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Anton Van Wouw's Sculptures on Buildings in Pretoria

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Anton Van Wouw's Sculptures on Buildings in Pretoria Anton van Wouw’s sculptures on buildings in Pretoria Alexander E. Duffey Chief Curator, UP Arts, University of Pretoria [email protected] It is not widely known that South Africa’s most important pioneer sculptor, Anton van Wouw (1862- 1945), received his initial training as an architectural sculptor. At an early stage in his career he worked for a concrete casting factory in Delft, where he learnt the art of concrete-modelling and casting, but the turning point in his early career was his friendship with the Belgian architect, Vieillevoye, from whom he learnt to know and appreciate the different styles of architecture. Van Wouw’s father, who was working in South Africa, wanted Anton to become involved in the booming building trade of the time in the Transvaal Republic. Anton came to Pretoria on 1 January 1890 and soon attracted the atten- tion of Pretoria’s pioneer master-builder, John J. Kirkness, who at that time was building the Raadsaal on Church Square and needed an architectural sculptor to create the old Republican coat of arms for the pediment over the entrance to his building. This was Van Wouw’s first important architectural commission in Pretoria. In the years to come, after the Raadsaal commission, he was to create architec- tural sculpture for at least eight prominent buildings in the capital city. They include the Old National Bank and Mint (1893), the Old Standard Bank building (1894), the Reserved Investments Building (1904), and the Main Post Office building (1909), all on Church Square, the Union Buildings (1910) on Meintjeskop, the old Technical College building (1928) in Church Street and the Abattoir building in Schoeman Street. Key words: architectural sculpture, Anton van Wouw, Sytze Wiera, Herbert Baker, Frank Emley, M.C.A. Meischke, John Kirkness, Theophile Schaerer, Gordon Leith. Anton van Wouw se beeldhouwerk aan geboue in Pretoria Dit is nie alombekend dat Suid-Afrika se belangrikste pionierbeeldhouer, Anton van Wouw (1862- 1945), aanvanklik as argitektoniese beeldhouer opgelei is nie. Op ’n vroeë stadium in sy loopbaan het hy vir ’n fabriek in Delft, wat beton gietwerk gedoen het, gewerk en daar het hy die kuns van betonmodellering en -gietery aangeleer, maar die draaipunt in sy vroeë loopbaan was sy vriendskap met die Belgiese argitek, Vieillevoye, by wie hy geleer het om die verskillende argitektuurstyle te ken en te waardeer. Van Wouw se vader, wat toe in Suid-Afrika gewerk het, wou hê dat Anton betrokke moes raak by die bloeiende boubedryf van die tyd in die Transvaalse Republiek. Anton het op 1 Janu- arie 1890 na Pretoria gekom en gou die aandag getrek van Pretoria se pioniermeesterbouer, John J. Kirkness, wat op daardie stadium besig was met die bouwerk aan die Raadsaal op Kerkplein en ’n argitektoniese beeldhouer nodig gehad het om die ou Republikeinse staatswapen vir die pediment oor die ingang na die gebou te maak. Dit was Van Wouw se eerste belangrike argitektoniese opdrag in Pretoria. In die jare na die Raadsaalopdrag het Van Wouw argitektoniese beeldhouwerk vir min- stens agt prominente geboue in die hoofstad geskep. Dit sluit in die Ou Nasionale Bank- en Muntge- bou (1893), die Ou Standard Bankgebou (1894), die Reserved Investment-gebou (1904) en die Hoof Poskantoorgebou (1909), almal op Kerkplein, die Uniegebou (1910) op Meintjeskop, die ou Tegniese Kollegegebou (1928) in Kerkstraat en die ou Slagpale in Schoemanstraat. Sleutelwoorde: argitektoniese beeldhoukuns, Anton van Wouw, Sytze Wiera, Herbert Baker, Frank Emley, M.C.A. Meischke, John Kirkness, Theophile Schaerer, Gordon Leith. ith the discovery of gold on the Witwatersrand after 1886, there followed a boom in the building industry in the Transvaal Republic, especially in Johannesburg, but Walso in the capital city, Pretoria. Prominent architects from Holland and England established themselves in both cities, before and after the Anglo-Boer War (1899-1902) 1. Apart from these architects, there were also numerous building-contractors who were attracted to these booming towns for architectural work2. It was within this milieu that the young sculptor, Anton van Wouw (1862-1945), would forge a niche for himself in early Pretoria. It is, however, not widely known that this young man, who was to become South Africa’s most important pioneer sculptor, received his initial training as an architectural sculptor. At the age of twelve he learnt to make plaster architectural decorations in the studio of the Belgian sculptor, Joseph Graven (1836-1877). Shortly afterwards his uncle, Anton Beckerman, from whom he not only inherited his name, but also his artistic tastes, found him employment with a firm of architectural plasterers named Vreeswijk Brothers in Rotterdam (Duffey, A.E. 2008:7). A while later he worked for a concrete casting factory in Delft, where he learnt the art of concrete- modelling and casting. The turning point in his early career, however, was his friendship with SAJAH, ISSN 0258-3542, volume 23, number 1, 2008: 82–92. the Belgian architect, Vieillevoye, from whom he learnt to know and appreciate the different styles of architecture. As Van Wouw had received his sculptural training in the realist academic style of the late 19th century in Holland, with the emphasis on eclecticism and truth to nature, his architectural work always reflected the viewpoint of the academic realist. Part of his mental equipment was a knowledge of perspective and the principles of architecture, which allowed him to visualize his sculptural decorations on buildings in relation to the surrounding space. In this regard, when confronted with a proposed site for a sculpture on a building, he was required to calculate accurately the size and proportions of the sculpture needed and how it would compliment the building. This included important academic considerations such as the scale demanded when sculpture was set on the exterior façade of a building, the tipping forward of figures placed high on facades to ensure correct proportions when viewed from below, the position of the sun as it shines on the sculptural decoration as it determines the accentuation of high lights and shadow values in the work and the harmonizing of the style of decoration with the type of building to which it was to be applied. As a well-trained realist sculptor, Van Wouw knew that when his initial models for architectural work were enlarged, certain details had to be suppressed, lines of composition had to be strengthened and simplified and surface texture of the modeling had to be treated to assume the correct value and contribute to the general effect of scale. When viewed in the light of these aspects, Van Wouw’s architectural work on buildings in Pretoria was far superior to the mass-produced prefabricated sculpture by monumental masons such as Crankshaw Bros. of Newcastle, R. Crane & Sonen of Cape Town and Transvaal Monumental Works of Johannesburg, who supplied much of the architectural sculpture for late-nineteenth and early- twentieth century buildings in Johannesburg and Pretoria. The great increase in permanent building projects in early Johannesburg inspired Anton’s father, Ludolf van Wouw (1832-1907), who was employed in the Transvaal Republican government under Dr W.J. Leyds, to encourage his young son to come to South Africa. He wanted Anton to become involved in the booming building trade of the time in the Transvaal Republic. Six months after Anton came to Pretoria on 1 January 1890, he advertised his services as an ornamental sculptor in a local newspaper. This led to him doing stucco decoration in the living room of the new house of the wealthy Pretoria businessman, Mr. E.F. Bourke. Old Raadsaal Building, Church Square (1888-1892) The work that Van Wouw did for Mr. Bourke attracted the attention of Pretoria’s pioneer master-builder, John Kirkness (1857-1939), who at that time was the building contractor for the Raadsaal on Church Square3 and needed an architectural sculptor to create the old Republican coat of arms for the pediment on the second floor over the entrance to his building (Rex, H.M. 1955:7). This was Van Wouw’s first important architectural commission in Pretoria and he worked throughout 1891 with a team of stonemasons in the basement of the new building on this coat of arms4. The original drawings in the National Archive give no specifications as to how the coat of arms was to look and one must assume that Van Wouw was given a free hand with the design. This view is supported by a reference in a local newspaper of the time, which states: “Het schild van het Rykswapen is ovaalvormig en geheel volgens eigen schepping gecomposeerd en is verdeeld in 3 deelen…”. (The shield of the coat of arms is oval in shape and totally the artist’s own design and it is divided into 3 parts) (De Volkstem, 9/2/1891). Wierda did, however, provide a rough draught of his ideas, on which Van Wouw had to improve. The design showed the shield of the coat of arms on a scrolled cartouche surrounded by six radiating flags and surmounted by a large eagle with spread wings. Both sides of the tympanum flanking 83 the coat of arms were filled with laurel leaves and below it was the motto “Eendragt maakt magt” (Unity is Strength) in Roman letters. Historically and symbolically the pediment on the façade of this building is very important as it was to be the first public building in the Transvaal Republic to bear the Z.A.R. coat of arms 5. From the important space it occupied on Church Square, it was essential within 19th century ideology, that this building should advertise its prominence as the seat of government of the Kruger Republic to every visitor to the square.
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