The South African Sale Wednesday 20 March 2013 at 2Pm New Bond Street, London

The South African Sale Wednesday 20 March 2013 at 2pm New Bond Street, London

Bonhams Enquiries Please see page 4 for bidder 101 New Bond Street Giles Peppiatt MRICS information including after-sale London W1S 1SR +44 (0) 20 7468 8355 collection and shipment www.bonhams.com Hannah O’Leary Please see back of catalogue Viewing +44 (0) 20 7468 8213 for important notice to bidders Sunday 17 March 11am to 3pm Monday 18 March 9am to 4.30pm Amy Halliday Illustrations Tuesday 19 March 9am to 4.30pm +44 (0) 20 7468 8216 Front cover: Lot 43 Wednesday 20 March 9am to 12pm Back cover: Lot 35 Victoria Eaton Inside front cover: Lot 23 Bids +44 (0) 20 7468 8365 Opposite page: Lot 54 +44 (0) 20 7447 7448 Inside back cover: Lot 89 +44 (0) 20 7447 7401 fax [email protected] Sale Number: 20617 Please provide details of the lots Jonathan Horwich on which you wish to place bids Global Director, Picture Sales Catalogue: £20 at least 24 hours prior to the sale. +44 (0) 20 7468 8280 [email protected] New bidders must also provide Live online bidding is proof of identity when submitting Press contact available for this sale bids. Failure to do this may result Julian Roup Please email [email protected] in your bids not being processed. +44 20 7468 8259 with “Live bidding” in the subject [email protected] line 48 hours before the auction to register for this service. Customer Services Monday to Friday 8.30am to 6pm +44 (0) 20 7447 7447

Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Chairman, Colin Sheaf Deputy Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Antony Bennett, Iain Rushbrook, John Sandon, Tim Schofield, Registered Office: Montpelier Galleries Malcolm Barber Group Managing Director, Matthew Bradbury, Harvey Cammell, Simon Cottle, Veronique Scorer, James Stratton, Roger Tappin, Matthew Girling CEO UK and Europe, Andrew Currie, David Dallas, Paul Davidson, Jean Ghika, Shahin Virani, David Williams, Michael Wynell-Mayow. Montpelier Street, Geoffrey Davies, Jonathan Horwich, James Knight, Charles Graham-Campbell, Miranda Grant, Robin Hereford, London SW7 1HH Patrick Meade, Caroline Oliphant, Hugh Watchorn. Asaph Hyman, Charles Lanning, Camilla Lombardi, +44 (0) 20 7393 3900 Fergus Lyons, Paul Maudsley, Gordon McFarlan, +44 (0) 20 7393 3905 fax Andrew McKenzie, Simon Mitchell, Jeff Muse, Mike Neill, Charlie O’Brien, Giles Peppiatt, Peter Rees, Julian Roup, Sale Information Central Middlesex Hospital Park Royal

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Bids Collection & shipmentWest Acton Handling & ImportantHorn Lane Notice +44 (0) 20 7447 7448 Sold lots marked with a specialStation storage charges A surcharge of 3% is applicable +44 (0) 20 7447 7401 fax symbol W will be only retained at when using Mastercard, Visa and To bid via the internet please visit Bonhams New Bond Street on the Please Note overseas debit cards. www.bonhams.com day of the sale. Lots not collected For sold lots marked with a special by then will be removed to symbol W removed to Bonhams The following symbol is used to Payments Bonhams Park Royal warehouse. Park Royal warehouse transfer and denote that VAT is due on the storage charges will commence on hammer price and buyer’s premium The sold lots marked with a Wednesday 10 April 2013. Buyers special symbol W will be available † VAT 20% on hammer price +44 (0) 20 7447 7447 for collection from Bonhams and buyer’s premium +44 (0) 20 7447 7401 fax The charges levied by Bonhams warehouse as from 9.30am on are as follows: Friday 22 March 2013. * VAT on imported items at Sellers a preferential rate of 5% on Paintings and Frames marked Payment of sale proceeds hammer price and the prevailing Lots may be released from with W +44 (0) 20 7447 7447 Bonhams warehouse on rate on buyer’s premium +44 (0) 20 7447 7401 fax production of the collection Transfer per lot £20.00 W These lots will be removed order obtained from cashier’s Daily storage per lot £3.40 Valuations, taxation office at Bonhams and a form of to Bonhams Park Royal after the sale. Please read the sale & heritage photographic ID. If a third party is All other paintings and frames +44 (0) 20 7468 8340 collecting on behalf of the client, information page for more details. +44 (0) 20 7468 5860 fax the client must provide Bonhams Transfer per lot £10.00 [email protected] Y These lots are subject to CITES with written authority prior to Daily storage per lot £1.70 collection. The third party must regulations, please read the Catalogue subscriptions present a photographic form of ID information in the back of the All the above charges are catalogue. To obtain any Bonhams catalogue when collecting. exclusive of VAT or to take out an annual AR These lots are subject to the subscription: All sold lots not marked W Subscriptions Department will remain in Collections at Artists Resale Right levy. Please +44 (0) 1666 502200 Bonhams New Bond Street for a Handling & refer to the information in section +44 (0) 1666 505107 fax period of not less than 14 days storage payment 7 of the Notice to Bidders at the All charges due Bonhams must be [email protected] from the sale date. Following back of the catalogue. paid by the time of collection from that all lots will be transferred Bonhams’ warehouse. Shipping to our Bonhams Park Royal VAT refunds on exports For information and estimates warehouse. Transfer and from the EU on domestic and international storage charges will commence Payment in advance To submit a claim for refund of Tel: +44 (0) 20 7447 7447 shipping as well as export licenses on Wednesday 10 April 2013. VAT HMRC require lots to be to ascertain amount due by: please contact Bonhams Shipping exported from the EU within cash, cheque with banker’s Department on: strict deadlines. Bonhams Warehouse card, credit card, bank draft or +44 (0) 20 8963 2849 Address: traveller’s cheque. +44 (0) 20 8963 2850 Unit 1, Sovereign Park For lots on which Import VAT +44 (0) 20 7629 9673 fax Coronation Road has been charged; marked in the catalogue with a * or , lots must [email protected] Park Royal, London NW10 7QP Payment at time of Ω be exported within 30 days of Tel: +44 (0) 87 0811 3867 collection Bonhams’ receipt of payment and Hours of opening 9.30am to By credit card / debit card within 3 months of the sale date. 4.30pm Monday to Friday For all other lots export must take place within 3 months of the sale date.

For further VAT information please contact: [email protected] Bonhams Department of South African Art

2012 was another record-breaking year for South We are also honoured to be entrusted with the African art at Bonhams, which is weathering the storm dispersal of highly important items from The Estate of global recession remarkably well. Our two auctions of the late Anthony Quinn. This Hollywood legend, a grossed £7.5million in total (ZAR100million) and saw painter and sculptor himself, developed a passion for an average sold lot value of £45,000. Previous world South African art and the Amadlozi Group through records were smashed, including those for Stanley a chance meeting with gallery owner, Vittorino Pinker, Vladimir Tretchikoff, Gladys Mgudlandlu and Meneghelli, while filming Target of an Assassin in Stella Shawzin. New world records were also set for a Johannesburg in 1976. work on paper by JH Pierneef and an original drawing by William Kentridge. 2013 promises to be an even As always, we are delighted to offer several Giles Peppiatt more exciting year for the market, as demonstrated by outstanding examples that span the careers of Director of South the variety of high-quality artworks included in our 20 South Africa’s most significant artists, including African Art March auction. Irma Stern, J.H. Pierneef, Alexis Preller and Stanley Pinker; the record prices for whom have all been set This March, as part of our South African Sale, we in these rooms in recent years. London remains the present A Focus on William Kentridge, a selection of premier venue for sales of South African art – a fact work by South Africa’s foremost contemporary artist. underpinned by Bonhams’ record-breaking sales. We Internationally renowned for his animated films, would like to take this opportunity to warmly thank prints, drawings, installations and opera projects, this all those individuals and organisations around the auction will feature some of the finest examples of world for their support, encouragement and assistance his oeuvre. The selection of work available includes in contributing to the success of these auctions. original charcoal drawings, prints, paintings, and mixed-media sculptures. While some are related to We look forward to your participation in the auction, his masterful 9 Drawings for Projection series, others whether through our online live bidding system, by spring from both his early career and most recent telephone, or by personally welcoming you to view Hannah O’Leary projects, offering an incomparable range of available our exhibition in London. Head of South work and reflecting the breadth of Kentridge’s career. African Art We are delighted to offer for sale one of the most – iconic images of the 20th century, Chinese Girl by Amy Halliday Vladimir Tretchikoff, which has come to the market for the very first time. Following the recent world-record Junior cataloguer sale of Red Jacket, a provocative portrait of his muse, – Lenka, several exciting lots by Tretchikoff have also Victoria Eaton been assigned to Bonhams’ 2013 sales. And there is Trainee cataloguer none more renowned than Chinese Girl, the original painting which inspired the popular lithographic reproductions that, by the late 1950s, had found their way to all corners of the globe. 1 Thomas Whitcombe (British, 1760-1824) H.M.S. Illustrious heading out of Table Bay in choppy conditions and a stiff breeze oil on canvas 47 x 63cm (18 1/2 x 24 13/16in). £10,000 - 15,000 ZAR140,000 - 210,000

The second Illustrious to serve in the Royal Navy was built by John Returning home thereafter, she was extensively refitted at Portsmouth Randall and John Brent at Rotherhithe where her keel was laid in (1813-17) and then laid up in reserve until recommissioned in 1832. February 1801. Launched on 3rd September 1803, she was completed Laid up again in 1845, she was subsequently used as a guard-ship, a at Woolwich and first commissioned for the Channel Fleet under Captain hospital ship and, lastly, a gunnery training ship until finally broken up at Sir Charles Hamilton. Measured at 1,746 tons, she was 175 feet in Portsmouth in 1868. length with a 48 foot beam and mounted 74-guns of varying calibre. It seems highly probable that this portrait was painted to mark her Apart from a short spell in the Mediterranean (in 1807), she remained homeward journey from the East Indies in the autumn of 1811 during in the Channel fleet until the summer of 1810, having taken part in which she would certainly have called at Cape Town, not only to victual the famous fire-ship attack on the French fleet in the Basque Roads (in and water, but also to collect any urgent official dispatches or mail April 1809) and also the expeditions to destroy the docks at Antwerp destined for England. and render the Schelde unnavigable to large French ships. On 22nd November 1810, Illustrious was amongst the fleet which arrived off Mauritius and subsequently forced the island’s surrender on 3rd December. Remaining in the East Indies, she then participated in the month-long attack and capture of the island of Java which finally capitulated at the end of August 1811.

6 | Bonhams 2 Samuel Walters (British, 1811-1882) The barque Susan Pardew beating into Table Bay in a south-easterly gale oil on canvas 49 x 74cm (19 5/16 x 29 1/8in). £10,000 - 15,000 ZAR140,000 - 210,000

The three-masted cargo barque Susan Pardew was built under Lloyd’s ‘special survey’ in Hardie’s Yard, Sunderland, and launched in 1863. Owned by Ellis & Co., she was registered at 378 tons and was 127 feet in length with a 27 foot beam. Trading regularly to Algoa Bay (Port Elizabeth) and Cape Town out of various British ports, her career was a relatively short one and she was wrecked in Mossel Bay, near the estuary of the Great Brak River, on 28th April 1872; fortunately no lives were lost and all aboard her got safely ashore.

This portrait of her was probably commissioned to commemorate an incident during her maiden voyage.

The South African Sale | 7 3 Pieter Hugo Naudé (South African, 1869-1941) ‘The Blue Hills of the Matappos, Rhodesia’ signed ‘Hugo Naudé’ (lower right), bears label with inscription ‘The “Blue Hills of the Matappos” Rhodesia’ (verso) oil on canvas 46.5 x 77cm (18 5/16 x 30 5/16in). £10,000 - 15,000 ZAR140,000 - 210,000

PROVENANCE: Family of Charles Newberry Thence by descent to the current owner

This beautiful scene of the Matapos captures the vastness and grandeur Born in Brampton, England, brothers John and Charles Newbury of the region south of Bulawayo where Cecil John Rhodes requested to emigrated to Natal, South Africa, in 1864, but went to work on the be buried with “a view of the world”. Pieter Hugo Naudé was similarly bustling diamond mines of Kimberley in the early 1870s. Charles moved by the scene, encountered during his travels to Victoria Falls in Newberry became a major shareholder in Cecil John Rhodes’ Central 1897, having returned from his studies abroad the previous year. With Mining Company and, upon the consolidation of independent claims its close attention to the effects of light and the modulations of colour and the creation of De Beers, Charles’ brother John became one of its in the specifically southern African environment, the work reflects Esmé first directors, while Charles used the opportunity to fulfil the long-held Berman’s assertion that “it is not without significance... that Hugo dream of building a classical English country estate – Prynnsberg – near Naudé is reputed to have spent time at Barbizon before he returned to the Maluti Mountains. Charles Newberry and his wife, Elizabeth Daniel Worcester in 1896. Undoubtedly the plein-airist approach to capturing (daughter of the Rev. John T. Daniel who ran the Weslyan Mission the appearance of the outdoor scene had coincided in Naudé’s mind Station near Fiksburg), collected numerous items of local art and with his own acute awareness of the [landscape’s] bright and spacious artefacts in the late nineteenth century. nature”. E. Berman, Painting in South Africa, (Pretoria, 1993), p.16

8 | Bonhams 4 Pieter Hugo Naudé (South African, 1869-1941) Victoria Falls signed ‘H.Naudé’ (lower right) inscribed ‘Mainfalls / 1905’ (lower left) oil on canvas 56 x 46cm (22 1/16 x 18 1/8in). £20,000 - 30,000 ZAR280,000 - 420,000

Naudé visited the Victoria Falls in 1897 and was captivated by their power and magnificence. Throughout his life he returned to this subject, painting the various falls and cataracts that had so entranced him.

The South African Sale | 9 5* Pieter Hugo Naudé (South African, 1869-1941) Garden of remembrance, Worcester signed ‘Hugo Naudé’ (lower right) oil on card 25.5 x 30.5cm (10 1/16 x 12in). £4,000 - 6,000 ZAR56,000 - 84,000

PROVENANCE: Collection of Peter-John Truter, Worcester magistrate Thence by descent to the current owner

The World War I Garden of Remembrance in the Church Square at Worcester was designed by Naudé in 1919.

10 | Bonhams 6 Anton van Wouw (South African, 1862-1945) With his focussed brow and folded arms, Van Wouw’s Shangaan ‘Shangaan’ has been described as a particularly intense exponent of his smaller signed, inscribed and dated ‘A. van Wouw / S.A. Joh.burg / 1907’ (lower sculptures. The work reveals the sculptor’s studious observation of left); bears inscription ‘G. Nisini. Fuse. Roma’ (to base) the minutiae of human posture: the sitter’s upper arm muscles are bronze particularly prominent where his hands buoy them up, his armband pulls 20 x 30 x 15 cm (7 7/8 x 11 13/16 x 5 7/8in) (not including base) taught against the skin on his wrist, and his shoulders are set slightly £20,000 - 30,000 akilter. As A. E. Duffy remarks of the work, as is evident in this Nisini ZAR280,000 - 420,000 casting:

PROVENANCE: “Conspicuous in the best Italian castings are the distinctiveness of the A private collection, UK frown on the forehead, the protruding mouth, the exact lines of the armband, the well-modelled right thumb and ears and the contrast LITERATURE: between the dark patina of the hair on the head and the light brown A. E. Duffy, Anton van Wouw: The Smaller Works, (Pretoria, 2008), patina of the rest of the body.” another edition illustrated p.63 and p.64 M. Read and J. Michau, Anton van Wouw, 1862-1945 exhibition catalogue, (Johannesburg, 2009), another edition illustrated p.13 and on BIBLIOGRAPHY: the front cover A. E. Duffy, Anton van Wouw: The Smaller Works, (Pretoria, 2008), University of Pretoria, Anton van Wouw en die van Wouwhuis, (Pretoria, another edition illustrated p.64 1981), another edition illustrated p.29

The South African Sale | 11 7 Anton van Wouw (South African, 1862-1945) In this popular sculpture, an African miner sits beneath an overhanging The hammer worker rock ledge, chiselling the surface in front of him. Van Wouw creates a signed and inscribed ‘A. van Wouw’ (lower right) and inscribed compelling, self-contained scene, complete with the miner’s tools and ‘FOUNDRY. G. MASSA. ROMA’ (to reverse) necessities: hammer, chisel, candle, haversack and water bottle. bronze 13 x 14 x 5cm (5 1/8 x 5 1/2 x 1 15/16in) (not including base) There are two versions of The hammer worker: a smaller version and a £15,000 - 20,000 larger one which is 60cm high. The present lot is a cast of the smaller ZAR210,000 - 280,000 version, with the right foot positioned slightly differently to the larger one. A possible explanation for having created this smaller version is PROVENANCE: “because of its [the larger version’s] price [which] has always, even Pieter Wenning Gallery, Johannesburg during the artist’s lifetime, been exceptionally high”. Thence by descent to the current owner BIBLIOGRAPHY: LITERATURE: A.E. Duffey, Anton van Wouw: The Smaller Works, (Pretoria, 2008), p.89 A.E. Duffey, Anton van Wouw: The Smaller Works, (Pretoria, 2008), another edition illustrated p.89

12 | Bonhams 8 Anton van Wouw (South African, 1862-1945) ‘Sleeping African’ signed, inscribed and dated ‘Sculp. / A. van Wouw / Joh-burg - 1907’ (lower right) bronze 32.5 x 32 x 30cm (12 13/16 x 12 5/8 x 11 13/16in) £8,000 - 12,000 ZAR110,000 - 170,000

The South African Sale | 13 9 10

9 10* Pieter Willem Frederick Wenning (South African, 1873-1921) Frans David Oerder (South African, 1867-1944) Still life of peacock feather and Buddha ‘Pampoene Afskil’ (Peeling Pumpkins) signed ‘P. Wenning’ (lower right) signed ‘FD Oerder’ (upper right) oil on canvas oil on canvas 34.5 x 24.5cm (13 9/16 x 9 5/8in). 35 x 24cm (13 3/4 x 9 7/16in). £7,000 - 10,000 £2,000 - 3,000 ZAR98,000 - 140,000 ZAR28,000 - 42,000

A similar still life, Vase and Japanese Figures, is illustrated in Harco PROVENANCE: Wenning’s monograph (p.125) and was included in the artist’s 1918 sale Johannesburg, Sotheby Parke Bernet SA, 17 March 1976, lot 43, R700 at Ashbey’s, Cape Town.

BIBLIOGRAPHY: H. Wenning, My Father, (Durban, 1976)

14 | Bonhams 11 Frans David Oerder (South African, 1867-1944) Still life with Sweet William in a copper pot signed ‘Frans Oerder’ (lower right) oil on canvas 94 x 80.5cm (37 x 31 11/16in). £7,000 - 10,000 ZAR98,000 - 140,000

PROVENANCE: A private collection, acquired in 1908 Thence by descent to the current owner

The South African Sale | 15 12 A 9 carat gold two-handled trophy cup by Deakin & Francis, Birmingham 1930 Of compressed baluster form with gadrooned borders and leaf-capped knop loop handles, the body engraved with presentation inscription and applied with enamelled coat of arms within an applied gold foliate scroll cartouche to one side, and applied enamelled monogram to the other, raised on a circular domed foot with fluted band and surmounted on a green marble base applied with gold presentation plaque, height excluding base 18cm, diameter 32.3cm, weight excluding base 39oz. £15,000 - 20,000 ZAR210,000 - 280,000

PROVENANCE: Won by the current owner’s great-grandfather Thence by descent

This two-handled 9 carat gold trophy cup was made by the Birmingham- based Deakin & Francis in 1930 and awarded to the winning horse – W. J. Jackson’s “Le Vin Chaud” – at the Durban Gold Cup in South Africa in 1931. The Gold Cup is still run every year on the Greyville course, Durban, and is South Africa’s premier two mile (3,200m) stayers’ contest. It was first raced in 1926 when won by Sir Abe Bailey’s “Sun Lad”.

The arms on the trophy were used on the seal of the City of Durban between 1882 and 1936. They show the shield of Sir Benjamin d’Urban (Governor of the Cape Province), quartered with that of Sir Benjamin Pine (Governor of Natal). The crest represents an Aloe plant surmounted by a star.

A great enthusiasm for horses runs through the Jackson family tree. W.J. Jackson emigrated to South Africa, settling in Durban, where he became a prominent racehorse-owner, winning three premier trophies (including the present lot). One trophy was inherited by each of his three sons; this trophy was inherited by Harry Jackson, who became a Captain in the famous cavalry regiment, the 17th/21st Lancers of the British Army. Formed in 1922, the regiment was an amalgamation of the Duke of Cambridge’s Own 17th Lancers and the Empress of India’s 21st Lancers. The trophy was, in turn, passed down from father to son to the current owner.

16 | Bonhams The South African Sale | 17 13 Marthinus (Tinus) Johannes de Jongh (South African, 1885-1942) Camps Bay (Twelve Apostles) signed ‘Tinus de Jongh’ (lower right) and bears 13 plaque with inscription ‘CAMPS BAY / BY / TINUS de JONGH’ oil on canvas 31 x 50.5cm (12 3/16 x 19 7/8in). £3,000 - 5,000 ZAR42,000 - 70,000

14 Marthinus (Tinus) Johannes de Jongh (South African, 1885-1942) Cottage in a mountain landscape signed ‘Tinus de Jongh’ (lower right) oil on canvas 26 x 31cm (10 1/4 x 12 3/16in). £2,000 - 3,000 ZAR28,000 - 42,000

18 | Bonhams 15* Marthinus (Tinus) Johannes de Jongh (South African, 1885-1942) An avenue of trees signed ‘Tinus de Jongh’ (lower right) oil on canvas 43.5 x 61cm (17 1/8 x 24in). £4,000 - 6,000 ZAR56,000 - 84,000 15 16* Marthinus (Tinus) Johannes de Jongh (South African, 1885-1942) Woman walking on a Dutch canal path signed ‘Tinus de Jongh’ (lower right) oil on board 88 x 112cm (34 5/8 x 44 1/8in). £3,000 - 5,000 ZAR42,000 - 70,000

The South African Sale | 19 17* Robert Gwelo Goodman (South African, 1871-1939) Cape Town Docks signed ‘RGG’ (lower left) oil on canvas 31 x 40.5cm (12 3/16 x 15 15/16in). £4,000 - 6,000 ZAR56,000 - 84,000

18 Robert Gwelo Goodman (South African, 1871-1939) ‘The Borrowdale Valley, Westmoreland’ signed ‘R G Goodman’ (lower left), inscribed as title on label on reverse pastel 58 x 70cm (22 13/16 x 27 9/16in). £3,000 - 5,000 ZAR42,000 - 70,000 17 EXHIBITED: London, Royal Academy, 1911, no. 659

19 Irma Stern (South African, 1894-1966) Malay Quarter, Cape Town signed and dated ‘Irma Stern 1944’ (lower left) gouache 25 x 21cm (9 13/16 x 8 1/4in). £10,000 - 12,000 ZAR140,000 - 170,000

Irma Stern often visited the Malay quarter in Cape Town, depicted here below the imposing outline of Signal Hill. Harnessing the fluidity of gouache, Stern emphasises the flow of colourful cloth and evokes the sensuality with which she associated Malay and Arab people. Stern soaked up the rich cultural life of the Malay quarter, inspiring many images of collective experience, particularly compositions of vibrantly-adorned women at wedding ceremonies.

20 | Bonhams 19

The South African Sale | 21 20* Irma Stern (South African, 1894-1966) ‘Washer Women’ signed and dated ‘Irma Stern 1925’ (lower left); bears partial exhibition label (verso) oil on canvas 92.5 x 72.2cm (36 7/16 x 28 7/16in). £100,000 - 150,000 ZAR1,400,000 - 2,100,000

EXHIBITED: London, Grosvenor Gallery, Irma Stern Memorial Exhibition, 14 March - 15 April 1967, no.15

Irma Stern painted a number of images depicting labour – carrying water, harvesting fruit – but instead of creating narratives, these were rich symphonies of colour and rhythm. The current lot is a case in point. The bent arms of the washer women alternate with the directional flow of the water to create a dynamism of blues, greens, whites and browns. Meanwhile the triangular figure group echoes the pointed hill in the distance to evoke a sense of harmony with nature.

The tall agave plants that rise from the earthy hues of this hilly landscape suggest that the scene is set in the Eastern Cape, most likely Pondoland, which Stern visited in the early 1920s. Typical of this period in Stern’s oeuvre, the artist uses black tones to create depth and definition, juxtaposing bold, often complementary, colours to create a balance between form and feeling. Exploring the versatility of oil paint appears to be another preoccupation in Washer Women: fairly thin and directly applied to the surface in some areas, the paint is thicker and more tactile in many of the shifting facets of the stream.

In 1925, Stern held another exhibition at Ashbey’s Gallery in Cape Town: in February 1922, An Exhibition of Modern Art by Miss Irma Stern had drawn extensive crowds and startled the traditional tastes of local viewers with its raw colour and simplified and distorted forms. This response served to spur her on and Stern began to view herself as part of the vanguard responsible for challenging a prevailing aesthetic provincialism. Her exhibition of 1925 was somewhat better received, no doubt influenced by the increasing recognition Stern was garnering in Europe. The reverse of the image bears a partial exhibition label from the Irma Stern Memorial Exhibition held at the Grosvenor Gallery in London in 1967, reflecting another milestone in the reception of her work.

We are grateful to Christopher Peter for his assistance in cataloguing this lot.

BIBLIOGRAPHY: M. Arnold, Irma Stern: A Feast for the Eye, (Vlaeberg, 1995), p.74

22 | Bonhams The South African Sale | 23 21* Irma Stern (South African, 1894-1966) Portrait of Vera Poppe playing the cello signed and dated ‘Irma Stern 1943’ (lower right) oil on canvas laid to board 101 x 83cm (39 3/4 x 32 11/16in). £90,000 - 120,000 ZAR1,300,000 - 1,700,000

PROVENANCE: Johannesburg, Sotheby’s South Africa, 11 October 1972, lot 116, ‘The Cellist’ A private collection

“Vera Poppe has a natural musical talent, a splendid schooling that can be seen in her technique; her tone is powerful, masculine and very beautiful; her renditions are full of expression and temperament.”

Vera Poppe (1885-1968), born in Cape Town and of Russian descent, was a cellist celebrated throughout Europe and America and well known for her dazzling performances in Chicago, New York and London. Poppe’s musical talent was evident from an early age. After graduating from university with honours she went on to win the South African University scholarship for music, allowing her to study at the Royal Academy of Music in London. Upon graduating from the Royal Academy, Poppe went on to play as soloist with distinguished orchestras such as the London Symphony Orchestra, the Queen’s Hall orchestra and the Cardiff Orchestral Society.

During the war years, Poppe returned to Cape Town where a performance at the home of Ben and Cecilia Jaffe in Rosebank brought her to the attention of Irma Stern, an attendee at the concert. Dazzled by Poppe’s performance, Stern was inspired to paint the cellist’s portrait. The intensity depicted in the sitter’s face, combined with the flowing golden folds of Poppe’s dress, capture the extraordinary impact of the musician and the dynamism of her playing. This is reiterated in Poppe’s posture. So engrossed is the musician in the music that she and her instrument seem to have merged into one; her head and body leaning forward, encompassing the cello.

The work was painted in 1943, whilst the artist was at the height of her career. Former Director of the Irma Stern Museum, Neville Dubow, wrote of this period in the artist’s oeuvre that “Irma Stern’s work achieved a peak of excellence that could stand comparison with representational paintings anywhere else in the West.... one could claim international stature for her work of the 1940s. Nationally... there was no one to touch her.” (Dubow, 1974, p.20).

BIBLIOGRAPHY: Neville Dubow, Irma Stern, (Cape Town, 1974)

24 | Bonhams The South African Sale | 25 22* Jacob Hendrik Pierneef (South African, 1886-1957) Louis Trichardt signed ‘Pierneef’ (lower left) oil on canvas 41 x 56.5cm (16 1/8 x 22 1/4in). £100,000 - 150,000 ZAR1,400,000 - 2,100,000

LITERATURE: N. J. Coetzee, JH Pierneef: The Station Panels, exhibition catalogue (Stellenbosch, 2010), a similar work illustrated pg.5 P.G. Nel, J.H. Pierneef: His life and work, (Cape Town, 1990), a similar work illustrated pg.147 J.F.W. Grosskopf, Hendrik Pierneef, (Pretoria, 1947), a similar work illustrated fig.70

A harmonious Transvaal scene which unfolds around the Dutch Reformed Church of Louis Trichardt (designed by Gerhard Moerdelijk in 1926), the current lot is closely related to one of the key compositions from the famous Johannesburg Station Panels. The Station Panels, which depict diverse South African landscapes, were part of a large public commission which Pierneef completed between 1929 and 1932 to adorn the new Johannesburg Station (for which Moerdelijk, incidentally, was an associate architect). As a major nexus for local and international travel, the Station was a prime arena for showcasing the best in South African art and natural environments. The Station Panels are seen as among Pierneef’s most accomplished works: they required numerous preliminary studies which would, in turn, offer a wealth of source material for additional paintings and linocuts.

N.J. Coetzee remarks of the related Station Panel that “In Louis Trichardt, Pierneef closely followed the instructions on composition from Van Konijnenburg: the whole composition revolved around the church spire, which was the exact centre of the scene”. The Dutch printmaker, painter and draughtsman Willem Van Konijnenburg believed that beauty was borne of harmony, and that such harmony could be achieved by representing the natural order through mathematical laws. Pierneef’s working drawing for the panel (illustrated in Nel, p.15) – the border enclosing a perfect mathematical circle traversed by diagonals which intersect at the tip of the spire – closely reflects Van Konijnenburg’s teachings.

Although the current lot is not in the square format required of many of the Station Panels, it similarly reflects a naturalistic scene which has been carefully composed according to Pierneef’s sense of pictorial order. The picture planes are arranged into pleasing, but not rigid, delineations of foreground, middleground and background, with the upward rhythms of trees and spire adding a vertical counterbalance to the horizontal elements. Small shrubs in the foreground give way to a diagonal thrust which leads the eye into the painting, only to have it captured by the small church which becomes the painting’s focal point. As a whole, the painting is pervaded by a sense of peace and quiet monumentality. A very similar work to the current lot, with minor differences, also appears in another private collection.

BIBLIOGRAPHY: N. J. Coetzee, JH Pierneef: The Station Panels, exhibition catalogue, (Stellenbosch, 2010), p.25 G. Nel, J.H. Pierneef: His life and work, (Cape Town, 1990) J.F.W. Grosskopf, Hendrik Pierneef, (Pretoria, 1947)

26 | Bonhams The South African Sale | 27 23* Jacob Hendrik Pierneef (South African, 1886-1957) Landscape, Stellenbosch signed and dated ‘J.H.Pierneef.37.’ (lower right) oil on canvas 76 x 101.5cm (29 15/16 x 39 15/16in). £500,000 - 700,000 ZAR7,000,000 - 9,800,000

Pierneef first visited and exhibited in Stellenbosch in 1921, to great local acclaim. He would continue to visit, paint and exhibit in the Cape throughout his life, often staying with J.F.W. Grosskopf, his good friend and later biographer. The current lot was painted in 1937, the year in which Pierneef – at the height of his career after completing both the Johannesburg Station Panels (1931-3) and the South Africa House commission in London (1933-4) – was asked by the South African National Gallery in Cape Town to submit his work for the Empire Coronation Exhibition in London.

Landscape, Stellenbosch demonstrates the artist at the peak of his career. A tree and shrub-lined path draws the eye into the picture. Gentle curves of path, field and hill lead the eye on a gentle journey up into the cloud- shrouded mountains, taking in each element of the harmonious scene en route. The pastel-hued patchwork of crops is familiar from other Stellenbosch works, while the composition as a whole integrates natural forms and human cultivation into a scene of “monumental order...there is nothing haphazard or accidental in this landscape”. Rather, a sense of peace and stillness reigns supreme.

BIBLIOGRAPHY: E. Berman, Painting in South Africa, (Pretoria, 1993), p.46

28 | Bonhams The South African Sale | 29 24 Jacob Hendrik Pierneef (South African, 1886-1957) A set of four landscapes in the Transvaal and SWA: Erongo berge, SWA; Mogalakwena, Transvaal; Selwana NT; Sandfontein, SWA all signed, inscribed and two dated watercolour each 13.5 x 19.5cm (5 5/16 x 7 11/16in) (4) £4,000 - 6,000 ZAR56,000 - 84,000

PROVENANCE: Pieter Wenning Gallery, Johannesburg Thence by descent to the current owner

30 | Bonhams 25 Jacob Hendrik Pierneef (South African, 1886-1957) Graaff Reinet signed ‘J.H.Pierneef’ (lower right) and bears inscription ‘Graaff Reinet. Nov 52’ (lower left) watercolour 37 x 52cm (14 9/16 x 20 1/2in). £2,500 - 3,500 ZAR35,000 - 49,000

PROVENANCE: Pieter Wenning Gallery, Johannesburg Thence by direct descent to the current owner

The South African Sale | 31 26

26 27* Jacob Hendrik Pierneef (South African, 1886-1957) Maud Frances Eyston Sumner (South African, 1902-1985) Study of rocks in a landscape Interior signed ‘J.H.Pierneef’ (lower left) signed ‘SUMNER PARIS’ (lower right) watercolour watercolour 17 x 24cm (6 11/16 x 9 7/16in). 43 x 48cm (16 15/16 x 18 7/8in). £2,000 - 3,000 £3,000 - 5,000 ZAR28,000 - 42,000 ZAR42,000 - 70,000

28* Maud Frances Eyston Sumner (South African, 1902-1985) Docked boats signed ‘SUMNER’ (lower left) watercolour and ink 45.5 x 58.5cm (17 15/16 x 23 1/16in). £2,000 - 3,000 ZAR28,000 - 42,000

32 | Bonhams 27

The South African Sale | 33 29* Herman Wald (South African, 1906-1970) ‘Peasant Girl’ (Russian Girl) signed ‘H.WALD’ (lower right side) marble 47 x 19 x 24cm (18 1/2 x 7 1/2 x 9 7/16) £5,000 - 8,000 ZAR70,000 - 110,000

PROVENANCE: A private collection Herman Wald collection

EXHIBITED: Johannesburg, Selbourne Hall, South African Academy Exhibition, August 1944 Johannesburg, Duncan Hall, Exhibition of Sculpture by Herman Wald, Installation view of ‘Peasant Girl’ (Russian Girl) in the exhibition September 1944 Wings of the Shechinah: The Sculptural Art of Herman Wald (2012) Johannesburg, Galleries Beaux-Arts, Exhibition of Sculpture by Herman Wald, 22 - 29 October 1954 Cape Town, South African Jewish Museum, Wings of the Shechinah: The Sculptural Art of Herman Wald, 15 February to 15 July 2012

Born into a Rabbinical family in Cluj in Hungary before the outbreak of The recent Cape Town exhibition Wings of the Shechinah: The Sculptural the First World War, Herman Wald studied sculpture in Budapest, Vienna, Art of Herman Wald at the South African Jewish Museum in Cape Town Berlin and London before emigrating to South Africa in 1937. It was in (2012) showcased the sculptor’s versatility, revealing the wider extent of Johannesburg that he established a prolific and diverse sculptural career, his creativity in other sculptural media beyond his more familiar public undertaking a number of well-known public commissions as well as works in bronze. Wald produced many individualised commissioned many private and personal projects. portraits, but the current lot, ‘Peasant Girl’ (Russian Girl), is an evocation of an idealised ‘heroic’ female worker-type: a materialisation of the Wald’s public sculptures are a notable feature of the urban landscape in artist’s memories of his early training in Budapest when his teachers such mining cities as Johannesburg and Kimberley. He is perhaps best there were responding to the ideological demands of Hungary’s post-war known to the South African public for the seemingly weightless and communist regime. flying forms of his bronze fountain-piece Stampede (otherwise known as the “Impala Fountain”) (1960) in central Johannesburg. Commissioned One of the artist’s few surviving works in marble, ‘Peasant Girl’ was first by the mining magnate Harry Oppenheimer in memory of his father Sir exhibited at the South African Academy Exhibition in 1944, where it Ernest Oppenheimer, the fountain was donated to the city as part of was hailed in a review in The Star newspaper as being “full of character an urban improvement project initiated by Alec Gorshel, then mayor of and excellent modelling”. It was also featured on the cover of a 1951 Johannesburg. Another bronze fountain commission to honour South edition of the South African periodical Jewish Affairs. The work was Africa’s early diamond miners was also set up in the Ernest Oppenheimer felt to conjure up a spirit of dedication, fortitude and affinity for the Memorial Gardens in Kimberley in 1961. It consists of five heroic male land of Israel. The image resonated with Jewish readers swept up in worker figures supporting a giant diamond sieve. In 2011, The Unknown the euphoria following the establishment of the Jewish state in 1948. Miner, a posthumous bronze cast of Wald’s much larger, initial maquette Although before the final establishment of Israel, ‘Peasant Girl’ was for these figures, was unveiled at the east entrance of the University of nevertheless fixed upon as embodying the ideals of the chalutzim (Jewish the Witwatersrand’s recently-renovated Chamber of Mines building that agricultural workers) who flocked to Israel to assist in developing the houses its Faculty of Engineering and the Built Environment. new country.

Raised as an orthodox Jew by his rabbi-father, Wald often wrestled, as We are grateful to Hayden Proud for his assistance in cataloguing this a sculptor, with doctrinal issues posed by the Second Commandment lot. which proscribed the making of graven images. As if in response to this, he engaged himself with a number of sculptural projects for the Jewish community, contributing to the decorative programmes of a number of new synagogues being built in Johannesburg at the time. His huge ensemble Wings of the Schechinah (1967), made of beaten copper and bronze, once graced the Ark of the synagogue in Johannesburg’s suburb of Berea. While many of these then-new Johannesburg synagogues have already since closed, the most notable and accessible of his monumental religious works is his bronze Memorial to the Six Million (1959) in the city’s West Park Jewish Cemetery. This is an officially listed Holocaust memorial, and is still used as the platform for annual Holocaust remembrance ceremonies.

34 | Bonhams The South African Sale | 35 30* Freida Lock (South African, 1902-1962) Portrait signed and dated ‘Lock / 45’ (lower right) oil on board 36.5 x 30.5cm (14 3/8 x 12in). £4,000 - 6,000 ZAR56,000 - 84,000

31 Gregoire Johannes Boonzaier (South African, 1909-2005) An old cottage, Mowbray signed and dated ‘Gregoire 1933’ (lower right) oil on canvas laid to board 25 x 35.4cm (9 13/16 x 13 15/16in). £3,000 - 5,000 ZAR42,000 - 70,000

32* Gregoire Johannes Boonzaier (South 30 African, 1909-2005) Arum lilies in a vase signed and dated ‘Gregoire / 1940’, bears inscription ‘One long one short’ (verso) oil on canvas 80 x 60cm (31 1/2 x 23 5/8in). £12,000 - 18,000 ZAR170,000 - 250,000

36 | Bonhams 32

The South African Sale | 37 33 Irma Stern (South African, 1894-1966) ‘Black Lilies’ signed and dated ‘Irma Stern / 1941’ (lower left); further signed, titled and inscribed ‘Irma Stern Black Lilies, 75G / The Firs Chapel Road, Rosebank Cape Town’ (verso) oil on canvas 69 x 64cm (27 3/16 x 25 3/16in). £120,000 - 180,000 ZAR1,700,000 - 2,500,000

Beautiful and elegant, black calla lilies are dramatic and rare blossoms, thought to have originated in Africa. For Irma Stern, whose sumptuous still lifes are amongst her greatest masterpieces, black lilies would have been a unique and fresh addition to the genre. Stern famously enjoyed spending time in her garden, and arranging unique compositions of flowers and fruit, along with objects and textiles from her treasured collection: “Working in the studio with the flowerpiece, as opposed to the landscape, Stern – as artist – controls nature by selecting, structuring and arranging blooms informally to display their colour and personality.”

The present work offers a colour scheme quite distinct from the warm palette of reds and yellows which dominate most of her works of this genre. The delicacy of ‘Black Lilies’ lies very much with the dramatic silhouette of the flowers against the pale blue background. The dark buds demonstrate her confident brushstrokes and sure draughtsmanship. Most importantly, Stern has noticed that black lilies are not actually black but rather deep maroon: she has captured the fact by contrasting them with a truly black vase (one which appears in several other still lifes), utilising the effects of light and shadow to demonstrate her profound understanding of the nuances of colour.

BIBLIOGRAPHY: M. Arnold, Irma Stern: A Feast for the Eye, (Vlaeberg, 1995), p.102

IMPORTANT NOTICE: The South African Heritage Resources Agency (SAHRA) has declared this lot a work of national importance and has declined a permit for its export. Therefore it is not subject to VAT on either the hammer price or the buyer’s premium. The lot will be available for viewing at the Everard Read Gallery in Johannesburg. Payment for this lot may be made in Sterling in London or in South African Rand through our Johannesburg office using the published rate of exchange on the date of the auction. Collection must be made through our Johannesburg office. Please contact the department for further information.

38 | Bonhams The South African Sale | 39 34* Irma Stern (South African, 1894-1966) Congolese beauty signed and dated ‘Irma Stern / 1946’ (upper right), bears Grosvenor Gallery exhibition label (verso) oil on canvas 68.6 x 50.5cm (27 x 19 7/8in). £400,000 - 600,000 ZAR5,600,000 - 8,400,000

PROVENANCE: The collection of Lady Beit Sale, Sotheby’s Johannesburg, 18 June 1985, Lot 157 A private collection

EXHIBITED: Cape Town, Jewish Art Exhibition, 29th October - 14th November, 1951 London, Grosvenor Gallery, Irma Stern Memorial Exhibition, 14 March – 15 April 1967, no.48

This lustrous portrait of a woman wearing a rich red headscarf was painted in 1946, when Stern made her second visit to the Congo. Although this second trip was shorter than her previous visit in 1942, she nevertheless returned, as Mona Berman relates (clearly impressed at the artist’s productivity in the midst of various struggles, including malaria) “with fourteen big canvases, several charcoal drawings and a large selection of outlined work”. Previous director of the Irma Stern Museum, Neville Dubow, has referred to this period of work as “a peak of excellence that could stand comparison with representational paintings anywhere else in the West... Nationally...there was no one to touch her.”

The robust brushwork and patterned cloth of the sitter’s garment animates the entire picture field. The dynamic contrast of green background and red headscarf creates a visual push-and-pull within the painting, demonstrating what Marion Arnold refers to as Stern’s “grasp of the expressive power of colour and her knowledge of its inherent optical capacity” – features which characterise Stern’s finest works. Subtle red and green hues are repeated in the tonal variations of the sitter’s skin, binding the composition together visually.

Lady Beit (1915-2005) was born Clementine Mitford, daughter of Major Bertram Mitford (son of the 1st Lord Redesdale); the five celebrated Mitford sisters were cousins. In 1939 she married Sir Alfred Beit Bt, heir to the fortune and art collection of his father, Sir Otto Beit, the South African diamond millionaire.

In 1959, the couple moved to Russborough House, an idyllic Irish Palladian mansion twenty miles outside Dublin. Here they found the perfect setting for their now considerable art collection, one of the finest in private hands. But the tranquility was not to last: they found themselves the victims of a series of notorious robberies, which were later to become the subject of a book and several films.

BIBLIOGRAPHY: M. Arnold, Irma Stern: A Feast for the Eye, (Vlaeberg, 1995), p.49 M. Berman, Remembering Irma, (Cape Town, 2003), p.106 N. Dubow, Irma Stern, (Cape Town, 1974), p.20

40 | Bonhams The South African Sale | 41 35* Irma Stern (South African, 1894-1966) Zanzibar Garden oil on canvas 71 x 71cm (27 15/16 x 27 15/16in). within original Zanzibar hardwood frame £600,000 - 900,000 ZAR8,400,000 - 13,000,000

PROVENANCE: The collection of Mrs Lily Cohen A private collection

Irma Stern first visited Zanzibar in 1939, and returned for her second visit in 1945. The 1945 trip was carefully planned and it has been suggested that, for Stern, this second trip to the Spice Island was a deliberate attempt to cultivate something new within herself and her artwork. She noted in her letters that she was “conquering new ground for my work and development. I am painting dramatic pictures, compositions and faces.” The current lot is a vivid example of Mona Berman’s assertion about the relationship between Stern’s letters and paintings from Zanzibar: “Her verbal descriptions explode in vibrant colours on her canvases, depicting the richness of atmosphere and culture in which she... immersed herself”.

The lush foliage of this Zanzibari garden seems almost to spill out beyond the edges of the picture plane, its rhythms picked up by the carved leaves of the original frame. The exuberant colours of the vegetation – a rich orchestration of greens, yellows and reds – are balanced with the more subdued peach and ochre tones of the surrounding architecture. Stern had a great love for natural forms and, in her landscape works, has been described as unusually responsive to the mood and feel of places. Here she captures a sensory portrait of an environment which she described in her Zanzibar diary as “heavy with heat”.

The Zanzibar subject as well as the original frame – made from the carved components of Zanzibar doors reassembled by the artist herself – places the work amongst the most sought-after of Stern’s paintings. It also complements and completes the piece, as Marion Arnold suggests, as “these decorative carvings, with their rhythmic repeat patterns, provide the sculptural foil to her organic pictorial designs”.

BIBLIOGRAPHY: M. Arnold, Irma Stern: A Feast for the Eye, (Vlaeberg, 1995), p.50 M. Berman, Remembering Irma, (Cape Town, 2003), p. 97, p.81 I. Stern, Zanzibar, (Pretoria, 1948), p.18

42 | Bonhams The South African Sale | 43 36

44 | Bonhams 38

36* 38* Willem Hermanus Coetzer (South African, 1900-1983) Adolph Stephan Friedrich Jentsch (German, 1888-1977) Northern Transvaal Bridge in South-West African Landscape signed ‘W.H. COETZER’ (lower right), signed and inscribed ‘W.H. Coetzer signed and dated ‘AJ. 1948’ (lower left) / N. Transvaal’ (verso) oil on canvas oil on canvasboard 46 x 68.5cm (18 1/8 x 26 15/16in). 61 x 91cm (24 x 35 13/16in). £15,000 - 20,000 £6,000 - 9,000 ZAR210,000 - 280,000 ZAR84,000 - 130,000

37* Willem Hermanus Coetzer (South African, 1900-1983) Near Worcester signed ‘W.H. COETZER’ (lower right), signed and inscribed ‘W. H Coetzer / Near Naby Worcester’ (verso) oil on canvasboard 61 x 91cm (24 x 35 13/16in). £5,000 - 8,000 ZAR70,000 - 110,000

The South African Sale | 45 39 Jacob Hendrik Pierneef (South African, 1886-1957) Country track at sunset signed ‘J.H.Pierneef’ (lower right) casein 28.5 x 21cm (11 1/4 x 8 1/4in). £15,000 - 20,000 ZAR210,000 - 280,000

PROVENANCE: Collection of William Henry Clegg, Governor of the South African Reserve Bank (1920-1931) Thence by descent to the current owner

46 | Bonhams 40 Jacob Hendrik Pierneef (South African, 1886-1957) Trees and storm clouds on the veld signed ‘J.H.Pierneef’ (lower left) casein 21.5 x 29cm (8 7/16 x 11 7/16in). £20,000 - 30,000 ZAR280,000 - 420,000

PROVENANCE: Collection of William Henry Clegg, Governor of the South African Reserve Bank (1920-1931) Thence by descent to the current owner

The South African Sale | 47 41* Jacob Hendrik Pierneef (South African, 1886-1957) Rustenburg Kloof signed ‘JH Pierneef’ (lower right), bears inscription ‘RUSTENBURG KLOOF PALETNES(?) KUNSWERK / Geskilder vir die familie Henning’ [Painted for the Henning family] (to stretcher verso) oil on canvas 35.5 x 46cm (14 x 18 1/8in). £40,000 - 60,000 ZAR560,000 - 840,000

Rustenburg Kloof is one of the most iconic sites in Pierneef’s oeuvre. As Esmé Berman points out, it was “Pierneef’s habit to return repeatedly to subjects that especially attracted him”, including Rustenburg Kloof, which featured in his famous mural composition for the Johannesburg Station, completed during 1931-2. The current lot is an impressionistic rendering typical of the artist’s early work.

Many studies by the artist of this subject may also be found in the collection of the Pretoria Art Museum, most notably a 26.6 x 37.4 cm pencil drawing of the same title dated 1939 and acquired from the artist’s daughter Marita Pierneef.

A similar composition, also titled Rustenburg Kloof, sold at Stephen Welz & Co., Johannesburg, 8 May 2000, lot 699.

BIBLIOGRAPHY: E. Berman, Painting in South Africa, (Pretoria,1993), p.48

48 | Bonhams 42 Jacob Hendrik Pierneef (South African, 1886-1957) A view in the Stellenbosch Valley, with Simonsberg and the Hottentots Holland beyond signed and dated ‘J.H. Pierneef.50.’ (lower left) oil on board 46.7 x 60.8cm (18 3/8 x 23 15/16in). £70,000 - 100,000 ZAR980,000 - 1,400,000

PROVENANCE: Acquired directly from the artist Thence by descent to the current owner

Better known for its exquisite wine, parts of the Stellenbosch Valley Though predominantly a Transvaal painter, Pierneef’s rarer images of were planted with tobacco and wheat during the 1950s. In this image, the Cape have become increasingly popular. He became enamoured a combination of crops provide a pastel-hued patchwork for Pierneef’s with the Cape after exhibiting in Stellenbosch in 1921, and continued A view in the Stellenbosch Valley, with Simonsberg and the Hottentots to make further visits, sketching the area and visiting his friend (and Holland beyond. The interlocking planes of colour almost register later biographer) J.F.W. Grosskopf. Pierneef was particularly inspired by as a topographical blueprint, a scene which undoubtedly appealed the Cape landscape, its dark mountains, green trees and Cape Dutch to Pierneef’s strong sense of draughtsmanship, and fascination with architecture providing new visual stimuli. The Stellenbosch area features the great “play of lines” in nature. Beyond the fields, the blue-hued in many of Pierneef’s linocuts, as well as his Johannesburg Station Panel Simonsberg and Hottentots Holland mountain ranges – less starkly- series, and a very similar composition, Simonsberg, was sold at Christie’s rendered than those of much of Pierneef’s earlier work – add to the London, 17 September 1999, lot 141. sense of vastness in the image. An atmosphere of peace and orderliness pervades the scene, undisturbed by any signs of human presence or BIBLIOGRAPHY: activity. J.F.W. Grosskopf, Hendrik Pierneef: The Man and his Work, (Cape Town, 1947), p.15

The South African Sale | 49 43* Vladimir Griegorovich Tretchikoff (South African, 1913-2006) ‘Chinese Girl’ signed ‘TRETCHIKOFF’ (lower right) and indistinctly signed and dated (lower right) oil on canvas 76.2 x 66.5cm (30 x 26 3/16in). £300,000 - 500,000 ZAR4,200,000 - 7,000,000

PROVENANCE: Acquired by Ms Buhler from the artist circa 1954 Thence by descent to the current owner

EXHIBITED: Various venues in the USA and Canada, 1953-1955 Cape Town, IZIKO South African National Gallery, Tretchikoff: The People’s Painter, 26 May – 25 September 2011

LITERATURE: R. Buncher, Tretchikoff: Special US edition, (Cape Town, 1953), illustrated A. Lamprecht (ed.), Tretchikoff: The People’s Painter, (Johannesburg and Cape Town, 2011), illustrated on cover, p. 50 (detail) and p.124 H. Timmins, Tretchikoff, (London, 1969), illustrated V. Tretchikoff and A. Hocking, Pigeon’s Luck, (London, 1973), illustrated

50 | Bonhams The South African Sale | 51 Vladimir Tretchikoff and Monika Sing-Lee look at old photographs during their reunion

Undoubtedly Tretchikoff’s most iconic work, the Chinese Girl remains During the US tour, which was organised by the Rosicrucians of San the most widely reproduced and recognisable of his oeuvre. The José, Tretchikoff exhibited at Marshall Field’s in Chicago, where he had highest-selling art print in history, in the 1950s and ‘60s the Chinese dinner with the prominent Buhler family. As he recounts in Pigeon’s Luck Girl captured imaginations – and pride of place above mantelpieces (Tretchikoff’s life story, written with Anthony Hocking), their sixteen-year- – across the globe, from South Africa to Australia, Britain to America. old daughter Mignon was entranced by the Chinese Girl and offered to The painting was an unprecedented success during Tretchikoff’s North buy it. Tretchikoff responded that he would need the picture for the rest American tour (around the USA in 1953-4 and to Canada in 1955), of the tour and was also considering publishing reproductions of it, so it prompting the artist to reproduce it in the form of the large-scale would be some time before she could have it, but Mignon was resolved. lithographic print with which he would become synonymous. Unseen The Chinese Girl has remained in the Buhler family ever since, and now for many years, the original painting was once again exhibited in the comes to public auction for the first time. landmark exhibition Tretchikoff: The People’s Painter at the South African National Gallery in 2011. In Pigeon’s Luck, published in 1973, Tretchikoff claimed that the Chinese Girl, painted in Cape Town, was damaged during an intrusion The iridescent hues of the Chinese Girl reflect Tretchikoff’s and slashing incident in his studio just prior to his trip, and that the experimentation with the possibilities of his colour palette: the green- renowned work was repainted together with other works in the US blue patina-like effect of the sitter’s face is uncanny, heightening the before the official start of the tour (so as not to prompt the Rosicrucians red of her lips and framed by her lustrous dark hair. The deftly-handled to cancel the exhibitions). However, at the time of the break-in, the artist golden hues and decorative detail of her tunic emerge from the lines of did not mention the work amongst those slashed in contemporary police charcoal on brown canvas, a combination of media familiar from works reports. It also appears as an additional plate in the Buncher catalogue like Basotho Girl and Zulu Maiden. Notably, the combination of lustrous of 1953, specially produced for the US tour. It is dated 1952 and the golden silk and the blue-sheen of the model’s skin combine to produce catalogue makes explicit reference to his model from Cape Town’s small an otherworldly glow: a luminescence that is the leitmotif of Tretchikoff’s Chinese community. This again might reflect the artist’s wish not to give best works. the Rosicrucians reason to call off the US tour.

The work is inspired by the sitter Monika Pon-su-san (née Sing-Lee), who As is often the case with Tretchikoff, an element of mystery remains. was working at her uncle’s laundrette in Sea Point, Cape Town when Regardless of whether the artist was entirely truthful in his claim to have Tretchikoff spotted her and asked her to model for him in 1951. Boris repainted the work in the US, the current lot is undoubtedly the painting Gorelik, author of the forthcoming new book Incredible Tretchikoff (due bought by Mignon Buhler, and the original from which the famous out in mid 2013), was the first researcher to trace Sing-Lee in 2010. lithograph was made. He remarks on the unmistakable resonance between photographs of Sing-Lee in 1952, and the painting of the Chinese Girl: “She opened her photograph album, and I was blown away. The girl in the black-and- white snapshots from the Fifties was just like the legendary image come to life.” Tretchikoff painted two portraits of Monika, one in which she wears the famous golden tunic and another in which it is blue and pink (apparently the real colour of the silk-chiffon garment).

52 | Bonhams When asked about the popularity of the image, Tretchikoff himself admitted: “I still cannot explain the mystery of my painting... I would never have believed anyone who told me in advance that one day I would paint a picture that would appeal literally internationally”. As art historian Ashraf Jamal points out in his catalogue essay for the 2011 Tretchikoff exhibition, the Chinese Girl’s appeal suggests something of the continued allure of the East – communicated so powerfully in this sensuous image – in the contemporary market.

Clearly, Tretchikoff had a personal investment in the work. Having spent many years as a child in Harbin (the Russian-founded town in Manchuria) after his family fled Russia, he later moved to Shanghai where he worked in advertising and commercial illustration until 1934. As the artist explains in Pigeon’s Luck: “In painting Chinese Girl, I had a lot of experience to draw on... My mind and soul went into this painting, and perhaps there lies the explanation for its success. Somehow perhaps I caught the essence of Chinese womanhood...”

We are grateful to Boris Gorelik, Anthony Hocking and Andrew Lamprecht for their assistance in cataloguing this lot.

BIBLIOGRAPHY: B. Gorelik, Incredible Tretchikoff, (Johannesburg, 2013), forthcoming A. Jamal, ‘Turning Eastward: Valdimir Tretchikoff’s Orient’, in A. Lamprecht (ed.), Tretchikoff: The People’s Painter, (Johannesburg and Cape Town, 2011), pp.50-87 A. Lamprecht (ed.), Tretchikoff: The People’s Painter, (Johannesburg and Cape Town, 2011) H. Timmins, Tretchikoff, (London, 1969) V. Tretchikoff and A. Hocking, Pigeon’s Luck, (London, 1973), p.241, p.242

Monika Sing-Lee in Cape Town, 1952

The South African Sale | 53 44

44 45* Vladimir Griegorovich Tretchikoff (South African, 1913-2006) Vladimir Griegorovich Tretchikoff (South African, 1913-2006) Balinese dancer Self-portrait and two portraits of Lenka signed ‘Tretchikoff’ (lower left) self-portrait signed, dated and inscribed ‘To Lenka / for 2 1/2 oil on canvas unforgettable / years / Tretchi / 22-11-45 / JAVA’ (lower right) and second 59 x 122cm (23 1/4 x 48 1/16in). portrait of Lenka signed ‘TRETCHIKOFF’ (lower right) £40,000 - 60,000 sanguine chalk on paper ZAR560,000 - 840,000 53 x 44cm (20 7/8 x 17 5/16in); 49.5 x 40.5cm (19 1/2 x 15 15/16in); 79 x 54 cm (31 1/8 x 21 1/4in) “All the mystic fascination of the women of the Orient has been (3) captured in this canvas. The baffling subtlety of the expression contains £15,000 - 20,000 all that the mind of the West finds difficult to grasp in Eastern passivity ZAR210,000 - 280,000 of purpose.” During World War II, Tretchikoff was evacuated from Singapore but BIBLIOGRAPHY: captured by the Japanese when his life raft reached Java. After three R. Buncher, Tretchikoff, (Cape Town, 1950) months in solitary confinement, he was released on the proviso that H. Timmins, Tretchikoff, (London, 1969) he was an artist, and spent the last three years of the war confined to Djakarta. Tretchikoff began to undertake portrait commissions, and one day a Eurasian woman, Leonara Moltema – called Lenka – walked into his studio: “I can still smell her perfume,” the artist recounted, “She wore Shalimar. She always dressed like a Paris model and had coal-black eyes and shoulder-length hair. She was stunning.”

From muse to lover, Lenka would become a central character in Tretchikoff’s life story and artistic legacy, though the two parted ways in 1945. The current lot, with all the softness and subtlety that the pastel medium allows, includes the first portrait he ever made of her, a later nude, and the self-portrait he gifted to her on their parting, fondly inscribed “To Lenka for 2 ½ unforgettable years...” These poignant portraits are very likely the earliest extant works by the artist.

BIBLIOGRAPHY: Y. Du Toit, ‘Lenka, Tretchikoff’s muse: a personal reminiscence’, in A. Lamprecht (ed.), Tretchikoff: The people’s painter, (Johannesburg and Cape Town, 2011), pp.90-103, p.92

54 | Bonhams 45

The South African Sale | 55 46* Pranas Domsaitis (South African, 1880-1965) The Life of Christ, triptych signed ‘Domsaitis’ (two lower left; the other lower right) oil on board one 92.5 x 71cm (36 7/16 x 27 15/16in).; the others 80 x 63cm (31 1/2 x 24 13/16in). (3) £6,000 - 9,000 ZAR84,000 - 130,000

PROVENANCE: A private collection

LITERATURE: E. Verloren van Themaat, Pranas Domsaitis, (Cape Town and Johannesburg, 1976), annunciation scene illustrated in colour, fig.21; crucifixion scene illustrated in black and white, fig.22

Born on the border of Prussia and Lithuania, Pranas Domsaitis developed a distinctive style of painting that fused Lithuanian folkloric art traditions – replete with a mystical quality – with an interest in both early ecclesiastical art and an emerging European Expressionism. After the First World War, he exhibited throughout Germany and Lithuania, often alongside artists such as Ernst Ludwig Kirchner and Edvard Munch, garnering sufficient recognition, in turn, to be included in the Nazi government’s notorious Exhibition of Degenerate Art in Munich in 1937. After the war, Domsaitis struggled to exhibit in Germany, so when his wife, Adelheid Armhold, was offered a position at the University of Cape Town’s College of Music, the couple moved to South Africa in 1949.

In South Africa, the artist was able to regain a relative sense of peace, and was inspired by the new subjects and stylistic traditions he encountered. Referred to by Elsa Verloren van Themaat as “an essentially spiritual man who needed to paint”, Domsaitis’ religious themes – so uncommon in modern South African art generally – are amongst his most powerful. The triptych offers a series of psychological portraits of strongly emotive episodes in the Biblical narrative, conveyed through the shallow, fragmented picture space, strong contrasts and elongated forms. The triptych also features several key characteristics of Domsaitis’ work, among them, as Esmé Berman points out, “the jewel-like colourings, the glowing moon, the heavy black outline and scumbled texture”.

A similar Crucifixion triptych (but featuring an adoration scene and not including an annunciation) sold at Stephan Welz & Co, Johannesburg, Monday 19, 2012, lot 738, and another appears in the collection of IZIKO South African National Gallery.

BIBLIOGRAPHY: E. Berman, Painting in South Africa, (Pretoria, 1993), p.133 E. Verloren van Themaat, Pranas Domsaitis, (Cape Town and Johannesburg, 1976), p.18

56 | Bonhams The South African Sale | 57 47 48

47* 48* Gregoire Johannes Boonzaier (South African, 1909-2005) Gladys Mgudlandlu (South African, 1917-1979) Still life with vase of flowers and citrus fruit African girl, includes a sketch of a couple (verso) signed and dated ‘Gregoire 1955’ (lower right) gouache oil on canvas 61 x 46cm (24 x 18 1/8in). 51 x 41cm (20 1/16 x 16 1/8in). unframed £5,000 - 8,000 £2,000 - 3,000 ZAR70,000 - 110,000 ZAR28,000 - 42,000

PROVENANCE: Acquired directly from the artist by the current owner

58 | Bonhams 49* Gladys Mgudlandlu (South African, 1917-1979) Devil’s Peak, Table Mountain and Lion’s Head bears inscription ‘Creeping up DEVIL’S PEAK / TABLE MOUNTAIN, DEVILS PEAK’ (to label on verso) gouache 51 x 50cm (20 1/16 x 19 11/16in). unframed £4,000 - 6,000 ZAR56,000 - 84,000

PROVENANCE: Acquired directly from the artist by the current owner

The South African Sale | 59 50* Gladys Mgudlandlu (South African, 1917-1979) Snake signed and dated ‘Gladys Mgudlandu/1957’ (lower left) watercolour and gouache 24.5 x 29.5cm (9 5/8 x 11 5/8in). unframed together with another work by the same hand, (2). £1,000 - 1,500 ZAR14,000 - 21,000

PROVENANCE: Acquired directly from the artist by the current owner

60 | Bonhams 51* Gladys Mgudlandlu (South African, 1917-1979) Three ink drawings including ‘Mushrooms’, one includes a sketch of a woman in a hut (to verso) all signed and variously dated 1962 or 1963 ink on paper 64 x 31, 62.5 x 20, 64 x 23cm (25 3/16 x 12 3/16, 24 5/8 x 7 7/8, 25 3/16 x 9 1/16). (3) unframed £1,500 - 2,000 ZAR21,000 - 28,000

PROVENANCE: Acquired directly from the artist by the current owner

The South African Sale | 61 62 | Bonhams 52 53* Gerard Sekoto (South African, 1913-1993) Gerard Sekoto (South African, 1913-1993) ‘The Mandebele Girls’ Children at the beach signed ‘G SEKOTO’ (lower left), bears inscription ‘THE MANDEBELE signed ‘G SEKOTO’ (lower right) GIRLS’ (on reverse of stretcher) oil on canvas laid to board oil on canvas 48.5 x 59cm (19 1/8 x 23 1/4in). 44 x 36cm (17 5/16 x 14 3/16in). £10,000 - 15,000 £20,000 - 30,000 ZAR140,000 - 210,000 ZAR280,000 - 420,000

The above work can be dated to the early 1950s. Barbara Lindop’s monograph illustrates a similar work called Mandebele Woman, about which the artist remarks: “These were the people with whom I used to live side by side in my youth.”

BIBLIOGRAPHY: Barbara Lindop, Gerard Sekoto, (Randburg, 1988), p.189

The South African Sale | 63 54* Alexis Preller (South African, 1911-1975) ‘Woman with a Lyre’ oil on canvas 152 x 122cm (59 13/16 x 48 1/16in). £400,000 - 600,000 ZAR5,600,000 - 8,400,000

PROVENANCE: The collection of Mrs Lily Cohen A private collection

EXHIBITED: Johannesburg, Lidchi Gallery, 13-24 March 1956 Pretoria, Pretoria Art Museum, Alexis Preller Retrospective, 24 October - 26 November 1972, no.80

LITERATURE: E. Berman and K. Nel, Alexis Preller: Africa, the Sun and Shadows, (Johannesburg, 2009), illustrated p.179; a photograph of the artist with the work p.187 E. Berman and K. Nel, Alexis Preller: Collected Images, (Johannesburg, The artist alongside the current lot, Woman with a Lyre, 1957. 2009), illustrated p.162 Image courtesy of Esmé Berman.

Presenting his 16th solo exhibition at Johannesburg’s Lidchi Gallery in The “lineage” of Woman with a Lyre can be traced back to the early 1956, Alexis Preller mesmerized viewer when they came face to face stages of the artist’s career. Drawing once again from the image of the with his new offering for the first time. Woman with a Lyre was the Mapoggo (Ndebele) woman, Preller exalted her “onto a plane of semi- largest work Preller had exhibited to date, and was unlike anything he or divinity... portraying her in hieratic terms, similar to the conventions used any other South African artist had produced. In their visual biography of in Ancient Egypt for depicting their god-kings”. Moreover, the Benin- the artist, art historians Esmé Berman and Karel Nel position it as one of like seated figure playing a musical instrument in the middle panel of the most significant works in Preller’s career. the All Africa Mural (1953-1955) is clearly an ancestor of the work, as are the Dogon carving-inspired figures in Garden of Eden (1954) and In the Lidchi Gallery exhibition, Woman with a Lyre was grouped with Adam and Eve (1955). The Woman with a Lyre would also inspire further nine other pieces, including Hieratic Women (1955), and Primavera explorations of the same subject, and pictorial elements in the painting, (1995), under the heading “African Figures”. This collection of works such as the three-pronged pitch-fork and crescent shapes, would formed the most compelling and innovative section of the exhibition, become recurring icons. reflecting the fresh influences of Egyptian and Italian Quattrocento traditions (gleaned from his recent travels), and demonstrating “great Using a restrained palette, large planes of colour are “enlivened by the leaps in the idiomatic language of his visual statements, leaps that co-existence of multiple segments in subtle tertiary tones and by several carried the conceptualised images of previous shows into a realm of dark accenting forms”. Through the careful calibration of colour, Preller figures, signs and symbols stranger than any he had shown before”. achieves a compositional complexity that is remains uncluttered and harmonious, resulting in one of his most remarkable works.

BIBLIOGRAPHY: E. Berman and K. Nel, Alexis Preller: Collected Images, (Johannesburg, 2009), pp.178, 163, 165

64 | Bonhams The South African Sale | 65 55* Alexis Preller (South African, 1911-1975) The Gold Temple signed and dated ‘Preller 68’ (lower right) oil and gold leaf on gesso on panel 86.1 x 98.7cm (33 7/8 x 38 7/8in). £6,000 - 9,000 ZAR84,000 - 130,000

The present lot is one of a series of ‘Gold Temples’ or ‘Temples of the Sun’ (circa 1963-1968), and bears a remarkable resemblance to the central canvas of Gold Temple, 1966, a triptych exhibited at the Pretoria Art Museum retrospective in 1972 (cat. 129).

“Preller did not use gold leaf in the paintings of this period solely for its ornamental value. Gold, he felt, reflected the divine light of spirituality. It had associations with the sacred solar discs of the Egyptians; it symbolised the radiance of enlightenment to Buddhists.”

BIBLIOGRAPHY: E. Berman & K. Nel, Alexis Preller: Collected Images, (Johannesburg, 2009), pp.208-211

66 | Bonhams 56* Alexis Preller (South African, 1911-1975) ‘Mango Aquarius’ signed and dated 1970 oil on canvas 40 x 53cm (15 3/4 x 20 7/8in). £20,000 - 30,000 ZAR280,000 - 420,000

Mangoes are a recurring motif in the work of Alexis Preller, who Mango Aquarius recaptures the romantic vision and exotic appeal of “spanned both his earlier and his most recent expression by returning Preller’s earlier Seychelles works. Rendered in the rich, jewel-tone hues to a favourite subject – Mangoes”. Harking back to early works, such of an idealised island life, the work displays Preller’s instinctual grasp as Mangoes on the Beach (1948), Preller places the humble fruit as the of colour harmony. The cosmological reference to Aquarius plays into central focus, imbuing it with the exotic overtones of the tropical setting. Preller’s vision of “mystical symbolism” that lies in the intersection of Through the repetition of these everyday objects, Preller developed a “Greek mythology, Mapogga culture, [and] Hieratic emblematic signs” technical mastery of their depiction. However, his reference to them as that “begin to represent another world – an ancient African universe”. “household gods” also suggests a deeper significance. Merwe Scholtz, Preller weaves together origin mythology and his personal iconography cited in Esmé Berman and Karel Nel’s monograph on the artist, suggests to create a new cosmology. that Preller depicts these works “with the persistence of a dream inevitably recurring, groping towards yet another shape, one richer, A similar work, Hieratic Mango, 1970, was included in the 1972 Alexis clearer, more comprehensive than its previous manifestation”. Preller Retrospective at the Pretoria Art Museum (cat. 166).

BIBLIOGRAPHY: E. Berman and K. Nel, Alexis Preller: Africa, the Sun and Shadows, (Johannesburg, 2009), p.131, 302 E. Berman and K. Nel, Alexis Preller: Collected Images, (Johannesburg, 2009), xiii

The South African Sale | 67 57* W Cecil Edwin Frans Skotnes (South African, 1926-2009) Figural composition signed ‘C Skotnes’ (lower centre) painting on incised panel 91 x 122.5cm (35 13/16 x 48 1/4in). £8,000 - 12,000 ZAR110,000 - 170,000

57 58* Cecil Edwin Frans Skotnes (South African, 1926-2009) Abstract signed ‘C. Skotnes’ (lower right) painting on incised panel 61 x 61cm (24 x 24in). £5,000 - 8,000 ZAR70,000 - 110,000

59* Cecil Edwin Frans Skotnes (South African, 1926-2009) Head, 1969 incised ‘C. SKOTNES’ (lower right) painting on incised panel 76 x 102cm (29 15/16 x 40 3/16in). £12,000 - 18,000 ZAR170,000 - 250,000

68 | Bonhams 59

The South African Sale | 69 60* Cecil Edwin Frans Skotnes (South African, 1926-2009) Double-sided head painting on incised panel 76 x 54cm (29 15/16 x 21 1/4in). £4,000 - 6,000 ZAR56,000 - 84,000

PROVENANCE: Gifted to the current owner by a friend circa 1980

61* Cecil Edwin Frans Skotnes (South African, 1926-2009) Landscape no.1 signed ‘C. SKOTNES’ (lower right) painted on incised panel 53 x 38.4cm (20 7/8 x 15 1/8in). £2,000 - 3,000 ZAR28,000 - 42,000

70 | Bonhams 62* Erik (Frederik Bester Howard) Laubscher (South African, b.1927) ‘Shipwreck fragment’ signed ‘Laubscher’ (lower left) oil on canvas 49.5 x 61cm (19 1/2 x 24in). £10,000 - 15,000 ZAR140,000 - 210,000

The South African Sale | 71 63 Vladimir Griegorovich Tretchikoff (South African, 1913-2006) ‘Herb Seller’ signed, inscribed and dated ‘TRETCHIKOFF / S.A. / 1949’ (lower right) oil on canvas 110 x 90cm (43 5/16 x 35 7/16in). £80,000 - 120,000 ZAR1,100,000 - 1,700,000

PROVENANCE: Mrs A.S. East, Cape Town Jan F. W. Haak, Minister of Planning and Mines (1964-1967), Minister of Economic Affairs (1967-1970) Gifted to R. F. ‘Pik’ Botha, Ambassador to the USA (1975), Minister of Foreign Affairs (1977-1994) Gifted to Mr Brian H. Cohen A private trust

LITERATURE: R. Buncher, Tretchikoff, (Cape Town, 1950), illustrated no. 4 H. Timmins, Tretchikoff, (London, 1969), illustrated A. Lamprecht, Tretchikoff: The People’s Painter, (Johannesburg and Cape Town, 2011), illustrated p.43

The current lot is particularly significant as the first work by Tretchikoff to be shown in the South African National Gallery, when it was included in the exhibition 1910-2010: From Pierneef to Gugulective, a survey of a century of South African art. The work is seen as particularly significant for its socio-political resonances, which seldom surface in Tretchikoff’s oeuvre. As Andrew Lamprecht elaborates, “The painting depicts a well- known ‘character’ in Cape Town, disenfranchised because of South Africa’s race policies, which were expanding to devestating effect soon after Tretchikoff arrived in his adoptd land. Behind the direct gaze of the main figure are the torn posters of two political rivals: Smuts of the ‘liberal’ United Party and Malan of the apartheid-initiating National Party.”

Richard Buncher, in his 1950 publication, records the following of the sitter: “When this old Cape Coloured woman died shortly after the completion of this portrait, it was as if a landmark had been taken from Cape Town. For many years she had sold her knowledge of the healing properties of nature in a corner of the Grand Parade, once the site of Van Riebeeck’s wooden fort, by then the scene of many a political gathering, all of which left her unmoved. Her place was taken by her daughter, and so the traditions of the past were handed down from one generation to another”.

Jan Haak was South Africa’s minister of Economic Affairs in the late 1960s, after three years as Minister of Planning and Mines. R. F. “Pik” Botha was South Africa’s ambassador to the USA in 1975 and was made Minister of Foreign Affairs in 1977.

BIBLIOGRAPHY: R. Buncher, Tretchikoff, (Cape Town, 1950) A. Lamprecht, Tretchikoff: The People’s Painter, (Johannesburg and Cape Town, 2011), p.43

72 | Bonhams The South African Sale | 73 64* Vladimir Griegorovich Tretchikoff (South African, 1913-2006) Lady with crayfish signed and dated ‘TRETCHIKOFF / SA / 51’ (upper right) oil on canvas 63 x 84cm (24 13/16 x 33 1/16in). £18,000 - 25,000 ZAR250,000 - 350,000

LITERATURE: A. Lamprecht (ed.), Tretchikoff: The People’s Painter, (Johannesburg and Cape Town: 2011), illustrated p.10 H. Timmins, Tretchikoff, (Cape Town, 1969), illustrated

Howard Timmins remarks of the subject of this work: “The crawfish [sic] seller has long been a Cape institution. To-day, however, what was once a barrow trade has become a major revenue earner”.

BIBLIOGRAPHY: H. Timmins, Tretchikoff, (Cape Town, 1969)

74 | Bonhams 65* Vladimir Griegorovich Tretchikoff (South African, 1913-2006) Lady with dahlias signed and dated ‘TRETCHIKOFF / 58’ (lower left) oil on canvas 70 x 75cm (27 9/16 x 29 1/2in). £15,000 - 20,000 ZAR210,000 - 280,000

The flower sellers of the Cape were amongst Tretchikoff’s favourite subjects. Howard Timmins remarks of a work on the same theme that “the flower sellers of Cape Town are known almost throughout the world. They have long since become a colourful landmark of one of the world’s most famous ports”. In the current lot, Tretchikoff uses the familiar “experimental” combination of rich pigment hues (including blue tints for the highlights of the face) in key areas, with other areas drawn in charcoal directly onto the brown canvas.

BIBLIOGRAPHY: H. Timmins, Tretchikoff, (London, 1969)

The South African Sale | 75 66

66* Vladimir Griegorovich Tretchikoff (South African, 1913-2006) ‘Field Fire’ signed ‘Tretchikoff’ (lower left) oil on canvas 66.5 x 122cm (26 3/16 x 48 1/16in). £7,000 - 10,000 ZAR98,000 - 140,000

67• Tretchikoff, 3rd (special USA) edition 818/1500 Buncher, Richard ‘Tretchikoff’, Cape Town, Howard Timmins, 1953

TRETCHIKOFF BUNCHER (RICHARD) Tretchikoff. With a Foreword by Prebble Rayner, NUMBER 818 OF 1500 THE EDITION DE LUXE “specially published for America”, SIGNED BY TRETCHIKOFF on the colophon, and again beneath the artist’s self portrait (Plate 1), 12 colour plates tipped-in, numerous others in black and white, publisher’s spiral-bound boards gilt, lettered “Special Edition” on upper cover, preserved in original portfolio wrappers, upper cover gilt-stamped with onlaid colour copy of The Dying Swan (slightly rubbed), folio, Cape Town, Howard Timmins, [1953]

76 | Bonhams 68* Maurice Charles Louis van Essche (South African, 1906-1977) Two Congolese women seated in a forest signed ‘van essche’ (lower right) oil on canvasboard 61 x 53cm (24 x 20 7/8in). £10,000 - 15,000 ZAR140,000 - 210,000

The South African Sale | 77 69

69* Maurice Charles Louis van Essche (South African, 1906-1977) Collecting water, Congo signed ‘van essche’ (lower right) oil on board 53.5 x 61cm (21 1/16 x 24in). £6,000 - 9,000 ZAR84,000 - 130,000

70 Maurice Charles Louis van Essche (South African, 1906-1977) ‘Coloured girl standing’ bears the inscription ‘Coloured girl standing / XXIV’ (verso) oil on board 61 x 30cm (24 x 11 13/16in). £5,000 - 6,000 ZAR70,000 - 84,000

78 | Bonhams 71 72

71 72 Lucas Tandokwazi Sithole (South African, 1931-1994) Lucas Tandokwazi Sithole (South African, 1931-1994) ‘I’m not alone’, 1975 ‘Waving in the water’, 1990 signed ‘L.T.SITHOLE’ (to base) signed ‘L T Sithole’ (to base) carved mahogany on tambotie base carved Zululand wood on tambotie base 37.5cm (14 3/4in) high (excluding base) 67cm (26 3/8in) high (including base) £6,000 - 9,000 £5,000 - 8,000 ZAR84,000 - 130,000 ZAR70,000 - 110,000

PROVENANCE: PROVENANCE: A private collection, Johannesburg Gallery 21, Johannesburg, 1993 Gallery 21, Johannesburg A private collection A private collection EXHIBITED: EXHIBITED: Johannesburg, Gallery 21, 1991 Johannesburg, Gallery 21, 1975 Johannesburg, Gallery 21, 1992 Johannesburg, Gallery 21, 1976 LITERATURE: The above work is listed on Fernand Haenggi’s online catalogue raisonné Southern Africa Today (Pretoria, March 1992), illustrated p.36 (www.sithole.com) as LS7544. The above work is listed on Fernand Haenggi’s online catalogue raisonné (www.sithole.com) as LS9006.

The South African Sale | 79 73* Irma Stern (South African, 1894-1966) Potato pickers signed and dated ‘Irma Stern / 1961’ (upper right) oil on canvas 93 x 74cm (36 5/8 x 29 1/8in). £120,000 - 180,000 ZAR1,700,000 - 2,500,000

PROVENANCE: Acquired by the current owner’s parents, Cape Town, 1960s A private collection

This harvest scene is a vibrant composition of five women picking potatoes in a furrowed field. Images of fruitful labour, and particularly harvest scenes, were a recurrent theme in Stern’s career, particularly amongst her later works. Painted in the same year (1961) as comparable works such as Tomato Pickers – and with figures donning similar attire (including yellow sunhats) – it is likely that the work was painted while the artist was in Spain.

Each figure in the composition of the current lot is captured in a different pose, from squatting to almost prostrate; each depicted as an element of nature and pictorial form rather than a distinct individual. The rhythmic character of Stern’s composition and the immediacy of her brushwork are complemented by strong colours in autumnal hues. Previous director of the Irma Stern museum, Neville Dubow, has referred to Stern’s harvest scenes from this period as “lyrical figures-in-landscape compositions, loosely knit yet held together by sweeping rhythms that bind earth, workers, and sky”.

BIBLIOGRAPHY: N. Dubow, Irma Stern, (Cape Town, 1974), p.21

80 | Bonhams The South African Sale | 81 74* Maud Frances Eyston Sumner (South African, 1902-1985) Abstract landscape signed ‘Sumner’ (lower right) oil on canvas 54 x 65cm (21 1/4 x 25 9/16in). £5,000 - 7,500 ZAR70,000 - 100,000

82 | Bonhams 75* Stanley F. Pinker (South African, 1924-2012) Lovers signed ‘SF Pinker’ (lower left) oil on masonite 38 x 49.2cm (15 x 19 3/8in). £30,000 - 50,000 ZAR420,000 - 700,000

Painted soon after Pinker’s permanent return to Cape Town from Europe in 1964, this intimate image of two lovers employs a Cézannesque palette and handling of paint. Pinker painted many (particularly reclining) nudes throughout his career as a vehicle for exploring both the sensuousness of the human form and what he celebrated as “the sensuousness of paint and colour”.

BIBLIOGRAPHY: S. Pinker and M. Stevenson, ‘Interview with Stanley Pinker’, in Stanley Pinker, (Cape Town, 2004), p.30

The South African Sale | 83 76* Stanley F. Pinker (South African, 1924-2012) ‘Merete and Stephen in a garden’, Cape Town signed ‘STANLEY PINKER’ (lower left), bears inscription ‘PINKER/MERETE & STEPHEN IN A GARDEN’ (verso) oil on canvas 122 x 97cm (48 1/16 x 38 3/16in). £200,000 - 300,000 ZAR2,800,000 - 4,200,000

PROVENANCE: Gallery International, 57 Long Street, Cape Town, 1970 A private collection

In this unusually autobiographical scene, we catch a fleeting glimpse of Pinker’s family life – here his children play in the backyard of the artist’s house in Tamboerskloof, Cape Town. His daughter Merete cuts a particularly whimsical figure, the orange frills of her dress caught up in a breeze and set against the angular lines and blue-green hues of Table Mountain, with the upper cable way station visible at the top.

In the foreground, we see Stephen and a smaller figure, probably the artist’s youngest child, Matthew, who would have been three or four at the time of painting. Matthew fondly recalls playing badminton with his siblings on the small patch of grass in their garden, though remarks that his father – as in the current lot – seems to have replaced the shuttlecock with a tennis ball, a common motif in his work. He also suggests that the thick black form on the upper left of the picture plane may be the remnants of a charred apple tree with a particularly amusing origin: “We had an apple tree that caught fire and burnt down one Guy Fawkes night: my father was quite the firework pyromaniac! It could quite easily be the black pole in the background, as it stayed up for ages after it had burnt...”

The artist has commented about his working process that “Essentially the flat background does the footwork in my paintings; it is usually a base colour, or colours, and it sets the mood... In each case it is with the background that it all begins. It is my first concern, long before I start with the detail. The components of the imagery then assert themselves on the flat space in terms of their shape, line and colour”. In the current lot, it is the green palette of the garden which forms the major colour field, and the spherical shapes of heads, racquets and balls which seem to assert themselves most strongly. The off-white sphere of a tennis ball hurtles between the children and over the criss-crossing net: it is positioned so high up on the picture plane that it threatens to fly over the boys’ heads and into the viewer’s space.

This rare, personal work combines all the features of Pinker at his best, simultaneously displaying his mastery of the “pictorial implications of early twentieth-century modernism in his African context”: a concern for the “integrity of the picture plane, shallow pictorial space, open compositional modes and the notion of colour and texture as primary, independently expressive elements”.

We are grateful to Matthew Pinker, the artist’s son, for his assistance in cataloguing this lot.

BIBLIOGRAPHY: S. Pinker and M. Stevenson, ‘Interview with Stanley Pinker’, in Stanley Pinker, (Cape Town, 2004), p.19 H. Proud, ‘Reflection on the Art of Stanley Pinker’, in Stanley Pinker, (Cape Town, 2004), p.8

84 | Bonhams The South African Sale | 85 77

77 78* Gregoire Johannes Boonzaier (South African, 1909-2005) Gregoire Johannes Boonzaier (South African, 1909-2005) Cottages A windy day signed and dated ‘Gregoire / 1967’ (lower right) signed ‘Gregoire’ and indistinctly dated (lower left) oil on canvasboard oil on panel 15 x 30.5cm (5 7/8 x 12in). 26.5 x 49cm (10 7/16 x 19 5/16in). £5,000 - 8,000 £4,000 - 6,000 ZAR70,000 - 110,000 ZAR56,000 - 84,000

In his monograph on the artist, Martin Bekker records that “Gregoire is particularly fond of trees: bleak winter oaks, umbrella pines, storm battered Cape trees, branches ripped off by the wind.”

BIBLIOGRAPHY: M. Bekker, Gregoire, (Cape Town, 1990), p.40

86 | Bonhams 79 Edoardo Villa (South African, 1920-2011) The current lot bears a striking resemblance, in smaller form, to a 2m Crouching figure high steel sculpture, entitled Sculpture III, included in the pictorial survey signed and dated ‘E. VILLA. 1970.’ of the book Edoardo Villa: Sculpture (1980) and published to coincide bronze on stone socle with the artist’s retrospective at the Rand Afrikaans University in the 32.5 x 26.5 x 19.5cm (12 13/16 x 10 7/16 x 7 11/16in.) (excluding base) same year. As Karel Nel and Amalie von Maltitz explain, throughout £3,000 - 5,000 the 1960s and into the ‘70s, Villa’s “steel and bronze works continued ZAR42,000 - 70,000 to inform each other. Modelling and constucting often followed in close alternation in Villa’s creative flow: shapes from one medium were transposed to the other and so a process of reciprocal innovation developed”.

BIBLIOGRAPHY: E. P. Engel (ed.), Edoardo Villa: Sculpture, (Johannesburg, 1980), p. 193 A. Von Maltitz and K.Nel, ‘Edooardo Villa: A Life Considered’ in Villa at 90, (Johannesburg, 2005), p. 60

The South African Sale | 87 80 81

80* 82* Gladys Mgudlandlu (South African, 1917-1979) Gladys Mgudlandlu (South African, 1917-1979) Girl on mountain Two birds on red mountains, 1964 signed and dated ‘Gladys. Mgudlandlu. / 1963.’ (lower right) signed and dated ‘Gladys Mgudlandlu / 1964.’ (lower right) gouache gouache 61 x 30cm (24 x 11 13/16in). 40 x 60cm (15 3/4 x 23 5/8in). unframed unframed £2,000 - 3,000 £2,000 - 3,000 ZAR28,000 - 42,000 ZAR28,000 - 42,000

PROVENANCE: PROVENANCE: Acquired directly from the artist by the current owner Acquired directly from the artist by the current owner

81* 83* Gladys Mgudlandlu (South African, 1917-1979) Gladys Mgudlandlu (South African, 1917-1979) Bushes, includes sketch of pots and cup (to verso) Four rondavels signed and dated ‘Gladys Mgudlandlu 1963’ (lower centre) signed and dated ‘Gladys. Mgudlandlu. 1964.’ (lower right) gouache gouache 61 x 21.5cm (24 x 8 7/16in). 39 x 61cm (15 3/8 x 24in). unframed unframed £2,000 - 3,000 £2,000 - 3,000 ZAR28,000 - 42,000 ZAR28,000 - 42,000

PROVENANCE: PROVENANCE: Acquired directly from the artist by the current owner Acquired directly from the artist by the current owner

88 | Bonhams 82

The South African Sale | 89 84 Christo Coetzee (South African, 1929-2001) Renowned photographer, stylist and art collector Anthony Denney was Abstract one of Christo Coetzee’s greatest supporters and lifelong friends. He signed and dated ‘Christo Coetzee / 1956’ (verso) first came across the artist’s work at the Artists’ International Association oil and collage on board (AIA) in London, where, for £12, he immediately bought a Coetzee 117.5 x 95cm (46 1/4 x 37 3/8in). painting, a work which would find itself alongside the likes of Henry £3,000 - 5,000 Moore and Gerard Richter in Denney’s extensive collection. Denney - ZAR42,000 - 70,000 who invited Coetzee for dinner at his Hammersmith home, and would later rent him a room there - was a major driver behind the artist’s PROVENANCE: landmark exhibition at the Hanover Gallery in 1955. The photographer Anthony Denney collection, acquired directly from the artist would go on to collect a number of works from Coetzee’s London and A private collection Paris periods, including the current lot.

BIBLIOGRAPHY: M. Stevenson and D. Viloen, Christo Coetzee: Paintings from London and Paris, 1954 – 1964, (Cape Town, 2001), p.12

90 | Bonhams 85 Christo Coetzee (South African, 1929-2001) In 1962, Coetzee received a studio visit in Paris by Danie van Niekerk of Untitled the Rembrandt Group, in order to commission a work for Turmac. At signed ‘Christo Coetzee’ (lower centre), bears inscription ‘Christo the time of the Coetzee acquisition, Stedelijk Museum director Willem Coetzee / April 62’ (to verso) Sandberg was the acquisitions advisor. According to the artist’s wife, mixed media Ferrie Binge-Coetzee, who has recorded his recollections of the time, 82 x 54.5cm (32 5/16 x 21 7/16in). Coetzee decided to make a large work which could be seen from all unframed sides: his strategy for doing so was to include “gate waardeur mens kan £2,000 - 3,000 sien” (holes that a person can see through). The work would become ZAR28,000 - 42,000 part of the collection which hung in the company’s factory, in full view of the workers. Apparently, they were initially cynical about the pieces, but PROVENANCE: would come to believe that their presence improved their productivity! The Peter Stuyvesant collection This anecdote led the artist to reflect extensively on the role and participation of the spectator in an artwork.

The Peter Stuyvesant collection was started in 1960 by Alexander Other Coetzee works in the collection included a large mixed media Orlow (1918-2009), Director of Turmac Tobacco Company (now part piece dated 1964 and a wool tapestry dated circa 1974, produced in of the British American Tobacco Company), which made the popular collaboration with the Royal Lesotho Tapestry Weavers. Both were sold Peter Stuyvesant brand of cigarettes. By 1994, when the collection was in the auction ‘BAT Artventure Collection formerly known as The Peter renamed the BAT Artventure collection, it had become one of Europe’s Stuyvesant Collection’ at Sotheby’s Amsterdam in 2011. most highly regarded corporate art collections. BIBLIOGRAPHY: F. Binge-Coetzee, ‘Grepe uit Christo se herinneringe soos aan my oorvertel is’, in M. Ballot (ed.), Christo Coetzee, (Cape Town, 1999), pp.4-23, p.17

The South African Sale | 91 86* W 87* Ephraim Mojalefa Ngatane (South African, 1938-1971) Ephraim Mojalefa Ngatane (South African, 1938-1971) Figures in a township ‘Honeymoon’ signed and dated ‘E. Ngatane / 70’ (lower right) signed and dated ‘’68 / E. Ngatane’ (lower right) and bears inscription oil on board ‘Honeymoon / ‘68 / E. Ngatane’ (to verso) 75 x 122cm (29 1/2 x 48 1/16in). oil on board £15,000 - 20,000 122 x 75.5cm (48 1/16 x 29 3/4in). ZAR210,000 - 280,000 £10,000 - 15,000 ZAR140,000 - 210,000 Ephraim Ngatane dedicated his artistic career to “portraying the animated variety of the township scene”. However, as Rory Bester Ephraim Ngatane was an artist who deftly “navigated the unchartered asserts, Ngatane’s work was distinct from many other township territory of abstraction” in the representation of township life, setting depictions of the time, featuring specific locations rather than himself apart from most of his Polly Street Art Centre contemporaries. “picturesque, derivative and ubiquitous examples of ‘shantytowns’”, and While many of his compositions are busy, crowded with activity, the exploring an abstract pictorial language. Bester suggests that Ngatane current lot has an unusual stillness and intimacy about it. In Honeymoon, “lavished exuberant colours on the representation of half-demolished the artist renders the nude, recently-wed couple – locked in each other’s dwellings and despairing figures, and in this way constantly parodied the gaze – in “colourful, kaleidoscopic” vividness, with rigorous paintwork callousness of apartheid”. that conjures up an intensity of mood.

BIBLIOGRAPHY: BIBLIOGRAPHY: R. Bester (ed.), Ephraim Ngatane: A Setting Apart, (Johannesburg, 2009), E. Berman, Painting in South Africa, (Pretoria, 1993), p.263 pp.6-9 R. Bester (ed.), Ephraim Ngatane: A Setting Apart, (Johannesburg, 2009), p.9

92 | Bonhams The South African Sale | 93 88* Walter Whall Battiss (South African, 1906-1982) ‘Bushwoman’ signed ‘Battiss’ (lower left) oil on canvas 60 x 50.5cm (23 5/8 x 19 7/8in). £10,000 - 15,000 ZAR140,000 - 210,000

94 | Bonhams 89* Walter Whall Battiss (South African, 1906-1982) Bathers in a Landscape signed ‘Battiss’ (lower left) oil on canvas 31.5 x 46cm (12 3/8 x 18 1/8in). £10,000 - 15,000 ZAR140,000 - 210,000

The South African Sale | 95 90

90* Walter Whall Battiss (South African, 1906- 1982) Matala, Crete (a pair) one signed and dated ‘W.B. / Matala 12.6.72.’ (lower right) and the other signed ‘W.Battiss / Matala 1972’ (lower right) watercolour each 20.5 x 29 cm (8 1/16 x 11 7/16in). (2) unframed £2,000 - 3,000 ZAR28,000 - 42,000

91 Walter Whall Battiss (South African, 1906- 1982) ‘Figural composition’ signed ‘Battiss’ (lower right) acrylic on board 90 45.5 x 56cm (17 15/16 x 22 1/16in). £3,000 - 5,000 ZAR56,000 - 84,000

96 | Bonhams 92* Durant Basi Sihlali (South African, 1935- 2004) Three township scenes all signed ‘D. SIHLALI’ and dated 1974, 1974 and 1976 watercolour each 48 x 70 cm (18 7/8 x 27 9/16in). (3) £3,000 - 5,000 ZAR42,000 - 70,000

The South African Sale | 97 93 94

93* 95* Carl Adolph Büchner (South African, 1921-2003) Gladys Mgudlandlu (South African, 1917-1979) Peirrot Birds in trees signed ‘Büchner’ (upper left) signed and dated ‘Gladys. Mgudlandlu. / 1963.’ (lower right) oil on canvas gouache 61.5 x 46cm (24 3/16 x 18 1/8in). 76 x 28cm (29 15/16 x 11in). £2,000 - 3,000 unframed ZAR28,000 - 42,000 £2,000 - 3,000 ZAR28,000 - 42,000

94 * PROVENANCE: Gladys Mgudlandlu (South African, 1917-1979) Acquired directly from the artist by the current owner African scenery signed and dated ‘Gladys. Mgudlandlu. / 1964.’ (lower right) gouache 96* 61 x 45.5cm (24 x 17 15/16in). Gladys Mgudlandlu (South African, 1917-1979) unframed Three birds with rock, includes sketch of pots (to verso) £2,000 - 3,000 signed and dated ‘Gladys Mgudlandlu / 1964’ (lower right) ZAR28,000 - 42,000 gouache 61 x 22cm (24 x 8 11/16in). PROVENANCE: unframed Acquired directly from the artist by the current owner £2,000 - 3,000 ZAR28,000 - 42,000

PROVENANCE: Acquired directly from the artist by the current owner

98 | Bonhams 95 96

The South African Sale | 99 97

97 98* Gerard Sekoto (South African, 1913-1993) Gerard Sekoto (South African, 1913-1993) Man and woman on a township street Cyclist resting in a township signed and dated ‘G.SEKOTO / 74’ (lower right) signed and dated ‘G SEKOTO / 70’ oil on board watercolour 22 x 31.5cm (8 11/16 x 12 3/8in). 30 x 49cm (11 13/16 x 19 5/16in). £10,000 - 15,000 £5,000 - 8,000 ZAR140,000 - 210,000 ZAR70,000 - 110,000

99 Gerard Sekoto (South African, 1913-1993) Four women on a village street signed ‘G. SEKOTO 59’ (lower right) gouache 31.5 x 48.5cm (12 3/8 x 19 1/8in). £5,000 - 8,000 ZAR70,000 - 110,000

100 | Bonhams 98

The South African Sale | 101 100

100 101 John Koenakeefe Mohl (South African, 1903-1985) George Mnyalaza Milwa Pemba (South African, 1912-2001) The tone of dawn in Lesotho Pennies from heaven signed ‘J Koenakeefe Mohl / in the 20th Century’ (lower left), bears signed and dated ‘MPEMBA 74’ (upper centre) inscription ‘THE TONE OF DAWN IN LESOTHO / BY J. KOENAKEEF MOHL oil on board / IN THE 20TH CENTURY’ (verso) 50.5 x 40.5 cm (19 7/8 x 15 15/16in). oil on canvasboard £6,000 - 8,000 51 x 76.5cm (20 1/16 x 30 1/8in). ZAR84,000 - 110,000 £3,000 - 5,000 ZAR42,000 - 70,000 As Sarah Hudleston remarks of a related work, Pennies from Heaven (1980), “a theme of wish-fulfillment, dreams coming true and heavingly rewards showering from the sky are the basis of a number of paintings like this, produced over a number of years. They reflect the power of hope in the face of great poverty and deprivation in the artist’s community”.

BIBLIOGRAPHY: S. Hudleston, Against all Odds - George Pemba: His Life and Works, (Johannesburg, 1996), p.135

102 | Bonhams 101

The South African Sale | 103 102 Dumile Feni-Mhlaba (Zwelidumile Mxgazi) (South African, 1942-1991) Two ladies signed ‘Dumile’ (lower right) and inscribed ‘69/9’ pencil and watercolour 42.5 x 51.5cm (16 3/4 x 20 1/4in). £3,000 - 5,000 ZAR42,000 - 70,000

PROVENANCE: Given by the artist to the current owner whilst Dumile was in London, circa 1969 102 103* Lucky Madlo Sibiya (South African, 1942- 1999) Abstract signed ‘LSIBIYA’ (lower right) carved wood panel 89 x 106cm (35 1/16 x 41 3/4in). £4,000 - 6,000 ZAR56,000 - 84,000

PROVENANCE: Acquired by the current owner from Gallery 21, Hyde Park, Johannesburg, circa 1970

103

104 | Bonhams 104* Peter Clarke (South African, born 1929) Despite a dynamic career spanning over With its vivid complementary hues – yellow and Please don’t do that sixty years, Peter Clarke has only over the purple, orange and blue – the work reflects signed and dated ‘Clarke / 26. Oct. 1975’ past decade achieved due recognition of his Clarke’s reputation as a master colorist. As (lower right) contribution to South African art, most recently Lize van Robbroeck remarks of Clarke’s best acrylic on paper in his first solo exhibition at the Standard Bank paintings, “these paintings are vibrant, glowing 48 x 63cm (18 7/8 x 24 13/16in). Gallery, Johannesburg (2011), followed by an with strong colour and a dynamic thrust... £10,000 - 15,000 extensive retrospective at IZIKO South African This contrast between idyllic subject matter ZAR140,000 - 210,000 National Gallery (2011-2012) and currently and restless, almost violent formal language a solo show at the Institute of International makes for particularly engaging and compelling Visual Arts in London. Alongside works which viewing.” document the social injustice and degradation of apartheid, his prints and paintings, drawings BIBLIOGRAPHY: and collages also offer a celebration of the L. Van Robbroeck, ‘Listening to distant thunder: everyday: of life, of love, and of laughter. The art of Peter Clarke’, South African Journal of Science, (Volume 108, 2012), pp.5-6. p.5 The current lot reflects Clarke’s concern with capturing light-hearted, ordinary moments. A man rocks the hammock in which a woman rests, startling her to the sudden injunction “Please don’t do that!” Movement is suggested through the repeated brushstrokes around the hammock and the prankster, creating a sense of movement or visual blur.

The South African Sale | 105 Collection of the late Lots 105 - 112

Less widely-known is that Quinn was a keen and accomplished visual artist as well: he drew and sketched with his mother from the age of six; won a California state-wide sculpture competition for his entry of a plaster bust of Abraham Lincoln at the age of eleven; and began experimenting with oils on canvas at thirteen.

Settling on a career in architecture, Quinn studied briefly under Frank Lloyd Wright, who recommended he take acting lessons to correct a speech impediment. Thus began his acting career, but he maintained a deep interest in modern art throughout his life. He collected a wide range of art from his early twenties, including African ethnographic art, antiquities, Renoir oil paintings and Henry Moore sculptures, and educated himself on regional art styles when filming on location around the world.

It was no different in 1976, when Quinn travelled to South Africa to film Target of an Assassin, directed by Peter Collinson (released in South Africa as Tigers Don’t Cry in 1977). During his time in Johannesburg, he was invited to a dinner party at the home of African art dealer Vittorino Meneghelli. Quinn was struck by the beauty of the artworks on display in Meneghelli’s home and purchased quite a few pieces from his personal collection as well as through his gallery, the Totem Gallery, in Jeppe Street. Meneghelli also introduced the actor to several key players on the Johannesburg art scene at that time, and Quinn acquired several pieces from Gallery 21, the Goodman Gallery, and the Lidchi Gallery in Johannesburg, as well as the Grosvenor Gallery in London. He also acquired several pieces directly from the artists.

Quinn continued to paint and sculpt throughout his career. He had always carved small pieces of stone and wood he found while he was working on location in the deserts of North Africa and in the Middle East. In the 1980s he began to rework these maquettes into full-sized sculptures, which caught the eyes of various art dealers, and he began to exhibit his work internationally, including at galleries in New York, Hollywood legend Anthony Rudolph Oaxaca Quinn (1915-2001) will Los Angeles, Paris, and Mexico City. Following his death, the Anthony forever be remembered for his successful acting career, which spanned Quinn Trust selected key pieces from Quinn’s immense art collection, six decades and 130 films. He is best known for his starring roles in including several South African artworks and Quinn’s own work, for the Zorba the Greek, Lawrence of Arabia, The Guns of Navarone, The US travelling exhibition Anthony Quinn’s Eye: A Lifetime of Creating and Message, Guns for San Sebastian, Lion of the Desert and La Strada and Collecting Art. won the Academy Award for Best Supporting Actor twice – for Viva Zapata! in 1952 and Lust for Life in 1956. Images courtesy of the Anthony Quinn Trust

106 | Bonhams Anthony Quinn

The South African Sale | 107 105* Cecil Edwin Frans Skotnes (South African, 1926-2009) Spirit of our Ancestors signed and dated ‘C.SKOTNES 76’ (lower right) acrylic on incised panel 121.9 x 91.4cm (48 x 36in). £20,000 - 30,000 ZAR280,000 - 420,000

PROVENANCE: Collection of the late Anthony Quinn

108 | Bonhams 106* Cecil Edwin Frans Skotnes (South African, 1926-2009) During his time in Johannesburg, Quinn visited Cecil Skotnes at home. Portrait of Anthony Quinn The artist’s wife Thelma later recalled, in a 2008 interview: “He wanted signed ‘C.SKOTNES 1976’ (lower right); bears insciption ‘completed July to meet Cecil so he came to the house. He was an artist himself, and he 1976’ (verso) said, ‘Cecil I love your work’.” acrylic on incised panel 119.4 x 119.4cm (47 x 47in). The present lot was commissioned at that meeting. Quinn sent the artist £15,000 - 20,000 a photograph, humorously inscribed “see if you can fix the face”. Quinn ZAR210,000 - 280,000 later wrote to the artist to express his delight with the finished portrait, which was also used to illustrate his biography. PROVENANCE: Commissioned directly from the artist The artist’s daughter Pippa recalls the artist and actor enjoying several Collection of the late Anthony Quinn good dinners together during Quinn’s time in South Africa, with Cecil adopting Quinn’s famous lines in the 1964 film Zorba the Greek about being “the whole catastrophe” as a family saying.

We are grateful to Pippa Skotnes for her assistance in cataloguing this lot.

The South African Sale | 109 107* Lucky Madlo Sibiya (South African, 1942-1999) Three figures signed and dated ‘LSibiya 75’ (lower right) oil on board 70 x 68cm (27 9/16 x 26 3/4in). £4,000 - 6,000 ZAR56,000 - 84,000

PROVENANCE: Collection of the late Anthony Quinn

110 | Bonhams 108* Lucky Madlo Sibiya (South African, 1942-1999) Figures signed ‘LSIBIYA’ (lower right) pastel and acrylic on incised panel 106.68 x 76.2cm (42 x 30in). £8,000 - 12,000 ZAR110,000 - 170,000

PROVENANCE: Collection of the late Anthony Quinn

The South African Sale | 111 109* Dumile Feni-Mhlaba (Zwelidumile Mxgazi) (South African, 1942- 1991) Figure Studies signed and dated ‘dumile 70.19’ (lower centre) pen, ink and watercolour 50.8 x 66cm (20 x 26in). unframed £2,000 - 3,000 ZAR28,000 - 42,000

PROVENANCE: Collection of the late Anthony Quinn

112 | Bonhams 110* Dumile Feni-Mhlaba (Zwelidumile Mxgazi) (South African, 1942- This work was cast between 1970 and 1975 by the Fiorini Foundry in 1991) London in an edition of six, before the terracotta mould was destroyed. ‘Head’ Another (stamped 2/6) was exhibited in The Neglected Tradition: bronze Towards a New History of South African Art at the Johannesburg Art 52cm (20 1/2in) high (not including base) Gallery in 1988 (p.46 cat. no.20 illustrated), and another is in the Bruce £15,000 - 20,000 Campbell Smith Collection (not stamped) and was exhibited in the ZAR210,000 - 280,000 Dumile Feni Retrospective at the Johannesburg Art Gallery in 1988 (p.29 illustrated) as well as Revisions: Expanding the Narrative of South African PROVENANCE: Art at Iziko SA National Gallery in Cape Town, 1 October 2005 - 19 Grosvenor Gallery, London, 1974 March 2006 (p.178 cat. no.140, illustrated). Collection of the late Anthony Quinn Quinn also acquired several pieces directly from Dumile, who was living in exile in London in the 1970s. Dumile was unperturbed by his famous patron, and when Quinn chased his commissions, the artist would simply reply with a request for more funds “for inspiration”. At that time Dumile was moving away from working solely with African subjects, and it is known that he worked on a sculpture modelled on Quinn himself, though it is uncertain whether this bust was ever cast.

The South African Sale | 113 (recto) (verso)

111* W Cyprian Mpho Shilakoe (South African, 1946-1972) Rorke’s Drift artist Shilakoe’s work consists mostly of highly expressive ‘They came and left footprints’ etchings and wooden carvings that relate to the theme of African signed ‘C Mpho’ and inscribed with title legends and reincarnation. Shilakoe’s life was tragically cut short when Rhodesian teak he died in a motorcycle accident at the age of 26. The Goodman Gallery 203.2cm (80in). high in Johannesburg, the venue for his first solo show two years prior, held a £3,000 - 5,000 memorial exhibition in May 1973, and it is likely that the present lot and ZAR42,000 - 70,000 the next were included in that retrospective.

PROVENANCE: More recently, in 2005, three further wooden sculptures were discovered Acquired directly from Linda Goodman among a collection of eight previously unknown pieces at his family Collection of the late Anthony Quinn home in Dennilton, near Bronkhorstspruit. These formed the basis of the touring exhibition Cyprian Shilakoe Revisited, curated by Jill Addleson. Another smaller totem is in the collection of the Johannesburg Art Gallery and is illustrated in Visual Century: South African Art in Context (vol II, p.160).

114 | Bonhams (recto) (verso)

112* W Cyprian Mpho Shilakoe (South African, 1946-1972) Totem Rhodesian teak 163.2cm (64 1/4in). high £2,500 - 3,500 ZAR35,000 - 49,000

PROVENANCE: Acquired directly from Linda Goodman Collection of the late Anthony Quinn

The South African Sale | 115 113

113* 114* John Meyer (South African, born 1942) John Meyer (South African, born 1942) Arizona Farmstead ‘Karookerk’ and ‘Shelter’ (2) signed ‘John Meyer’ (lower left) both signed ‘John Meyer’ (lower right); ‘Karookerk’ bears Pieter Wenning oil on board Gallery label and inscription ‘KAROOKERK / 1975©J.M. / 5-19-A’ (verso) 61 x 102cm (24 x 40 3/16in). and ‘Shelter’ bears Pieter Wenning Gallery label and inscription ‘SHELTER £15,000 - 20,000 / 1975©J.M. / 5-16-A’ (verso) ZAR210,000 - 280,000 oil on board 18 x 33cm (7 1/16 x 13in). £5,000 - 8,000 ZAR70,000 - 110,000

PROVENANCE: With Pieter Wenning Gallery, Johannesburg

116 | Bonhams 114

The South African Sale | 117 115 Adriaan van Zyl (South African, 1957-2006) ‘Runaway’s Hill’ bears title (verso) acrylic on board 65 x 86cm (25 9/16 x 33 7/8in). £3,000 - 5,000 ZAR42,000 - 70,000

116 Conrad Theys (South African, born 1940) 115 Cottages signed and dated ‘Theys / 2006’ (lower right) pastel 25.5. x 31cm (10 1/16 x 12 3/16in). £3,000 - 5,000 ZAR42,000 - 70,000

117 Errol Stephen Boyley (South African, 1918- 2007) Ducks in flight signed ‘Errol Boyley’ (lower right) oil on board 50.5 x 75.5cm (19 7/8 x 29 3/4in). £2,000 - 3,000 ZAR28,000 - 42,000

118* Adriaan Hendrik Boshoff (South African, 1935-2007) Figures in a rocky landscape signed ‘Adriaan Boshoff’ (lower right) oil on composite board 61 x 91cm (24 x 35 13/16in). £6,000 - 9,000 116 ZAR84,000 - 130,000

119* Adriaan Hendrik Boshoff (South African, 1935-2007) Ox cart signed ‘Adriaan Boshoff’ (lower left) oil on canvas laid to board 60.2 x 90.5cm (23 11/16 x 35 5/8in). £5,000 - 8,000 ZAR70,000 - 110,000

117

118 | Bonhams 118

119

The South African Sale | 119 120* W Esias Bosch (South African, 1923-2010) A collection of 37 tiles forming a table top glazed earthenware 125.5cm (49 7/16in). diameter £6,000 - 9,000 ZAR84,000 - 130,000

Esias Bosch studied for a fine arts degree at the University of the Witwatersrand, followed by a four-year painting diploma at the Johannesburg School of Art. In 1949 he won a three-year scholarship to study ceramics in Britain, working initially under Dora Billington, then Ray Finch in Winchcombe, and finally Michael Cardew in Cornwall. This experience enabled him to become a pioneer of studio pottery in South Africa, where he worked in his rustic studio (built on the top of a rocky outcrop) for the remainder of his career, which spanned over sixty years.

Amongst Bosch’s most fascinating works are his large decorative wall tiles and the smaller porcelain pieces that he creates. These two genres often integrate the same motifs of birds, animals and insects. Bosch was deeply inspired by the still lifes of Bonard, as well as Monet’s Water Lilies. Indeed, in this small table consisting of thirty-seven tiles, painted with a soft neutral colour palette, we can see a simplified water lily along with other grass flowers such as Themeda Triandra and the Pennisetum Macrourum flower spike.

International prominence followed with his tile work in prominent buildings such as the Wesbank Building in Braamfontein, Johannesburg, which consisted of a large stoneware mural with over five thousand individual tiles. In addition, his work in the International Departure Hall at Jan Smuts Airport (1972) consisted of three thousand of his tiles. However, these were destroyed when the terminal was demolished to make way for the more modern O.R. Tambo Airport.

120 | Bonhams The South African Sale | 121 121* Francois Krige (South African, 1913-1994) As a result, On Board Ship offers a different perspective on war: the ‘On board ship’ tedium of military travel mitigated by sportsmanship, combined with the signed ‘Krige’ (lower right) emotional anticipation of war. Having joined the army as a war artist and oil on canvas so bypassed formal military training, Krige never directly experienced 72 x 87cm (28 3/8 x 34 1/4in). battle. He was, instead, forever the spectator, a position heightened by £18,000 - 25,000 his reclusive nature. As Justin Fox has examined, Krige’s duty as a war ZAR250,000 - 350,000 artist was at odds with his painting style and preferred subjects: “In keeping with his practice as an artist before the war, Krige was often PROVENANCE: more interested in the landscape and in depicting characters rather than A private collection battle scenes or portraits of heroes [...and thus] he struggled to deliver what was required of him.” In 1944, Krige requested to be discharged, LITERATURE: no longer able to assimilate the intensity of the experience. A few years J. Fox, The life and art of Francois Krige, (Vlaeberg, 2000), illustrated after his return to South Africa, he was awarded the medal of honour by p.61 the South African Academy of Science and Arts, recognising his artistic achievements. On Board Ship is a compelling example of work inspired by Krige’s time as an official war artist with the English forces in the Second World In the mid-eighties, Krige nostalgically revisited many of the significant War, along with fellow South African artists (and members of the New experiences of his life, including the war years: “It was a time for Group) Neville Lewis and Terence McCaw. Krige served with the forces in looking back over his life. He revisited the emotional space of the war North Africa. This piece differs to his other war artworks both in subject and repainted scenes of bombarded buildings in Foggia (1980) and the and in the richness of colour used. The scene depicts an effect of war large troopship oil entitled On Board Ship.” Few of the other paintings often overlooked by war artists and journalists: the group mentality and informed by this period of his life are similarly vibrant. camaraderie catalysed by war. Thus while Krige references fighting, it is of an order entirely different to that seen in the destruction and suffering BIBLIOGRAPHY: registered by other works. J. Fox, The life and art of Francois Krige, (Vlaeberg, 2000), pp.48, 105

122 | Bonhams 122* W Cecil Edwin Frans Skotnes (South African, 1926-2009) This masterful still life depicts a meal spread across three surfaces, with Still life the curved and rounded forms of fruit and eggs, vessels and vases, set signed ‘C SKOTNES’ (lower right) in contrast to the linearity of the furniture. Demonstrating the renowned oil on incised panel interplay of carving and painting in his works, Skotnes reinforces the 112 x 121cm (44 1/8 x 47 5/8in). varying shapes of the painted forms with his incisions into the wooden in original artist’s frame panel: strongly vertical textures on much of the surface are interrupted £25,000 - 35,000 by curves around the overhanging tablecloth and decorative sideboard. ZAR350,000 - 490,000 In addition to his attention to the formal elements of the work, Skotnes drew inspiration for his vessels from diverse ancient, African and personal sources, and often chose to portray symbolic foods and fruits. Freida Harmsen suggests of his still lifes that Skotnes “endeavoured... to go beyond mere aesthetic indulgence. He tried to imbue the objects with a universality that would reflect human pre-occupations, experience and spiritual potential”. His still life works were celebrated in the 1993 Goodman Gallery exhibition Still Life and Ancestry in Johannesburg.

BIBLIOGRAPHY: F. Harmsen, Cecil Skotnes, (Cape Town, 1996), p.164-5

The South African Sale | 123 123W Cecil Edwin Frans Skotnes (South African, 1926-2009) ‘Judean Wall’ painting on incised panel 79 x 120cm (31 1/8 x 47 1/4in). £15,000 - 20,000 ZAR210,000 - 280,000

Motivated by his visit to Jerusalem in 1982, Skotnes commenced a series of work entitled Judean Walls. Seeking to achieve the “ideal of painting spiritual landscape”, the artist focused on infusing the pictorial elements of form, shape, and pattern with a sense of light and atmosphere. Frieda Harmsen has referred to the figures depicted as “large tragic nudes” with “monumental heads”, set in a mystical setting and suffused with a tangible sense of emotion. From these important works, Skotnes would develop his Figure in a Metaphysical Landscape paintings.

A comparable work from the Judean Walls series is illustrated in Harmsen, 1996 (p.49)

BIBLIOGRAPHY: F. Harmsen, Cecil Skotnes, (Cape Town, 1996)

124 | Bonhams 124W Cecil Edwin Frans Skotnes (South African, 1926-2009) Makanda Nxele, known as “Makana”, was a Xhosa prophet and warrior Icon for Makana, on the island who led an attack against the British at Grahamstown in 1819. He was signed ‘C.SKOTNES’ (lower right) imprisoned on Robben Island, where he later drowned during an escape oil on incised panel attempt. However, his dedication to uniting the Xhosa in the struggle 99 x 122cm (39 x 48 1/16in). against the British Empire earned him great acclaim and mythic status in original artist’s frame in subsequent generations, leading to calls by political prisoners in the £20,000 - 30,000 twentieth century to rename Robben Island “Makana”. ZAR280,000 - 420,000 Skotnes undertook a series of carved panels which together form a PROVENANCE: visual tribute to the historic leader; Icon for Makana, on the island is a Goodman Gallery, Johannesburg, 1997 key episode, representing the great warrior’s internment on the island. A private collection, The Netherlands In common with other series (such as his Shaka series) which focus on a single historical or mythic figure, Freida Harmsen asserts that while they may be based on a narrative, “Skotnes does not merely illustrate the text that inspired him; he recreates it” through a combination of “aesthetically principled formalism” and a “psychological, metaphysical, or spiritual message”. The polished brass framing of the work – similar to the treatment of many of his other “icons” – provides both an unusual finish, and an additional sense of reverence, to the subject.

LITERATURE: F. Harmsen, Cecil Skotnes (Cape Town, 1996), p.32

The South African Sale | 125 125W Cecil Edwin Frans Skotnes (South African, 1926-2009) Totemic panel painting on incised wood panel with iron base 276 x 24.3 x 11cm (108 11/16 x 9 9/16 x 4 5/16in). (not including base) £8,000 - 12,000 ZAR110,000 - 170,000

Inspired by Aboriginal and North American Indian culture, Skotnes’s tall, slender panel works draw reference to totem poles. The totem works are usually carved on single planks of wood, worked on both sides and free-standing, allowing the work to be viewed from all sides. The resemblance to North American totem poles in these works similarly extends to the painted images and composition: in Totemic panel, vividly coloured, abstract figures are arranged vertically down the panel as if stacked on top of each other.

A comparable work entitled Totem Pole is illustrated in Harmsen, 1996 (p.29).

BIBLIOGRAPHY: Harmsen, Frieda (ed), Cecil Skotnes, (Cape Town, 1996), p.28-9

126 | Bonhams 126 Keith Alexander (South African, 1946-1998) ‘The point of no return’ signed and dated ‘Alexander 86’ (lower left) oil on canvas 61 x 81.9cm (24 x 32 1/4in). £10,000 - 15,000 ZAR140,000 - 210,000

The South African Sale | 127 127* John Meyer (South African, born 1942) The blue chair signed ‘John Meyer’ (lower left) oil on canvas 90 x 120cm (35 7/16 x 47 1/4in). £12,000 - 18,000 ZAR170,000 - 250,000

128 | Bonhams 128* John Meyer (South African, born 1942) ‘Parys Valley’, Free State signed ‘John Meyer’ (lower left), bears inscription ‘PARYS VALLEY / c.J.M. / 1978’ (verso) and bears exhibition label (verso) acrylic on board 30 x 50cm (11 13/16 x 19 11/16in). £8,000 - 12,000 ZAR110,000 - 170,000

PROVENANCE: Everard Read Gallery, Johannesburg

The South African Sale | 129 129W Robert Griffiths Hodgins (South African, 1920-2010) Raised in depression-era London, Robert Hodgins spent a lot of time Landscape in art museums, which were “warm, free and dry”. The works he saw bears inscription ‘Robert Hodgins, Landscape, oil over graphite 2003’ offered him visions of other realities, other possibilities: “fragmentary, (verso) small happenings of extraordinariness in the grey block of my life”. An oil and graphite on canvas acclaimed painter and master satirist, Hodgins never allowed anyone 92 x 121.5cm (36 1/4 x 47 13/16in). – including himself – to take themselves too seriously, and his work, £12,000 - 18,000 accordingly, wards off pessimism (despite its often incisive commentary), ZAR170,000 - 250,000 always providing intense bursts of visual pleasure and wry delight.

Although he emigrated to South Africa in 1938, military service and formal studies would take him abroad for many years. Hodgins began belatedly to paint after he relocated permanently to South Africa in the 1950s. In 1966, he took up a lectureship in the Fine Arts Department at the University of the Witwatersrand. He produced only a low volume of work during these teaching years, yet, significantly, Esmé Berman suggests that Hodgins’ “enduring association with the university began a new chapter of professional commitment, as mentor to a generation of aspiring artists”. This “new chapter” cannot be underestimated, given the extent of his influence on young artists (as well as collaborators such as William Kentridge and Deborah Bell) and his impact on the South African art world more generally. Nevertheless, it was at the age of 63, at his retirement, that Hodgins would come into his own, finally able to devote his time entirely to his own work.

BIBLIOGRAPHY: B. Atkinson, Robert Hodgins, (Cape Town, 2002) E. Berman, Painting in South Africa, (Pretoria, 1993), p.311

130 | Bonhams 130W Robert Griffiths Hodgins (South African, 1920-2010) Centrally concerned with figuration, Hodgins is well known for his ‘Braves’ stock characters – pinstriped businessmen, military generals, old bears inscription ‘Robert Hodgins, Braves, o/c 2003’ (verso) molls and other figures of authority subjected to his sardonic wit and oil on canvas detached examination – though the ‘Braves’ of the current lot are less 92 x 121.5cm (36 1/4 x 47 13/16in). precedented. Formally, the work is stripped down to its essentials. The £15,000 - 20,000 background is composed of two horizontal bands composed of a neutral ZAR210,000 - 280,000 palette and divided by a single line. This abstract landscape is punctuated by two lonely teepees on the right, while a smoke signal rises from the left to create a balanced, if typically restrained, composition. Meanwhile, two sparsely articulated Indian “braves” traverse the picture plane.

With the dark, mask-like addition to their anonymous faces, the artist seems to relish the play of the title as both an outmoded noun and a possible comment on their character. Indeed, as Brenda Atkinson has observed, Hodgins always pays acute attention to his titles. He “is not of that generation of artists who title their work Untitled: if words can add one or more possible layers of signification to a painting, he uses them to do so... [he] knows that image and text function powerfully as mutually invested identities”.

BIBLIOGRAPHY: B. Atkinson, Robert Hodgins, (Cape Town, 2002), p.14

The South African Sale | 131 131* W Karel Anthony Nel (South African, born 1955) Circuit/Accelerator drawing with mixed media on acrylic bonded paper 230 x 180cm (90 9/16 x 70 7/8in). £7,000 - 10,000 ZAR98,000 - 140,000

PROVENANCE: Purchased circa 1991, Natalie Knight Gallery, Johannesburg Thence by descent to the current owner

LITERATURE: R. Doepel, Karel Nel: Transforming Symbols, (Johannesburg, 1993), illustrated fig.2

Born in 1955, Johannesburg-based Karel Nel began his career studying fine art at the University of the Witwatersrand and St Martins. Alongside winning numerous prestigious art awards, his works are included in several national and international collections, including the Smithsonian Institute National Museum of African Art. Nel’s work is characterised by the pursuit of connectedness, exploring, as Esmé Berman articulates, the “incandescent moment when we are aware of the interlinkedness of everything”, particularly the nexus of art and science.

Nel received a Fulbright Placement to the University of California at Berkeley in the late 1980s. Here he continued his investigation into contemporary physics, undertaking works such as the current lot, Circuit/ Accelerator, which was completed between July 1988 and May 1989. His more recent inclusion as artist-in-residence in the COSMOS project (the cosmic evolution survey) develops similar concerns. Nel’s works are stylistically typified by an additive process whereby form is gradually built through a layering of gestural marks, these marks being utilised, as Rory Doepel reveals, “as both code and pattern”. For Nel, the artist is a conduit for intellectual and intuitive information from the outside world, from nuclear physics to esoteric mysticism, which combine with sensory and aesthetic qualities to transcend any particular context.

Circuit/Accelerator explores the wave and particle theory of light. The dots in the work are representations of particles. Many of the dots have tails, evoking the sense of wave and movement in particles. The work was strongly informed by Nel’s interest in experiments attempting to accelerate particles beyond the speed of light. In addition, the dot pattern introduces an intentional ambiguity into Nel’s works, where the dots could be read as hidden images revealed through “connecting” the dots. Recurring motifs in Nel’s work reference chaos theories and the intersection of art and physics: these motifs manifest as circuit diagrams, rotating cones, electrical circuits and artificial intelligence coding systems. These forms defy gravity, emerging across the picture plane in chaotic order, such that the resulting picture has no singular viewpoint. Concerned with theories of perception, Nel acknowledges that the spectator takes on a vital role in constructing meaning in his works and that his works are incomplete without the participation of the viewer.

BIBLIOGRAPHY: E. Berman, Painting in South Africa, (Johannesburg, 1993), p.341 R. Doepel, Karel Nel: Transforming Symbols, (Johannesburg, 1993), p.2

End of Sale

132 | Bonhams The South African Sale | 133 Index of Artists Lot

Alexander, Keith 126 Battiss, Walter Whall 88, 89, 90, 91 Boonzaier, Gregoire Johannes 31, 32, 47, 77, 78 Bosch, Esias 120 Boshoff, Adriaan Hendrik 118, 119 Boyley, Errol Stephen 117 Buchner, Carl Adolph 93 Clarke, Peter 104 Coetzee, Christo 84, 85 Coetzer, Willem Hermanus 36, 37 de Jongh, Marthinus (Tinus) Johannes 13, 14, 15, 16 Domsaitis, Pranas 46 Feni-Mhlaba (Zwelidumile Mxgazi), Dumile 102, 109, 110 Goodman, Robert Gwelo 17, 18 Hodgins, Robert Griffiths 129, 130 Jentsch, Adolph Stephan Friedrich 38 Krige, Francois 121 Laubscher, Erik (Frederik Bester Howard) 62 Lock, Freida 30 Meyer, John 113, 114, 127, 128 Mgudlandlu, Gladys 48, 49, 50, 51, 80, 81, 82, 83, 94, 95, 96 Mohl, John Koenakeefe 100 Naude, Pieter Hugo 3, 4, 5 Nel, Karel Anthony 131 Ngatane, Ephraim Mojalefa 86, 87 Oerder, Frans David 10, 11 Pemba, George Mnyalaza Milwa 101 Pierneef, Jacob Hendrik 22, 23, 24, 25, 26, 39, 40, 41, 42 Pinker, Stanley F. 75, 76 Preller, Alexis 54, 55, 56 Sekoto, Gerard 52, 53, 97, 98, 99 Shilakoe, Cyprian Mpho 111, 112 Sibiya, Lucky Madlo 103, 107, 108 Sihlali, Durant Basi 92 Sithole, Lucas Tandokwazi 71, 72 Skotnes, Cecil Edwin Frans 57, 58, 59, 60, 61, 105, 106, 122, 123, 124, 125 Stern, Irma 19, 20, 21, 33, 34, 35, 73 Sumner, Maud Frances Eyston 27, 28, 74 Theys, Conrad 116 Tretchikoff, Vladimir Griegorovich 43, 44, 45, 63, 64, 65, 66 van Essche, Maurice Charles Louis 68, 69, 70 van Wouw, Anton 6, 7, 8 van Zyl, Adriaan 115 Villa, Edoardo 79 Wald, Herman 29 Walters, Samuel 2 Wenning, Pieter Willem Frederick 9 Whitcombe, Thomas 1 A focus on William Kentridge to follow The South African Sale Wednesday 20 March 2013 at 2pm New Bond Street, London

Viewings: Sunday 17 March 11am to 3pm Monday 18 March 9am to 4.30pm Tuesday 19 March 9am to 4.30pm Wednesday 20 March 9am to 12pm

Enquiries: +44 (0) 20 7468 8213 [email protected]

William Joseph Kentridge (South African, born 1955) ‘Responsible Hedonism’ charcoal and chalk £80,000 - 120,000

International Auctioneers and Valuers - bonhams.com/southafricanart Islamic & Indian Works of Art Tuesday 23 April 2013 at 10.30am New Bond Street, London

+44 (0)207 468 8382 [email protected]

Jehangir Sabavala (India, 1922 - 2011) Blue Lake, A Leafless Tree Oil on canvas 60 x 85.5cm. £50,000 - £70,000 $80,000 - $110,000

International Auctioneers and Valuers - bonhams.com/islamic Africa Now Wednesday 22 May 2013 at 2pm New Bond Street, London Entries now invited

Closing date for entries Friday 29 March 2013

+44 (0)20 7468 8365 [email protected]

Ben (Benedict Chukwukadibia) Enwonwu, M.B.E (Nigerian, 1917-1994) The ceremony of Eid ul-Fitr, Nigeria signed and dated ‘Ben Enwonwu 1955’ (lower left) oil on canvas 86.4 x 182.9cm (34 x 72in). £50,000 - 80,000

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If you do so, please quote your paddle number Bids will be accepted as placed on behalf of the person named From €50,000.01 to €200,000 3% and invoice number as the reference. Our Trust Account details as the principal on the Bidding Form although we may refuse From €200,000.01 to €350,000 1% are as follows: to accept bids from an agent on behalf of a principal and will From €350,000.01 to €500,000 0.5% Bank: National Westminster Bank Plc require written confirmation from the principal confirming Exceeding €500,000 0.25% Address: PO Box 4RY the agent’s authority to bid. Nevertheless, as the Bidding 250 Regent Street Form explains, any person placing a bid as agent on behalf 8. VAT London W1A 4RY of another (whether or not he has disclosed that fact or the Account Name: Bonhams 1793 Limited Trust Account identity of his principal) will be jointly and severally liable with The prevailing rate of VAT at the time of going to press is 20%, Account Number: 25563009 the principal to the Seller and to Bonhams under any contract but this is subject to government change and the rate payable Sort Code: 56-00-27 resulting from the acceptance of a bid. Subject to the above, will be the rate in force on the date of the Sale. IBAN Number: GB 33 NWBK 560027 25563009 please let us know if you are acting on behalf of another person when bidding for Lots at the Sale. The following symbols are used to denote that VAT is due on If paying by bank transfer, the amount received after the the Hammer Price and Buyer’s Premium: deduction of any bank fees and/or conversion of the currency Equally, please let us know if you intend to nominate another † VAT at the prevailing rate on Hammer Price and Buyer’s of payment to pounds sterling must not be less than the person to bid on your behalf at the Sale unless this is to be Premium sterling amount payable, as set out on the invoice. carried out by us pursuant to a Telephone or Absentee Bidding Ω VAT on imported items at the prevailing rate on Hammer Form that you have completed. If we do not approve the Price and Buyer’s Premium Debit cards: there is no additional charge for purchases made agency arrangements in writing before the Sale, we are entitled * VAT on imported items at a preferential rate of 5% on with personal debit cards, issued by a UK bank. Debit cards to assume that the person bidding at the Sale is bidding on his Hammer Price and the prevailing rate on Buyer’s Premium issued by an overseas bank, deferred and company debit cards own behalf. Accordingly, the person bidding at the Sale will and all credit cards will be subject to a 3% surcharge; be the Buyer and will be liable to pay the Hammer Price and Buyer’s Premium and associated charges. If we approve the

NTB/MAIN/11.12 Union Pay cards: these are now accepted at our Knightsbridge indemnity or contribution, or for a restitutionary remedy or posted in the saleroom and available from the department. and New Bond Street offices, when presented in person by the otherwise, our and/or the Seller’s liability (combined, if both Bidders should note that guns are stripped only where there card holder. These cards are subject to a 3% surcharge. we and the Seller are liable) will be limited to payment of a is a strong indication of a mechanical malfunction. Stripping sum which will not exceed by way of maximum the amount is not, otherwise, undertaken. Guns intended for use should Credit cards: Visa and Mastercard only. Please note there is a of the Purchase Price of the Lot irrespective in any case of the be stripped and cleaned beforehand. Hammer guns should 3% surcharge on the total invoice value when payments are nature, volume or source of any loss or damage alleged to be have their rebound mechanisms checked before use. The made using credit cards. It may be advisable to notify your card suffered or sum claimed as due, and irrespective of whether safety mechanisms of all guns must be tested before use. provider of your intended purchase in advance to reduce delays the liability arises from any negligence, other tort, breach All measurements are approximate. caused by us having to seek authority when you come to pay. If of contract (if any) or statutory duty or otherwise. Nothing you have any questions with regard to payment, please contact set out above will be construed as excluding or restricting Original Gun Specifications Derived from Gunmakers our Customer Services Department. (whether directly or indirectly) our liability or excluding or The Sporting Gun Department endeavours to confirm a gun’s restricting any person’s rights or remedies in respect of (i) fraud, original specification and date of manufacture with makers 10. COLLECTION AND STORAGE or (ii) death or personal injury caused by our negligence (or by who hold their original records. the negligence of any person under our control or for whom The Buyer of a Lot will not be allowed to collect it until we are legally responsible), or (iii) acts or omissions for which Licensing Requirements payment in full and in cleared funds has been made (unless we are liable under the Occupiers Liability Act 1957, or (iv) Firearms Act 1968 as amended we have made a special arrangement with the Buyer). For any other liability to the extent the same may not be excluded Bonhams is constantly reviewing its procedures and would collection and removal of purchased Lots, please refer to Sale or restricted as a matter of law or (v) our undertakings under remind you that, in the case of firearms or shotguns subject to Information at the front of the Catalogue. Our offices are paragraphs 9 (in relation to specialist Stamp or Book Sales only) certification, to conform with current legislation, Bonhams is open 9.00am – 5pm Monday to Friday. Details relating to and 10 of the Buyer’s Agreement. The same applies in respect required to see, as appropriate, your original registered firearms the collection of a Lot, the storage of a Lot and our Storage of the Seller, as if references to us in this paragraph were dealer’s certificate / shot gun certificate / firearm certificate / Contractor after the Sale are set out in the Catalogue. substituted with references to the Seller. museum firearms licence / Section 5 authority or import licence (or details of any exemption from which you may benefit, for 11. SHIPPING 15. BOOKS instance Crown servant status) for the firearm(s) you have purchased prior to taking full payment of the amount shown Please refer all enquiries to our shipping department on: As stated above, all Lots are sold on an “as is” basis, subject on your invoice. Should you not already be in possession of Tel: +44 (0)20 7468 8353/8302 Fax: +44 (0)20 7629 9673 to all faults, imperfections and errors of Description save as such an authority or exemption, you are required to initially Email: [email protected] set out below. However, you will be entitled to reject a Book pay a deposit of 95% of the total invoice with the balance of in the circumstances set out in paragraph 10 of the Buyers 5% payable on presentation of your valid certificate or licence 12. EXPORT/TRADE RESTRICTIONS Agreement. Please note that Lots comprising printed Books, showing your authority to hold the firearm(s) concerned. unframed maps and bound manuscripts are not liable to VAT It is your sole responsibility to comply with all export and on the Buyer’s Premium. Please be advised that if a successful Bidder is then unable to import regulations relating to your purchases and also to obtain produce the correct paperwork, the Lot(s) will be reoffered by any relevant export and/or import licence(s). Export licences are 16. CLOCKS AND WATCHES Bonhams in the next appropriate Sale, on standard terms for issued by Arts Council England and application forms can be Sellers, and you will be responsible for any loss incurred by obtained from its Export Licensing Unit. The detailed provisions All Lots are sold “as is”, and the absence of any reference Bonhams on the original Sale to you. of the export licencing arrangements can be found on the ACE to the condition of a clock or watch does not imply that website http://www.artscouncil.org.uk/about-us/museums- the Lot is in good condition and without defects, repairs or In the case of RFD certificates and Section 5 authorities, we and-libraries/cultural-property/export-controls/export-licensing/ restorations. Most clocks and watches have been repaired in wish to keep an up-to-date copy on file. Please supply us with or by phoning ACE on +44 (0)20 7973 5228. The need for the course of their normal lifetime and may now incorporate a Fax or photocopy. It would be helpful if you could send us an import licences varies from country to country and you should parts not original to them. Furthermore, Bonhams makes updated copy whenever your certificate or authority is renewed acquaint yourself with all relevant local requirements and no representation or warranty that any clock or watch is in or changed. provisions. The refusal of any import or export licence(s) or any working order. As clocks and watches often contain fine and delay in obtaining such licence(s) shall not permit the rescission complex mechanisms, Bidders should be aware that a general Lots marked ‘S1´ and bearing red labels are Section 1 firearms of any Sale nor allow any delay in making full payment for service, change of battery or further repair work, for which the and require a valid British Firearms certificate, RFD Licence or the Lot. Generally, please contact our shipping department Buyer is solely responsible, may be necessary. Bidders should import licence. before the Sale if you require assistance in relation to export be aware that the importation of watches such as Rolex, Frank regulations. Muller and Corum into the United States is highly restricted. Lots marked ‘S2’ and bearing blue labels are Section 2 firearms These watches may not be shipped to the USA and can only be and require a valid British Shotgun certificate, RFD licence or 13. CITES REGULATIONS imported personally. import licence.

Please be aware that all Lots marked with the symbol Y are 17. FIREARMS – PROOF, CONDITION AND Lots marked ‘S5´ and bearing specially marked red labels are subject to CITES regulations when exporting these items CERTIFICATION Section 5 prohibited firearms and require a valid Section 5 outside the EU. These regulations may be found at Authority or import licence. http://animalhealth.defra.gov.uk/cites/ or may be requested Proof of Firearms from: The term “proof exemption” indicates that a firearm has Lots marked with a ‘S58´ and bearing yellow labels are for been examined at a Proof House, but not proved, as either obsolete calibres and no licence is required unless ammunition DEFRA, Wildlife Licensing and Registration Service (a) it was deemed of interest and not intended for use, or (b) is held. Floor 1, Zone 17, Temple Quay House ammunition was not available. In either case, the firearm must 2 The Square, Temple Quay be regarded as unsafe to fire unless subsequently proved. Unmarked Lots require no licence. BRISTOL BS1 6EB Firearms proved for Black Powder should not be used with smokeless ammunition. Please do not hesitate to contact the Modern Sporting Gun 14. THE SELLERS AND/OR BONHAMS’ LIABILITY Department should you have any queries. The term “Certificate of Unprovability” indicates that a firearm Other than any liability of the Seller to the Buyer of a Lot has been examined at a Proof House and is deemed both Taxidermy and Related Items under the Contract for Sale, neither we nor the Seller are unsuitable for proof and use. Reproof is required before any As a Seller of these articles, Bonhams undertakes to comply liable (whether in negligence or otherwise) for any error or such firearm is to be used. fully with Cites and DEFRA regulations. Buyers are advised to misdescription or omission in any Description of a Lot or any inform themselves of all such regulations and should expect Estimate in respect of it, whether contained in the Catalogue Guns Sold as Parts the exportation of items to take some time to arrange. or otherwise, whether given orally or in writing and whether Barrels of guns sold as parts will only be made available for given before or during the Sale. Neither we nor the Seller will sleeving and measurements once rendered unserviceable 18. FURNITURE be liable for any loss of Business, profits, revenue or income, or according to the Gun Barrel Proof Act of 1968 to 1978 and the for loss of reputation, or for disruption to Business or wasted Rules of Proof. Upholstered Furniture time on the part of management or staff, or for indirect losses Whilst we take every care in cataloguing furniture which has or consequential damages of any kind, irrespective in any Condition of Firearms been upholstered we offer no Guarantee as to the originality case of the nature, volume or source of the loss or damage Comment in this Catalogue is restricted, in general, to of the wood covered by fabric or upholstery. alleged to be suffered, and irrespective of whether the said exceptional condition and to those defects that might affect loss or damage is caused by or claimed in respect of any the immediate safety of a firearm in normal use. An intending negligence, other tort, breach of contract (if any) or statutory Bidder unable to make technical examinations and assessments duty, restitutionary claim or otherwise. In any circumstances is recommended to seek advice from a gunmaker or from a where we and/or the Seller are liable in relation to any Lot or modern firearms specialist. All prospective Bidders are advised any Description or Estimate made of any Lot, or the conduct to consult the ˚ of bore and wall-thickness measurements of any Sale in relation to any Lot, whether in damages, for an

NTB/MAIN/11.12 19. JEWELLERY • The date given is that of the image (negative). Where no 24. WINE further date is given, this indicates that the photographic ˜ Ruby and Jadeite print is vintage (the term “vintage” may also be included Lots which are lying under Bond and those liable to VAT may Ruby and jadeite gemstones of Burmese (Myanmar) origin in the Lot Description). A vintage photograph is one which not be available for immediate collection. may not be imported into the US. Rubies and jadeite of was made within approximately 5-10 years of the negative. non–Burmese origin require certification before import Where a second, later date appears, this refers to the date Examining the wines into the US and it is the Buyer’s responsibility to obtain all of printing. Where the exact printing date is not known, but It is occasionally possible to provide a pre-Sale tasting for relevant and required export/import licences, certificates understood to be later, “printed later” will appear in the Lot larger parcels (as defined below). This is generally limited to and documentation before shipping. Failure by the Buyer to Description. more recent and everyday drinking wines. Please contact the successfully import goods into the US does not constitute • Unless otherwise specified, dimensions given are those of department for details. grounds for non payment or cancellation of Sale. Bonhams the piece of paper on which the image is printed, including will not be responsible for any additional costs in this regard any margins. Some photographs may appear in the It is not our policy to inspect every unopened case. In the case howsoever incurred. Catalogue without margins illustrated. of wines older than 20 years the boxes will usually have been • All photographs are sold unframed unless stated in the Lot opened and levels and appearance noted in the Catalogue Gemstones Description. where necessary. You should make proper allowance for Historically many gemstones have been subjected to a variety variations in ullage levels and conditions of corks, capsules of treatments to enhance their appearance. Sapphires and 21. PICTURES and labels. rubies are routinely heat treated to improve their colour and clarity, similarly emeralds are frequently treated with oils or Explanation of Catalogue Terms Corks and Ullages resin for the same purpose. Other treatments such as staining, The following terms used in the Catalogue have the following Ullage refers to the space between the base of the cork and irradiation or coating may have been used on other gemstones. meanings but are subject to the general provisions relating to the wine. Ullage levels for Bordeaux shaped bottles are only These treatments may be permanent, whilst others may need Descriptions contained in the Contract for Sale: normally noted when below the neck and for Burgundy, special care or re-treatment over the years to retain their • “Jacopo Bassano”: in our opinion a work by the artist. Alsace, German and Cognac shaped bottles when greater than appearance. Bidders should be aware that Estimates assume When the artist’s forename(s) is not known, a series of 4 centimetres (cm). Acceptable ullage levels increase with age; that gemstones may have been subjected to such treatments. asterisks, followed by the surname of the artist, whether generally acceptable levels are as follows: A number of laboratories issue certificates that give more preceded by an initial or not, indicates that in our opinion detailed Descriptions of gemstones. However there may not be the work is by the artist named; Under 15 years old – into neck or less than 4cm consensus between different laboratories on the degrees, or • “Attributed to Jacopo Bassano”: in our opinion probably 15 to 30 years old – top shoulder (ts) or up to 5cm types of treatment for any particular gemstone. In the event a work by the artist but less certainty as to authorship is Over 30 years old – high shoulder (hs) or up to 6cm that Bonhams has been given or has obtained certificates expressed than in the preceding category; for any Lot in the Sale these certificates will be disclosed in • “Studio/Workshop of Jacopo Bassano”: in our opinion a It should be noted that ullages may change between the Catalogue. Although, as a matter of policy, Bonhams work by an unknown hand in a studio of the artist which publication of the Catalogue and the Sale and that corks may endeavours to provide certificates from recognised laboratories may or may not have been executed under the artist’s fail as a result of transporting the wine. We will only accept for certain gemstones, it is not feasible to obtain certificates direction; responsibility for Descriptions of condition at the time of for each Lot. In the event that no certificate is published in the • “Circle of Jacopo Bassano”: in our opinion a work by publication of the Catalogue and cannot accept responsibility Catalogue, Bidders should assume that the gemstones may a hand closely associated with a named artist but not for any loss resulting from failure of corks either before or after have been treated. Neither Bonhams nor the Seller accepts any necessarily his pupil; this point. liability for contradictions or differing certificates obtained by • “Follower of Jacopo Bassano”: in our opinion a work by a Buyers on any Lots subsequent to the Sale. painter working in the artist’s style, contemporary or nearly Options to buy parcels contemporary, but not necessarily his pupil; A parcel is a number of Lots of identical size of the same wine, Estimated Weights • “Manner of Jacopo Bassano”: in our opinion a work in the bottle size and Description. The Buyer of any of these Lots has If a stone(s) weight appears within the body of the Description style of the artist and of a later date; the option to accept some or all of the remaining Lots in the in capital letters, the stone(s) has been unmounted and • “After Jacopo Bassano”: in our opinion, a copy of a known parcel at the same price, although such options will be at the weighed by Bonhams. If the weight of the stone(s) is stated work of the artist; Auctioneer’s sole discretion. Absentee Bidders are, therefore, to be approximate and does not appear in capital letters, the • “Signed and/or dated and/or inscribed”: in our opinion the advised to bid on the first Lot in a parcel. stone(s) has been assessed by us within its/their settings, and signature and/or date and/or inscription are from the hand the stated weight is a statement of our opinion only. This of the artist; Wines in Bond information is given as a guide and Bidders should satisfy • “Bears a signature and/or date and/or inscription”: in our Wines lying in Bond are marked Δ and VAT is payable by the themselves with regard to this information as to its accuracy. opinion the signature and/or date and/or inscription have purchaser, at the standard rate, on the Hammer Price, unless been added by another hand. the wines are to remain under Bond. Buyers requiring their Signatures wine to remain in Bond must notify Bonhams at the time of 1. A diamond brooch, by Kutchinsky 22. PORCELAIN AND GLASS the Sale. The Buyer is then himself responsible for all duty, When the maker’s name appears in the title, in Bonhams’ clearance VAT and other charges that may be payable thereon. opinion the piece is by that maker. Damage and Restoration All such Lots must be transferred or collected within two weeks For your guidance, in our Catalogues we detail, as far as of the Sale. 2. A diamond brooch, signed Kutchinsky practicable, recorded all significant defects, cracks and Has a signature that, in Bonhams’ opinion, is authentic but restoration. Such practicable Descriptions of damage cannot Buyers outside the UK must be aware that any forwarding may contain gemstones that are not original, or the piece may be definitive, and in providing Condition Reports, we cannot agent appointed to export their purchases must have a have been altered. Guarantee that there are no other defects present which movement certificate for Lots to be released under Bond. have not been mentioned. Bidders should satisfy themselves 3. A diamond brooch, mounted by Kutchinsky by inspection, as to the condition of each Lot. Please see the Bottling Details and Case Terms Has been created by the jeweller, in Bonhams’ opinion, but Contract for Sale printed in this Catalogue. Because of the The following terms used in the Catalogue have the following using stones or designs supplied by the client. difficulty in determining whether an item of glass has been meanings: repolished, in our Catalogues reference is only made to visible CB – Château bottled 20. PHOTOGRAPHS chips and cracks. No mention is made of repolishing, severe DB – Domaine bottled or otherwise. EstB – Estate bottled Explanation of Catalogue Terms BB – Bordeaux bottled • “Bill Brandt”: in our opinion a work by the artist. 23. VEHICLES BE – Belgian bottled • “Attributed to Bill Brandt”: in our opinion probably a work FB – French bottled by the artist, but less certainty to authorship is expressed The Veteran Car Club of Great Britain GB – German bottled than in the preceding category. OB – Oporto bottled • “Signed and/or titled and/or dated and/or inscribed”: in Dating Plates and Certificates UK – United Kingdom bottled our opinion the signature and/or title and/or date and/or When mention is made of a Veteran Car Club Dating Plate or owc – original wooden case inscription are in the artist’s hand. Dating Certificate in thisCatalogue , it should be borne in mind iwc – individual wooden case • “Signed and/or titled and/or dated and/or inscribed in that the Veteran Car Club of Great Britain using the services of oc – original carton another hand”: in our opinion the signature and/or title Veteran Car Company Ltd, does from time to time, review cars and/or date and/or inscription have been added by already dated and, in some instances, where fresh evidence another hand. becomes available, the review can result in an alteration of date. Whilst the Club and Veteran Car Company Ltd make every effort to ensure accuracy, the date shown on the Dating Plate or Dating Certificate cannot be guaranteed as correct and intending purchasers should make their own enquiries as to the date of the car.

NTB/MAIN/11.12 SYMBOLS 2 SELLER’S UNDERTAKINGS 4.2 The Seller will not be liable for any breach of any undertaking, whether implied by the Sale of Goods THE FOLLOWING SYMBOLS ARE USED TO DENOTE 2.1 The Seller undertakes to you that: Act 1979 or otherwise, as to the satisfactory quality of the Lot or its fitness for any purpose. Y Subject to CITES regulations when exporting these items 2.1.1 the Seller is the owner of the Lot or is duly authorised outside the EU, see clause 13. to sell the Lot by the owner; 5 RISK, PROPERTY AND TITLE W Objects displayed with a w will be located in the Bonhams Warehouse and will only be available for 2.1.2 save as disclosed in the Entry for the Lot in the 5.1 Risk in the Lot passes to you when it is knocked collection from this location. Catalogue, the Seller sells the Lot with full title down to you on the fall of the Auctioneer’s ≈ Please note that as a result of recent legislation ruby and guarantee or, where the Seller is an executor, trustee, hammer in respect of the Lot. The Seller will not jadeite gem stones of Burmese (Myanmar) origin may liquidator, receiver or administrator, with whatever be responsible thereafter for the Lot prior to not be imported into the US. Rubies and jadeite of non- right, title or interest he may have in the Lot; you collecting it from Bonhams or the Storage Burmese origin require certification before import into the Contractor, with whom you have separate contract(s) US. 2.1.3 except where the Sale is by an executor, trustee, as Buyer. You will indemnify the Seller and keep the Δ Wines lying in Bond. liquidator, receiver or administrator the Seller is both Seller fully indemnified from and against all claims, AR An Additional Premium will be payable to us by the Buyer legally entitled to sell the Lot, and legally capable proceedings, costs, expenses and losses arising in to cover our Expenses relating to payment of royalties of conferring on you quiet possession of the Lot respect of any injury, loss and damage caused to the under the Artists Resale Right Regulations 2006. See and that the Sale conforms in every respect with Lot after the fall of the Auctioneer’s hammer until clause 7 for details. the terms implied by the Sale of Goods Act 1979, you obtain full title to it. ○ The Seller has been guaranteed a minimum price for the Sections 12(1) and 12(2) (see the Definitions and Lot, either by Bonhams or a third party. This may take Glossary); 5.2 Title to the Lot remains in and is retained by the the form of an irrevocable bid by a third party, who may Seller until the Purchase Price and all other sums make a financial gain on a successful Sale or a financial 2.1.4 the Seller has complied with all requirements, legal or payable by you to Bonhams in relation to the Lot loss if unsuccessful. otherwise, relating to any export or import of the Lot, have been paid in full to, and received in cleared ▲ Bonhams owns the Lot either wholly or partially or may and all duties and taxes in respect of the export or funds by, Bonhams. otherwise have an economic interest. import of the Lot have (unless stated to the contrary in the Catalogue or announced by the Auctioneer) 6 PAYMENT •, †, *, G, Ω, a, § see clause 8, VAT, for details. been paid and, so far as the Seller is aware, all third parties have complied with such requirements in 6.1 Your obligation to pay the Purchase Price arises when DATA PROTECTION – USE OF YOUR INFORMATION the past; the Lot is knocked down to you on the fall of the Auctioneer’s hammer in respect of the Lot. Where we obtain any personal information about you, we shall 2.1.5 subject to any alterations expressly identified as such only use it in accordance with the terms of our Privacy Policy made by announcement or notice at the Sale venue 6.2 Time will be of the essence in relation to payment (subject to any additional specific consent(s) you may have or by the Notice to Bidders or by an insert in the of the Purchase Price and all other sums payable by given at the time your information was disclosed). A copy of Catalogue, the Lot corresponds with the Contractual you to Bonhams. Unless agreed in writing with you our Privacy Policy can be found on our Website www.bonhams. Description of the Lot, being that part of the Entry by Bonhams on the Seller’s behalf (in which case com or requested by post from Customer Services Department, about the Lot in the Catalogue which is in bold you must comply with the terms of that agreement), 101 New Bond Street, London, W1S 1SR or by email from letters and (except for colour) with any photograph all such sums must be paid to Bonhams by you in [email protected] of the Lot in the Catalogue and the contents of the currency in which the Sale was conducted by any Condition Report which has been provided to not later than 4.30pm on the second working day APPENDIX 1 the Buyer. following the Sale and you must ensure that the funds are cleared by the seventh working day after CONTRACT FOR SALE 3 DESCRIPTIONS OF THE LOT the Sale. Payment must be made to Bonhams by one of the methods stated in the Notice to Bidders unless IMPORTANT: These terms may be changed in advance of the 3.1 Paragraph 2.1.5 sets out what is the Contractual otherwise agreed with you in writing by Bonhams. If Sale of the Lot to you, by the setting out of different terms in Description of the Lot. In particular, the Lot is not you do not pay any sums due in accordance with this the Catalogue for the Sale and/or by placing an insert in the sold as corresponding with that part of the Entry in paragraph, the Seller will have the rights set out in Catalogue and/or by notices at the Sale venue and/or by oral the Catalogue which is not printed in bold letters, paragraph 8 below. announcements before and during the Sale at the Sale venue. which merely sets out (on the Seller’s behalf) You should be alert to this possibility of changes and ask in Bonhams’ opinion about the Lot and which is not 7 COLLECTION OF THE LOT advance of bidding if there have been any. part of the Contractual Description upon which the Lot is sold. Any statement or representation other 7.1 Unless otherwise agreed in writing with you by Under this contract the Seller’s liability in respect of the quality than that part of the Entry referred to in paragraph Bonhams, the Lot will be released to you or to your of the Lot, it’s fitness for any purpose and its conformity with 2.1.5 (together with any express alteration to it order only when Bonhams has received cleared funds any Description is limited. You are strongly advised to examine as referred to in paragraph 2.1.5), including any to the amount of the full Purchase Price and all other the Lot for yourself and/or obtain an independent examination Description or Estimate, whether made orally or in sums owed by you to the Seller and to Bonhams. of it before you buy it. writing, including in the Catalogue or on Bonhams’ Website, or by conduct, or otherwise, and whether 7.2 The Seller is entitled to withhold possession from you 1 THE CONTRACT by or on behalf of the Seller or Bonhams and of any other Lot he has sold to you at the same or whether made prior to or during the Sale, is not part at any other Sale and whether currently in Bonhams’ 1.1 These terms govern the Contract for Sale of the Lot of the Contractual Description upon which the Lot is possession or not until payment in full and in cleared by the Seller to the Buyer. sold. funds of the Purchase Price and all other sums due to the Seller and/or Bonhams in respect of the Lot. 1.2 The Definitions and Glossary contained in Appendix 3 3.2 Except as provided in paragraph 2.1.5, the Seller in the Catalogue are incorporated into this Contract does not make or give and does not agree to make 7.3 You will collect and remove the Lot at your own for Sale and a separate copy can also be provided or give any contractual promise, undertaking, expense from Bonhams’ custody and/ or control or by Bonhams on request. Where words and phrases obligation, guarantee, warranty, or representation from the Storage Contractor’s custody in accordance are used which are in the List of Definitions, they are of fact, or undertake any duty of care, in relation to with Bonhams’ instructions or requirements. printed in italics. any Description of the Lot or any Estimate in relation to it, nor of the accuracy or completeness of any 7.4 You will be wholly responsible for packing, handling 1.3 The Seller sells the Lot as the principal to the Description or Estimate which may have been made and transport of the Lot on collection and for Contract for Sale, such contract being made between by or on behalf of the Seller including by Bonhams. complying with all import or export regulations in the Seller and you through Bonhams which acts in No such Description or Estimate is incorporated into connection with the Lot. the sole capacity as the Seller’s agent and not as this Contract for Sale. an additional principal. However, if the Catalogue 7.5 You will be wholly responsible for any removal, states that Bonhams sells the Lot as principal, or such 4 FITNESS FOR PURPOSE AND SATISFACTORY storage or other charges or Expenses incurred a statement is made by an announcement by the QUALITY by the Seller if you do not remove the Lot in Auctioneer, or by a notice at the Sale, or an insert accordance with this paragraph 7 and will in the Catalogue, then Bonhams is the Seller for the 4.1 The Seller does not make and does not agree indemnify the Seller against all charges, costs, purposes of this agreement. to make any contractual promise, undertaking, including any legal costs and fees, Expenses and obligation, guarantee, warranty, or representation of losses suffered by the Seller by reason of your 1.4 The contract is made on the fall of the Auctioneer’s fact in relation to the satisfactory quality of the Lot or failure to remove the Lot including any charges hammer in respect of the Lot when it is knocked its fitness for any purpose. due under any Storage Contract. All such sums down to you. due to the Seller will be payable on demand.

NTB/MAIN/11.12 8 FAILURE TO PAY FOR THE LOT all sums due to the Seller and to Bonhams, within waiver given to you in writing. Any such waiver will 28 days of receipt of such monies by him or on his not affect the Seller’s ability subsequently to enforce 8.1 If the Purchase Price for a Lot is not paid to Bonhams behalf. any right arising under the Contract for Sale. in full in accordance with the Contract for Sale the Seller will be entitled, with the prior written 9 THE SELLER’S LIABILITY 10.3 If either party to the Contract for Sale is prevented agreement of Bonhams but without further notice to from performing that party’s respective obligations you, to exercise one or more of the following rights 9.1 The Seller will not be liable for any injury, loss or under the Contract for Sale by circumstances beyond (whether through Bonhams or otherwise): damage caused by the Lot after the fall of the its reasonable control or if performance of its Auctioneer’s hammer in respect of the Lot. obligations would by reason of such circumstances 8.1.1 to terminate immediately the Contract for Sale of the give rise to a significantly increased financial Lot for your breach of contract; 9.2 Subject to paragraph 9.3 below, except for breach cost to it, that party will not, for so long as such of the express undertaking provided in paragraph circumstances prevail, be required to perform such 8.1.2 to resell the Lot by auction, private treaty or any 2.1.5, the Seller will not be liable for any breach obligations. This paragraph does not apply to the other means on giving seven days’ written notice to of any term that the Lot will correspond with any obligations imposed on you by paragraph 6. you of the intention to resell; Description applied to it by or on behalf of the Seller, whether implied by the Sale of Goods Act 1979 or 10.4 Any notice or other communication to be given 8.1.3 to retain possession of the Lot; otherwise. under the Contract for Sale must be in writing and may be delivered by hand or sent by first class 8.1.4 to remove and store the Lot at your expense; 9.3 Unless the Seller sells the Lot in the course of a post or air mail or fax transmission, if to the Seller, Business and the Buyer buys it as a Consumer, addressed c/o Bonhams at its address or fax number 8.1.5 to take legal proceedings against you for any sum in the Catalogue (marked for the attention of the due under the Contract for Sale and/or damages for 9.3.1 the Seller will not be liable (whether in negligence, Company Secretary), and if to you to the address or breach of contract; other tort, breach of contract or statutory duty or in fax number of the Buyer given in the Bidding Form restitution or under the Misrepresentation Act 1967, (unless notice of any change of address is given in 8.1.6 to be paid interest on any monies due (after as well or in any other way) for any lack of conformity with, writing). It is the responsibility of the sender of the as before judgement or order) at the annual rate or inaccuracy, error, misdescription or omission in notice or communication to ensure that it is received of 5% per annum above the base rate of National any Description of the Lot or any Entry or Estimate in a legible form within any applicable time period. Westminster Bank Plc from time to time to be in relation to the Lot made by or on behalf of calculated on a daily basis from the date upon which the Seller (whether made in writing, including in 10.5 If any term or any part of any term of the Contract such monies become payable until the date of actual the Catalogue, or on the Website, or orally, or by for Sale is held to be unenforceable or invalid, such payment; conduct or otherwise) and whether made before or unenforceability or invalidity will not affect the after this agreement or prior to or during the Sale; enforceability and validity of the remaining terms or 8.1.7 to repossess the Lot (or any part thereof) which has the remainder of the relevant term. not become your property, and for this purpose 9.3.2 the Seller will not be liable for any loss of Business, (unless the Buyer buys the Lot as a Consumer from Business profits or revenue or income or for loss of 10.6 References in the Contract for Sale to Bonhams will, the Seller selling in the course of a Business) you reputation or for disruption to Business or wasted where appropriate, include reference to Bonhams’ hereby grant an irrevocable licence to the Seller by time on the part of the Buyer or of the Buyer’s officers, employees and agents. himself and to his servants or agents to enter upon management or staff or, for any indirect losses or all or any of your premises (with or without vehicles) consequential damages of any kind, irrespective in 10.7 The headings used in the Contract for Sale during normal Business hours to take possession of any case of the nature, volume or source of the loss are for convenience only and will not affect its the Lot or part thereof; or damage alleged to be suffered, and irrespective interpretation. of whether the said loss or damage is caused by 8.1.8 to retain possession of any other property sold to you or claimed in respect of any negligence, other tort, 10.8 In the Contract for Sale “including” means by the Seller at the Sale or any other auction or by breach of contract, statutory duty, restitutionary “including, without limitation”. private treaty until all sums due under the Contract claim or otherwise; for Sale shall have been paid in full in cleared funds; 10.9 References to the singular will include reference to 9.3.3 in any circumstances where the Seller is liable to you the plural (and vice versa) and reference to any one 8.1.9 to retain possession of, and on three months’ written in respect of the Lot, or any act, omission, statement, gender will include reference to the other genders. notice to sell, Without Reserve, any of your other or representation in respect of it, or this agreement property in the possession of the Seller and/or of or its performance, and whether in damages, for 10.10 Reference to a numbered paragraph is to a Bonhams (as bailee for the Seller) for any purpose an indemnity or contribution or for a restitutionary paragraph of the Contract for Sale. (including, without limitation, other goods sold to remedy or in any way whatsoever, the Seller’s liability you) and to apply any monies due to you as a result will be limited to payment of a sum which will not 10.11 Save as expressly provided in paragraph 10.12 of such Sale in satisfaction or part satisfaction of any exceed by way of maximum the amount of the nothing in the Contract for Sale confers (or purports amounts owed to the Seller or to Bonhams; and Purchase Price of the Lot irrespective in any case of to confer) on any person who is not a party to the the nature, volume or source of any loss or damage Contract for Sale any benefit conferred by, or the 8.1.10 so long as such goods remain in the possession of alleged to be suffered or sum claimed as due, and right to enforce any term of, the Contract for Sale. the Seller or Bonhams as its bailee, to rescind the irrespective of whether the liability arises from any contract for the Sale of any other goods sold to negligence, other tort, breach of contract, statutory 10.12 Where the Contract for Sale confers an immunity you by the Seller at the Sale or at any other auction duty, bailee’s duty, restitutionary claim or otherwise. from, and/or an exclusion or restriction of, the or by private treaty and apply any monies received responsibility and/or liability of the Seller, it will also from you in respect of such goods in part or full 9.4 Nothing set out in paragraphs 9.1 to 9.3 above will operate in favour and for the benefit ofBonhams, satisfaction of any amounts owed to the Seller or to be construed as excluding or restricting (whether Bonhams’ holding company and the subsidiaries Bonhams by you. directly or indirectly) any person’s liability or excluding of such holding company and the successors and or restricting any person’s rights or remedies in assigns of Bonhams and of such companies and of 8.2 You agree to indemnify the Seller against all legal respect of (i) fraud, or (ii) death or personal injury any officer, employee and agent of Bonhams and and other costs of enforcement, all losses and other caused by the Seller’s negligence (or any person such companies, each of whom will be entitled to Expenses and costs (including any monies payable under the Seller’s control or for whom the Seller is rely on the relevant immunity and/or exclusion and/or to Bonhams in order to obtain the release of the legally responsible), or (iii) acts or omissions for which restriction within and for the purposes of Contracts Lot) incurred by the Seller (whether or not court the Seller is liable under the Occupiers Liability Act (Rights of Third Parties) Act 1999, which enables the proceedings will have been issued) as a result of 1957, or (iv) any other liability to the extent the same benefit of a contract to be extended to a person who Bonhams taking steps under this paragraph 8 on a may not be excluded or restricted as a matter of law. is not a party to the contract, and generally at law. full indemnity basis together with interest thereon (after as well as before judgement or order) at the 10 MISCELLANEOUS rate specified in paragraph 8.1.6 from the date upon which the Seller becomes liable to pay the same until 10.1 You may not assign either the benefit or burden of payment by you. the Contract for Sale.

8.3 On any resale of the Lot under paragraph 8.1.2, the 10.2 The Seller’s failure or delay in enforcing or exercising Seller will account to you in respect of any balance any power or right under the Contract for Sale will remaining from any monies received by him or on not operate or be deemed to operate as a waiver of his behalf in respect of the Lot, after the payment of his rights under it except to the extent of any express

NTB/MAIN/11.12 11 GOVERNING LAW writing, including in the Catalogue or on Bonhams’ 4.2 You must collect and remove the Lot at your own Website, or by conduct, or otherwise), and whether expense by the date and time specified in the Notice All transactions to which the Contract for Sale applies made before or after this agreement or prior to or to Bidders, or if no date is specified, by 4.30pm on and all connected matters will be governed by and during the Sale. No such Description or Estimate is the seventh day after the Sale. construed in accordance with the laws of that part incorporated into this agreement between you and of the United Kingdom where the Sale takes place us. Any such Description or Estimate, if made by us 4.3 For the period referred to in paragraph 4.2, the Lot and the Seller and you each submit to the exclusive or on our behalf, was (unless Bonhams itself sells can be collected from the address referred to in the jurisdiction of the courts of that part of the United the Lot as principal) made as agent on behalf of the Notice to Bidders for collection on the days and times Kingdom, save that the Seller may bring proceedings Seller. specified in the Notice to Bidders. Thereafter, the against you in any other court of competent Lot may be removed elsewhere for storage and you jurisdiction to the extent permitted by the laws of 2 PERFORMANCE OF THE CONTRACT FOR SALE must enquire from us as to when and where you can the relevant jurisdiction. Bonhams has a complaints collect it, although this information will usually be set procedure in place. You undertake to us personally that you will out in the Notice to Bidders. observe and comply with all your obligations and undertakings to the Seller under the Contract for Sale 4.4 If you have not collected the Lot by the date specified APPENDIX 2 in respect of the Lot. in the Notice to Bidders, you authorise us, acting as your agent and on your behalf, to enter into a BUYER’S AGREEMENT 3 PAYMENT contract (the “Storage Contract”) with the Storage Contractor for the storage of the Lot on the then IMPORTANT: These terms may be changed in advance of the 3.1 Unless agreed in writing between you and us or as current standard terms and conditions agreed Sale of the Lot to you, by the setting out of different terms in otherwise set out in the Notice to Bidders, you must between Bonhams and the Storage Contractor the Catalogue for the Sale and/or by placing an insert in the pay to us by not later than 4.30pm on the second (copies of which are available on request). If the Lot Catalogue and/or by notices at the Sale venue and/or by oral working day following the Sale: is stored at our premises storage fees at our current announcements before and during the Sale at the Sale venue. daily rates (currently a minimum of £3 plus VAT per You should be alert to this possibility of changes and ask in 3.1.1 the Purchase Price for the Lot; Lot per day) will be payable from the expiry of the advance of bidding if there have been any. period referred to in paragraph 4.2. These storage 3.1.2 a Buyer’s Premium in accordance with the rates set fees form part of our Expenses. 1 THE CONTRACT out in the Notice to Bidders, and 4.5 Until you have paid the Purchase Price and any 1.1 These terms govern the contract between Bonhams 3.1.3 if the Lot is marked [AR], an Additional Premium Expenses in full the Lot will either be held by us as personally and the Buyer, being the person to whom which is calculated and payable in accordance with agent on behalf of the Seller or held by the Storage a Lot has been knocked down by the Auctioneer. the Notice to Bidders together with VAT on that sum Contractor as agent on behalf of the Seller and if applicable so that all sums due to us are cleared ourselves on the terms contained in the Storage 1.2 The Definitions and Glossary contained in Appendix funds by the seventh working day after the Sale. Contract. 3 to the Catalogue for the Sale are incorporated into this agreement and a separate copy can also 3.2 You must also pay us on demand any Expenses 4.6 You undertake to comply with the terms of any be provided by us on request. Where words and payable pursuant to this agreement. Storage Contract and in particular to pay the charges phrases which are defined in the List of Definitions (and all costs of moving the Lot into storage) due are used in this agreement, they are printed in italics. 3.3 All payments to us must be made in the currency under any Storage Contract. You acknowledge and Reference is made in this agreement to information in which the Sale was conducted, using, unless agree that you will not be able to collect the Lot from printed in the Notice to Bidders, printed in the otherwise agreed by us in writing, one of the the Storage Contractor’s premises until you have paid Catalogue for the Sale, and where such information methods of payment set out in the Notice to the Purchase Price, any Expenses and all charges due is referred to it is incorporated into this agreement. Bidders. Our invoices will only be addressed to the under the Storage Contract. registered Bidder unless the Bidder is acting as an 1.3 Except as specified in paragraph 4 of the Notice to agent for a named principal and we have approved 4.7 You will be wholly responsible for packing, handling Bidders the Contract for Sale of the Lot between you that arrangement, in which case we will address the and transport of the Lot on collection and for and the Seller is made on the fall of the Auctioneer’s invoice to the principal. complying with all import or export regulations in hammer in respect of the Lot, when it is knocked connection with the Lot. down to you. At that moment a separate contract is 3.4 Unless otherwise stated in this agreement all also made between you and Bonhams on the terms sums payable to us will be subject to VAT at the 4.8 You will be wholly responsible for any removal, in this Buyer’s Agreement. appropriate rate and VAT will be payable by you on storage, or other charges for any Lot not removed all such sums. in accordance with paragraph 4.2, payable at our 1.4 We act as agents for the Seller and are not current rates, and any Expenses we incur (including answerable or personally responsible to you for any 3.5 We may deduct and retain for our own benefit from any charges due under the Storage Contract), all of breach of contract or other default by the Seller, the monies paid by you to us the Buyer’s Premium, which must be paid by you on demand and in any unless Bonhams sells the Lot as principal. the Commission payable by the Seller in respect event before any collection of the Lot by you or on of the Lot, any Expenses and VAT and any interest your behalf. 1.5 Our personal obligations to you are governed by this earned and/or incurred until payment to the Seller. agreement and we agree, subject to the terms below, 5 STORING THE LOT to the following obligations: 3.6 Time will be of the essence in relation to any payment payable to us. If you do not pay the We agree to store the Lot until the earlier of your 1.5.1 we will, until the date and time specified in the Purchase Price, or any other sum due to us in removal of the Lot or until the time and date set out Notice to Bidders or otherwise notified to you, store accordance with this paragraph 3, we will have the in the Notice to Bidders, on the Sale Information the Lot in accordance with paragraph 5; rights set out in paragraph 7 below. Page or at the back of the catalogue (or if no date is specified, by 4.30pm on the seventh day after the 1.5.2 subject to any power of the Seller or us to refuse to 3.7 Where a number of Lots have been knocked down to Sale) and, subject to paragraphs 6 and 10, to be release the Lot to you, we will release the Lot to you you, any monies we receive from you will be applied responsible as bailee to you for damage to or the loss in accordance with paragraph 4 once you have paid firstly pro-rata to pay the Purchase Price of each Lot or destruction of the Lot (notwithstanding that it is to us, in cleared funds, everything due to us and the and secondly pro-rata to pay all amounts due to not your property before payment of the Purchase Seller; Bonhams. Price). If you do not collect the Lot before the time and date set out in the Notice to Bidders (or if no 1.5.3 we will provide guarantees in the terms set out in 4 COLLECTION OF THE LOT date is specified, by 4.30pm on the seventh day paragraphs 9 and 10. after the Sale) we may remove the Lot to another 4.1 Subject to any power of the Seller or us to refuse location, the details of which will usually be set out 1.6 We do not make or give and do not agree to make to release the Lot to you, once you have paid to us, in the relevant section of the Catalogue. If you have or give any contractual promise, undertaking, in cleared funds, everything due to the Seller and not paid for the Lot in accordance with paragraph 3, obligation, Guarantee, warranty, representation of to us, we will release the Lot to you or as you may and the Lot is moved to any third party’s premises, fact in relation to any Description of the Lot or any direct us in writing. The Lot will only be released on the Lot will be held by such third party strictly to Estimate in relation to it, nor of the accuracy or production of a buyer collection document, obtained Bonhams’ order and we will retain our lien over the completeness of any Description or Estimate which from our cashier’s office. Lot until we have been paid in full in accordance with may have been made by us or on our behalf or by paragraph 3. or on behalf of the Seller (whether made orally or in

NTB/MAIN/11.12 6 RESPONSIBILITY FOR THE LOT 7.2 You agree to indemnify us against all legal and other 9.2.2 you notify us in writing as soon as reasonably costs, all losses and all other Expenses (whether or practicable after you have become aware that the Lot 6.1 Only on the payment of the Purchase Price to us not court proceedings will have been issued) incurred is or may be a Forgery, and in any event within one will title in the Lot pass to you. However under the by us as a result of our taking steps under this year after the Sale, that the Lot is a Forgery; and Contract for Sale, the risk in the Lot passed to you paragraph 7 on a full indemnity basis together with when it was knocked down to you. interest thereon (after as well as before judgement or 9.2.3 within one month after such notification has been order) at the rate specified in paragraph 7.1.5 from given, you return the Lot to us in the same condition 6.2 You are advised to obtain insurance in respect of the the date upon which we become liable to pay the as it was at the time of the Sale, accompanied by Lot as soon as possible after the Sale. same until payment by you. written evidence that the Lot is a Forgery and details of the Sale and Lot number sufficient to identify the 7 FAILURE TO PAY OR TO REMOVE THE LOT 7.3 If you pay us only part of the sums due to us such Lot. AND PART PAYMENTS payment shall be applied firstly to the Purchase Price of the Lot (or where you have purchased more than 9.3 Paragraph 9 will not apply in respect of a Forgery if: 7.1 If all sums payable to us are not so paid in full at the one Lot pro-rata towards the Purchase Price of each time they are due and/or the Lot is not removed in Lot) and secondly to the Buyer’s Premium (or where 9.3.1 the Entry in relation to the Lot contained in the accordance with this agreement, we will without you have purchased more than one Lot pro-rata to Catalogue reflected the then accepted general further notice to you be entitled to exercise one or the Buyer’s Premium on each Lot) and thirdly to any opinion of scholars and experts or fairly indicated more of the following rights (without prejudice to other sums due to us. that there was a conflict of such opinion or reflected any rights we may exercise on behalf of the Seller): the then current opinion of an expert acknowledged 7.4 We will account to you in respect of any balance we to be a leading expert in the relevant field; or 7.1.1 to terminate this agreement immediately for your hold remaining from any monies received by us in breach of contract; respect of any Sale of the Lot under our rights under 9.3.2 it can be established that the Lot is a Forgery only this paragraph 7 after the payment of all sums due to by means of a process not generally accepted for 7.1.2 to retain possession of the Lot; us and/or the Seller within 28 days of receipt by us of use until after the date on which the Catalogue was all such sums paid to us. published or by means of a process which it was 7.1.3 to remove, and/or store the Lot at your expense; unreasonable in all the circumstances for us to have 8 CLAIMS BY OTHER PERSONS IN RESPECT OF employed. 7.1.4 to take legal proceedings against you for payment THE LOT of any sums payable to us by you (including the 9.4 You authorise us to carry out such processes and Purchase Price) and/or damages for breach of 8.1 Whenever it becomes apparent to us that the Lot tests on the Lot as we in our absolute discretion contract; is the subject of a claim by someone other than consider necessary to satisfy ourselves that the Lot is you and other than the Seller (or that such a claim or is not a Forgery. 7.1.5 to be paid interest on any monies due to us (after can reasonably be expected to be made), we may, as well as before judgement or order) at the annual at our absolute discretion, deal with the Lot in 9.5 If we are satisfied that a Lot is a Forgery we will (as rate of 5% per annum above the base lending rate any manner which appears to us to recognise the principal) purchase the Lot from you and you will of National Westminster Bank Plc from time to time legitimate interests of ourselves and the other parties transfer the title to the Lot in question to us, with to be calculated on a daily basis from the date upon involved and lawfully to protect our position and full title guarantee, free from any liens, charges, which such monies become payable until the date of our legitimate interests. Without prejudice to the encumbrances and adverse claims, in accordance actual payment; generality of the discretion and by way of example, with the provisions of Sections 12(1) and 12(2) of we may: the Sale of Goods Act 1979 and we will pay to you 7.1.6 to repossess the Lot (or any part thereof) which has an amount equal to the sum of the Purchase Price, not become your property, and for this purpose 8.1.1 retain the Lot to investigate any question raised or Buyer’s Premium, VAT and Expenses paid by you in (unless you buy the Lot as a Consumer) you hereby reasonably expected by us to be raised in relation to respect of the Lot. grant an irrevocable licence to us, by ourselves, our the Lot; and/or servants or agents, to enter upon all or any of your 9.6 The benefit of paragraph 9 is personal to, and premises (with or without vehicles) during normal 8.1.2 deliver the Lot to a person other than you; and/or incapable of assignment by, you. business hours to take possession of any Lot or part thereof; 8.1.3 commence interpleader proceedings or seek any 9.7 If you sell or otherwise dispose of your interest in the other order of any court, mediator, arbitrator or Lot, all rights and benefits under this paragraph will 7.1.7 to sell the Lot Without Reserve by auction, private government body; and/or cease. treaty or any other means on giving you three months’ written notice of our intention to do so; 8.1.4 require an indemnity and/or security from you in 9.8 Paragraph 9 does not apply to a Lot made up of or return for pursuing a course of action agreed to by including a Chinese painting or Chinese paintings, a 7.1.8 to retain possession of any of your other property in you. motor vehicle or motor vehicles, a Stamp or Stamps our possession for any purpose (including, without or a Book or Books. limitation, other goods sold to you or with us for 8.2 The discretion referred to in paragraph 8.1: Sale) until all sums due to us have been paid in full; 10 OUR LIABILITY 8.2.1 may be exercised at any time during which we have 7.1.9 to apply any monies received from you for any actual or constructive possession of the Lot, or at 10.1 We will not be liable whether in negligence, other purpose whether at the time of your default or at any time after such possession, where the cessation tort, breach of contract or statutory duty or in any time thereafter in payment or part payment of of such possession has occurred by reason of any restitution or under the Misrepresentation Act 1967 any sums due to us by you under this agreement; decision, order or ruling of any court, mediator, or in any other way for lack of conformity with or arbitrator or government body; and any inaccuracy, error, misdescription or omission in 7.1.10 on three months’ written notice to sell, Without any Description of the Lot or any Entry or Estimate Reserve, any of your other property in our possession 8.2.2 will not be exercised unless we believe that there in respect of it, made by us or on our behalf or by or under our control for any purpose (including other exists a serious prospect of a good arguable case in or on behalf of the Seller (whether made in writing, goods sold to you or with us for Sale) and to apply favour of the claim. including in the Catalogue, or on the Bonhams’ any monies due to you as a result of such Sale in Website, or orally, or by conduct or otherwise) and payment or part payment of any amounts owed to 9 FORGERIES whether made before or after this agreement or prior us; to or during the Sale. 9.1 We undertake a personal responsibility for any 7.1.11 refuse to allow you to register for a future Sale or to Forgery in accordance with the terms of this 10.2 Our duty to you while the Lot is at your risk and/or reject a bid from you at any future Sale or to require paragraph 9. your property and in our custody and/or control is to you to pay a deposit before any bid is accepted by us exercise reasonable care in relation to it, but we will at any future Sale in which case we will be entitled 9.2 Paragraph 9 applies only if: not be responsible for damage to the Lot or to other to apply such deposit in payment or part payment, as persons or things caused by: the case may be, of the Purchase Price of any Lot of 9.2.1 your name appears as the named person to whom which you are the Buyer. the original invoice was made out by us in respect of 10.2.1 handling the Lot if it was affected at the time of Sale the Lot and that invoice has been paid; and to you by woodworm and any damage is caused as a result of it being affected by woodworm; or

NTB/MAIN/11.12 10.2.2 changes in atmospheric pressure; nor will we be 11.4 Any notice or other communication to be given APPENDIX 3 liable for: under this agreement must be in writing and may be delivered by hand or sent by first class post or DEFINITIONS AND GLOSSARY 10.2.3 damage to tension stringed musical instruments; or air mail or fax transmission (if to Bonhams marked for the attention of the Company Secretary), to the Where these Definitions and Glossary are incorporated, the 10.2.4 damage to gilded picture frames, plaster picture address or fax number of the relevant party given following words and phrases used have (unless the context frames or picture frame glass; and if the Lot is or in the Contract Form (unless notice of any change otherwise requires) the meanings given to them below. The becomes dangerous, we may dispose of it without of address is given in writing). It is the responsibility Glossary is to assist you to understand words and phrases notice to you in advance in any manner we think fit of the sender of the notice or communication to which have a specific legal meaning with which you may not and we will be under no liability to you for doing so. ensure that it is received in a legible form within any be familiar. applicable time period. 10.3.1 We will not be liable to you for any loss of Business, LIST OF DEFINITIONS Business profits, revenue or income or for loss of 11.5 If any term or any part of any term of this agreement Business reputation or for disruption to Business or is held to be unenforceable or invalid, such “Additional Premium” a premium, calculated in accordance wasted time on the part of the Buyer’s management unenforceability or invalidity will not affect the with the Notice to Bidders, to cover Bonhams’ Expenses or staff or, if you are buying the Lot in the course of enforceability and validity of the remaining terms or relating to the payment of royalties under the Artists Resale a Business, for any indirect losses or consequential the remainder of the relevant term. Right Regulations 2006 which is payable by the Buyer to damages of any kind, irrespective in any case of Bonhams on any Lot marked [AR] which sells for a Hammer the nature, volume or source of the loss or damage 11.6 References in this agreement to Bonhams will, where Price which together with the Buyer’s Premium (but excluding alleged to be suffered, and irrespective of whether appropriate, include reference to Bonhams’ officers, any VAT) equals or exceeds 1000 euros (converted into the said loss or damage is caused by or claimed employees and agents. the currency of the Sale using the European Central Bank in respect of any negligence, other tort, breach of Reference rate prevailing on the date of the Sale). contract, statutory duty, bailee’s duty, a restitutionary 11.7 The headings used in this agreement are “Auctioneer” the representative of Bonhams conducting the claim or otherwise. for convenience only and will not affect its Sale. interpretation. “Bidder” a person who has completed a Bidding Form. 10.3.2 Unless you buy the Lot as a Consumer, in any “Bidding Form” our Bidding Registration Form, our Absentee circumstances where we are liable to you in 11.8 In this agreement “including” means “including, Bidding Form or our Telephone Bidding Form. respect of a Lot, or any act, omission, statement, without limitation”. “Bonhams” Bonhams 1793 Limited or its successors or representation in respect of it, or this agreement assigns. Bonhams is also referred to in the Buyer’s Agreement, or its performance, and whether in damages, for 11.9 References to the singular will include reference to the Conditions of Business and the Notice to Bidders by the an indemnity or contribution or for a restitutionary the plural (and vice versa) and reference to any one words “we”, “us” and “our”. remedy or in any way whatsoever, our liability will be gender will include reference to the other genders. “Book” a printed Book offered for Sale at a specialist Book limited to payment of a sum which will not exceed Sale. by way of maximum the amount of the Purchase 11.10 Reference to a numbered paragraph is to a “Business” includes any trade, Business and profession. Price of the Lot plus Buyer’s Premium (less any sum paragraph of this agreement. “Buyer” the person to whom a Lot is knocked down by the you may be entitled to recover from the Seller) Auctioneer. The Buyer is also referred to in the Contract for irrespective in any case of the nature, volume or 11.11 Save as expressly provided in paragraph 11.12 Sale and the Buyer’s Agreement by the words “you” and source of any loss or damage alleged to be suffered nothing in this agreement confers (or purports to “your”. or sum claimed as due, and irrespective of whether confer) on any person who is not a party to this “Buyer’s Agreement” the contract entered into by Bonhams the liability arises from negligence, other tort, agreement any benefit conferred by, or the right to with the Buyer (see Appendix 2 in the Catalogue). breach of contract, statutory duty, bailee’s duty, a enforce any term of, this agreement. “Buyer’s Premium” the sum calculated on the Hammer Price restitutionary claim or otherwise. at the rates stated in the Notice to Bidders. 11.12 Where this agreement confers an immunity from, “Catalogue” the Catalogue relating to the relevant Sale, You may wish to protect yourself against loss by and/or an exclusion or restriction of, the responsibility including any representation of the Catalogue published on obtaining insurance. and/or liability of Bonhams, it will also operate in our Website. favour and for the benefit of Bonhams’ holding “Commission” the Commission payable by the Seller to 10.4 Nothing set out above will be construed as excluding company and the subsidiaries of such holding Bonhams calculated at the rates stated in the Contract Form. or restricting (whether directly or indirectly) any company and the successors and assigns of Bonhams “Condition Report” a report on the physical condition of a Lot person’s liability or excluding or restricting any and of such companies and of any officer, employee provided to a Bidder or potential Bidder by Bonhams on behalf person’s rights or remedies in respect of (i) fraud, or and agent of Bonhams and such companies, each of the Seller. (ii) death or personal injury caused by our negligence of whom will be entitled to rely on the relevant “Conditions of Sale” the Notice to Bidders, Contract for Sale, (or any person under our control or for whom we are immunity and/or exclusion and/or restriction within Buyer’s Agreement and Definitions and Glossary. legally responsible), or (iii) acts or omissions for which and for the purposes of Contracts (Rights of Third “Consignment Fee” a fee payable to Bonhams by the Seller we are liable under the Occupiers Liability Act 1957, Parties) Act 1999, which enables the benefit of a calculated at rates set out in the Conditions of Business. or (iv) any other liability to the extent the same may contract to be extended to a person who is not a “Consumer” a natural person who is acting for the relevant not be excluded or restricted as a matter of law, or party to the contract, and generally at law. purpose outside his trade, Business or profession. (v) under our undertaking in paragraph 9 of these “Contract Form” the Contract Form, or vehicle Entry form, as conditions. 12 GOVERNING LAW applicable, signed by or on behalf of the Seller listing the Lots to be offered for Sale by Bonhams. 11 MISCELLANEOUS All transactions to which this agreement applies “Contract for Sale” the Sale contract entered into by the and all connected matters will be governed by and Seller with the Buyer (see Appendix 1 in the Catalogue). 11.1 You may not assign either the benefit or burden of construed in accordance with the laws of that part “Contractual Description” the only Description of the Lot this agreement. of the United Kingdom where the Sale takes (or (being that part of the Entry about the Lot in the Catalogue is to take) place and we and you each submit to which is in bold letters, any photograph (except for the colour) 11.2 Our failure or delay in enforcing or exercising any the exclusive jurisdiction of the courts of that part and the contents of any Condition Report) to which the Seller power or right under this agreement will not operate of the United Kingdom, save that we may bring undertakes in the Contract of Sale the Lot corresponds. or be deemed to operate as a waiver of our rights proceedings against you in any other court of “Description” any statement or representation in any under it except to the extent of any express waiver competent jurisdiction to the extent permitted by way descriptive of the Lot, including any statement or given to you in writing. Any such waiver will not the laws of the relevant jurisdiction. Bonhams has a representation relating to its authorship, attribution, condition, affect our ability subsequently to enforce any right complaints procedure in place. provenance, authenticity, style, period, age, suitability, quality, arising under this agreement. origin, value, estimated selling price (including the Hammer DATA PROTECTION – USE OF YOUR INFORMATION Price). 11.3 If either party to this agreement is prevented from “Entry” a written statement in the Catalogue identifying the performing that party’s respective obligations Where we obtain any personal information about you, we shall Lot and its Lot number which may contain a Description and under this agreement by circumstances beyond only use it in accordance with the terms of our Privacy Policy illustration(s) relating to the Lot. its reasonable control or if performance of its (subject to any additional specific consent(s) you may have “Estimate” a statement of our opinion of the range within obligations would by reason of such circumstances given at the time your information was disclosed). A copy of which the hammer is likely to fall. give rise to a significantly increased financial our Privacy Policy can be found on our Website www.bonhams. cost to it, that party will not, for so long as such com or requested by post from Customer Services Department, circumstances prevail, be required to perform such 101 New Bond Street, London W1S 1SR, United Kingdom or obligations. This paragraph does not apply to the by email from [email protected]. obligations imposed on you by paragraph 3.

NTB/MAIN/11.12 “Expenses” charges and Expenses paid or payable by “Standard Examination” a visual examination of a Lot by a (3) This subsection applies to a contract of sale in the case Bonhams in respect of the Lot including legal Expenses, non-specialist member of Bonhams’ staff. of which there appears from the contract or is to be banking charges and Expenses incurred as a result of an “Storage Contract” means the contract described in inferred from its circumstances an intention that the electronic transfer of money, charges and Expenses for loss and paragraph 8.3.3 of the Conditions of Business or paragraph seller should transfer only such title as he or a third damage cover, insurance, Catalogue and other reproductions 4.4 of the Buyer’s Agreement (as appropriate). person may have. and illustrations, any customs duties, advertising, packing or “Storage Contractor” means the company identified as such shipping costs, reproductions rights’ fees, taxes, levies, costs of in the Catalogue. (4) In a contract to which subsection (3) above applies there testing, searches or enquiries, preparation of the Lot for Sale, “Terrorism” means any act or threatened act of terrorism, is an implied term that all charges or encumbrances storage charges, removal charges, removal charges or costs whether any person is acting alone or on behalf of or in known to the seller and not known to the buyer have of collection from the Seller as the Seller’s agents or from a connection with any organisation(s) and/or government(s), been disclosed to the buyer before the contract is made. defaulting Buyer, plus VAT if applicable. committed for political, religious or ideological or similar “Forgery” an imitation intended by the maker or any other purposes including, but not limited to, the intention to (5) In a contract to which subsection (3) above applies person to deceive as to authorship, attribution, origin, influence any government and/or put the public or any section there is also an implied term that none of the following authenticity, style, date, age, period, provenance, culture, of the public into fear. will disturb the buyer’s quiet possession of the goods, source or composition, which at the date of the Sale had a “Trust Account” the bank account of Bonhams into which all namely: value materially less than it would have had if the Lot had not sums received in respect of the Purchase Price of any been such an imitation, and which is not stated to be such Lot will be paid, such account to be a distinct and separate (a) the seller; an imitation in any description of the Lot. A Lot will not be a account to Bonhams’ normal business bank account. Forgery by reason of any damage to, and/or restoration and/ “VAT” value added tax at the prevailing rate at the date of the (b) in a case where the parties to the contract intend or modification work (including repainting or over painting) Sale in the United Kingdom. that the seller should transfer only such title as a having been carried out on the Lot, where that damage, “Website” Bonhams Website at www.bonhams.com third person may have, that person; restoration or modification work (as the case may be) does not “Withdrawal Notice” the Seller’s written notice to Bonhams substantially affect the identity of the Lot as one conforming to revoking Bonhams’ instructions to sell a Lot. (c) anyone claiming through or under the seller or the Description of the Lot. “Without Reserve” where there is no minimum price at that third person otherwise than under a charge “Guarantee” the obligation undertaken personally by which a Lot may be sold (whether at auction or by private or encumbrance disclosed or known to the buyer Bonhams to the Buyer in respect of any Forgery and, in the treaty). before the contract is made. case of specialist Stamp Sales and/or specialist Book Sales, a Lot made up of a Stamp or Stamps or a Book or Books as set out GLOSSARY (5A) As regards England and Wales and Northern Ireland, the in the Buyer’s Agreement. term implied by subsection (1) above is a condition and “Hammer Price” the price in the currency in which the Sale is The following expressions have specific legal meanings with the terms implied by subsections (2), (4) and (5) above conducted at which a Lot is knocked down by the Auctioneer. which you may not be familiar. The following glossary is are warranties.” “Loss and Damage Warranty” means the warranty described intended to give you an understanding of those expressions in paragraph 8.2 of the Conditions of Business. but is not intended to limit their legal meanings: “Loss and Damage Warranty Fee” means the fee described “artist’s resale right”: the right of the creator of a work of art in paragraph 8.2.3 of the Conditions of Business. to receive a payment on Sales of that work subsequent to the “Lot” any item consigned to Bonhams with a view to its Sale original Sale of that work by the creator of it as set out in the at auction or by private treaty (and reference to any Lot will Artists Resale Right Regulations 2006. include, unless the context otherwise requires, reference to “bailee”: a person to whom goods are entrusted. individual items comprised in a group of two or more items “indemnity”: an obligation to put the person who has offered for Sale as one Lot). the benefit of the indemnity in the same position in which “Motoring Catalogue Fee” a fee payable by the Seller to he would have been, had the circumstances giving rise to Bonhams in consideration of the additional work undertaken the indemnity not arisen and the expression “indemnify” is by Bonhams in respect of the cataloguing of motor vehicles construed accordingly. and in respect of the promotion of Sales of motor vehicles. “interpleader proceedings”: proceedings in the Courts to “New Bond Street” means Bonhams’ saleroom at 101 New determine ownership or rights over a Lot. Bond Street, London W1S 1SR. “knocked down”: when a Lot is sold to a Bidder, indicated by “Notional Charges” the amount of Commission and VAT the fall of the hammer at the Sale. which would have been payable if the Lot had been sold at the “lien”: a right for the person who has possession of the Lot to Notional Price. retain possession of it. “Notional Fee” the sum on which the Consignment Fee “risk”: the possibility that a Lot may be lost, damaged, payable to Bonhams by the Seller is based and which is destroyed, stolen, or deteriorate in condition or value. calculated according to the formula set out in the Conditions “title”: the legal and equitable right to the ownership of a Lot. of Business. “tort”: a legal wrong done to someone to whom the wrong “Notional Price” the latest in time of the average of the doer has a duty of care. high and low Estimates given by us to you or stated in the Catalogue or, if no such Estimates have been given or stated, SALE OF GOODS ACT 1979 the Reserve applicable to the Lot. “Notice to Bidders” the notice printed at the back or front of The following is an extract from the Sale of Goods Act 1979: our Catalogues. “Purchase Price” the aggregate of the Hammer Price and VAT “Section 12 Implied terms about title, etc on the Hammer Price. “Reserve” the minimum price at which a Lot may be sold (1) In a contract of sale, other than one to which subsection (whether at auction or by private treaty). (3) below applies, there is an implied term on the part of “Sale” the auction Sale at which a Lot is to be offered for Sale the seller that in the case of a sale he has a right to sell by Bonhams. the goods, and in the case of an agreement to sell he “Sale Proceeds” the net amount due to the Seller from the will have such a right at the time when the property is to Sale of a Lot, being the Hammer Price less the Commission, any pass. VAT chargeable thereon, Expenses and any other amount due to us in whatever capacity and howsoever arising. (2) In a contract of sale, other than one to which subsection “Seller” the person who offers the Lot for Sale named on (3) below applies, there is also an implied term that- the Contract Form. Where the person so named identifies on the form another person as acting as his agent, or where the (a) the goods are free, and will remain free until person named on the Contract Form acts as an agent for a the time when the property is to pass, from any principal (whether such agency is disclosed to Bonhams or not), charge or encumbrance not disclosed or known “Seller” includes both the agent and the principal who shall be to the buyer before the contract is made, and jointly and severally liable as such. The Seller is also referred to in the Conditions of Business by the words “you” and “your”. (b) the buyer will enjoy quiet possession of the goods “Specialist Examination” a visual examination of a Lot by a except in so far as it may be disturbed by the specialist on the Lot. owner or other person entitled to the benefit “Stamp” means a postage Stamp offered for Sale at a of any charge or encumbrance so disclosed or Specialist Stamp Sale. known.

NTB/MAIN/11.12 International Salerooms, Offices and Associated Companies ( • Indicates Saleroom)

UNITED KINGDOM Representatives: Representative: Italy - Milan NOrTH AMErICA SOUTH AMErICA Dorset Isle of Man Via Boccaccio 22 London Bill Allan Felicity Loughran 20123 Milano USA Argentina 101 New Bond Street • +44 1935 815 271 +44 1624 822 875 +39 (0)2 4953 9020 Daniel Claramunt London W1S 1SR +39 (0)2 4953 9021 fax San Francisco • +54 11 479 37600 +44 20 7447 7447 East Anglia Channel Islands [email protected] 220 San Bruno Avenue +44 20 7447 7400 fax San Francisco Brazil Bury St. Edmunds Jersey Italy - rome CA 94103 Thomaz Oscar Saavedra Montpelier Street • 21 Churchgate Street 39 Don Street Via Sicilia 50 +1 (415) 861 7500 +55 11 3031 4444 London SW7 1HH Bury St Edmunds St.Helier 00187 Rome +1 (415) 861 8951 fax +55 11 3031 4444 fax +44 20 7393 3900 Suffolk IP33 1RG JE2 4TR +39 (0)6 48 5900 +44 20 7393 3905 fax +44 1284 716 190 +44 1534 722 441 +39 (0)6 482 0479 fax Los Angeles • +44 1284 755 844 fax +44 1534 759 354 fax [email protected] 7601 W. Sunset Boulevard ASIA South East Los Angeles England Norfolk Representative: Netherlands - Amsterdam CA 90046 Hong Kong The Market Place Guernsey de Lairessestraat 123 +1 (323) 850 7500 Carson Chan Brighton & Hove Reepham +44 1481 722 448 1075 HH Amsterdam +1 (323) 850 6090 fax Suite 1122 19 Palmeira Square Norfolk NR10 4JJ +31 20 67 09 701 Two Pacific Place Hove, East Sussex +44 1603 871 443 Scotland +31 20 67 09 702 fax New York • 88 Queensway BN3 2JN +44 1603 872 973 fax [email protected] 580 Madison Avenue Admiralty +44 1273 220 000 Edinburgh • New York, NY Hong Kong +44 1273 220 335 fax Midlands 22 Queen Street Spain - Madrid 10022 +852 2918 4321 Edinburgh Nuñez de Balboa no.4 - 1A +1 (212) 644 9001 +852 2918 4320 fax Guildford Knowle EH2 1JX Madrid +1 (212) 644 9007 fax [email protected] Millmead, The Old House +44 131 225 2266 28001 Guildford, Station Road +44 131 220 2547 fax +34 91 578 17 27 Representatives: Beijing Surrey GU2 4BE Knowle, Solihull [email protected] Arizona Hongyu Yu +44 1483 504 030 West Midlands Glasgow Terri Adrian-Hardy Room A515 +44 1483 450 205 fax B93 0HT 176 St. Vincent Street, Switzerland - Geneva +1 (480) 994 5362 F/5 CDB International +44 1564 776 151 Glasgow Rue Etienne-Dumont 10 Mansion Tunbridge Wells +44 1564 778 069 fax G2 5SG 1204 Geneva California No. 16 Yongan Dongli Ground Floor +44 141 223 8866 Switzerland Central Valley Chaoyang District Royal Victoria House Oxford • +44 141 223 8868 fax +41 76 379 9230 David Daniel Beijing 100022 51-55 The Pantiles Banbury Road [email protected] +1 (916) 364 1645 +86(0) 10 6563 7799 Tunbridge Wells, Kent Shipton on Cherwell Representatives: +86(0) 10 6563 7788 fax TN2 5TE Kidlington OX5 1JH Wine & Spirits Representatives: District of Columbia/ [email protected] +44 1892 546 818 +44 1865 853 640 Tom Gilbey Greece Mid-Atlantic +44 1892 518 077 fax +44 1865 372 722 fax +44 1382 330 256 Art Expertise Martin Gammon Japan +30 210 3636 404 +1 (202) 333 1696 Level 14 Hibiya Central Building Isle of Wight Henley Wales 1-2-9 Nishi-Shimbashi +44 1983 282 228 The Coach House Marbella Southern California Minato-ku 66 Northfield End Cardiff James Roberts Christine Eisenberg Tokyo 105-0003 Representative: Henley on Thames 7-8 Park Place, +34 952 90 62 50 +1 (949) 646 6560 +81 (0) 3 5532 8636 West Sussex Oxon RG9 2JN Cardiff CF10 3DP [email protected] +81 (0) 3 5532 8637 fax Jeff Burfield +44 1491 413 636 +44 2920 727 980 Florida [email protected] +44 1243 787 548 +44 1491 413 637 fax +44 2920 727 989 fax portugal +1 (305) 228 6600 Filipa Rebelo de Andrade Taiwan South West Yorkshire & North East +351 91 921 4778 Georgia 37th Floor, Taipei 101 Tower England England EUrOpE [email protected] Mary Moore Bethea Nor 7 Xinyi Road, Section 5 +1 (404) 842 1500 Taipei, 100 Bath Leeds Austria - Vienna russia +886 2 8758 2898 Queen Square House 30 Park Square West Garnisongasse 4 Marina Jacobson Illinois +886 2 8757 2897 fax Charlotte Street Leeds LS1 2PF 1090 Vienna +7 921 555 2302 Ricki Blumberg Harris [email protected] Bath BA1 2LL +44 113 234 5755 +43 (0)1 403 00 01 [email protected] +1 (312) 475 3922 +44 1225 788 988 +44 113 244 3910 fax [email protected] +1 (773) 267 3300 +44 1225 446 675 fax AUSTrALIA North West England Belgium - Brussels Massachusetts Cornwall – Truro Boulevard Boston/New England Sydney 36 Lemon Street Chester • Saint-Michel 101 Amy Corcoran 76 Paddington Street Truro New House 1040 Brussels +1 (617) 742 0909 Paddington NSW 2021 Cornwall 150 Christleton Road +32 (0)2 736 5076 Australia TR1 2NR Chester, Cheshire +32 (0)2 732 5501 fax Nevada +61 (0) 2 8412 2222 +44 1872 250 170 CH3 5TD [email protected] David Daniel +61 (0) 2 9475 4110 fax +44 1872 250 179 fax +44 1244 313 936 +1 (775) 831 0330 [email protected] +44 1244 340 028 fax France - paris Exeter 4 rue de la Paix New Mexico Melbourne The Lodge Carlisle 75002 Paris Leslie Trilling Ormond Hall Southernhay West Exeter, 48 Cecil Street +33 (0)1 42 61 1010 +1 (505) 820 0701 557 St Kilda Rd Devon Carlisle, Cumbria +33 (0)1 42 61 1015 fax Melbourne VIC 3004 EX1 1JG CA1 1NT [email protected] Oregon +61 (0) 3 8640 4088 +44 1392 425 264 +44 1228 542 422 Sheryl Acheson +44 1392 494 561 fax +44 1228 590 106 fax Germany - Cologne +1(503) 312 6023 Representatives: Albertusstrasse 26 perth Winchester Manchester 50667 Cologne Texas Norah Ohrt The Red House The Stables +49 (0)221 2779 9650 Amy Lawch +61 (0) 8 9433 4414 Hyde Street 213 Ashley Road +49 (0)221 2779 9652 fax +1 (713) 621 5988 Winchester Hale WA15 9TB [email protected] Adelaide Hants SO23 7DX +44 161 927 3822 Washington James Bruce +44 1962 862 515 +44 161 927 3824 fax Germany - Munich Heather O’Mahony +61 (0) 8 8232 2860 +44 1962 865 166 fax Maximilianstrasse 52 +1 (206) 218 5011 Southport 80538 Munich Tetbury 33 Botanic Road +49 (0) 89 2420 5812 CANADA AFrICA 22a Long Street Churchtown +49 (0) 89 2420 7523 fax Tetbury Southport [email protected] Toronto, Ontario • South Africa - Johannesburg Gloucestershire Merseyside PR9 7NE Jack Kerr-Wilson Penny Culverwell GL8 8AQ +44 1704 507 875 Ireland - Dublin 20 Hazelton Avenue +27 (0)71 342 2670 +44 1666 502 200 +44 1704 507 877 fax 31 Molesworth Street Toronto, ONT [email protected] +44 1666 505 107 fax Dublin 2 M5R 2E2 +353 (0)1 602 0990 +1 (416) 462 9004 +353 (0)1 4004 140 fax [email protected] [email protected] Montreal, Quebec David Kelsey +1 (514) 341 9238 [email protected]

G-NET/2/13 To e-mail any of the below use the first name dot second Bonhams Specialist Departments name @bonhams.com eg. [email protected]

19th Century Paintings British & European Football Sporting Motor Cars Scientific Instruments UK Porcelain & Pottery Memorabilia UK Jon Baddeley Charles O’ Brien UK Dan Davies Tim Schofield +44 20 7393 3872 +44 20 7468 8360 John Sandon +44 1244 353118 +44 20 7468 5804 U.S.A. U.S.A +44 20 7468 8244 USA Jonathan Snellenburg Madalina Lazen U.S.A Furniture & Works of Art Mark Osborne +1 212 461 6530 +1 212 644 9108 Peter Scott UK +1 415 503 3353 +1 415 503 3326 Fergus Lyons EUROPE Scottish Pictures 20th Century British Art +44 20 7468 8221 Philip Kantor Chris Brickley Matthew Bradbury Contemporary Art U.S.A +32 476 879 471 +44 131 240 2297 +44 20 7468 8295 U.S.A Jeffrey Smith AUSTRALIA Jeremy Goldsmith +1 415 503 3413 Damien Duigan Silver & Gold Boxes Aboriginal Art +1 212 644 9656 +61 2 8412 2232 UK Greer Adams Greek Art Automobilia Michael Moorcroft +61 2 8412 2222 California & Olympia Pappa UK +44 20 7468 8241 American Paintings +44 20 7468 8314 Toby Wilson U.S.A African and Oceanic Art Scot Levitt +44 8700 273 619 Aileen Ward UK +1 323 436 5425 Golf Sporting USA +1 800 223 5463 Philip Keith Memorabilia Kurt Forry +44 2920 727 980 Carpets Kevin Mcgimpsey +1 415 391 4000 South African Art U.S.A UK +44 1244 353123 Giles Peppiatt Fred Baklar Mark Dance Motorcycles +44 20 7468 8355 +1 323 436 5416 +44 8700 27361 Irish Art Ben Walker U.S.A. Penny Day +44 8700 273616 Sporting Guns American Paintings Hadji Rahimipour +44 20 7468 8366 Automobilia Patrick Hawes Alan Fausel +1 415 503 3392 Adrian Pipiros +44 20 7393 3815 +1 212 644 9039 Impressionist & +44 8700 273621 Chinese & Asian Art Modern Art Toys, Dolls & Chess Antiquities UK Deborah Allan Musical Instruments Leigh Gotch Madeleine Perridge Asaph Hyman +44 20 7468 8276 Philip Scott +44 20 8963 2839 +44 20 7468 8226 +44 20 7468 5888 +44 20 7393 3855 U.S.A Islamic & Indian Art Travel Pictures Antique Arms & Armour Dessa Goddard Alice Bailey Natural History Veroniqe Scorer UK +1 415 503 3333 +44 20 7468 8268 U.S.A +44 20 7393 3960 David Williams HONG KONG Claudia Florian +44 20 7393 3807 Julian King Japanese Art +1 323 436 5437 Urban Art U.S.A +852 2918 4321 UK Gareth Williams Paul Carella Suzannah Yip Old Master Pictures +44 20 7468 5879 +1 415 503 3360 Clocks +44 20 7468 8368 UK UK U.S.A Andrew Mckenzie Watches & Art Collections, James Stratton Jeff Olson +44 20 7468 8261 Wristwatches Estates & Valuations +44 20 7468 8364 +1 212 461 6516 U.S.A UK Harvey Cammell U.S.A Mark Fisher Paul Maudsley +44 (0) 207 468 8340 Jonathan Snellenburg Jewellery +1 323 436 5488 +44 20 7447 7412 +1 212 461 6530 UK U.S.A. Art Nouveau & Decorative Jean Ghika Orientalist Art Jonathan Snellenburg Art & Design Coins & Medals +44 20 7468 8282 Charles O’Brien +1 212 461 6530 UK UK U.S.A +44 20 7468 8360 HONG KONG Mark Oliver John Millensted Susan Abeles Carson Chan +44 20 7393 3856 +44 20 7393 3914 +1 212 461 6525 Photography +852 2918 4321 U.S.A U.S.A AUSTRALIA U.S.A Frank Maraschiello Paul Song Patti Sedgwick Judith Eurich Whisky +1 212 644 9059 +1 323 436 5455 +61 2 8412 2222 +1 415 503 3259 UK Martin Green Australian Art Contemporary Art Marine Art Portrait Miniatures +44 1292 520000 Litsa Veldekis & Modern Design UK Camilla Lombardi U.S.A +61 2 8412 2222 UK Alistair Laird +44 20 7393 3985 Joseph Hyman Gareth Williams +44 20 7468 8211 +1 917 206 1661 Australian Colonial +44 20 7468 5834 U.S.A Prints HONG KONG Furniture and Australiana U.S.A Gregg Dietrich UK Daniel Lam James Hendy Sharon Goodman Squires +1 917 206 1697 Rupert Worrall +852 3607 0004 +61 2 8412 2222 +1 212 644 9128 +44 20 7468 8262 Mechanical Music U.S.A Wine Books, Maps & Costume & Textiles Laurence Fisher Judith Eurich UK Manuscripts Claire Browne +44 20 7393 3984 +1 415 503 3259 Richard Harvey UK +44 1564 732969 +44 (0) 8700 273622 Matthew Haley Modern, Contemporary Russian Art U.S.A +44 20 7393 3817 Entertainment & Latin American Art UK Doug Davidson U.S.A Memorabilia U.S.A Sophie Hamilton +1 415 503 3363 Christina Geiger UK Sharon Goodman Squires +44 20 7468 8334 HONG KONG +1 212 644 9094 Stephanie Connell +1 212 644 9128 U.S.A Daniel Lam +44 20 7393 3844 Yelena Harbick +852 3607 0004 British & European Glass U.S.A +1 212 644 9136 UK Catherine Williamson Simon Cottle +1 323 436 5442 +44 20 7468 8383 U.S.A. Ethnographic Art Suzy Pai Jim Haas +1 415 503 3343 +1 415 503 3294

SD05/2012-09 Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: The South African Sale Sale date: 20 March 2013

Sale no. 20617 Sale venue: New Bond Street Paddle number (for office use only) If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours This sale will be conducted in accordance with prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue Bonhams’ Conditions of Sale and bidding and buying for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will at the Sale will be regulated by these Conditions. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. You should read the Conditions in conjunction with General Bid Increments: the Sale Information relating to this Sale which sets £10 - 200...... by 10s £10,000 - 20,000...... by 1,000s out the charges payable by you on the purchases £200 - 500...... by 20 / 50 / 80s £20,000 - 50,000...... by 2,000 / 5,000 / 8,000s you make and other terms relating to bidding and buying at the Sale. You should ask any questions you £500 - 1,000...... by 50s £50,000 - 100,000...... by 5,000s have about the Conditions before signing this form. £1,000 - 2,000...... by 100s £100,000 - 200,000...... by 10,000s These Conditions also contain certain undertakings £2,000 - 5,000...... by 200 / 500 / 800s above £200,000...... at the auctioneer’s discretion by bidders and buyers and limit Bonhams’ liability to £5,000 - 10,000...... by 500s bidders and buyers. The auctioneer has discretion to split any bid at any time.

Data protection – use of your information Customer Number Title Where we obtain any personal information about you, we shall only use it in accordance with the terms of our First Name Last Name Privacy Policy (subject to any additional specific consent(s) you may have given at the time your information was Company name (to be invoiced if applicable) disclosed). A copy of our Privacy Policy can be found on our website (www.bonhams.com) or requested by post Address from Customer Services Department, 101 New Bond Street, London W1S 1SR United Kingdom or by e-mail from [email protected]. City County / State Credit and Debit Card Payments There is no surcharge for payments made by debit cards Post / Zip code Country issued by a UK bank. All other debit cards and all credit cards are subject to a 3% surcharge on the total invoice price. Telephone mobile Telephone daytime

Notice to Bidders. Telephone evening Fax Clients are requested to provide photographic proof of ID - passport, driving licence, ID card, together with proof Preferred number(s) in order for Telephone Bidding (inc. country code) of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a copy of their articles of association / company registration documents, together with a letter authorising the individual to bid on E-mail (in capitals) the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may also be asked to provide a bank reference. I am registering to bid as a private client I am registering to bid as a trade client If successful If registered for VAT in the EU please enter your registration here: Please tick if you have registered with us before I will collect the purchases myself Please contact me with a shipping quote / - - (if applicable) Please note that all telephone calls are recorded. MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Covering bid * Absentee (T / A) & VAT)

FOR WINE SALES ONLY Please leave lots “available under bond” in bond I will collect from Park Royal or bonded warehouse Please include delivery charges (minimum charge of £20 + VAT)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] UK/08/12 Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560. Continuation Bidding Form

Sale title: Sale date:

Sale no. Sale venue: Paddle number (for office use only) Title First name Last name

Company name (to be invoiced if applicable)

Customer Number

MAX bid in GBP Telephone or Lot no. Brief description (excluding premium Covering bid* Absentee (T / A) & VAT)

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND WISH TO BE BOUND BY THEM. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

* Covering Bid: A maximum bid (exclusive of Buyers Premium and VAT) to be executed by Bonhams only if we are unable to contact you by telephone, or should the connection be lost during bidding. NB. Payment will only be accepted from an account in the same name as shown on the invoice and Auction Registration form. UK/08/12 Please email or fax the completed Auction Registration form and requested information to: Bonhams, Customer Services, 101 New Bond Street, London, W1S 1SR. Tel: +44 (0) 20 7447 7447 Fax: +44 (0) 20 7447 7401, [email protected] Page of Bonhams 1793 Limited. Montpelier Street, London SW7 1HH. Incorporated in England. Company Number 4326560.

Bonhams 101 New Bond Street London W1S 1SR +44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax