DOCSLIB.ORG

Aspire 17 July 2017 E-Catalogue.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aspire 17 July 2017 E-Catalogue.Pdf Historic, Modern & Contemporary Art Historic, Modern & Contemporary Art Day Sale and Evening Sale | Winter 17 VIEWING AND AUCTION LOCATION The Park on 7 | Hyde Park Corner | Johannesburg AUCTION Day Sale | Monday 17 July 2017 | 5 pm Evening Sale | Monday 17 July 2017 | 8 pm VIEWING Friday 14 July 2017 | 10 am – 7 pm Saturday 15 July 2017 | 10 am – 5 pm Sunday 16 July 2017 | 10 am – 4 pm WALKABOUTS Saturday 15 and Sunday 16 July 2017 at 11 am AUCTIONEER Ruarc Peffers AUCTION CODE AND NUMBER When sending telephone or absentee bids, this sale is referred to as: AAA WINTER 17 CONDITIONS OF SALE The auction is subject to: Important Notices, Conditions of Business and Reserves AUCTION RESULTS +27 11 243 5243 View them on our website www.aspireart.net/results ABSENTEE AND TELEPHONE BIDS [email protected] | +27 71 675 2991 SALE CONTACTS Emma Bedford | [email protected] | +27 83 391 7235 Jacqui Carney | [email protected] | +27 71 675 2991 Mary-Jane Darroll | [email protected] | +27 82 567 1925 Ruarc Peffers | [email protected] | +27 84 444 8004 Marelize van Zyl | [email protected] | +27 83 283 7427 OFFICE ADDRESS Aspire Art Auctions (Pty) Ltd Illovo Edge – Building 3 | Ground Floor | Harries Road | Illovo | Johannesburg | 2196 GENERAL ENQUIRIES [email protected] | +27 11 243 5243 | www.aspireart.net Company Reg No: 2016/074025/07 | VAT number: 4100 275 280 AUCTION VENUE – THE PARK HOUSE OF EVENTS ON 7 Directions from Jan Smuts Avenue From Randburg side: turn left into 6th Road, Hyde Park From Johannesburg side: turn right into 6th Road, Hyde Park William Nicol Drive First traffic light turn left into Hyde Park Corner Go through the booms, turn right along the road (not up the ramp) and remain on this level (Woolworths is the first entrance on the right) At the end of this parking area, veer off to the left – The Park on 7 signage reads ‘The Park Events Venue P7’ Hyde Park Corner Continue up the ramp which will take you to Level 6 / Level 7 Park your vehicle 6th Road Jan Smuts Avenue Woolworths When facing the entrance to the Mall and Southern Sun lifts, there is a set of doors to the right, across the parking area, with a Entrance lift and stairs Walk up the stairs or take the lift to Level 7 Stairs into the venue are to the right of the lift and stairs Map and GPS can be found here: http://www.theparkhouseofeventson7.com UPCOMING AUCTIONS IN 2017 Cape Town | 4 September 2017 Avenue | V&A Waterfront Consignments close 28 July 2017 Johannesburg | 6 November 2017 The Park on 7 | Hyde Park Corner Consignments close 8 September 2017 xii GLOSSARY OF CATALOGUING TERMS AND PRACTICE Terms used in this catalogue have the particular artist and is not proof of attribution or FRAMING following meanings and conventions ascribed indicative of authenticity. All works are framed, unless otherwise stated in to them. the catalogue, or if they are listed as a portfolio, artist’s book, tapestry or carpet. Condition reports are available on all lots by CONVENTIONS IN TITLES request, and bidders are advised to inspect For works where the title is known (i.e. given by all lots themselves. the artist, listed in a catalogue or referenced in PROVENANCE a book); where it is acknowledged as the official The history of ownership of a particular lot. title of the work, these titles are in title case and ARTIST DETAILS italics – unless specifically stated by the artist If a work is by a deceased artist, the artist’s as sentence case, lower case, upper case or any EXHIBITED name is followed by their country of origin and variation thereof. The history of exhibitions in which a particular lot birth–death dates. Where the title of an artwork is unknown, a has been included. descriptive title is given. This title is in sentence If an artist is still living, the artist’s name is followed case and is not italicised. by their birth date and country of origin. LITERATURE The history of publications in which a particular lot Attributed to … in our opinion, most likely a SIGNATURE, DATE AND INSCRIPTION has been included. work by the artist in whole or in part. CONVENTIONS The term signed … /dated…and /or Studio of … / Workshop of … in our inscribed … means that the signature and/ ESTIMATE opinion, a work likely to have come from the studio or date and/or inscription is by the artist, in our The price range (included in the catalogue or any of the artist or produced under their supervision. opinion. sale room notice) within which we believe a The term bears a … signature/date/ lot may sell. Low estimate means the lower Circle of … in our opinion, a contemporaneous inscription indicates our opinion that the artist’s figure in the range and high estimate means work by an unidentified artist working in that name/date/inscription has been added by the higher figure. The mid estimate is the artist’s style. another hand (this is also applicable where the midpoint between the two figures. term ‘in another hand’ is used). Follower of … in our opinion, a work by an Where a semi-colon is used, everything thereafter unidentified artist working in the artist’s style, is on the reverse of the artwork. LOT contemporary or near contemporary, but not Is an item to be offered at auction (or two or more necessarily by a student of the artist. items to be offered at auction as a group). DIMENSION CONVENTIONS School of … in our opinion, a work executed at Measurements are given in centimeters (height the time and in the style associated with the artist. before width) and are rounded up to the nearest RESERVE half centimeter. A confidential amount, below which we are not South African School, 18th century … in In the case of prints and multiples, measurements permitted to sell a lot. our opinion, a work executed at the time and in the are specific to one decimal place, and the style associated with that region. dimensions will be listed as sheet size, plate size or print size. SALEROOM NOTICE Manner of … in our opinion, a work by an Sheet size: describes the size of the entire sheet A written notice regarding a specific lot(s), posted unidentified artist working in the artist’s style but at of paper on which a print is made. This may also be near the lot(s) in the saleroom, published on a later date, although not of recent execution. referred to as ‘physical size’. www.aspireart.net, and announced by the Plate size: describes the size of the metal sheet on auctioneer prior to selling the lot(s). Style of … in our opinion, a work by an which an etching has been engraved and excludes unidentified artist working in the artist’s style and all margins. of recent execution. Print size: describes the size of the full printed CONDITION REPORT area for all other printmaking methods and A report on the condition of the lot as noted when After … in our opinion, a copy by an unidentified excludes all margins. catalogued. [We are not qualified restorers or artist of a work by the artist, of any date. conservators. These reports are our assessment of A work catalogued with accompanying dates e.g. the general condition of the artwork. Prospective 1577–1640 relates to the identification of the buyers are advised to satisfy themselves as to the condition of any lot(s) sold.] xiii CONTENTS Auction Information xi Auction Venue – The Park on 7 xii Glossary of Cataloguing Terms and Practice xiii Aspire Specialists and Staff xvii Day Sale Lots 1 to 100 2–75 Evening Sale Lots 101 to 184 76–257 Article References 258 Author Biographies and Acknowledgements 259 Guide for Prospective Buyers 260 Terms and Conditions of Business 263 Details used in prelim pages from: COVER Artist Index 268 Lot 155 Moshekwa Langa Basogadi I PAGE I Catalogue Subscription Form 269 Lot 101 Jacobus Hendrik Pierneef Bushveld PAGE II Written/Telephone Bidding Form 270 Lot 159 Marina Abramovic Golden Mask PAGE IV–V Lot 121 Peter Clarke Figures on a path PAGE VI–VII Lot 122 Maggie Laubser Landscape with Huts, Tree, Figure, Cow and a Bird PAGE VIII–IX Lot 132 Cecil Skotnes Shaka PAGE X Lot 129 Louis Maqhubela Flight PAGE XIV Lot 102 Hugo Naudé Namaqualand in Spring PAGE XVI Lot 136 David Brown Door panels PAGE XVIII Lot 115 Irma Stern Madiera Scene xv ASPIRE SPECIALISTS AND STAFF Mary-Jane Darroll Ruarc Peffers Senior Art Specialist | Director Senior Art Specialist | Director [email protected] [email protected] +27 82 567 1925 +27 84 444 8004 Emma Bedford Jacqui Carney Senior Art Specialist | Director Art Specialist [email protected] [email protected] +27 83 391 7235 +27 71 675 2991 Marelize van Zyl Wendy Tyson Art Specialist Client Management and Administration [email protected] [email protected] +27 83 283 7427 +27 11 243 5243 Rafael Powell Catherine Humphries Art Administrator Intern [email protected] [email protected] +27 72 138 7673 +27 82 438 9599 Themba Ndzipho Zama Phakathi Store Manager Intern [email protected] [email protected] +27 11 243 5243 +27 11 243 5243 xvii Historic, Modern & Contemporary Art Winter 2017 | The Park on 7 | Hyde Park Corner | Johannesburg Monday 17 July | Day Sale – 5 pm | Evening Sale – 8 pm Historic, Modern & Contemporary Art Day Sale Lots 1 to 100 PAGE 2 Lot 48 Penny Siopis Pinky Pinky (Red Eyes) (detail) 1 Jacobus Hendrik Pierneef South African 1886–1957 Silverton 1914 R20 000 – 30 000 pencil and watercolour signed, dated ‘Apr 1914’ and inscribed with the location 8 x 14.5 cm 4 2 Jacobus Hendrik Pierneef South African 1886–1957 European cityscape R10 000 – 15 000 pencil on paper signed with the studio stamp 14.5 x 23 cm 3 Jacobus Hendrik Pierneef South African 1886–1957 Uniegebou R8 000 – 12 000 linocut signed with the studio stamp plate size: 7.5 x 12.5 cm LITERATURE Nel, P.G.
Load more

Recommended publications
  • Grade 12 Visual Culture Studies Summaries
    GRADE 12 VISUAL CULTURE STUDIES SUMMARIES 1 Artists discussed QUESTION 1 Emerging artists of South Gerard Sekoto, The song of the Pick Africa Gerard Sekoto, Prison Yard George Pemba, Portrait of a young Xhosa woman George Pemba, Eviction – Woman and Child QUESTION 2 South African artists Irma Stern, Pondo Woman influenced by African and/or Irma Stern, The Hunt indigenous art forms Walter Battiss, Fishermen Drawing Nets Walter Battiss, Symbols of Life QUESTION 3 Socio-political – including Jane Alexander, Butcher Boys Resistance art of the ’70s and Jane Alexander, Bom Boys ’80s Manfred Zylla, Bullets and Sweets Manfred Zylla, Death Trap QUESTION 4 Art, craft and spiritual works John Muafangejo. Judas Iscariot betrayed our Lord Jesus for R3.00 mainly from rural South Africa John Muafangejo. New archbishop Desmond Tutu Enthroned Jackson Hlungwani. Large Crucifix and star Jackson Hlungwani, Leaping Fish QUESTION 5 Multimedia and New media – William Kentridge, Johannesburg, 2nd Greatest City after Paris alternative contemporary and William Kentridge. Shadow Procession popular art forms in South Van der Merwe, Biegbak/Confessional Africa Jan van der Merwe, Waiting QUESTION 6 Post-1994 democratic identity Churchill Madikida, Struggles of the heart in South Africa Churchill Madikida,Status Hasan and Husain Essop, Thornton Road Hasan and Husain Essop, Pit Bull Training QUESTION 7 Gender issues Penelope Siopis, Patience on a monument (Choose two artists) Penelope Siopis, Shame Mary Sibande, ‘They don’t make them like they used to do’ Mary Sibande, Conversation with Madame C.J. Walker Lisa Brice, Sex Show Works Lisa Brice, Plastic makes perfect Jane Alexander, Stripped (“Oh Yes” Girl) QUESTION 8 Architecture in South Africa Not included in these summaries.
    [Show full text]
  • Title: the Diamond Smugglers by Ian Fleming 1957
    Title: The Diamond Smugglers by Ian Fleming 1957 Published by Jonathan Cape, London Shelf Number: SBV3 823.914 FLEM The Diamond Smugglers is non-fiction work that was first published between 1957 and 1958. It is about the interview that the author undertook with John Collard who was a member of the International Diamond Security Organization (IDSO), which was headed by Sir Percy Sillitoe. Collard narrates how he was recruited into the organization. The book goes on to discuss all activities of the IDSO from 1954 until the operation was closed in 1957. Collard explained that the IDSO was created after an Interpol report had stated that £10 million of diamonds were being smuggled out of South Africa as well as additional amounts from Sierra Leone, Portuguese West Africa, the Gold Coast and Tanganyika. When the drafts of the book were shown to De Beers they objected to several chapters and threatened a sanction against Fleming and The Sunday Times, which resulted in most material being removed. 1 Title: Bushman Paintings by Helen Tongue 1909 Published by Oxford at the Clarendon Press Shelf Number: SBV3 759.968 TONG In many parts of the Cape Colony, where there are caves and rocks, the bushmen have left paintings displaying their artistic skills. These paintings represent leopards; antelopes; lions and other animals that roamed over South Africa. The Bushmen Paintings was written by Helen Tongue and is about the lives of the Bushmen. The book is divided into two parts, the first part being descriptions of all the paintings that are included in the manuscript, the second part encompasses a brief history about the origin of Bushmen as well as where how they lived their lives.
    [Show full text]
  • Fictional Worlds and Characters in Art-Making: Fook Island As Exemplar for Art Practice
    COPYRIGHT AND CITATION CONSIDERATIONS FOR THIS THESIS/ DISSERTATION o Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. o NonCommercial — You may not use the material for commercial purposes. o ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. How to cite this thesis Surname, Initial(s). (2012) Title of the thesis or dissertation. PhD. (Chemistry)/ M.Sc. (Physics)/ M.A. (Philosophy)/M.Com. (Finance) etc. [Unpublished]: University of Johannesburg. Retrieved from: https://ujcontent.uj.ac.za/vital/access/manager/Index?site_name=Research%20Output (Accessed: Date). Fictional worlds and characters in art-making: Fook Island as exemplar for art practice by Allen Walter Laing Dissertation submitted in partial fulfilment of the requirements for the degree Magister Technologiae: Fine Art In the Department of Visual Art Faculty of Art, Design and Architecture University of Johannesburg 8 October 2018 Supervisor: David Paton Co-supervisor: Prof. Brenda Schmahmann The financial assistance of the National Research Foundation (NRF) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at, are those of the author and are not necessarily to be attributed to the NRF. Declaration I hereby declare that the dissertation, which I herewith submit for the research qualification Master of Technology: Fine Art to the University of Johannesburg is, apart from recognised assistance, my own work and has not previously been submitted by me to another institution to obtain a research diploma or degree.
    [Show full text]
  • UNISA LIBRARY MANUSCRIPTS COLLECTION John Wickens' Scrapbook of Walter Battiss Materials C1912; 1947-1994
    MSS ACC 140 UNISA LIBRARY MANUSCRIPTS COLLECTION John Wickens’ Scrapbook of Walter Battiss materials C1912; 1947-1994 Compiled by Marié Coetzee 2013 Biography of Walter Battiss (1906-1982) Walter Battiss was born on 6 January in Somerset East. The family later moved to Fauresmith in the Orange Free State where Battiss matriculated in 1923. The following year, he started working in the Magistrate of Rustenburg’s Office. He held the first of many solo exhibitions in the Rustenburg Masonic Hall in 1927. Two years later he was transferred to the Supreme Court in Johannesburg. During this period he attended part-time classes at the Art School of the Witwatersrand Technical College. Between 1930 and 1932, Battiss studied full-time at the Johannesburg Teachers’ Training College and the University of the Witwatersrand where obtained a teacher’s diploma. In 1936 Walter Battiss was appointed art master at the Pretoria Boys’ High School and he started seriously studying rock art. In 1938 he travelled to Europe where he met Abbé Breuil, co-founder of the New Group. Battiss married Grace Anderson, a well-known art-educationalist, in 1940 and moved to Giotto’s Hill, Menlo Park, Pretoria, where he stayed until his death in 1982. Battiss was appointed as the first professor and Head of the Department of History of Art and Fine Arts at Unisa in November 1964. His links to the University go back as far as 1935, when he registered for a BA (FA) degree. He obtained this Unisa degree in 1939. In 1965 Battiss launched the pilot issue of De Arte, for many years the only academic art journal in the country.
    [Show full text]
  • Artworks Catalog
    ARTWORKS EDITIONED PRINTS ANNA PUGH - 'BONSAI BEACH' 'Bonsai Beach' (1985) by Anna Pugh (1938) Aquatint, Proof Print (Hors de Commerce), Signed 44cm x 33cm (Print Size) 75.5cm x 57cm (Paper Size) Anna Pugh (1938) A prolific and leading English artist, Anna Pugh creates magical and whimsical scenes predominantly of nature, animals, and birds. Limiting the inclusion of people and buildings, Anna’s paintings conjure dreamlike feelings and storytelling. Her use of unusual perspectives, geometry, and graphic design techniques have created an unconventional style which is easily recognisable. Her work can be found in private collections across the United Kingdom, Europe, and North America. SKU: APUG/LE/0001 Price: £450.00 Stock: 1 in stock Prints & Etchings Page: 2 Artworks ANNA PUGH - 'DRAGONFLY' 'Dragonfly' (1985) by Anna Pugh (1938) Aquatint, Proof Print (Hors de Commerce), Signed 44cm x 33cm (Print Size) 75.5cm x 57cm (Paper Size) Anna Pugh (1938) A prolific and leading English artist, Anna Pugh creates magical and whimsical scenes predominantly of nature, animals, and birds. Limiting the inclusion of people and buildings, Anna’s paintings conjure dreamlike feelings and storytelling. Her use of unusual perspectives, geometry, and graphic design techniques have created an unconventional style which is easily recognisable. Her work can be found in private collections across the United Kingdom, Europe, and North America. SKU: APUG/LE/0002 Price: £450.00 Stock: 1 in stock Prints & Etchings Page: 3 Artworks ANNA PUGH - 'NEW YEARS EVE' 'New Years Eve' (1984) by Anna Pugh (1938) Aquatint, Proof Print (Hors de Commerce), Signed 31cm x 27cm (Print Size) 49.5cm x 51cm (Paper Size) Anna Pugh (1938) A prolific and leading English artist, Anna Pugh creates magical and whimsical scenes predominantly of nature, animals, and birds.
    [Show full text]
  • History of the Arts in the Olympic Games
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the q u alityo f the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission ofof the the copyrightcopyright owner.owner. FurtherFurther reproduction reproduction prohibited prohibited without without permission.
    [Show full text]
  • Patronage, Business and the Value of Art
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wits Institutional Repository on DSPACE PATRONAGE, BUSINESS AND THE VALUE OF ART: The Corporate Arts Sponsorship of Absa Bank and Hollard Insurance. Jenni Verschoor A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in the fulfilment of the requirements for the degree of Masters in History of Art. Johannesburg, 2009 i ABSTRACT This report is a study into the corporate sponsorship of art as is evident in South Africa today. Starting with a history of patronage in the West, it leads to South Africa and the role currently being played by South African companies in the art world. Through an examination of South African patronage by the government and direct interviews with individuals involved in government and corporate sponsorship of the arts, this report endeavours to show how and why organisations such as Absa Bank and Hollard Insurance have chosen to involve themselves in the art world. I will then follow on to discuss the effect that this corporate sponsorship has on the value of art – financially, socially and culturally. The end result will be study on the relationship that exists between the benefactor and the beneficiary of corporate sponsorship in South Africa and the resulting impact this has on the perceived value of art. (art; patronage; value; corporate sponsorship; investment art; corporate collections; Absa; Hollard) ii DECLARATION I declare that this research report is my own unaided work. It is submitted for the degree of Masters in History of Art in the University of the Witwatersrand, Johannesburg.
    [Show full text]
  • The Impact of Bushman Art on Pippa Skotnes and On
    BUSHMAN IMAGERY AND ITS IMPACT ON THE VISUAL CONSTRUCTS OF PIPPA SKOTNES by LIESBETH HENDRIKA GROENEWALD Submitted in fulfilment of the requirements for the degree of MASTER IN VISUAL ART at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: Ms A U KRAJEWSKA November 2008 ii DECLARATION I declare that BUSHMAN IMAGERY AND ITS IMPACT ON THE VISUAL CONSTRUCTS OF PIPPA SKOTNES is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. Signed: (Mrs. L.H. Groenewald) Date: iii SUMMARY Title: Bushman imagery and its impact on the visual constructs of Pippa Skotnes. Summary: This dissertation explores the impact of Bushman images, and the writings of Lucy Lloyd and Wilhelm Bleek (working with the Breakwater Bushmen) on three art works of Pippa Skotnes. They are The Return III (1988), For //Kunn (1993) and Heaven’s Things (1999). It is argued that Bushman imagery, being the result of shamanic trance activities is characterised by imagery, which mammals universally share. The use of the same imagery by the Surrealists in the twentieth century arises not from an intimate interaction with the spirit realm/dream world but from the European longing for an altered reality. Skotnes appropriates Bushman imagery in her prints, narrating the tragic fate of the Bushman. She laments the loss of the transcendental relationship between Man and the Universe. The exploitation, adoption and marketing of Bushman imagery by the tourist industry marks the distinction between her respectful treatment and the materialism of South Africans. LIST OF KEY TERMS: Adoption; advertising; appropriation; Battiss (Walter); Bleek (Wilhelm); Bushman; Bushman imagery; Bushman myth and mythology; Bushman shamans; Bushman trance stages; colonial; For //Kunn; Heaven’s Things; Kolman’s Kop; Lloyd (Lucy); Miscast; museum exhibits; primitive; Skotnes (Pippa); The Return III; surrealist; tourism.
    [Show full text]
  • Complete Catalogue 3
    Fine Art Auctioneers Consultants CATALOGUE 3 2 PUBLIC AUCTION BY Fine Art Auctioneers Consultants NORTH/SOUTH Sunday 8 November 2020 Live Virtual Auction Session 1: 11.00am between the Johannesburg and A Private Single-owner Collection of Fine Wines from Cape Town offices of Strauss & Co Renowned Burgundy and Rhône Valley Domaines Modern, Post-War Monday 9 November 2020 and Contemporary Session 2: 10.00am Art, Decorative Arts, Jewellery and Oriental Works of Art Jewellery and Session 3: 2.00pm Fine Wine Interiors: Art, Furniture and Decorative Arts Including A Private Single-owner Session 4: 7.00pm The Tasso Foundation Collection of Important South African Art Collection of Fine Wines from assembled by the Late Giulio Bertrand of Morgenster Renowned Burgundy and Rhône Valley Domaines; The Tasso Tuesday 10 November 2020 Foundation Collection of Important South African Art assembled by the Session 5: 2.00pm Late Giulio Bertrand of Morgenster; New Collector: South African Ceramics, Selected Prints and Multiples A Focus on South African Ceramics; Session 6: 7.00pm and works from the Late Desmond Contemporary Art Fisher Collection and the Küpper Family Collection. Wednesday 11 November 2020 8–11 November 2020 Session 7: 2.00pm Modern, Post-War and Contemporary Art Part I Session 8: 7.00pm Modern, Post-War and Contemporary Art Part II Including works from the Late Desmond Fisher Collection and the Küpper Family Collection 3 4 NORTH/SOUTH Live Virtual Auction between the Johannesburg and Cape Town offices of Strauss & Co Modern, Post-War and
    [Show full text]
  • X:\Ventura8\Archsoc\Digging Stick\DS August 2017\Ds 2017 August.Vp
    THE DIGGING STICK Volume 34, No 2 ISSN 1013-7521 August 2017 ARCHAEOLOGY AND THE INDIAN IMAGINATION Dilip M Menon When we think about archaeology, the disci- pline as much as the practice brings up images of time out of mind as well as the more proximate question of recorded history. Geology, palae- ontology, history: each of these is associated with the idea of the past, and of what is over. However, recent developments, in- cluding the growth of industrial and urban arch- aeology, suggest a method of dealing with material remains in relation Great bath and citadel, Mohenjodaro to questions of time alone. We are reminded that the discipline has a deep job, even as the book went on to win awards for relation to the contemporary and to our understanding scholarship. of the present as much as to the philosophical Archaeology sits at the heart of the Indian nation’s questions of History and Memory. Moreover, despite imagination of itself as the inheritor of an ancient claims to scientific method and the rigours of objective civilisation. This statement is objectively true. It also enquiry, the fact remains that archaeology is located addresses the subjective need of an independent within political projects of nationhood, narratives of nation to have a narrative that is not about the civilis- conquest, and claims to antiquity and classicism (‘we have been around longer than you’). A striking example of this came up in 2001 when a young American scholar, Nadia Abu El Haj, published Facts on the Ground: archaeological practice and OTHER FEATURES IN THIS ISSUE territorial self-fashioning in Israeli society.
    [Show full text]
  • South African Art, Furniture, Silver, Ceramics, Glass and Jewellery 4 February 2013 CT 2013/1
    South African Art, Furniture, Silver, Ceramics, Glass and Jewellery 4 February 2013 CT 2013/1 Fine Art Auctioneers Consultants 1 2 PUBLIC AUCTION BY Important South African & International Art, Furniture, Silver, Ceramics, Glass Fine Art Auctioneers Consultants & Jewellery including Jewellery from the Erich Frey Collection and Cape Furniture from the Collection of Dr Bothma Buitendag Monday 4 February 2013 Jewellery at 11am Furniture, Silver, Ceramics & Glass at 2pm Day Session Paintings at 5pm Evening Session Paintings at 8pm VENUE The Vineyard Hotel, Newlands Colinton Road (off Protea Road) GPS Co-ordinates: S 33˚ 58’.68” E 18˚ 27’.30.71” PREVIEW Friday 1 to Sunday 3 February 10am to 5pm WALKABOUT Conducted by Stephan Welz and Emma Bedford Sunday 3 February at 11am ENQUIRIES +27 (0) 21 683 6560 Mobile +27 (0) 78 044 8185 Fax: +27 (0) 21 683 6085 ILLUSTRATED CATALOGUE R120.00 DIRECTORS: E BRADLEY (CHAIRMAN), ALL LOTS ARE SOLD SUBJECT TO THE CONDITIONS OF BUSINESS PRINTED AT THE BACK OF THIS CATALOGUE V PHILLIPS, B GENOVESE, A PALMER, CB STRAUSS AND SA WELZ (MD) OPPOSITE: PIETER WENNING, WASHDAY, MALAY QUARTER, CAPE TOWN Contents 3 Auction Information 6 Directions 7 Specialists, Services and Sale Information 8 Buying at Strauss & Co 10 Explanation of Cataloguing Terms 11 Forthcoming Auction in Johannesburg Session 1 at 11am Jewellery, including Jewellery from the Erich Frey Collection 13 Lots 1 - 150 Session 2 at 2pm Furniture, Silver, Ceramics & Glass including Cape Furniture from the Collection of Dr Bothma Buitendag 61 Lots 151 -340
    [Show full text]
  • South African and International Art
    The Wanderers Club, Illovo, Johannesburg 4 June 2018 – 8 pm South African and International Art Session 3 Lots 250–325 Lot 263 Alexis Preller Consider the Lizard (detail) 250 Sir William Nicholson BRITISH 1872–1949 Alcázar Estrade, Sevilla signed; dated 1933 and inscribed with the title on the reverse; inscribed with the title on a Leicester Galleries label and South African National Gallery label adhered to the reverse oil on canvasboard 31,5 by 40 cm R500 000 – 700 000 PROVENANCE Formerly the property of Lady Florence Philips (1863–1940), Vergelegen, Somerset West. Purchased from the estate sale, 1942. EXHIBITED Leicester Galleries, London, Exhibition of Works by William Nicholson, Sir William Nicholson was an extremely versatile der Mercurio, a large pond presided over by Diego de 1934, catalogue number 94; British artist. He began his career as a graphic designer Pesquera’s figure of Mercury, cast by Bartolomé Morel in South African National Gallery, Cape alongside his brother-in-law, James Pryde, and from 1576. Town, Friends of the South African 1893-1898 they produced posters, prints and signage In this work Nicholson suggests the heat of the National Gallery, catalogue number 55. under the name of ‘J & W Beggarstaff’. In 1900, following day through a warm colour palette and portrays the the recommendation of the American artist James materiality of the subject through thick paint application Whistler, Nicholson began to focus his attention and expressive brushstrokes. The façade with shadowed exclusively on painting. archway provides a dramatic backdrop to the pool and Although he was initially best known for invites the viewer to venture along the walkway into the commissioned portraits of wealthy patrons, his landscape composition.
    [Show full text]