DOCSLIB.ORG

Die Neerslag Van Art Deco in Suid- Afrika As Manifestasie Van ‘N Internasionale Tydgees En Styl, Met Spesifieke Verwysing Na Die Argitektuur

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Die Neerslag Van Art Deco in Suid- Afrika As Manifestasie Van ‘N Internasionale Tydgees En Styl, Met Spesifieke Verwysing Na Die Argitektuur DIE NEERSLAG VAN ART DECO IN SUID- AFRIKA AS MANIFESTASIE VAN ‘N INTERNASIONALE TYDGEES EN STYL, MET SPESIFIEKE VERWYSING NA DIE ARGITEKTUUR WILLEMLNA VAN DER LINDE (nee DORFLING) Proefskrif ingelewer ter voldoening aan die vereistes vir die Graad D.Phil in die Lettere en Wysbegeerte (Afrikaanse Kultuurgeskiedenis) aan die Universiteit Stellenbosch Promotor: Dr. M. Burden Maart 2000 Stellenbosch University http://scholar.sun.ac.za/ VERKLARING Ek, die ondergetekende, verklaar hiermee dat die werk in hierdie proefskrif vervat, my eie oorspronklike werk is en dat ek dit nie vantevore in die geheel of gedeeltelik by enige ander universiteit ter verkryging van 'n graad voorgele het nie. HANDTEKENING DATUM Stellenbosch University http://scholar.sun.ac.za/ OPSOMMING Die term Art Deco is afgelei van die wereldbekende 1925-uitstalling wat in Parys, Frankryk plaasgevind het, naamlik L'Exposition des Arts Decoratifs et Industriels Modernes, en het eers in 1966 in gebruik gekom. Dit verwys na die styl wat gedurende die 1920's ontwikkel het en 'n hoogtepunt in die 1930's bereik het. Art Deco is 'n modemistiese styl en vorm deel van die Modeme Beweging. Daar bestaan vele vervormings, vermengings en vertakkings van die styl. Die gedaantes wat die styl aangeneem het, het van die avant-garde na die klassieke gewissel. Dit was 'n volkome of totale styl wat op diverse terreine van die stoflike en geestelike kultuur tot uiting gekom het, byvoorbeeld in meubelontwerp, kleredrag, motorontwerp en veral ook in die argitektuur. Die tydperk tussen die twee wereldoorloe was tekenend van snelle vooruitgang op tegnologiese gebied, wat aangewend is om Art Deco-produkte te vervaardig. Die era is gekenmerk deur nuwe materiale en boumetodes wat die modemistiese gees van die tyd weerspieel het. Die roaring twenties was die era van die geemansipeerde vrou, bekend as die flapper en die era van skemerpartytjies, jazz en Charleston. Dit was 'n opwindende era waarin die mens van die ellendes van die voorafgaande Wereldoorlog probeer wegkom het. Gedurende die 1920's en 1930's is die Art Deco-styl in argitektuur in Europa, Asie, Brittanje, Amerika, Nieu-Seeland, Australia, Afrika en in die besonder in Suid-Afrika aangewend. Die belangrikste kenmerk waaraan Art Deco-geboue geidentifiseer kan word, is die van beklemtoonde vertikaliteit in fasades. Verskeie kenmerke waaraan Art Deco- geboue gekenmerk word is die elemente van horisontaliteit, geronde hoeke en lyne wat 'n vaartbelynde voorkoms skep. Skeepsstyl-elemente soos die van patryspoortvensters en Stellenbosch University http://scholar.sun.ac.za/ skeepsrelings wat 'n invloed van ekspressionisme toon, was algemeen in Art Deco- argitektuur. Die ziggoeratvorm of trapvormige terugplasing van boumassas is vrylik gebruik. Geometriese vorms, borswerings, platdakke en die sigsag chevronmotief is in die meeste Art Deco-ontwerpe geinkorporeer. Die Art Deco-styl het op alle terreine van die Suid-Afrikaanse argitektuur gedurende die toepaslike jare 'n neerslag gevind. Dit sluit openbare, kommersiele, residensiele, vermaaklikheids-, sport en ontspanning, kerklike, industriele geboue en monumente in. Alhoewel Suid-Afrikaanse geboue dikwels 'n kleiner formaat as oorsese geboue aangeneem het, was dit volwaardige Art Deco-geboue binne die konteks van 'n internasionale styl. Plaaslik het die styl wel 'n eie karakter aangeneem, veral weens die gebruik van plaaslike boumateriale soos marmer en sandsteen. Ook wat die omamentele aspek betref, het Suid-Afrikaanse argitektuur sy eie stempel op die styl afgedruk aangesien Suid-Afrikaanse flora en fauna as versieringsmotiewe gebruik is. Daar het 'n definitiewe neerslag van die Art Deco-styl in Suid-Afrikaanse argitektuur plaasgevind, wat dit onbetwisbaar 'n manifestasie van 'n internasionale styl maak. Suid- Vfrikaanse Deco neem 'n besondere plek binne die internasionale Art Deco-styl in, waartoe die besondere plaaslike karakter baie bydra. Stellenbosch University http://scholar.sun.ac.za/ SUMMARY The term Art Deco is derived from the renowned 1925 exhibition that took place in Paris, France namely L'Exposition des Arts Decoratifs et Industriels Modernes and only came about in 1966. It refers to the style that developed during the 1920's and reached a climax in the 1930's. Art Deco was a modernistic style and part of the Modern Movement. Many transformations, mixtures and ramifications of the style exist. The appearance of the style ranged from the avant garde to the classic. It was a complete and total style that manifested in diverse areas of the material and spiritual culture, for example furniture design, clothing, motor design and especially in architecture. The era between the two World Wars was characterised by a vast technological progress which was put to use in creating Art Deco products. The era was distinguished by new materials and building methods that reflected the modernistic time spirit. The roaring twenties was the age of the emancipated woman, known as the flapper and the age of cocktail parties, jazz and Charleston. It was an exciting era where man attempts to escape the sorrows of the previous world war. Art Deco was the prevailing style in architecture during the 1920's and 1930's. It was the style that was applied in architecture in Europa, Asia, Britain, America, New Zealand, Australia, Africa and particularly in South Africa. The most outstanding feature identifying Art Deco buildings was the emphasised verticality in facades. Further features of Art Deco buildings are the features of horizontality and curved lines and rounded corners which created a streamlined appearance. Ship style elements such as porthole windows and ship rails that showed an influence of expressionism were commonly used in Art Deco architecture. The ziggurat shape or stepped back building masses was used frequently. Geometrical shapes, parapets, flat roofs and the zigzag chevron motive were incorporated in designs. The Art Deco-style manifested in all areas of the South African architecture during the applicable Stellenbosch University http://scholar.sun.ac.za/ years. It embraced public, commercial, residential, entertainment, sport and recreational, ecclesiastical, industrial buildings and monuments. Although South African buildings often were of smaller format, they were fully fledged Art Deco buildings within the context of an international style. South African Art Deco buildings often had their own character due to local building materials such as South African marble and sandstone. South African architecture made its mark on the style of the ornamentation by the usage of local fauna and flora as decorative motifs. A definite manifestation of the Art Deco style occurred in South African architecture as an international style. South African Deco occupies a special place within the international Art Deco style, because of the contribution of the predominant local character. Stellenbosch University http://scholar.sun.ac.za/ BEDANKINGS Ek wil graag die volgende persone en instansies bedank: • dr M Burden, my promotor, vir haar leiding; • Hendrik van der Linde, my eggenoot, vir sy ondersteuning en aanmoediging; • Erica Baldwin vir die vaardige wyse waarop sy die tikwerk behartig het; • my familie en vriende vir hul belangstelling; • die Universiteit van Stellenbosch vir die toekenning van die JBM Hertzog- en Stellenbosch 2000-beurs; • die Universiteit van Pretoria se Departement van Argitektuur vir die gebruik van hul biblioteek en die beskikbaarstelling van navorsingsmateriaal. FEBRUARIE 2000 W VAN DER LINDE Stellenbosch University http://scholar.sun.ac.za/ INHOUDSOPGAWE INLEIDING 1 DIE OORSPRONG, ONTWIKKELING EN MANIFESTASIE VAN ART DECO 8 Art Deco as naam vir 'n internasionale styl 8 Art Deco per definisie 9 Die aard (geneigdheid) van Art Deco 11 Die verband tussen Art Nouveau en Art Deco 13 Kunsstrominge waardeur Art Deco bei'nvloed is 16 Kubisme 16 Fauvisme 17 Ekspressionisme 18 Futurisme 19 Konstruktivisme 20 Orphisme 21 Surrealisme 22 Neo-Plastisisme 23 Ander bewegings en faktore wat 'n invloed op Art Deco gehad het 24 Die Ballets Russes 24 Die Bauhaus 26 L’esprit Nouveau 27 De Stijl 28 Kruisbe'invloeding van verskillende dissiplines 29 Die invloed van die masjien 30 Lande en volkere wat tot die ontwikkeling van die Art Deco-styl bygedra het 30 Die Ooste 30 Egipte 33 Afrika en die Nabye Ooste 35 Rooihuide (Indiane) Stellenbosch University http://scholar.sun.ac.za/ 1.8 Die sosiale klimaat van die tussen-oorlogse jare en die invloed daarvan op die Art Deco-styl 38 1.8.1 Die gees van die tyd 38 1.8.2 Die emansipasie van die vrou 39 1.8.3 Die pasrykes (Nouveaux Riches) 42 1.8.4 Die skemerparty (cocktail party) 43 1.8.5 Jazz, nagklubs, Tango en Charleston 45 1.9 Die ekonomiese klimaat en die invloed daarvan op die Art Deco-styl 49 1.10 Die politieke klimaat van die tussen-oorlogse jare en die invloed daarvan op die Art Deco-styl 53 1.11 Uitstallings wat bygedra het tot die verspreiding en manifestasie van Art Deco 57 1.12 Die herlewing van Art Deco 59 Gevolgtrekking 62 2 DEE MANIFESTASIE VAN ART DECO AS INTERNASIONALE ARGITEKTUURSTYL 63 Inleiding 63 2.1 Die politieke, ekonomiese en sosiale agtergrond in Suid-Afrika 64 2.2 Art Deco-argitektuur op verskillende kontinente 66 2.2.1 Europa (Frankryk, Duitsland en Nederland) 66 2.2.2 Brittanje 67 2.2.3 Amerika 67 2.2.4 Nieu-Seeland en Australie 69 2.2.5 Noord-Afrika en Suia-Afrika 70 2.3 Diverse terreine van die argitektuur waarin Art Deco vergestalt 72 2.3.1 Privaatwonings 72 2.3.2 Wolkekrabbers (kommersiele geboue, hotelle en woonstelgeboue) 74 2.3.3 Bioskoopteaters en ander sake-ondememings 76 2.4 Art Deco-kenmerke 78 2.4.1 Vertikaliteit en horisontaliteit 78 2.4.2 Trapvorm 79 2.4.3 Toringvorm 81 2.4.4 Dakke 81 2.4.5 Beklemtoonde ingange 82 2.4.6 Stoepe 82 Stellenbosch University http://scholar.sun.ac.za/ 2.4.7 Skeepstyl-elemente 82 2.4.8 Bevenstering en geometrie 83 2.4.9 Versiering 84 2.4.10 Kleurgebruik 86 2.4.11 Simmetrie 87 2.5 Drie wereldbekende geboue as Art Deco-prototipes 88 2.5.1 Die Chryslergebou 88 2.5.2 Die Empire Stategebou 92 2.5.3 Die Hoovergebou 94 2.6 Boumateriale wat algemeen in die Art Deco-styl gebruik is 96 Gevolgtrekking 99 3.
Load more

Recommended publications
  • IN THIS ISSUE Drama for Life • Sculptures at Wits • Danny K Heritage
    April 2012 Volume 20 The magazine for ALUMNI and friends of the University of the Witwatersrand IN THIS ISSUE Drama for Life • Sculptures at Wits • Danny K Heritage Convocation War Memorial by Moses Kottler Through the years Wits has installed or acquired many sculptures in public spaces on its campuses. Medical School memorial sculpture by Laurence Chait By Katherine Munro and Natalie Knight Photos: Peter Maher 24 WITSReview April 2012 The Miners by Ernest Ullmann ProfileProfofiille Mindshapes Sculptures at Wits Stone bird-bath in memory of Man and His Soul by Herman Wald Raymond Dart by Marco Cianfanelli Photo: EYEscape The Unknown Miner by Herman Wald Aprilril 20122012 WITSWITSRRevieweview 25 From top to bottom: The Pioneer and The Family Group by Ernest Ullmann Relief panel by Edoardo Villa Guardian Angel by John Baloyi he University recently received a major donation of two large bronze sculptures T created by the late Herman Wald - the Unknown Miner and Man and His Soul. The donation was made by the artist’s son Louis Wald, a Wits alumnus, and throws the spotlight on the public sculptures in the Wits collection. These works include freestanding three- dimensional outdoor sculptures, incised relief panels on exterior buildings, and indoor wooden art benches for use by students. A diversity of materials is in evidence in the Wits sculptures – bronze, stainless steel, travertine, clay, concrete, and wood have all been used. The East Campus has the Convocation War Memorial sculpture by Moses Kottler. This is per- haps the most dominantly visible and meaningful to Wits. The sculpture consists of three linked bronze nudes larger than life, male and female figures with the left figure raising a hand to the heavens.
    [Show full text]
  • Karina Simonson Žydų Fotografai Pietų Afrikos Respublikoje XX A. 4–8 Deš
    LIETUVOS KULTŪROS TYRIMŲ INSTITUTAS VILNIAUS DAILĖS AKADEMIJA LIETUVOS MUZIKOS IR TEATRO AKADEMIJA Karina Simonson Žydų fotografai Pietų Afrikos Respublikoje XX a. 4–8 deš.: LEONAS LEVSONAS ir ELI WEINBERGAS Daktaro disertacija Humanitariniai mokslai Menotyra (03H) Vilnius 2018 Disertacija rengta 2013–2017 metais Lietuvos kultūros tyrimų institute. MOKSLINĖ VADOVĖ – prof. dr. (hp) Aleksandra Aleksandravičiūtė Lietuvos kultūros tyrimų institutas, Vilniaus dailės akademija, humanitariniai mokslai, menotyra, 03H Disertacija ginama Lietuvos kultūros tyrimo instituto, Vilniaus dailės akademijos ir Lietuvos muzikos ir teatro akademijos jungtinėje Menotyros mokslo krypties taryboje: PIRMININKĖ – doc. dr. Agnė Narušytė Vilniaus dailės akademija, humanitariniai mokslai, menotyra, 03H NARIAI: dr. Vilma Gradinskaitė Valstybinis Vilniaus Gaono žydų muziejus, humanitariniai mokslai, menotyra, 03H prof. dr. Giedrė Mickūnaitė Vilniaus dailės akademija, humanitariniai mokslai, menotyra, 03H dr. Odeta Žukauskienė Lietuvos kultūros tyrimų institutas, humanitariniai mokslai, menotyra, 03H prof. dr. Deborah Posel University College London, socialiniai mokslai, sociologija, 05S Disertacija ginama viešame Lietuvos kultūros tyrimo instituto, Vilniaus dailės akademijos ir Lietuvos muzikos ir teatro akademijos jungtinės Menotyros mokslo krypties tarybos posėdyje 2018 m. lapkričio 30 d. 11 val. Lietuvos kultūros tyrimų instituto salėje (216 kab.), Saltoniškių g. 58, Vilnius. Disertacijos santrauka išsiųsta 2018 m. spalio 30 d. Su disertacija galima susipažinti Lietuvos nacionalinėje Martyno Mažvydo, Lietuvos kultūros tyrimų instituto, Vilniaus dailės akademijos, Lietuvos muzikos ir teatro akademijos bibliotekose. © Karina Simonson, 2018 © Lietuvos kultūros tyrimų institutas, 2018 TURINYS ĮVADAS / 5 I. LEONO LEVSONO IR ELI WEINBERGO KŪRYBOS KONTEKSTAI / 23 I.1. Lietuvos ir Latvijos žydų imigracija ir integracija į PAR žydų bendruomenę / 23 I.2. XX a. politinių procesų įtaka fotografų gyvenimui ir kūrybai / 31 I.2.1.
    [Show full text]
  • South African Architectural Recorr
    SOUTH AFRICAN ARCHITECTURAL RECORR THE JOURNAL OF THE CAPE, NATAL, ORANGE FREE STATE AND TRANSVAAL PROVINCIAL INSTITUTES OF SOUTH AFRICAN ARCHITECTS AND THE CHAPTER OF SOUTH AFRICAN QUANTITY SURVEYORS OPENING CEREMONY SOUTH AFRICA AND ART NOW, by John Paris, M.A., B.Litt., Director of the National Gallery 16 BOOK REVIEWS 22 NOTES AND NEWS 22 EDITOR VOLUM E 35 The Editor will be glad to consider any MSS., photographs or sketches submitted to him, but they should be accompanied by stamped addressed envelopes for return if W. DUNCAN HOWIE unsuitable. In case of loss or injury he cannot hold himself responsible for MSS., photographs or sketches, and publication in the Journal can alone be taken as evidence ASSISTANT EDITORS of acceptance. The name and address of the owner should be placed on the back of all pictures ond MSS. The Institute does not hold itself responsible for the opinions UGO T O M A S E L LI 1 expressed by contributors. Annual subscription £1 10s. direct to the Secretary, GILBERT HERBERT 612, KELVIN HOUSE, 75, MARSHALL STREET, JOHANNESBURG. PHONE 34-2921. BUSINESS MANAGEMENT: G. J. McHARRY (PTY.), LTD., 43, BECKETT’S BUILDINGS, JOHANNESBURG, P.O. BOX 1409. ’PHONE 33-7505. I V GENERAL J. C. SMUTS — Bronie. Mose* Koltler, Academy Gold Medalist, 1949 “ITS u n i v e r s e library 2 J C 1 6 3 9 9 9 THE SOUTH AFRICAN ACADEMY THIRTIETH ANNUAL EXHIBITION. 1949 INTRODUCTION The Report of the Jury for Painting and Sculpture The Thirtieth South African Academy Exhibition was submitted to the Committee after selecting the work to held in the Municipal Art Gallery, Joubert Park, Johannes­ be hung is as follows: burg, from October 7th to October 23rd, 1949.
    [Show full text]
  • Institute of Jewish Affairs Additional Papers 4: General Sequences
    223 MS 241 Institute of Jewish Affairs Additional Papers 4: general sequences MS 241/1 Numerical sequence MS 241/1/1 Arab-Israeli war - description of events prior to the 1967: Apr - Jul 1967 IJA 1A newspaper articles, press releases; the American Jewish Committee Foreign Affairs Department booklets `Reflections in Western Europe and Latin America to the situation in the Middle East' and `The Palestinian Liberation Organisation: an appraisal of its effect on Middle East tensions'; printed article; copies of the Jerusalem post and American Jewish Committee `Reports from.. Israel', Jul 1967 MS 241/1/2 Arab-Israeli war: newspaper articles, some in French, relating to Jun - Aug 1967 IJA 1B the war and to Israel's relations with other countries; United Nations paper on the situation in the Middle East IJA 10 United Nations: newspaper articles, some in French; JTA bulletins, 1967-70 MS 241/1/3 United Nations weekly summaries, bulletins all relating to Israel and the situation in the Middle East IJA 11 Arab statements: newspaper articles, some in German, Hebrew 1967 MS 241/1/4 script, on Arab countries reaction to the Arab-Israeli war IJA 12 Jews in Arab countries: newspaper articles; JTA bulletins; World 1967-8 MS 241/1/5 Jewish Congress correspondence, press releases, memorandums; notes; bulletins IJA 13 Arab activities outside the Middle East: newspaper cuttings; 1967 MS 241/1/6 bibliographical reference IJA 14 Public reaction to the Arab-Israeli war - United States of America: 1967-8 MS 241/1/7 newspaper articles, some in French and German;
    [Show full text]
  • Hoofstuk 5: Voorlopige Metodologiese Oorwegings
    PSIGOBIOGRAFIESE PERSOONLIKHEIDSBESKRYWING VAN GENERAAL CHRISTIAAN DE WET Riana Henning Ingedien ter vervulling van die vereistes van die graad Doctor Philosophiae in die Fakulteit Geesteswetenskappe Sielkunde Departement Rhodes Universiteit Januarie 2010 Promotor: Professor Roelf van Niekerk Mede-promotor: Professor Catriona Macleod i DANKBETUIGINGS Sonder die onderstaande persone sou ek nie hierdie studie kon voltooi nie. Ek rig daarom 'n besondere woord van dank aan hulle: Die Allerhoogste, wat my in staat gestel het om hierdie studie te voltooi; Dr Roelf van Niekerk, vir waardevolle raad en leiding gedurende die studie; Louise Luttig en Elize du Plessis, vir die taalkundige en tegniese versorging van die studie; Anna, Rona, Louise, Alta en Pappa, vir die proeflees van die manuskrip; Die personeel van die Oorlogmuseum in Bloemfontein, asook die Museum in Graaff-Reinet en Aliwal-Noord, vir hulp met die opsporing van biografiese- en geskiedkundige data; Drr Servaas Rossouw en Andrew McLeod asook Me Elria Wessels, vir die voltooiing van die persoonlikheidsvraelyste; Mnr Leon Endemann van die Genealogiese Instituut in Stellenbosh, vir hulp met die opsporing van Generaal De Wet se naasbestaandes; Prof Tienie Van Schoor, vir raad asook toegang tot sy ongepubliseerde boek; En laastens aan my pa en suster, baie dankie vir al jul hulp, bystand en aanmoediging die afgelope jare. ii OPGEDRA AAN Ek dra hierdie studie aan my wonderlike ouers op. Hulle aanmoediging en geloof in my het my in staat gestel om hierdie studie te voltooi. Baie dankie vir julle onvoorwaardelike liefde, aanvaarding en ondersteuning. Ek is trots om julle as ouers te hê. iii OPSOMMING Hierdie is 'n psigobiografiese studie van Generaal Christiaan Rudolph de Wet.
    [Show full text]
  • Menininkų Migracijos Reikšmė 20 A. Pirmos Pusės Lietuvos Dailės Modernizacijai
    LIETUVOS KULTŪROS TYRIMŲ INSTITUTAS VILNIAUS DAILĖS AKADEMIJA LIETUVOS MUZIKOS IR TEATRO AKADEMIJA LITHUANIAN CULTURE RESEARCH INSTITUTE VILNIUS ACADEMY OF ARTS LITHUANIAN ACADEMY OF MUSIC AND THEATRE Laura Petrauskaitė MATAS MENČINSKAS IR JO AMŽININKAI: menininkų migracijos reikšmė 20 a. pirmos pusės Lietuvos dailės modernizacijai MATAS MENČINSKAS AND HIS CONTEMPORARIES: The Significance of the Migration of Artists for the Modernization of Lithuanian Art in the First Part of the Twentieth Century Daktaro disertacija Doctoral Dissertation Humanitariniai mokslai, Menotyra (03H) Meno istorija (H310) Humanities, Art Criticism (03H) Art History (H310) Vilnius 2019 Disertacija rengta 2014–2018 metais Lietuvos kultūros tyrimų institute Mokslinė vadovė Prof. dr. (hp) GIEDRĖ JANKEVIČIŪTĖ Lietuvos kultūros tyrimų institutas, Vilniaus dailės akademija, humanitariniai mokslai, menotyra (03H) Disertacija ginama jungtinėje Lietuvos kultūros tyrimų instituto, Vilniaus dailės akademijos ir Lietuvos muzikos ir teatro akademijos Menotyros mokslo krypties taryboje: Pirmininkė Doc. dr. LOLITA JABLONSKIENĖ Vilniaus dailės akademija, Lietuvos dailės muziejus, humanitariniai mokslai, menotyra (03H) Nariai Dr. NATALJA JEVSEJEVA Latvijos nacionalinis dailės muziejus, humanitariniai mokslai, menotyra (03H) Dr. (hp) LAIMA LAUČKAITĖ-SURGAILIENĖ Lietuvos kultūros tyrimų institutas, humanitariniai mokslai, menotyra (03H) Prof. dr. RŪTA STANEVIČIŪTĖ-KELMICKIENĖ Lietuvos muzikos ir teatro akademija, humanitariniai mokslai, menotyra (03H) Doc. dr. NERIJUS ŠEPETYS Vilniaus
    [Show full text]
  • Session 3 Paintings October 2016 FA.Indd
    138 The Vineyard Hotel, Newlands, Cape Town 10 October - 5pm South African & International Art Day Sale Lots 361–540 Lot 539 Zander Blom Untitled [1.269] (detail) 139 International and South African Art 361 John Arnold Alfred WHEELER BRITISH 1821-1903 Clapham signed and dated 1875 oil on canvas 361 69 by 90cm, oval R20 000 – 30 000 The plaque on the frame reads ‘Clapham, by Stockwell – Little Fairy by Hornsea – Lacesta – by Zodiac – Jerboa by Gobanne’. 362 Sir William Russell FLINT BRITISH 1880-1969 October Morning on the Baise, near Lavada signed; signed and inscribed with the title on the reverse 362 watercolour 18 by 26,5cm R30 000 – 50 000 363 Carl Bernhard SCHLOESSER GERMAN 1832-1914 Mediterranean Harbour signed oil on canvas 56 by 90,5cm R20 000 – 30 000 363 140 THE FRANK BRADLOW COLLECTION LOTS 364-374 364 Circle of John WHITE BRITISH FL 1844-1853 Malay Figures, three framed as one; another three, framed as 364 365 one; and a print of A Malay Beggar part lot the fi rst numbered 5, 8 and 15; inscribed ‘J White of Cape Town’ in pencil on the reverse two watercolour; one print each 9 by 11,5cm; each 8,5 by 4,5cm; and 21 by 15cm (3) R10 000 – 15 000 LITERATURE RF Kennedy. (1968) Catalogue of Pictures in the Africana Museum, Volume Five, Johannesburg. A Malay Beggar is illustrated on page 109, number W30. 365 Thomas William BOWLER SOUTH AFRICAN 1812-1869 366 Hottentot Man part lot watercolour 20 by 21cm 366 R6 000 – 8 000 Thomas William BOWLER SOUTH AFRICAN 1812-1869 PROVENANCE H Munro Biggs, grandson of John Grave Constantia; and Camps Bay Biggs, acquired this sketch from the artist the fi rst inscribed with the title and dated Feb 20th in 1844 1844; the second signed, dated 1852 and inscribed LITERATURE with the title LITERATURE Frank Bradlow.
    [Show full text]
  • Anglo~Jewish Exhibition 1851-1951
    FESTIVAIJ OF BRITAIN Anglo~Jewish Exhibition 1851-1951 ART SECTION BEN URI ARTGALLERY 14PortmanSt.W1 9th July-3rd August "!f FESTIVAI. OF BRITAIN Anglo~Jewish Exhibition 1851-1951 ART SECTION BEN URI ART GALLERY 14 Portman Street, W1 iThemainAnglo,JewishExhibitionisatUniversity 9th July-3rd August College,W.a.I (entrance Cordon St.) July 9th-Aug. 3rd Sunda.y,Thursday ll a..m. to 8 p.m. Friday 1 1 a.m. to 6 p.m. Caealogue Two Shillings ANGLO.JEWISH ARTISTS 1851.1951 When the Ben Uri Jewish Art Society was fo-ed in London during the first world war by the refugee artist Berson and some of his Whitechapel friends. they could not have foreseen that 35 years later the Ben Uri would, through the fact that it has dL IJermanent gallery| be able tO house this Anglo-Jewish Art Exhibition arranged in connection with the Festival of Britain. One only wishes that its premises were larger. to have allowed for more examples to be shown of the artists who have worked in Anglo-Jewry during these hundred years. But within the limits of the space, the examples that are being shown here testify to the place and the importance of the artist in Anglo-Jewish life. one hopes that the community will be so impressed by these exhibits that it will support the work of the Ben Uri, to enable it at a later date to organise a larger and more comprehensive showing of the works of the Anglo-Jewish artists. The-first comprehensive Jewish Art Exhibition held in this country was in l906 at the lhThitechapel Art Gallery.
    [Show full text]
  • Collecting South African Art in the 1930S: the Role of Martin Du Toit
    Historia 53,1, Mei/May 2008, pp 162-196 Collecting South African Art in the 1930s: The Role of Martin du Toit ∗ Jeanne van Eeden Introduction This article indicates the role Professor Marthinus (Martin) Lourens du Toit (1897-1938) played as a patron of South African visual art in the 1930s. During the time that he was head of the Department of Afrikaans Art and Culture at the University of Pretoria between 1931 and 1938, Martin du Toit (Figure 1) initiated a series of art exhibitions in the Macfadyen Hall to display the work of contemporary, often contentious artists. The university wished to support artists and provided this exhibition space free of charge. As a token of appreciation, many artists donated an artwork at the end of the exhibition.1 Du Toit used these exhibitions as a starting point in building up a representative collection of South African art, which he augmented with donations from artists and art collectors. This article suggests that Martin du Toit and the Department of Afrikaans Art and Culture fulfilled an important role by attempting to instil an appreciation for art in Pretoria through regular exhibitions and by laying the foundations for an institutional art collection. This form of academic patronage of South African artists seems to have been rare in the 1930s, and took place during a decisive period regarding the politicised debates concerning ethnicity, modernism, nationalism, and national art, and their relation to cultural identity and artistic expression. In this article, I refer to relevant aspects of these issues and relate them to the discourse of art collecting in the 1930s where possible,2 but do not engage in a discussion of the artworks as such.
    [Show full text]
  • Spring Auction Bedford, E
    Monday 19 September 2016 Session 1 13:00 Siebrits Library 19 Art Reference Books SEPT 2016 Ex Betty’s Bay BERNARDI PLACE 65 Thomson St. Cnr Glyn St. North, Colbyn Tel: 012 342 3634 SPRING AUCTION BEDFORD, E. ed. Contemporary South African art, 1985-95 : from the South African National Gallery Permanent Collection S.A. Nat. Gallery, 1996 *** pbk cat. Ex libris Warren Siebrits 1 300 - BEDFORD, E. ed. A decade of democracy : South African art 1994- 500 2004 from the permanent collection of Iziko... Double Storey, 2004 **** pbk cat. Published with the exhibition from April to August 2004. Ex libris Warren Siebrits BERMAN, E. Art and artists of South Africa : an illustrated 2 biographical dictionary… 300 - A.A. Balkema, 1970 *** cloth, dw. (Sellotape marks) Ex libris Warren 400 Siebrits BERMAN, E. Art and artists of South Africa : an illustrated 500 - 3 biographical dictionary… (New updated & enlarged ed.) Southern, 1993 **** skivertex, dw. Ex libris Warren Siebrits 600 BERMAN, E. The story of South African painting. Balkema, 1975 *** cloth, dw. (Dw. worn, stain on cover) Ex libris Warren Siebrits 4 200 - HARMSEN, F.* The women of Bonnefoi : the story of the Everard 300 group Van Schaik, 1980 **** plain, dw. Signed (Sellotape marks) Ex libris Warren Siebrits BESTER, R. ed. Figure/ground : reflections on the South African 2 000 - 5 Reserve Bank art collection SARB, 2007 *** plain, ribbon bookmark (Paint spots on cover) Ex libris 3 000 Warren Siebrits 1 COHEN, L.S. Looking at contemporary South African sculpture : OGILVIE, G.* & GRAFF, C.* The dictionary of South African Jackson Hlungwani : a resource book.
    [Show full text]
  • Sculptures at Wits
    Heritage Through the years Wits has installed or acquired many sculptures in visible and public spaces on its campuses. By Katherine Munro and Natalie Knight 00 WITSReview April 2012 ProfileProfofiille Mindshapes Sculptures at Wits Aprilril 20122012 WITSWITSReviewReview 00 Heritage he University has recently received a major donation of two large bronze T sculptures created by the late Herman Wald. The donation was made by the artist’s son Louis Wald, a Wits alumnus, and throws the spotlight on the public sculptures in the Wits collection. A tour of the public works on the Wits Campus should prove to be a source of pleasure and enable the visitor to connect with our heritage. We have surveyed and explored about 30 such artworks. We hope to encourage the donation of new works of art and see new artists being encouraged by 21st century patrons. Wits Art Museum, which will be opening in May 2012 in the revamped University Corner (the old Lawson’s Corner skyscraper), has a large selection of sculptures which will be displayed on specific exhibitions. Our focus in this article is to record the sculptural work that is accessible to the public. These works include freestanding three- dimensional outdoor sculptures, incised relief panels on exterior buildings and indoor wooden art benches for use by students. Commissioned busts and statues are not included in this article. Public art should enhance the environment and serve a purpose. It should provide a reason to pause for a moment to reflect on life. The artwork may recall sad events, delight or inspire, or in its very shape be a point of social harmony and relaxation.
    [Show full text]
  • A Century of South African Art from the Sanlam Art Collection 1918 – 2018
    A Century of South African Art from the Sanlam Art Collection 1918 – 2018 “Great nations write their autobiographies in the three manuscripts: the book of their deeds, the book of their words and the book of their art. Not one of these books can be understood unless we read the two others, but of the three the only trustworthy one is the last.” - John Ruskin (1819 – 1900) Foreword The Sanlam Art Collection has been part of the Sanlam Group for more than half of its existence. Founded in 1965 the collection holds more than 2000 items associated with more than 500 South African artists whose works cover more than a century. Sanlam actively shares its collection with all South Africans in exhibitions at the Sanlam Art Gallery in Bellville and the Sanlam Art Lounge in Sandton and in regular collaboration with public museums and private collections on themed exhibitions. This provides the public with unique opportunities to view works which would not normally be easily accessible and to gain a deeper understanding of the value and meaning of art in a broader social and art historical context. Art provides us with mechanisms to negotiate our differences and to develop idiosyncratic as well as shared visions of the past and the future. Viewed as a barometer of change, art plays a crucial role in the realisation of a democratic and free South Africa. By collecting art and displaying it wherever we can Sanlam, besides being a major role player in the economic growth of South Africa, contributes to the mental sustenance that makes this a truly unique country and nation.
    [Show full text]