October 2019 Auction - Full Auction Results

Total Page:16

File Type:pdf, Size:1020Kb

October 2019 Auction - Full Auction Results 5th Avenue Auctioneers - October 2019 Auction - Full Auction Results PERSIAN AND ORIENTAL CARPETS AND RUGS Lot Hammer Price Description Number (ZAR) 1 A Persian Hand Knotted Kashan Rug, 150 x 107 2,000 2 A Persian Hand Knotted Mahal Rug, 200 x 105 2,200 3 A Persian Hand Knotted Bakhtiari Carpet, 290 x 214 6,600 4 A Persian Hand Knotted Kashan Carpet, 420 x 298 7,800 5 A Persian Hand Knotted Tabriz Rug, 140 x 90 1,100 6 A Persian Hand Knotted Yalameh Carpet, 384 x 300 - 7 A Persian Hand Knotted Tabriz Carpet, 295 x 205 4,400 8 A Persian Hand Knotted Zanjan Runner, 307 x 108 2,500 9 A Persian Hand Knotted Bakhtiari Carpet, 390 x 315 10,000 10 A Persian Hand Knotted Turkaman Rug, 160 x 85 1,000 11 A Persian Hand Knotted Mashad Carpet, 310 x 206 5,400 12 A Persian Hand Knotted Mashad Carpet, 390 x 290 5,000 13 A Persian Hand Knotted Hamadan Rug, 220 x 127 1,900 14 A Persian Hand Knotted Mashad Carpet, 300 x 197 4,000 15 A Persian Hand Knotted Najafabad Carpet, 415 x 286 8,000 16 A Persian Hand Knotted Lori Rug, 170 x 142 2,000 17 A Persian Hand Knotted Mahal Carpet, 305 x 202 1,500 18 A Persian Hand Knotted Najafabad Carpet, 380 x 296 7,000 19 A Persian Hand Knotted Mir Runner, 308 x 108 4,000 20 A Persian Hand Knotted Bakhtiari Carpet, 308 x 207 7,200 21 A Persian Hand Knotted Kashan Carpet, 373 x 246 6,000 22 A Hand Knotted Kazak Runner, 301 x 81 4,600 23 A Persian Hand Knotted Sarough Carpet, 305 x 212 7,800 24 A Persian Hand Knotted Moud Carpet, 410 x 273 6,600 25 A Persian Hand Knotted Hamadan Carpet, 157 x 104 1,600 26 A Persian Hand Knotted Ardakan Carpet, 336 x 240 4,000 27 A Persian Hand Knotted Kazak Runner, 294 x 85 3,400 28 A Persian Hand Knotted Sabzevar Carpet, 303 x 198 3,400 29 A Persian Hand Knotted Mashad Carpet, 382 x 297 5,200 30 A Persian Hand Knotted Beluchi Rug, 155 x 107 1,700 31 A Persian Hand Knotted Meshkabad Carpet, 338 x 240 2,000 32 A Persian Hand Knotted Mashad Carpet, 295 x 198 4,400 33 A Persian Hand Knotted Beluchi Runner, 280 x 75 1,600 34 A Persian Hand Knotted Mashad Carpet, 355 x 245 5,800 35 A Persian Hand Knotted Bidganeh Rug, 200 x 120 2,800 36 A Persian Hand Knotted Sabzevar Carpet, 400 x 303 5,800 37 A Persian Hand Knotted Koliayi Rug, 240 x 142 1,400 38 A Persian Hand Knotted Bakhtiari Carpet, 310 x 224 5,500 39 A Persian Hand Knotted Najafabad Carpet, 395 x 280 10,000 40 A Persian Hand Knotted Kazak Runner, 313 x 78 4,100 41 A Persian Hand Knotted Mashad Carpet, 298 x 193 5,400 42 A Persian Hand Knotted Kashan Carpet, 348 x 242 5,500 43 A Persian Hand Knotted Hamadan Rug, 155 x 100 1,700 44 A Persian Hand Knotted Joshegan Carpet, 380 x 270 5,000 45 A Hand Knotted Nepalese Carpet, 289 x 197 1,300 46 A Persian Hand Knotted Ardekan Carpet, 370 x 255 4,000 47 A Persian Hand Knotted Hamadan Runner, 400 x 103 5,600 48 A Persian Hand Knotted Mashad Carpet, 385 x 300 4,000 49 A Hand Knotted Bakhtiari Carpet, 295 x 192 2,000 50 A Persian Hand Knotted Indo Gabbeh Carpet, 198 x 205 1,200 51 A Persian Hand Knotted Kashan Carpet, 356 x 259 - 52 A Persian Hand Knotted Hamadan Runner, 300 x 113 3,400 53 A Hand Knotted Silk Filled Bokhara Rug, 243 x 150 6,200 01/11/2019 09:33:57 October Auction 2019 - Sunday, 27 October 2019 Page 1 of 10 54 A Persian Hand Knotted Kashan Carpet, 402 x 300 11,200 55 A Persian Hand Knotted Moud Carpet, 314 x 230 6,200 56 A Persian Hand Knotted Tabriz Carpet, 322 x 250 3,200 57 A Persian Hand Knotted Beluchi Carpet, 260 x 115 2,600 58 A Persian Hand Knotted Kashan Carpet, 375 x 265 7,000 59 A Persian Hand Knotted Mahal Rug, 130 x 85 1,800 60 A Persian Hand Knotted Mashad Carpet, 390 x 304 5,200 61 A Persian Hand Knotted Tursekan Runner, 432 x 119 4,800 62 A Persian Hand Knotted Bakhtiari Carpet, 312 x 214 7,000 63 A Persian Hand Knotted Najafabad Carpet, 365 x 237 3,000 64 A Persian Hand Knotted Mashad Carpet, 385 x 289 7,800 65 A Persian Hand Knotted Goltogh Rug, 119 x 79 2,200 66 A Persian Hand Knotted Mashad Carpet, 343 x 245 4,000 67 A Persian Hand Knotted Tabriz Rug, 155 x 100 1,000 68 A Persian Hand Knotted Moud Carpet, 275 x 205 7,600 69 A Persian Hand Knotted Khorasan Carpet, 375 x 285 5,400 70 A Persian Hand Knotted Kashan Rug, 167 x 100 2,300 71 A Persian Hand Knotted Mashad Carpet, 294 x 190 5,800 72 A Persian Hand Knotted Kashan Rug, 226 x 133 4,000 73 A Persian Hand Knotted Joshegan Carpet, 375 x 265 - 74 A Hand Knotted Silk Keshmiri Rug, 162 x 97 6,000 75 A Persian Hand Knotted Kashan Rug, 200 x 133 - 76 A Persian Hand Knotted Kashan Carpet, 403 x 303 9,400 77 A Persian Hand Knotted Silk and Wool Isfahan Rug, 147 x 100 10,000 78 A Persian Hand Knotted Mashad Carpet, 395 x 295 5,400 79 A Hand Knotted Silk Kashmiri Rug, 246 x 171 18,000 80 A Persian Hand Knotted Moud Rug, 198 x 147 5,600 81 A Persian Hand Knotted Silk and Wool Isfahan Rug, 168 x 106 - 82 A Hand Knotted Silk Keshmiri Rug, 157 x 91 6,000 83 A Hand Knotted Silk Keshmiri Rug, 98 x 60 2,600 84 A Persian Hand Knotted Mir Rug, 247 x 140 3,000 85 A Hand Knotted Silk Keshmiri Rug, 185 x 96 6,500 86 A Persian Hand Knotted Moud Rug, 124 x 83 2,400 87 A Persian Hand Knotted Mashad Carpet, 350 x 243 2,800 88 A Persian Hand Knotted Bakhtiari Rug Circa 1940, 201 x 143 5,000 89 A Persian Hand Knotted Silk and Wool Isfahan Rug, 165 x 111 11,000 90 A Persian Hand Knotted Najafabad Carpet, 355 x 250 4,600 91 A Persian Hand Knotted Beluchi Rug, 215 x 120 2,200 92 A Persian Hand Knotted Hamadan Runner, 300 x 100 3,200 93 A Persian Hand Knotted Hamadan Runner, 320 x 111 3,100 94 A Persian Hand Knotted Turkaman Rug, 193 x 123 800 95 A Persian Hand Knotted Hamadan Runner, 337 x 111 4,200 96 A Persian Hand Knotted Heriz Carpet, 506 x 355 32,000 97 A Persian Hand Knotted Kashan Carpet, 410 x 310 18,000 98 A Persian Hand Knotted Nain Carpet, 299 x 201 9,500 99 A Persian Hand Knotted Silk and Wool Isfahan Rug, 153 x 105 - 100 A Persian Hand Knotted Nain Carpet, 298 x 198 11,500 101 A Persian Hand Knotted Kashan Carpet, 385 x 270 9,500 102 A Persian Hand Knotted Moud Carpet, 302 x 200 10,000 103 A Persian Hand Knotted Nain Carpet, 290 x 194 9,500 104 - 150 No Lots SOUTH AFRICAN AND INTERNATIONAL OIL PAINTINGS, WATERCOLOURS, ETCHINGS AND LITHOGRAPHS Lot Hammer Price Description Number (ZAR) 151 Stefan Ampenberger (SA 1908 - 1983) Watercolour, Landscape, Signed, 24 x 33 1,400 Gabriel de Jongh (SA 1913 - 2004) Watercolour, Table Mountain, Signed, 23 x 152 2,000 32 01/11/2019 09:33:57 October Auction 2019 - Sunday, 27 October 2019 Page 2 of 10 David Botha (SA 1921 - 1995) Linocut, "Paarl Museum", Signed & Numbered 153 - 89/100 in Pencil, 31 x 26 154 De Wet Matthee (SA, born 1979) Oil, Landscape with Church, Signed, 22 x 31 3,000 Ted Wasi (SA 20th C) Acrylic, "Butterfly Seeking Happiness", Signed & Dated 155 1,300 '11, 61 x 71 156 Carl Buchner (SA 1921 - 2003) Oil Sketch, Nude, Signed, 39 x 29 - Strat Caldecott (SA 1886 - 1929) Pencil Sketch, "Caledon Road", Signed Titled 157 - & Dated '27, 22 x 36 158 Cecil Higgs (SA 1898 - 1986) Ink, Donkey Cart, Signed & Dated '57, 42 x 26 - Ezrom Legae (SA 1938 - 1999) Lithograph, Abstract Egg & Bird, Signed Dated 159 - '86 Numbered 92/100 in Pencil, 75 x 55 sheet size 160 Frans Claerhout (SA 1919 - 2006) Mixed Media, Mother & Child, Signed, 41 x 27 - Frederike Stokhuyzen (SA, born 1938) Oil, Port Elizabeth, Signed & Dated '69, 161 2,800 45 x 60 162 Leo Theron (SA, born 1926) Oil, Abstract, Signed, 40 x 53 - 163 Francois Krige (SA 1913 - 1994) Mixed Media, Village Scene, Signed, 23 x 34 - Stefan Ampenberger (SA 1908 - 1983) Oil, Landscape with Buildings, Signed, 164 - 30 x 37 Ignatius Marx (SA, born 1962) Oil, River Landscape, Signed & Dated '07, 60 x 165 - 75 Pranas Domsaitis (SA 1880 - 1965) Pastel, Farm Landscape, Signed with 166 - Monogram, 26 x 34 James Thackwray (SA 1919 - 1994) Oil, "Coloured Women Genadendal", 167 - Signed Titled Verso, 48 x 34 Walter Battiss (SA 1906 - 1982) Portfolio of 9 Lithographs, "Predominantly 168 Limpopo", Signed & Numbered 8/200 in Pencil by Giles Battiss, various sheet 5,000 sizes Edward Roworth (SA 1880 - 1964) Oil, Lake Landscape with Figures on a Road, 169 6,000 Signed, 67 x 103 170 Ezrom Legae (SA 1938 - 1999) Ink, Abstract Figure, Signed & Dated '93, 61 x 47 - Gabriel de Jongh (SA 1913 - 2004) Oil, Mountain Landscape with Cape Dutch 171 16,500 Homestead, Signed, 60 x 90 172 Portchie (SA, born 1963) Oil, Still Life Flowers, Signed, 60 x 75 18,000 173 Christiaan Nice (SA, born 1945) Oil, Donkey Cart & Rural Shop, Signed, 50 x 75 22,000 174 Pranas Domsaitis (SA 1880 - 1965) Oil, Landscape, Signed, 44 x 58 22,000 Gerard Sekoto (SA 1913 - 1993) Oil, West African Figures, Signed & Indistinctly 175 - Dated, 26 x 20 Hennie Niemann (SA, born 1941) Oil, Woman with Arum Lilies, Signed & Dated 176 - '17, 60 x 51 177 Alfred Krenz (SA 1899 - 1980) Oil, Still Life, Signed & Dated '39, 62 x 53 - Pranas Domsaitis (SA 1880 - 1965) Oil, Landscape, Signed with Monogram, 34 178 - x 46 Gregoire Boonzaier (SA 1909 - 2005) Pastel, Still Life, Signed & Dated 1993, 43 179 - x 30 180 Errol Boyley (SA 1913 - 1993) Oil, Buildings Amongst Trees, Signed, 50 x 74 20,000 Titta Fasciotti (SA 1927 - 1993) Oil, "Waterhole Great Karoo", Signed Titled 181 30,000 Verso, 50 x 75 182 Frans Claerhout (SA 1919 - 2006) Oil, Mother and Child, Signed, 100 x 67 - Enslin du Plessis (SA 1894 - 1978) Oil, "The Wreck St.
Recommended publications
  • The South African Sale London Wednesday 19 March 2014 W1S 1SR
    Bonhams 101 New Bond Street the south african sale London Wednesday 19 March 2014 W1S 1SR +44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax the south african sale Ӏ New Bond Street, London Ӏ Wednesday March 19 2014 21431 International Auctioneers and Valuers – bonhams.com lot 15 Irma Stern Zanzibar Woman the South afrIcan Sale Wednesday 19 March at 2pm New Bond Street, London PhyI S cal condItIon of Vw Ie Ing enquIrIeS lotS In thIS auctIon Sunday 16 March Giles Peppiatt MRICS 11.00 to 15.00 +44 (0) 20 7468 8355 PLEASE NOTE THAT THERE IS Monday 17 March NO REFERENCE IN THIS 9.00 to 16.30 Hannah O’Leary CATALOGUE TO THE PHYSICAL Tuesday 18 March +44 (0) 20 7468 8213 CONDITION OF ANY LOT. 9.00 to 16.30 INTENDING BIDDERS MUST Wednesday 19 March Elizabeth Callinicos SATISFY THEMSELVES AS TO 9.00 to 12 noon +44 (0) 20 7468 8216 THE CONDITION OF ANY LOT AS SPECIFIED IN CLAUSE 14 PreVIew of hIghlIghtS [email protected] OF THE NOTICE TO BIDDERS 580 Madison Avenue, New York CONTAINED AT THE END OF 19 - 21 February Jonathan Horwich THIS CATALOGUE. 10.00 to 17.00 Global Director, Picture Sales +44 (0) 20 7468 8280 As a courtesy to intending Sale number [email protected] bidders, Bonhams will provide a 21431 written Indication of the physical South Africa condition of lots in this sale if a catalogue Penny Culverwell request is received up to 24 £25.00 +27 71 342 2670 hours before the auction starts.
    [Show full text]
  • Alexis Preller and the Mapogga Lots 191 and 192
    Tuesday 18 May 2021 Session 3 at 7.00 pm Modern, Post-War and Contemporary Art Lots 171–219 Lot 192 Alexis Preller Mapogga Terrace (detail) © The Estate of Peter Clarke | DALRO 171 Although circumstances prevented Peter Clarke from extensive travel abroad, he was Peter Clarke always acutely aware of international trends. 172 SOUTH AFRICAN 1929–2014 He was drawn to German Expressionism Train Passing through and Japanese woodcuts, for instance, Peter Clarke the Karoo and he often leant heavily on the stylistic SOUTH AFRICAN 1929–2014 innovations of Diego Rivera and David Boy under the Palms signed and dated 28.10.1963; Siqueiros. Looking at the present lot, a inscribed with the title on dreamy Karoo scene foregrounded by signed and dated 10.11.1967 the reverse of the paper entangled, twinkling and wickedly sharp on the reverse of the paper mixed media on paper mixed media on paper thorns, one might assume the influence of Fig. 1: Graham Sutherland’s 27 by 38 cm 26 by 19,5 cm the great British visionaries, Samuel Palmer Thorn Head (1944), sold at R150 000 – 200 000 and Graham Sutherland (fig. 1). Christie’s, London, 2020. R80 000 – 120 000 © The Estate of Peter Clarke | DALRO 174 Dumile Feni SOUTH AFRICAN 1942–1991 Anguished Woman bronze with a dark brown patina height: 29 cm; width: 20 cm; depth: 16 cm R200 000 – 300 000 173 PROVENANCE Moving bronzes by the gifted and impulsive Dumile Feni, he received increasing international attention: his work Ephraim Ngatane Bernard Janks, and thence by particularly those cast in the artist’s lifetime, are increasingly was selected for the São Paulo Biennale in 1967, as well as descent.
    [Show full text]
  • JEWISH FFAIRS AFFAIRS JEWISH AFFAIRS JEWISH Chanukah 2017
    J EEWISHW I S H A FFFAIRSFA I R S Chanukah 2017 Price R50,00 incl. VAT Registered at the GPO as a Newspaper ISSN 0021 • 6313 Chanukah 2017 = FRONT Cover.indd 1 2017/11/26 08:28:57 AM JHB 61401/OJ Fine financial form Planning ahead can set you up for a financially secure future, especially when you have a trusted partner by your side. At Investec, we continuously explore Out of the Ordinary ways to help create and manage your wealth through Specialist Banking, Asset Management and Wealth & Investment. www.investec.com Specialist Banking Asset Management Wealth & Investment Investec Limited and its subsidiaries, including Investec Bank Limited - 1969/004763/06, registered credit providers and authorised financial service providers. Johannesburg 011 286 7000 Cape Town 021 416 1000 Durban 031 575 4000 Pretoria 012 427 8300 Port Elizabeth 041 396 6700. Chanukah 2017 = FRONT Cover.indd 2 2017/11/26 08:28:57 AM Pg 1 - 5 = Chanukah - Contents 2017.indd 1 2017/11/26 09:20:09 AM MISSION EDITORIAL BOARD In publishing JEWISH AFFAIRS, the SA EXECUTIVE EDITOR Jewish Board of Deputies aims to produce a cultural forum which caters for a wide David Saks SA Jewish Board of Deputies variety of interests in the community. The journal will be a vehicle for the publication of ACADEMIC ADVISORY BOARD articles of significant thought and opinion on Suzanne Belling Author and Journalist contemporary Jewish issues, and will aim to Dr Louise Bethlehem Hebrew University of Jerusalem encourage constructive debate, in the form of Marlene Bethlehem SA Jewish Board of Deputies reasoned and researched essays, on all matters Cedric Ginsberg University of South Africa of Jewish and general interest.
    [Show full text]
  • Michael Godby
    Home Truths Domestic Interiors in Michael Godby South African Collections 03 HomeDomestic Interiors in SouthTruths African Collections Front Cover: Eduard Vuillard (1868-1940), Interior with Figures under a Lamp, 1909, gouache on paper, 44.5 x 64.7cm, Johannesburg Art Gallery 409. Back Cover: George Pemba (1912-2001), Untitled (Woman Expelling a Man from a House), 1988, oil on board, 57.1 x 71.5cm, Tatham Art Gallery 1702. Catalogue published by PRIMAVERA PUBLISHING, Cape Town, 2016, to accompany the exhibition ‘Home Truths: Domestic Interiors in South African Collections’ at Iziko South African National Gallery and the Sanlam Gallery, Bellville. [email protected]. All images: Copyright the artists and collections. Text: copyright Michael Godby. Design: Carlos Marzia and Michael Godby. Production and co-ordination: Carlos Marzia. Printing and binding: ISBN 978-0-620-70624-7 HomeDomestic Interiors in SouthTruths African Collections Michael Godby 1. Lisa Brice (b1968), Make your Home your Castle, 1995, mixed media, dimensions variable, Iziko South African National Gallery 96/3. Contents Home Truths: Welcome 01 I. Interior Worlds 01 II. Behind Closed Doors 01 III. The World Outside 01 IV. Inside Out 01 Conclusion 01 Acknowledgements and Thanks 01 Select Further Reading 01 Author Biography 01 8 Unlike Landscape, Still Life and their own studios, and landscapes, to background of other pictorial subjects. Portraiture, the Domestic Interior has convert three-dimensional spaces in Madonna and Child compositions, for never been a recognized category in the same way. For the same reason, example, were frequently set in a domestic European academic artistic practice: no Domestic Interiors, as well as Still Life and interior, in part, of course, to underline exhibitions were arranged under this Landscape subjects, were the starting point the human aspect of the Holy Family.
    [Show full text]
  • Africartmarket.Today
    AFRICA ART MARKET REPORT TM Modern & Contemporary TaBLE OF CONTENTS INTRODUCTION ............................ P.2 T HE DIASPORA ...................P.35 AND THE GLOBAL Art FINDINGS .................................... P.5 DISCOURSE • Overview by Osei G. Kofi RANKINGS ...................................P.9 • Julia Grosse & Yvette Mutumba • Tumelo Mosaka • Mimi Errol • Top 100 modern art • Mustapha Orif • Lionel Manga • Top 100 contemporary art • Nii Andrews • Top 5 lots sold at auction all categories • Top 10 modern art lots sold at auction A rtISTS ............................... P.53 • Top 10 contemporary art lots sold at auction IN THE DIASPORA • Wanguechi Mutu • Yinka Shonibare MARKETPLACES ........................P.21 2016 ............................ P.59 A UCTION HOUSE ......................P.31 TEACH THE FUTURE MARKET SHARE • Makgati Molebatsi • Moncef Msakni • Julia Grosse & Yvette Mutumba • Tumelo Mosaka • Mustapha Orif 1 INTRODUCTION THE SEGMENT THAT RESISTS THE ART MARKET CRISIS The global market of modern and contemporary African art Bids that exceeded the symbolic threshold of US$1 million rose by performed strongly in 2016 with a sell-through rate of 72% in a 200%, including 50% for modern art and 50% for contemporary morose context of the international art market and the slowing- art. Among the buoyant examples was the extremely mediatised down of African economies. This segment proved to be an exception. Bowie/Collector sale organised by Sotheby’s in London on 10-11 November 2016 saw all 17 works by African artists find buyers, This vitality was led by modern art1 with a sell-through rate of the works totalling £341,875 (with buyer premium), equivalent to 76% and 55% in value of the total amount of sales, reaching US$425,504 seven times over the pre-sale estimate.
    [Show full text]
  • 'National' Gallery When the Notions Of
    0 WHAT DOES IT MEAN TO BE A ‘NATIONAL’ GALLERY WHEN THE NOTIONS OF ‘NATION’ TRANSFORM RADICALLY? An analysis of the Iziko South African National Gallery’s practices and policies In historical contexts Marc Barben BRBMAR005 Thesis presented for the degree of Masters in Art Historical Studies Department of Art History UniversityUniversity of of Cape Cape Town Town Supervised by Anna Tietze and Marilyn Martin February 2015 I know the meaning of plagiarism and declare that all the work in the document, save for which is properly acknowledged, is my own. 0 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town 1 Abstract While much has been written on the European display of non-western art and artefact collected from their colonies in Africa, less has been documented about the European settler arts institutions, like the South African National Gallery (SANG), whose distant location away from the imperial centre initially presented particular challenges. In South Africa, since colonialism, these challenges have been expanded by settler nationalisms, a racially oppressive regime, a liberation movement, and a relatively peaceful transition to a democracy. In its form and its function, the SANG has reflected the redefined nationalisms that accompanied these historical moments. In light of the global history of national galleries and more recent theoretical discussions about cultural institutions, this study probes the complex layering of histories evidenced in collection and exhibition practices at the SANG in its historical contexts.
    [Show full text]
  • Annual Report 2009/2010
    SEE THINGS DIFFERENTLY 12 NATIONAL MUSEUMS IN CAPE TOWN www.iziko.org.za +27 (0)21 481 3800 RP166/2010 ISBN:978-919944-34-0 CELEBRATING 10 YEARS ANNUAL REPORT 2009/2010 is an isiXhosa word, meaning ‘hearth’, Iziko traditionally and symbolically the social centre of the home; a place associated with warmth, kinship and ancestral spirits. Here food is prepared and shared, stories are told and knowledge passed from one generation to the next. Similarly, the museums that make up Iziko are spaces for cultural interaction. We are proud to ignite connections between our shared history, our heritage, and each other. South African Museum Planetarium South African National Gallery Slave Lodge Museum William Fehr Collection (at the Castle of Good Hope) Michaelis Collection (at the Old Town House) Rust en Vreugd Museum Bertram House Museum Koopmans-de Wet House Museum Groot Constantia Museum Bo-Kaap Museum Maritime Centre CELEBRATING 10 YEARS ANNUAL REPORT 2009/2010 Published by Iziko Museums of Cape Town 2010 RP166/2010 ISBN:978-919944-34-0 The report is also available on the Iziko Museums of Cape Town website at http://www.iziko.org.za/iziko/annreps.html ACKNOWLEDGEMENTS The managers and staff of all the departments of Iziko are thanked for their contributions. Designed by Flame Edited by Elisabeth Sparg Printed by Creda Communications, Cape Town COVER IMAGES Images from the Iziko Museums of Cape Town collections and image bank. Kuba raffia cloth. CONTENTS 1. GENERAL INFORMATION 2 1.1 Submission of the Annual Report to the Executive Authority 3 1.2 Applicable Acts and Other Information 4 1.3 Introduction by Professor HC Bredekamp, CEO of Iziko 6 1.4 Performance Information 8 2.
    [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]
  • Session5paintings2newfa Upd 14Feb.Indd
    The Vineyard Hotel, Conference Centre, Newlands, Cape Town Monday 17 March - 8.00pm Important South African & International Art, including The Property of the RB Stuttaford Will Trust & The Estate Late Mrs DE Stuttaford-Burton Evening Session Paintings Lots 661–762 OPPOSITE Lot 685 Pieter Wenning, An Eating House (detail) 237 PROPERTY OF THE RB STUTTAFORD WILL TRUST & THE ESTATE LATE MRS DE STUTTAFORD-BURTON | LOTS 661-672 International Art 661 661 662 after Giovanni Paolo EUROPEAN SCHOOL PANNINI 19TH CENTURY ITALIAN 1691–1765 Still Life of Flowers A View of the Roman Forum oil on canvas oil on canvas 74,5 by 61,5 cm 89,5 by 94 cm R7 000 – 9 000 R70 000 – 90 000 238 PROPERTY OF THE RB STUTTAFORD WILL TRUST & THE ESTATE LATE MRS DE STUTTAFORD-BURTON | LOTS 661-672 663 after Carl REICHERT AUSTRIAN 1836–1918 Hunting Dogs, a pair signed oil on panel both 15 by 12,5 cm (2) 663 R4 000 – 6 000 NOTES Both with labels adhered to the reverse which state: ‘The original of this picture hung for many years in Tullyallan Castle, Scotland… This replica … was painted by Mr SJ Young, of Salisbury, Southern Rhodesia in Oct 1954’. 664 662 663 Alexander Mark ROSSI BRITISH 1840 – 1916 Portrait of a Young Girl signed and dated 1886 oil on panel 22 by 13,5 cm R15 000 – 20 000 665 André-Eugène-Louis CHOCHON FRENCH 1910 – 2005 Portrait of a Girl in a Hat signed oil on board 63,5 by 48 cm R6 000 – 8 000 664 665 239 PROPERTY OF THE RB STUTTAFORD WILL TRUST & THE ESTATE LATE MRS DE STUTTAFORD-BURTON | LOTS 661-672 South African Art 666 666 PROVENANCE 667 Mrs Ada Stuttaford Robert Gwelo Robert Gwelo GOODMAN LITERATURE GOODMAN Newton Thompson, Joyce.
    [Show full text]
  • Download Catalogue
    K e s t e n b au m & c om pa n y . one hundred and FiFty years oF JeWish art Wednesday, december 16th, 2015 K est e n bau m & C o m pa ny . Auctioneers of Rare Books, Manuscripts and Fine Art A Lot 26 Catalogue of F i n e J u d a i C a . ONE HUNDRED AND FIFTY YEARS of JEWISH A RT FEATURING: MORITZ OPPENHEIM’S FREITAG A BEND (1867) ——— To be Offered for Sale by Auction, Wednesday, 16th December, 2015 at 6:00 pm precisely ——— Viewing Beforehand: Sunday, 13th December - 10:00 am - 2:00 pm Monday, 14th December - 10:00 am - 7:00 pm Tuesday, 15th December - 10:00 am - 7:00 pm No Viewing on the Day of Sale This Sale may be referred to as: “Keller” Sale Number Sixty Seven Illustrated Catalogues: $38 (US) * $45 (Overseas) KestenbauM & CoMpAny Auctioneers of Rare Books, Manuscripts and Fine Art . 242 West 30th street, 12th Floor, new york, NY 10001 • tel: 212 366-1197 • Fax: 212 366-1368 e-mail: [email protected] • World Wide Web site: www.Kestenbaum.net K est e n bau m & C o m pa ny . Chairman: Daniel E. Kestenbaum Operations Manager: Jackie S. Insel Client Relations: Sandra E. Rapoport, Esq. Printed Books & Manuscripts: Rabbi Eliezer Katzman Ceremonial & Graphic Art: Abigail H. Meyer Catalogue Art Director and Photographer: Anthony Leonardo Auctioneer: Mark O. Howald (NYCDCA License no: 1460490) For all inquiries relating to this sale please contact: Daniel E. Kestenbaum Front Cover Illustration: See lot 4 Back Cover Illustration: See lot 7 List of prices realized will be posted on our Web site, www.kestenbaum.net, following the sale.
    [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]
  • Session 3 Feb 2012 Far1.Indd
    132 The Vineyard Hotel, Conference Centre, Newlands, Cape Town Monday 6 February - 8pm Important Furniture and South African Art Lots 451-676 OPPOSITE Lot 480 Pieter Naudé, Jaff a 133 451 An English oak press cupboard, late 17th century the rectangular top with carved foliate freeze, above a pair of foliate panels fl anked by a pair of turned columnar pendants carved with a date and initials, the lower section with a pair of heraldic panelled doors enclosing a shelf, on stile feet, restorations and replacements, 169cm high, 140cm wide, 58cm deep R40 000 – 60 000 detail 134 452 A Regency rosewood chiffonier, circa 1810 in the manner of Gillows, the rectangular top above a recessed frieze drawer centred with ribbon, detail berry and foliate carving, a pair of panelled doors below enclosing a shelf fl anked by acanthus-carved corbels, on bun feet, 96cm high, 93cm wide, 37cm deep R12 000 – 15 000 452 453 A Regency rosewood card table the gadrooned D-shaped top above a carved frieze and raised on a tapering incurved support, on a shaped platform base with paw feet and castors, restorations, 73cm high, 90cm wide, 45cm deep R15 000 – 20 000 454 A Regency rosewood and brass-inlaid centre table the circular top with gadrooned border above a ring-turned lobed column, on a triangular base with conforming borders, bun feet and brass castors, restorations, 72cm high, 91cm diameter R10 000 – 15 000 454 135 455 A Regency rosewood centre table the circular top above a hexagonal column, on a triform base with paw feet, on later castors, 76cm high, 130cm
    [Show full text]