCE Acquired directly from the photographer ILLUSTRATED R 8 000 - R 10 000 474 473 CONSTANCE STUART LARRABEE, (BRITISH/SOUTH AFRICAN, 1914-2000): NDEBELE GIRLS, 1940s, PRINTED 1988, SILVER GELATIN PRINT, PHOTOGRAPHER’S COPYRIGHT STAMP ON THE REVERSE unframed the plate 31cm by 30cm PROVENANCE Acquired directly from the photographer ILLUSTRATED R 8 000 - R 10 000 475 474 CONSTANCE STUART LARRABEE, (BRITISH/SOUTH AFRICAN, 1914-2000): NDEBELE WOMAN WITH DANCING STICKS AND BEADWORK, 1946, PRINTED 1988, SILVER GELATIN PRINT, PHOTOGRAPHER’S COPYRIGHT STAMP ON THE REVERSE, SIGNED AND INSCRIBED WITH THE DATE IN THE MARGIN unframed the plate 34,5cm by 29,5cm PROVENANCE Acquired directly from the photographer ILLUSTRATED R 8 000 - R 10 000 NO LOTS 476 - 480 475 77 S|3 481 481 Pablo Picasso (Spanish 1881 – 1973) LA CORRIDA aquatint printed in colours on Arches wove paper, signed and numbered 49/200 in pencil in the margin sheet size: 48,5 by 65,5cm ILLUSTRATED R180 000 – R 360 000 78 PAINTINGS S|3 PAINTINGS 482 483 482 Walter Whall Battiss (South African 1906 - 1982) 485 Lionel Smit (South African 1982 - ) ROCK ART UNTITLED #2 silkscreen printed in colours, signed, numbered III/XXV and inscribed ‘A/P’ in pencil in the margin sheet size: 23 by 36cm etching on Zerkall Intaglio 280gsm paper, signed, numbered 3/24 and dated 2014 in pencil in the margin sheet size: 76 by 66cm Literature Carman, J. & Isaac, S., Walter Battiss - Gentle Anarchist, Standard Bank Gallery, Johannesburg, 2005, illustrated in colour on p 191 ILLUSTRATED R 12 000 - R 24 000 Exhibited Rook and Raven Gallery, London, Cumulus, 2014 484 ILLUSTRATED R 14 000 - R 24 000 483 Walter Whall Battiss (South African 1906 - 1982) 486 William Joseph Kentridge (South African 1955 - ) UNTITLED SELF HELP silkscreen printed in colours, signed, numbered III/XXV and inscribed ‘A/P’ in pencil in the margin sheet size: 30 by 42cm two colour chine-collé lithograph, signed and numbered 20/45 in pencil in the margin sheet size: 28 by 37,5cm Literature ILLUSTRATED Carman, J. & Isaac, S., Walter Battiss - Gentle Anarchist, Standard Bank Gallery, Johannesburg, 2005, illustrated in colour on p 187 R 15 000 - R 20 000 485 ILLUSTRATED R 15 000 - R 20 000 484 Lionel Smit (South African 1982 - ) UNTITLED #1 etching on Zerkall Intaglio 280gsm paper, signed, numbered 5/24 and dated 2014 in pencil in the margin sheet size: 76 by 66cm Exhibited Rook and Raven Gallery, London, Cumulus, 2014 ILLUSTRATED R 14 000 - R 24 000 486 79 S|3 PAINTINGS 487 487 William Joseph Kentridge (South African 1955 - ) ARC PROCESSION 2 signed, dated 14/10/89, stamped with the artist’s studio stamp and inscribed with the title oil, charcoal, resin and artist’s eraser on canvas laid down on board 46,5 by 47,5cm Provenance Gifted by the artist to the current owner ILLUSTRATED R 380 000 - R 550 000 80 This is one of a number of studies and separate panels of drawings which were exhibited in 1990 at Cassirer Fine Art. Many panels were exhibited overlapped to form very large arcs of figures in processional combinations, and the head of a figure, possibly a miner, wearing a visor/viewer appeared in a number of the large works and studies. This was an early use of a figure which the artist has subsequently used in many other works and series of drawings. Critic Ivor Powell wrote at the time, that ‘the processions ironies the traditional, triumphant deployment of the format of friezes and frescoes. Far from being heroic, Kentridge’s figures are deperados, no-hopes, drunks and pimps...’ It could also be noted here that other works of the time often featured heads, disembodied, or just in bust form, and that this head features elements of both series. The miner could be trying to see in a dark shaft, or somehow blinded by this particular visor. Typical of a group of works which showed processions of figures with little purpose or no clear way forward, toting burdens or animals which hinder them, and frequently under the supervision of a megaphone wielding authority, the work speaks of a disjointed and conflicted time in the history of the country. PAINTINGS 488 S|3 489 488 Gail Catlin (South African 1948 - ) NUDE oil on board with liquid crystal 150 by 123cm ILLUSTRATED R 15 000 - R 20 000 489 Richard Scott (South African 1968 - ) MY VIEW signed and dated 2013 impasto and acrylic on canvas 75 by 150cm ILLUSTRATED R 50 000 - R 70 000 490 Penny Stutterheim (South African 1958 - ) CITADEL signed; signed and inscribed with the title on the reverse oil on canvas 100 by 100cm Provenance The Everard Read Gallery, Cape Town ILLUSTRATED R 70 000 - R 90 000 490 81 S|3 PAINTINGS 491 Penny Stutterheim (South African 1958 - ) SOULMATE signed; signed and inscribed with the title on the reverse oil on canvas 62,5 by 51,5cm ILLUSTRATED R 40 000 - R 60 000 492 Anna Vorster (South African 1928 - 1990) CIRENE (sic.) signed and dated 72; inscribed with the artist’s name, title, medium and ‘Kaapstad 72’ on the reverse oil on canvas 101 by 45cm Literature cf. a similar example appears in Green, E., Ons Kuns 3, Department of Education, Science and Technology, Lantern, Pretoria, illustrated on p 42 ILLUSTRATED R 15 000 - R 20 000 493 Erik (Frederick Bester Howard) Laubscher (South African 1927 - 2013) OVERBERG LANDSCAPE signed and dated ‘02 pastel on paper 26,5 by 36,5cm ILLUSTRATED R 10 000 - R 15 000 82 492 491 493 PAINTINGS S|3 494 494 François Krige (SOUTH AFRICAN 1913 - 1994) ABSTRACT, WEST CAPE COAST signed oil on canvas 65 by 57cm ILLUSTRATED R90 000 - R120 000 83 S|3 PAINTINGS 495 Erik (Frederick Bester Howard) Laubscher (South African 1927 – 2013 ABSTRACT I signed; signed and inscribed with the title on the reverse oil on canvas with artist’s made frame 53 by 53cm (excluding artist’s frame) 60 by 60cm (including artist’s frame) Exhibited Gallery 101, Johannesburg, cat. no. 459 ILLUSTRATED ON OPPOSITE PAGE R 150 000 - R 300 000 Erik Laubscher’s artistic expression and paintings give us a glimpse into the re-emergence of Abstract Art and the beginnings of Modernism. By questioning and trying to ‘answer deeper cultural concerns’ by using geometric forms, the artist brought a different approach to abstraction by ‘breathing new life into a genre, which was to reclaim its place in the limelight.’ In ABSTRACT I we see how the artist was able to break away from his traditional past using new forms of geometric abstraction to create an innovative work. To create space in ABSTRACT I, Laubscher created a formal composition, which gives strength to the shapes in this abstract work of the early 1960s. The shapes are bold and monumental in concept, which are found in the later works. ‘It is his directness and monumentality of his vision, which are indeed the essence of all Laubscher’s works.’ The artist uses flat shapes in the painting to create depth through the use of light-dark colour contrasts set in a framework of strong black linear shapes reminiscent of ‘strips of lead used in stained glass technique’ creating a link, with the revival of ‘Modernism today.’ Laubscher mainly painted in oils. In ABSTRACT I parts of the painting show the ‘scumbling’ technique and recurring shapes found in later paintings and mural designs, eg. the ‘linear boomerang’ shape to the right of the painting. ‘Art is the expression of a deep personal commitment to one’s own private vision.’ ABSTRACT I is unique to Laubscher in both style and content. With the revival of ‘Modernism’ the painting gives one an opportunity to appreciate an early work by an artist, with a powerful vision in response to a personal identity with his own life and allows the viewer to decide what the art work is about and whether important to him or her. Laubscher studied in Paris at the Acadamie Montmartre under Fernand Leger, where he was introduced to new subject matter and ‘Abstraction.’ Inculcated in the artist after his return from Paris we find evidence of Leger’s teaching in Laubsher’s ‘directness and monumentality’ together with contrasting tensions that are all to be found in lot 493. Erik Laubscher’s major contribution to art is his ability to re-invent ideas, which are very different from those used in the past - a deliberate departure from tradition in order to create a modern geometric abstraction. 1. Alexander, F.L., Art in South Africa Painting Sculpture and Graphic Work since 1900, Cape Town, A.A. Balkema, p19 2. Alexander,L. & Cohen,E., 150 South African Paintings Past and Present, Cape Town, Struikhof Publishers, 1990, p123 3. Berman, E. Art & Artists of South Africa - An Illustrated Dictionary and Historical Survey of Painters, Sculptors & Graphic Artists since 1875,CapeTown/ Rotterdam, A. A. Balkema, pp 249-251 4. Osborne,H. The Oxford Companion to Art, London, Oxford University Press, 1975, pp 1089 - 1093 5. Toerien,H. & Duby,G, Our Art 3, Pretoria, Lantern, pp 107-115 6. https://www.google.co.za/?gfe_rd=cr&ei=DieoV9iKJIOp8weVvb2oDw#q=erik+laubscher+a+ life+in+art 7. https://www.google.co.za/?gfe_rd=cr&ei=eyioV_CiLIip8we70YbQDA#q=abstraction+definition 8. https://www.google.co.za/?gfe_rd=cr&ei=XSmoVumBYWp8weFhqtQ#q=modernism+definition 84 PAINTINGS S|3 495 85 S|3 496 496 Claude Marie Madeleine Bouscharain (South African 1922 - ) THE GREAT ARCH signed oil on canvas 94 by 134,5cm Literature Arnott, B., Claude Bouscharain, C. Struik Publishers, Cape Town, illustrated on p 49 ILLUSTRATED R 80 000 - R 160 000 86 PAINTINGS PAINTINGS S|3 497 Conrad Botes (South African 1969-) BLACK DOG bronze with black patina signed with the artist’s initials, dated 15 and numbered 7/9 height: 44,5cm ILLUSTRATED R 75 000 - R 130 000 497 87 S|3 498 498 Zwelethu Mthethwa (South African 1960-) THE SILENT TREATMENT signed and dated ‘04 pastel on paper 70 by 99cm ILLUSTRATED R 60 000 - R 80 000 88 PAINTINGS PAINTINGS S|3 499 499 Matthew Hindley (South African 1974 - ) THE RATIONALITY QUESTION signed; dated 2012/2013 and inscribed with the title on the reverse oil on canvas 100 by 100cm Provenance Purchased directly from the artist by the current owner ILLUSTRATED R 40 000 - R 80 000 89 S|3 PAINTINGS 500 500 Walter Whall Battiss (South African 1906 - 1982) FIGURE IN A TOWNSHIP signed oil on canvas 34,5 by 50cm ILLUSTRATED R 200 000 - R 300 000 501 Robert Bevan Slingsby (South African 1955 -) TORSO signed and dated 1988 acrylic on canvas 59,5 by 55,5cm ILLUSTRATED R 25 000 - R 50 000 501 90 PAINTINGS S|3 502 Stanley Pinker (South African 1924-2012) NUDE WITH A CIGARETTE signed; inscribed with the artist’s name, title and medium on the reverse oil on canvas 60 by 121,5cm PROVENANCE Purchased directly from the artist and then by descent R 750 000 – R 850 000 502 91 S|3 503 503 Paul du Toit (South African 1922 - 1986) LANDSCAPE WITH MOON signed oil on board 45 by 59cm ILLUSTRATED R 60 000 - R 90 000 92 PAINTINGS PAINTINGS S|3 504 504 Trevor Makhoba (SOUTH AFRICAN 1956 - 2003) Winner of the Standard Bank Young Artist Award 1996. NOMKHUBULWANE (MOTHER OF THE NATION) signed and dated ‘96 oil on canvas board 40 by 29cm PROVENANCE Purchased from the Bruce Campbell-Smith collection ILLUSTRATED R 40 000 - R 80 000 93 S|3 505 505 Jabulane Sam Nhlengethwa (South African 1955 - ) DONE, diptych signed and dated 1999; inscribed with the artist’s name, title and dated 99 on the reverse oil and collage on canvas each: 45,5 by 35,5cm (2) ILLUSTRATED R 80 000 - R 120 000 94 PAINTINGS S|3 PAINTINGS 506 Nat (Nathaniel) Mokgosi (South African 1946 - ) FIGURES AND BEAST ink on paper 158 by 84cm Provenance Purchased from The Bruce Campbell-Smith Collection ILLUSTRATED R 25 000 - R 35 000 506 95 S|3 PAINTINGS 507 96 507 Nelson Makamo (South African 1982 - ) 508 Nelson Makamo (South African 1982 - ) GIRL WITH ATTITUDE GONE SHOPPING signed and dated 15 oil, charcoal, watercolour and pastel on paper 160 by 120cm signed mixed media over monotype sheet size: 160 by 82,5cm ILLUSTRATED ILLUSTRATED ON OPPOSITE PAGE R 180 000 - R 250 000 R 70 000 - R 90 000 PAINTINGS S|3 508 Nelson Makamo is steadily proving to be one of South Africa’s most important contemporary artists. Born in Nylstroom (now Modimolle) in Limpopo in 1982, he now lives and works in Johannesburg. The artist is currently in residency in Saint-Emilion, France with the Southern African Foundation of Contemporary Art. With both solo and group exhibitions taking place in South Africa, Makamo has also exhibited in the Netherlands, the United Kingdom and the United States. His latest exhibition, entitled ‘An African in the South of France’, will take place in Paris this year as well as a solo exhibition in Munich in 2017. 97 S|3 PAINTINGS Fig. 1 Stephan Welz & Co. set the world record for the artist at auction with GIRL WITH BALLOONS in March 2016 which sold for R347 880 (fig 1). GIRL WITH ATTITUDE depicts a young African girl, a youth, a subject matter which the artist returns to on a regular basis. 98 PAINTINGS S|3 509 509 Dumile (Zwelidumile Mxgazi) Feni-Mhlaba (South African 1942 - 1991) UNTITLED (NUDE WITH CROSSED ARMS) signed and dated 85 pen and ink on paper 61 by 45,5cm LITERATURE Borman, J., Aspects of Abstraction, Johans Borman Fine Art, Cape Town, 2011, illustrated on p 78 ILLUSTRATED In UNTITLED (NUDE WITH CROSSED ARMS), the model stands assertive, with her arms folded and head turned, gazing proudly into the distance. An Amazon warrior demanding respect, she stands in stark contrast with traditional studies of female nudes which are usually voluptuously placid and entangled in drapes. Her body’s contours are constructed rather than rendered, emphasized by repeated pen lines. Her hips, bony and accentuated, carry her torso with pride, showing the artist’s skilful ability to re-interpret the human form. Excerpt taken from: Borman, J., Aspects of Abstraction, Johans Borman Fine Art, Cape Town, 2011, p 78 R 50 000 - R 70 000 99 S|3 PAINTINGS SOUTH AFRICAN AND INTERNATIONAL SCULPTURE 510 Peter Clarke (South African 1929 - 2014) UNTITLED FIGURE (FOLDED ARMS) jarrah height: 31cm Provenance Purchased directly from the artist Literature Hobbs, P. & Rankin, E., Listening to Distant Thunder: The Art of Peter Clarke, The Standard Bank of South Africa, Johannesburg, 2011, illustrated in colour on p 40 ILLUSTRATED R 40 000 - R 50 000 511 Frank Dobson (British 1888 - 1963) NUDE, two terracotta height: 5cm (excluding base) Sold together with a bronze casting that was cast by an Italian artist in South Africa ILLUSTRATED R 12 000 - R 18 000 511 100 510 S|3 PAINTINGS 512 Lippy (Israel-Isaac) Lipshitz (South African 1903 - 1980) 513 Lippy (Israel-Isaac) Lipshitz (South African 1903 - 1980) TORSO COPY OF MICHELANGELO’S SATYR signed and dated 32 carved teak height: 53cm plaster of paris height: 31cm Exhibited Literature Ashbey’s Galleries, Cape Town, Lippy Lipschitz Solo Exhibition, no. 21, March 1934 Arnott, B., Lippy Lipshitz: Biography & Catalogue Raisonné, A. A. Balkema, Cape Town, 1969, illustrated on p 50, cat. no. 10 Argus Gallery, Cape Town, Lippy Lipschitz Solo Exhibition, no. 52, March 1944 ILLUSTRATED South African National Gallery, Cape Town, Lippy Lipschitz Solo Exhibition, cat. no. 18, December 1968 R 8 000 - R 12 000 Literature Arnott, B., Lippy Lipshitz: Biography & Catalogue Raisonné, A. A. Balkema, Cape Town, 1969, illustrated on p 69, cat. no. 49 ILLUSTRATED R 20 000 - R 30 000 512 513 101 S|3 PAINTINGS 514 y (Israel-Isaac) Lipshitz (South African 1903 - 1980) 515 Lippy (Israel-Isaac) Lipshitz (South African 1903 - 1980) 516 Lippy (Israel-Isaac) Lipshitz (South African 1903 - 1980) PORTRAIT OF M. A. WENGROWE WEEPING WOMAN FRAGMENT signed and dated 27 bronze height: 31cm (excluding base) signed and dated 44 ivory height: 14,5cm (excluding base) signed and dated 1943 ivory length: 12cm Exhibited Exhibited Exhibited Martin Melck House, Cape Town, Lippy Lipschitz Solo Exhibition, no. J., May 1932 Argus Gallery, Cape Town, Lippy Lipschitz Solo Exhibition, no. 22, March 1944 Gainsborough Galleries, Johannesburg, Lippy Lipschitz Solo Exhibition, cat. no. 27, June 1943 Ashbey’s Galleries, Cape Town, Lippy Lipschitz Solo Exhibition, no. 52, March 1934 Durban City Art Gallery, Durban, Lippy Lipschitz Solo Exhibition, cat. no.68, September 1944 Argus Gallery, Cape Town, Lippy Lipschitz Solo Exhibition, no. 21, March 1944 Gainsborough Galleries, Johannesburg, Lippy Lipschitz Solo Exhibition, cat. no. 45, June 1943 South African National Gallery, Cape Town, Lippy Lipschitz Solo Exhibition, cat. no. 84, December 1968 South African National Gallery, Cape Town, Lippy Lipschitz Solo Exhibition, cat. no. 78, December 1968 Literature Literature Arnott, B., Lippy Lipshitz: Biography & Catalogue Raisonné, A. A. Balkema, Cape Town, 1969, illustrated on p 142, cat. no. 261 Arnott, B., Lippy Lipshitz: Biography & Catalogue Raisonné, A. A. Balkema, Cape Town, 1969, illustrated on p 134, cat. no. 237 ILLUSTRATED ILLUSTRATED R 10 000 - R 15 000 R 8 000 - R 12 000 Argus Gallery, Cape Town, Lippy Lipschitz Solo Exhibition, no. 45, March 1944 Durban City Art Gallery, Durban, Lippy Lipschitz Solo Exhibition, no. 69, September 1944 South African National Gallery, Cape Town, Lippy Lipschitz Solo Exhibition, cat. no. 7, December 1968 Literature Arnott, B., Lippy Lipshitz: Biography & Catalogue Raisonné, A. A. Balkema, Cape Town, 1969, illustrated on p 54, cat. no. 18 ILLUSTRATED R 14 000 - R 18 000 514 102 515 516 PAINTINGS S|3 517 517 Dylan Lewis (South African 1964 - ) LEOPARD STALKING II (MAQUETTE) signed, numbered 15/15 and stamped S212 bronze height: 13,5cm ILLUSTRATED R 80 000 - R 140 000 103 S|3 PAINTINGS 518 518 François Krige (SOUTH AFRICAN 1913 - 1994) A PORTRAIT OF FANIE IN THE KRIGE ORCHARD authenticated on the reverse by Sylvia Krige (the artist’s widow) and Suzanne Fox (the artist’s sister) on 26 March 2000 oil on canvas 93 by 71cm R 300 000 - R 400 000 104 This very fine portrait depicts Fanie working as a gardener in the Krige apricot orchard, with Montagu’s Long Street in the background. Many folk of the Montagu district sat for Krige and the 1970s and 80s saw a great flowering of portraits. Krige’s work has a penetrating intimacy and he depicts a calmness – even sanctity – in his subjects, who are almost always pictured meditatively alone. These qualities are particularly evident in ‘A PORTRAIT OF FANIE IN THE KRIGE ORCHARD’, painted towards the end of the artist’s life. Fanie sat for Krige many times and recurs in both drawings and oils over an extended period. PAINTINGS S|3 519 519 Eleanor Frances Esmonde-White (South African 1914 – 2007) HANOVER STREET LIGHTS, DISTRICT SIX, CAPE TOWN signed and dated 55; inscribed with the artist’s name, title, medium and date on the reverse oil on canvas 76 by 61cm ILLUSTRATED R 60 000 - R 90 000 105 S|3 PAINTINGS 520 Peter Clarke (South African 1929 - 2014) SANDY BAY signed and dated Nov.1969 oil and sand on board 45 by 60cm ILLUSTRATED R 900 000 - R 1 400 000 In this painting Clarke depicts four people of colour sunbathing at Cape Town’s Sandy Bay. One male figure looks out towards a boat at sea while three other figures sun-bathe at ease on the beach. Sandy Bay is a well-known secluded nudist beach, only accessible by footpath from Llandudno or Hout Bay on the Atlantic coastline. This work was painted in 1969, three years prior to the family being victims of forced removal from Simon’s Town to Ocean View under the Group Areas Act. The painting is monumental in medium, size, subject matter and style – a rare oil and sand on board - the same medium as Clarke’s iconic LISTENING TO DISTANT THUNDER which was painted in 1970 and forms part of the Johannesburg Art Gallery collection. In both paintings, Clarke’s familiar abstract forms and geometric lines are strongly evident. With bold brushstrokes and the use of contrasting colour and line, the artist once again proves his strong Cubist influence; a style which Picasso and Braque developed in the early 1900s in Paris. The precise location of the nude bathers in LOT 520 has recently been confirmed by Richard Clarke, the brother of the late artist. Upon viewing it, he remembered it immediately and commented, “definitely Sandy Bay”. Once Simon’s Town had become an ‘affected area’ under the Group Areas Act, Mr Clarke went on to comment on how groups of people would gather and head down to Sandy Bay. As the path was a lovely yet long walk, the police would seldom bother to take the time to walk down to this beach (as opposed to the beaches in the Simon’s Town surrounds which were easier to access and thereby monitor under Apartheid law). He recalled how people would gather there in groups and express themselves in an open environment without threat. Art author and critic, Elizabeth Rankin comments, “Of the beaches, he (Clarke) said there was a kind of natural segregation before the Group Areas Act, yet remarked how confusing and upsetting it was to find beaches designated white or non-white by law. I can imagine him enjoying the idea of transgressing petty apartheid rules, though!” The painting was a wedding gift from Peter Clarke to a close friend in the early 1970s and was subsequently sold to the current owner. It has never been exhibited or viewed by the general public before and now makes its first appearance on the open market. 106 520 PAINTINGS S|3 107 S|3 PAINTINGS 521 521 Peter Clarke (South African 1929 - 2014) SPACES, triptych each panel signed and dated 1989 oil, gouache and ink over collage on paper each: 65 by 50cm (3) ILLUSTRATED R 400 000 - R 600 000 108 520 DETAIL PAINTINGS S|3 Peter Clarke was impressed by the work of Jackson Pollock and the Abstract Expressionists when he visited the USA in the 1970s, but it was not until after he had attended the first Thupelo workshop at Hunter’s Rest in 1985 that he first began to experiment seriously with abstraction. For Clarke, space was always a problem and the paintings he had seen were invariably large in scale: he therefore devised the clever solution of working on large sheets of paper on the floor (always on top of plastic rubbish bags to keep the family living room that doubled as his studio paint-free), then combining the sheets to make large diptych or triptych works. Paint was applied very loosely to create a rich painterly surface, as it is in SPACES, but it was never entirely abstract - a horizontal band high on the format defined the narrow upper area as sky, and the densely worked plane below suggested a wall, one which became a metaphoric matrix in a series of works, collectively known as GHETTO FENCE. Peter Clarke had long spoken of walls as symbolic of a divided society under apartheid and of the communicative gap between individuals, but the wall in these works takes on an added significance as a ‘graffitied’ surface. While walls seem authoritarian markers of division, they can also be sites of protest with inscriptions and posters, as they often were in South Africa in the 1980s. So while this work with the cut-out title ‘SPACES’ alludes to space in the political sense of division, the collaged items on the wall also provide many other spatial allusions, which Peter spoke about in a late interview in 2015. Apart from the literal references to different spaces implied by a theatre poster, doves, an advertisement for Citiliner travel, an exhibition flyer on Leonardo and his flying machine, and sketches of mariners with sextants, there are hints of more subtle spaces too – what Peter called spaces of the mind. This is implied by the creativity of Leonardo, and of playwrights and actors, but especially by the large hand-written slogan ‘LIBERATE MINDS. OPEN ALL SCHOOLS NOW!’ Education and imagination could free the mind from imposed shackles, which is also suggested by the included title ‘Cry Freedom’. In 1989 when Clarke made this work he was already projecting ahead to the freedom to come: a half-joking, half-serious ‘WANTED’ poster with his own photograph, describes what is wanted as SOMETHING DIFFERENT, DECENT, HONEST, A COUNTRY ONE CAN BE PROUD TO LIVE IN & BE A CITIZEN OF, A COUNTRY IN WHICH EVERY CITIZEN HAS A SHARE & A DEMOCRATIC RIGHT & IN WHICH HE CAN BE HAPPY. As he said in his interview, ‘I was thinking in terms of change, positive change’ and the suffused warm colour of the sky above the wall in Spaces speaks of ‘a bright new day dawning.’ ‘LIBERATE MINDS. OPEN ALL SCHOOLS NOW!’ - Elizabeth Rankin 109 S|3 PAINTINGS 522 522 Peter Clarke (South African 1929 - 2014) NETBALL PLAYERS signed and dated 23.3.1967; inscribed with the title and medium on the reverse oil on canvas board 23,5 by 21cn Provenance The private collection of Eleanor Clarke, Simon’s Town ILLUSTRATED 110 R 400 000 - R 600 000 To Peter Clarke his community was his life, his passion and his focus. Reoccurring themes throughout his printmaking, drawing and painting were of people going about their daily activity in the surrounds of their everyday life. From the early days of his childhood in Simon’s Town and then later after settling in Ocean View after the forced removals, Clarke spent his time observing the world around him which resulted in depicting these common societal scenes and characters in his works – portraying ‘the vitality of community life’ ¹. NETBALL PLAYERS depicts three young school girls reaching up to catch a gold coloured ball with a female figure in the distance looking on. Philippa Hobbs sums up the aspect of Peter Clarke which resonates with her more than anything else, to be ‘the poignancy with which he deals with the human subject, his concern about humanity and his deep interest in finding beauty in the ordinary’ ² 1. Hobbs, P. & Rankin, E., Listening to Distant Thunder: The Art of Peter Clarke, The Standard Bank of South Africa, Johannesburg, 2011 2. https://blog.standardbank.com/arts/2011/07/philippa-hobbs-curator-peter-clarke-exhibition PAINTINGS S|3 523 523 Peter Clarke (South African 1929 - 2014) On 21st January 1961, Matthys Bokhorst wrote a review for the Cape Times with headline ‘Coloured artist can go far’ in response to the exhibition for which Clarke produced this poster. PAINTINGS AND GRAPHIC ART, EXHIBITION POSTER signed and dated 1961 acrylic on paper 49 by 41cm ILLUSTRATED R 100 000 - R 150 000 111 S|3 PAINTINGS 524 524 Ruth Everard-Haden (South African 1904 - 1992) RUE DE LA GRANDE-CHAUMIERE AT NIGHT signed; inscribed with the title on a label adhered to the reverse oil on canvas 90 by 63,5cm ILLUSTRATED R 300 000 - R 400 000 112 PAINTINGS S|3 525 525 Pieter Willem Frederick Wenning (South African 1873-1921) A CAPE HOMESTEAD signed with the artist’s monogram oil on panel 25 by 45cm PROVENANCE Professor P. Franks ILLUSTRATED R 200 000 - R 250 000 113 S|3 PAINTINGS 526 Gregoire Johannes Boonzaier (South African 1909 - 2005) DISTRICT SIX signed and dated 1926 oil on board 32 by 42,5cm ILLUSTRATED R 35 000 - R 45 000 526 527 Pranas Domsaitis (South African 1880 - 1965) FIGURES signed and dated 33 oil on board 63 by 48cm ILLUSTRATED R 60 000 - R 80 000 527 114 PAINTINGS S|3 528 Pranas Domsaitis (South African 1880 - 1965) STILL LIFE OF FLOWERS; recto, TWO AFRICAN FIGURES; verso signed oil on board 58 by 64cm R 30 000 - R 45 000 529 Errol Stephen Boyley (South African 1918 - 2007) BOATS AT PATERNOSTER signed oil on canvas 68 by 88cm ILLUSTRATED R 40 000 - R 60 000 530 Errol Stephen Boyley (South African 1918 - 2007) 529 DUSK signed oil on canvas 34,5 by 44,5cm ILLUSTRATED R 40 000 - R 60 000 531 Terence John McCaw (South African 1913-1978) FARMHOUSE IN AN EXTENSIVE LANDSCAPE signed and dated 51 oil on board 44 by 54cm Illustrated R 25 000 - R 35 000 530 531 115 S|3 PAINTINGS 532 Terence John McCaw (South African 1913 - 1978) OLD MILL AT ELIM signed; inscribed with the title on the reverse oil on board 39 by 29,5cm ILLUSTRATED R 25 000 - R 35 000 533 Christopher Tugwell (South African 1938 - ) LANDSCAPE signed oil on board 60 by 90cm R 10 000 - R 15 000 534 Alexander Rose-Innes (South African 1915 - 1996) THE DUTCH REFORMED CHURCH, WYNBERG signed pastel on paper 50 by 64,cm ILLUSTRATED R 18 000 - R 24 000 532 116 534 PAINTINGS S|3 535 535 Tinus (Marthinus Johannes) de Jongh (South African 1885 - 1942) TOKAI MANOR HOUSE signed oil on canvas 62 by 101cm ILLUSTRATED R 80 000 - R 120 000 536 Wolf Kibel (South African 1903 - 1938) COTTAGES ON A HILL signed watercolour on paper 20 by 20cm ILLUSTRATED R 20 000 - R 25 000 536 117 S|3 PAINTINGS 537 Enslin Hercules du Plessis (South African 1894 - 1978) FARMS, EASTERN TRANSVAAL signed; inscribed with the title on the reverse oil on canvas 43,5 by 72,5cm Exhibited South African National Gallery, Du Plessis ‘70, Cape Town ILLUSTRATED R 25 000 - R 30 000 538 Adriaan Hendrik Boshoff (South African 1935 - 2007) TWO GIRLS AT THE SEASIDE signed oil on board 23 by 39cm R 50 000 - R 70 000 538 118 537 S|3 PAINTINGS 539 540 539 Amos Langdown (South African 1930 - 2006) 541 Conor Matthew McCreedy (South African 1987 - ) THREE BOYS CARRYING ROOSTERS CARLY AND HER HAIR signed oil on board 60 by 44cm signed; signed, dated 10.5.09 and inscribed with the title on the reverse oil on canvas 170 by 125cm ILLUSTRATED ILLUSTRATED R 30 000 - R 40 000 R 25 000 - R 35 000 540 Hendrik Christiaan Niemann (South African 1941 - ) 542 Peter Clarke (South African 1929 - 2014) WOMAN WEARING WHITE HEAD SCARF BOY ON TRAMPOLINE ILLUSTRATED linocut printed in colours, signed, numbered 7/12, dated 5.11.1965 and inscribed with the title in pencil in the margin sheet size: 32 by 41cm R 20 000 - R 25 000 ILLUSTRATED signed and dated 06 oil on board 43 by 30cm 541 R 12 000 - R 15 000 542 119 S|3 PAINTINGS 543 Peter Clarke (South African 1929 - 2014) BLUES SINGER linocut, signed, dated 10.Oct.1962 and inscribed with the title in pencil in the margin sheet size: 44 by 34cm ILLUSTRATED R 12 000 - R 15 000 543 544 Jacob Hendrik Pierneef (South African 1886 - 1957) OKAHANDJA, S. W. A. (NILANT 117) linocut, signed, dated 1936 and inscribed ‘impr’ in pencil in the margin sheet size: 17,5 by 22cm Literature Nilant, F. E. G., Pierneef Linosnëe, A. A. Balkema, Cape Town, 1974, illustrated on p 152, cat. no. 117 ILLUSTRATED R 15 000 - R 20 000 544 545 Jacob Hendrik Pierneef (South African 1886 - 1957) GEWEL, STELLENBOSCH (NILANT 17) lincocut, signed, numbered 20/50, dated 1928 and inscribed ‘impr’ in pencil in the margin sheet size: 12 by 15cm Literature Nilant, F. E. G., Pierneef Linosnëe, A. A. Balkema, Cape Town, 1974, illustrated on p 47, cat. no. 17 ILLUSTRATED R 18 000 - R 24 000 120 545 S|3 PAINTINGS 546 Gregoire Johannes Boonzaier (South African 1909 - 2005) A VIEW OF TABLE MOUNTAIN FROM DISTRICT SIX; recto, TREES; verso signed and dated 1959 watercolour and ink on paper 29 by 39cm ILLUSTRATED R 10 000 - R 12 000 547 Gregoire Johannes Boonzaier (South African 1909 - 2005) 546 FIGURES AND COTTAGES, CAPE signed and dated 1959 watercolour and ink on paper 22 by 33cm ILLUSTRATED R 10 000 - R 12 000 547 548 Conrad Nagel Doman Theys (South African 1940 - ) LABOURERS’ HOUSES, WESTERN CAPE signed and dated 1986 watercolour and ink over pencil on paper 27 by 38cm ILLUSTRATED R 15 000 - R 20 000 549 Frans Martin Claerhout (South African 1919 – 2006) 548 THE BRIDE signed oil on board 45 by 59cm ILLUSTRATED R 25 000 - R 35 000 550 Simon Rhys Jones (South African 1951 -) 549 FIGURES IN THE STREET signed and dated 87 oil on board 90 by 90cm ILLUSTRATED R 20 000 - R 25 000 NO LOTS 551 - 580 550 121
