BUSINESS ART SEPTEMBER 2010 | E-mail: subs@arttimes.co.

za | Member of the Global Art Information Group

Antonia Labia ushers in a new chapter and new age in their rich family history as patrons of the arts in South African cultural community “At last the Casa Labia has become what my grandfather originally envisioned: a
statement of faith in the future of his adopted country, and a celebration of all that is unique and beautiful about Italy and South Africa.” Read about Lloyd Pollak’s visit to The Casa Labia inside. Photo (detail): Jenny Altschuler

Judith Mason
New work at The South African Print Gallery
Judith Mason’s new series of lithographs are now available at The South African Print Gallery, Woodstock, Cape Town (www.printgallery.co.za) . They have been printed using the new monotype transfer technique that Mark
Attwood at The Artist’s Press have developed to meet the needs of artists who are primarily painters. On the subject of pomegranates this is what Judith stated that: “Pomegranates have always been my favourite fruit
because of their beautiful caskets of jewel-like seeds within, and the hard, almost pot-like exterior. It is an ancient fruit, celebrated in the Song of Solomon and regarded by the Early Church as a symbol of the Resurrection.
In these prints I have tried to celebrate the fruit’s sensual qualities, and its oozing ruby juice, and have juxtaposed it with a hammer to remind one of its skull-like vulnerability.” See www.artists-press.com for more

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National Ceramic
Exhibition
2010

Grande Provence Gallery

Franschhoek
10 October to 27 October
Daily from 10h00 to 18h00

For reservations : T +27 21 876 8600 F +27 21 876 8601

Main Road Franschhoek PO Box 102 Franschhoek 7690 Western Cape South Africa T +27 21 876 8630 F + 27 21 876 8601 www.grandeprovence.co.za gallery@grandeprovence.co.za
BUSINESSART | SEPTEMBER 2010 Page 03

Botha’s popular interpretation of Shaka was that he was not just a fearsome warrior, but a man who took pride in his environment and kingdom.
The Zulu King asked for the statue to be removed as he felt that Botha’s interpretation of Shaka looked too much like a herdboy.

Durban’s Airport Shaka sculpture possibly to go from Botha’s enviromently caring - to Royal approved tough guy image

The drawing, attributed to Lieutenant James King drawn before 1836,
is the only contemporaneous image we have of Shaka, and has thus
been frequently used as the template for illustrations and photographic
reconstructions.
Peter Machen
While the King Shaka airport just outside
of Durban is running smoothly by all ac-
counts, King Shaka himself is still notica-
ble by his absence. Where Andries Botha’s
statue of the proud king once stood – for a
few short weeks - tending his cattle, only
the cattle remain. The statue was removed
when King Goodwill Zwelithini pro-
nounced that he was not happy about the
way in which Shaka was represented. Ac-
cording to the royal family, he looks “more
like a herd boy than the fierce hunter-warri-
or of Zulu folklore”. A decision about how
to represent the Zulu King has not yet been
made but it seems certain that he will not
be presented in anything like the pastoral
mode suggested by Botha’s initial work.
After the statue was taken down, a panel
was appointed to advise on the content
and nature of the new sculpture. The panel
which includes academics, historians and
members of the Zulu royal house, have not
yet delivered their report but panel member
Jabulani Maphalala, a historian, revealed
last week that the royal house delegation
had brought a drawing of Shaka to the
meeting.
The drawing, attributed to Lieutenant
James King, is the only contemporaneous
image we have of Shaka, and has thus been
frequently used as the template for illustra-
tions and photographic reconstructions.
In the drawing, which first appeared in
Nathanial Isaacs’ Travels and Adventures
in Eastern Africa published in 1836, Shaka
is markedly elongated and carries a spear
and a shield. While the Zulu leader did in
fact meet King, it is not known whether the
portrait was drawn from memory or a ‘sit-
ting’ and in fact the veracity of King’s au-
thorship of the drawing is not even certain.
As Pietermaritzburg’s Witness pointed out,
Isaacs’ book was only published 8 years
after James King’s death, and the image is
at best a printer’s re-drawn copy of a draw-
ing of Shaka by King. It is equally possible
that the drawing bears no resemblance to
its subject.
As for who will create the new sculpture,
nothing has yet been said, but Botha has
recused himself from the task. Combin-
ing the work of another artist with Botha’s
existing cattle might present an artistic
issue in terms of authorship and artistic
intent, but that is clearly not a priority for
the Airport Company of South Africa or
the appointed panel.
Meanwhile Botha’s stone-and-gabion
elephants continue to languish in bureau-
cratic limbo by the side of an eThekwini
freeway, shrouded in shadecloth and the
limited attention span of the news cycle...

Honours Programme in Visual Studies

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and issues around post-colonial African visual culture. In addition to three tutored modules, students are expected to complete an independent research
project in consultation with a supervisor.

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 some day some how
some place some people

marius lourens
a social landscape (acrylics)
31 August – 17 September 2010
Ron Belling Art Gallery
30 Park Drive, Port Elizabeth

his work is included in several public and private art collections

041 5863973 / 072 2027652, email: mlourens@pemail.co.za
 BUSINESSART | SEPTEMBER 2010
Pieter Hugo: Zakaria Salifu, Agbogbloshie Market, Accra, Ghana 2010. from the Permanent Error series, C-print. Image courtesy of Michael Stevenson, Cape Town and Yossi Milo, New York.
Melvyn Minnaar
The Artful Viewer: Tuned to the ethical?
The comical capers of the crooks involved in the real-life killing of
Brett Kebble may have provided some absurdist amusement during
the testimony in the ongoing murder trial. What it did not hide, was
the real dark, even evil, underworld life of this sometime self-pro-
moting patron of the arts.
Not that long ago, despite a convenient blur of history, artists were
falling over their feet to get his attention, directly or indirectly. All
this for their own fame and, especially, the fortune he dished out.
Curators and administrators bought into the sweet talk. The media
- including the few left in the cultural wasteland - fell for it, lock,
stock and barrel. Kebble had scored one of the greatest PR triumphs
in the business of smoke and mirrors, taking art for a ride.
The Kebble awards were gloriously welcomed as a gift to the South
African cultural enterprise. How quickly we forget. Or decide to
forget.
Few voices in the art world then questioned the man’s motives.
Virtually none were practising artists. It was all too good to be true.
For a handful observers, like Marilyn Martin, at the time, Iziko
director, and Martin Welz at Noseweek magazine, the Kebble patron
performance was all too transparent.
In hindsight, the dosh that was generously handed over as artists’
prizes, at worse, now seems like blood money, at best, takings of
shady origin. That spent on the glitzy, good parties were too gener-
ous to even be questioned for source.
If artists sometimes confess that their job is similar to that of the
oldest profession in man’s world (and tell stories about how mas-
terpieces were created under dubious circumstances and tyrannical,
egocentric patrons), we’ve always taken it that there is something
positive that drives art. Under the blatantly decorative and entertain-
ing, the DNA of good and great art - so we’ve convinced ourselves
- always carries a gene tuned to the ethical.
Even if irony, satire and paradox (which we easily think we can
cope with in the post-structural times) are part and parcel of the con-
temporary artwork and its processes, we trace morality to a positive
Page 05
position, the ‘high-ground’, as they say. (Wasn’t so-called ‘struggle
art’, in all its propagandistic fervour, the ultimate such endeavour?)
Yet, the Kebble art debacle proved exactly otherwise. Or did it?
Two Cape exhibitions that end early this month hold up the flame
brightly. They also are remarkable milestones in the artists’ careers
- high points of their individual creativity.
Throughout his career - a substantial one that we can trace here in
the Cape since the 1970s - Manfred Zylla has produced art in the
great German tradition of satire and shock, of ripping the seams of
the fat-cat establishment fabric apart.
Brechtian in its relentless, hard questioning of social morals, his
art is ever enhanced by high technical proficiency and exploration.
The latter has provided a constant freshness to his work. As well as
loaded its challenges.
His current exhibition, closing soon at the Erdmann Contemporary,
is a mixed bag of small and very large drawings. Often the message
is in your face - ‘American Invasion of Obs’, ‘Again and Again and
Again’ or ‘Reds’. But it is the thrill of the throw-away-ness of the
intensely-worked pieces that stay and stay, and claim their moral
profundity.
Throw-aways feature symbolically in Pieter Hugo’s top-notch show
at Michael Stevenson. In this case, these are the horrors of fat-cat
First World consumer society who sent their First World debris to
form a different kind of relentless, heart of darkness in Africa.
His photographs of the slum of rubbish at Agbogbloshie in Ghana,
where old computer stuff, sent from the West, is dumped, may well
be his best work to date.
There is no escape from this Goya-esque cruel beauty. An installa-
tion of video portraits set against a devastated, sometime literally
burning, landscape, is hypnotising. It mirrors the large prints of the
local individuals (the same kind of hapless men-at-work that Zylla
portrays). It is a show that hammers, as it should, a stake through
our pink heart.
PAGE 06
Free State
Bloemfontein
Oliewenhuis Art Museum
16 September-31 October, Works by Claire Menck
(In the Main Building)
16 Harry Smith Street, Bloemfontein
T. 051 447 9609
Clarens
Johan Smith Art Gallery
25 September-04 October, Johan Smith presents his 16th Annual
Exhibition in oil depicting typical Eastern Free State Landscapes.
Preview Friday 24 September 3pm-7pm. Official opening
(by Pierre van Pletzen [Oubaas from 7de Laan]) at 11am on Saturday
25 September. Preview again from 09am- 10:45am.
Windmill Centre Main Street Clarens
T. 058 256 1620 www.johansmith.co.za
Blou Donki Art Gallery
Contemporary Art, Steel Sculptures, Functional Art,
Photography and Ceramics.
Windmill Centre Main Street Clarens
T. 058 256 1757 www.bloudonki.co.za
Gauteng
Johannesburg
Absa Art Gallery
08-24 September, “My Shadow and I” by Philip Badenhorst.
Opening 08 September @ 6:15pm.
Absa Tower North, 161 Main Street, Johannesburg. T. 011 350 5139
Alliance Française of Johannesburg
07-18 September, “Réunion Chroniques” a photographic exhibition
from Reunion Island. Featuring François-Louis Athenas, Raymond
Barthes, Thierry Fontaine, Yo-Yo Gonthier, Line Leclerc, Edgar
Marsy, René Paul Savignan and Laurent Zitte.
21-25 September, “Body of Work” paintings by Amande Denyer
Godden and Mike Newton. Opening on Tues 21, Wed 22, Thurs 23
Sept 2010 from 6pm- 8:30pm each evening as well as Saturday the
25th from 10am – 1pm
17, Lower park Drive, Corner Kerry Road, Parkview
T. 011 646 1169
johannesburg@alliance.org.za www.alliance.org.za
Artist Proof Studio
28 August-09 October, “Layer upon Layer” prints by
Bronwen Findlay. In collaboration with Tim’s Print studio and Artists
Proof Studio. Opening Saturday 28 August @ 12am.
The Bus Factory, 3 President Street, West Entrance, Newtown
Cultural Precinct, Newtown. T. 011 492 1278
artistp@mweb.co.za www.artistproofstudio.org.za
Artspace –Jhb
21 August-04 September, “O”, a print and jewellery exhibition by
Angela Yeung and Rob Mills.
04 September-23 October, Mentorship Programme Exhibitions
Three different exhibitions of the participants of the Artspace
Mentorship Programme.
27 October-17 November, Solo Exhibition of prints by
Judy Woodborne.
1 Chester Court, 142 Jan Smuts Ave., Parkwood, Johannesburg
T. 011 880 8802
artspace@wol.co.za www.artspace-jhb.co.za
Artspace Warehouse
05 September-02 October, “Unnatural Selection” butterfly prints
by Henning Ludeke. Opening 05 September @ 5:30pm, Opening
speaker Pieter van Heerden, Director, Association of Arts, Pretoria
10 October-06 November, “Skins” a group exhibition.
3 Hetty Ave, Fairlands, Jhb. T. 011 880 8802
artspace@wol.co.za www.artspace-jhb.co.za
Bailey Seippel Gallery
22 August-22 October, “A Life Behind the Lens” by Ranjith Kally.
A Durban Perspective on South Africa 1946-1982. Opening reception
on Sunday 22 August @ 12am. Speech by Riason Naidoo from the
Iziko South African National Gallery.
Arts on Main, 260 cnr Fox and Berea, CBD Johannesburg.
T. +27 71 227 0910
baileyseippel@gmail.com www.baileyseippel.co.za
Brodie/Stevenson
05 August-18 September, “Furies” Solo exhibition of new paintings
and a video installation by Penny Siopis.
05 August-18 September, “Project 008” by Lunga Kama.
373 Jan Smuts Ave., Johannesburg T. 011 326 0034
www.brodiestevenson.com
Carol Lee Fine Art
11-19 September, “Source” a group exhibition.
upstairs@bamboo Cnr 9th Street & Rustenburg Road, Melville, Jhb.
T. 011 486 0526
GALLERY LISTINGS FOR FREE STATE, GAUTENG AND MPUMALANGA
CIRCA on Jellicoe
9 September - 3 October, Mixed media New Works by Gavin Younge.
7 - 31 October, Mixed Media with wood by Enric Pladevall.
4 November - 16 Dec, Mixed media, bronze sculpture by
Deborah Bell.
2 Jellicoe Ave. T. 011 788 4805 gallery@circaonjellicoe.co.za
CO-OP
Until 04 September, “Greener on the Other Side” by Kudzanai
Chiurai. Kudzanai Chuirai’s third poster series in collaboration with
Dokter and Misses. The show explores the franchise of democracy.
68 Juta Street, Braamfontein T. 011 023 0336
info@co-opjoburg.com www.co-opjoburg.com
David Brown Fine Art
Until 04 September, An exhibition of paintings, etchings and glass
sculpture by Colin Cole, Chonat Getz, Aurelia James, Linda Hess
and Lizette Chilvers.
During September, Spring Collection, various artists.
39 Keyes Avenue, off Jellicoe, Rosebank. T. 011 788 4435
david@dbfineart.co.za www.davidbrownfineart.co.za
David Krut Projects
12 August-25 September, “Fool’s Gold” by Stephen Hobbs.
140 Jan Smuts Ave., Parkwood, Johannesburg T. 011 447 0627
www.davidkrutpublishing.com
Everard Read Gallery Jhb
09 September - 03 October, “Stage” pastel on paper by
Haneke Benade, “An Accumulation of Change” oil paintings by
Rina Strutzer.
07 - 31 October, mixed Media on paper often earth or pastel by
Thea Soggot. Leon Vermeulen.
04 - 25 November, Oil on canvas by Paul Augustinus.
6 Jellicoe Ave., Rosebank, Johannesburg T. 011 788 4805
www.everard-read.co.za
Gallery 2
11 September-02 October, “Position in Space” by Karin Daymond.
140 Jan Smuts Ave, Parkwood. T. 011 447 0155/98
gots@mweb.co.za www.gallery2.co.za
Gallery AOP
12 August-02 September, “Dislocated Landscapes” by Kim Berman
04-07 September, Judith Mason artist’s book: “Skoelapperheuwel,
Skoelappervrou”
11 September-02 October, “...and to that sea again” by Richard Penn
09-30 October, “Draw links” contemporary drawing
44 Stanley Ave., Braamfontein Werf (Milpark), T. 011 726 2234
www.artonpaper.co.za
Gallery MOMO Auckland Park Kingsway, Campus Cnr. Kingsway and Universiteids
12 August-06 September, “The Young Ones” by
Theresa-Anne Mackintosh.
09-18 September, a group show.
30 September-25 October, “Urban Africa” by David Adjaye
52 7th Avenue, Parktown North, Johannesburg T. 011 327 3247
www.gallerymomo.com
Gertrude Posel Gallery
This gallery has a permanent exhibition of traditional southern,
central and West African art.
University of the Witwatersrand, Senate House, Jorissen Street,
Braamfontein
Tel: 011 717 1365 julia.charlton@wits.ac.za
Goodman Gallery
26 August-20 October, “Kind of Blue” by Sam Nhlengethwa
163 Jan Smuts Ave., Parkwood, Johannesburg T. 011 788 1113
www.goodman-gallery.com
16 Halifax
Works by Michael Heyns can now also be viewed by
appointment in Johannesburg at 16 Halifax Street Bryanston.
Dana MacFarlane 082 784 6695 dana@michaelheyns.co.za
Henry Taylor Gallery
The Henry Taylor Gallery specializes in South African Investment
art; hence, it is not uncommon to find Old Master paintings by Errol
Boyley and J.H. Pienreff, hanging alongside up and coming artists
such as Claire Denaire or Gian. P. Garizio.
Shop No G 7.2 Cnr. Cedar Rd. and Witkoppen Rd. Fourways
T. 011 70-53194
htaylor@mweb.co.za www.henrytaylor gallery.co.za
Johannesburg Art Gallery
09 August-December, “Transformations: woman’s art from the late
19th century to 2010” artists taken from JAG’s Collection.
22 June-26 September, “Borders” an exhibition from the 8th Bamako
Encounters, The African Photographic Biennale.
Until 29 August, “Without Masks”
06 June-04 September, “Deep Play” by Harun Farocki
King George Str., Joubert Park, Johannesburg T. 011 725 3130
khwezig@joburg.org.za www.joburg.org.za
Manor Gallery
01 August- 05 September, “The 7th annual Black Like US exhibi-
tion” Guest Artists Sam Maduna, Makiwa and Daniel Novela exhib-
iting together with other Black Like Us artists including
BUSINESSART | SEPTEMBER 2010
Abe Mathabe, Chenjerai Kadzinga, Edward Selematsela, Mind
Shana, Fungai and Stanley Mawelela.
12-28 September, “The Dulcie Robinson Little Artists exhibition)
a charity exhibition of affordable artworks by mostly orphans and
disadvantaged children from the ages of 8-18.
Opening 12 September 11am for 11:30am.
Norscot Manor Centre, Penguin Drive. T. 011 465 7934
gallery@wssa.org.za www.wssa.org.za
Museum Africa
Until 24 Dec 2010, “l’Afrique: A Tribute to Maria Stein-Lessing
and Leopold Spiegel” co-curated by Nessa Leibhammer and Natalie
Knight.
121 Bree Str., Newtown, Johannesburg T. 011 833 5624
www.knightgalleries.net
Resolution Gallery
03 August-23 October 2010, “Public Perception” a poster show
by Andy Robertson.142 Jan Smuts Ave., Parkwood, Johannesburg
T. 011 880 4054 www.resolutiongallery.com
Seippel Gallery
14 August-09 October, Recent Works by Mbongeni Buthelezi.
Auke de Vries.
From 10 October, Water paintings by Jill Trappler.
Arts on Main, Cnr of Fox and Berea, Johannesburg T. 011 401 1421
www.seippel-gallery.com
Spaza Art Gallery
From 19 September, “Spring Exhibition” various artists including
music and poetry.
19 Wilhelmina Street, Troyville. T. 011 614 9354
C. 082 494 3275
Standard Bank Gallery
03 August-18 September, “A Vigil of Departure” by Louis Maqubela.
12 October-04 December, “People, Prints and Process-Twenty five
years at Caversham”
Cnr of Simmonds & Frederick Str.’s, Johannesburg, 2001
T. 011 631 1889 www.standardbankgallery.co.za
University of Johannesburg Art Gallery
08-29 September, “Ectopian States” group exhibition. This exhibition,
curated by Jacki McInnes, Spier winner of an artist residency in
Brazil in 2010, includes works by some of South Africa’s most promi-
nent artists working to the theme of the degradation of our
environment. Exhibiting artists include Willem Boshoff, Kim
Gurney, Maja Marx, Lee-At Meyerov, Marcus Neustetter and
Strijdom van der Merwe, with collaborative works from Jacki
McInnes and John Hodgkiss, and Mario Marchisella and Marianne
Halter. Visit www.ecotopianstates.net for exhibition updates and
details
Rd., Auckland. T. 011 559 2099/2556 www.uj.ac.za/artsacademy
Zietsies
13 August-03 September, “Roadtrip” by Alex Hamilton an exhibition
about memory, adventure, landscape and the car that always broke
down on the side of the road.
No 1. Beverley Road, Aucklandpark. T. 021 447 2396
alex@alexhamilton.co.za www.alexhamilton.co.za
Pretoria
Alette Wessels Kunskamer
Exhibition of Old Masters and selected leading contemporary artists.
Maroelana Centre, Maroelana.
GPS : S25º 46.748 EO28º 15.615
T. 012 346 0728 C. 084 589 0711
alette@artwessels.co.za www.artwessels.co.za
Association of Arts Pretoria
Early to Mid September, “A Cultural Bridge to India” a group show
173 Mackie Street, Nieuw Muckleneuk, Pretoria. T. 012 346-3100
artspta@mweb.co.za www.artsassociationpta.co.za
Brooklyn Theatre in association with Trent Gallery
28 August-15 October, “Collections” featuring Anna Vorster, Ernest
Rood, Joel Tsepho Sebothoma and Renier Oosthuizen.
Greenlyn Village Shopping Centre, Thomas Edison Street,
Menlo Park. Stuart @ 082 923 2551, trent.art@gmail.com,
daniel@brooklyntheatre.co.za www.brooklyntheatre.co.za
www.trent-art.co.za
Fried Contemporary
02 September-03 October, Works by Paula Louw.
Opening 02 September @ 6:30pm. Walkabout by the artist @ 7pm.
430 Charles St, Brooklyn, Pretoria. T. 012 346 0158
art@friedcontemporary.com www.friedcontemporary.com
Gallery Michael Heyns
29 August-18 September, “Clay” a long-awaited exhibition of new
plates, tiles and sculptures by the versatile Michael Heyns.
Opening 29 August @ 11am.
351 Lynnwood Road Menlo Park Pretoria
T.012 460 3698, Cell.082 451 5584
www.michaelheyns.co.za
 BUSINESSART | SEPTEMBER 2010 GALLERY LISTINGS FOR FREE STATE, GAUTENG AND MPUMALANGA Page 07

Swelco’s Johannesburg Auction feedback

By Michael Coulson
It’s probably indicative of the lacklustre quality of the work on of-
fer rather than a double dip in the market that Stephan Welz & Co
(Swelco) sold only three of the 12 highest-estimate SA artworks at
this week’s sale in Johannesburg, as lower down the scale results
were somewhat better. And none of the top three beat the low
estimate, if buyer’s premium and any other charges are deducted.
Just about the only other notable price was R190 400 for George
Pemba’s Get Out! (est R150 000-R200 000).
A notable casualty was Gabriel de Jongh, only two of his nine
works finding buyers. Erich Mayer sold only three of eight, Chris
Tugwell three of seven and Johan Oldert three of six, while Walter
Battiss fared best, selling eight of 10. Five of the six Gregoire
Boonzaaiers went and five of the nine Boshoffs.

A Pierneef landscape fetched R1.232m (estimate R1.2m-R1.6m),
a Frans Oerder still life R268 800 (est R300 000-R500 000) and
a Francois Krige still life R224 000 (est R200 000-R250 000).
Overall, Tuesday evening’s session of major work grossed R6.6m,
63% of the low estimate of R10.5m, with 75 of the 146 lots sold
(51%). Returns in the afternoon session of minor work were
a little better: sales of R479 000 were 79% of the low estimate
of R608 000, with 55 of 95 lots sold (58%). Top price in the
afternoon was just R29 120 for Adriaan Boshoff’s watercolour,
Cleaning the Catch (est R12 000-R16 000).
New work by Gavin Younge to be seen at Circa Gallery, Johannesburg
An overall gross of just under R7.1m was 64% of the low estimate
of R11.1m, while 130 lots sold were 54% of the total of 241.
The overall average price was R46 100 (est R54 500): R6 400 in
the afternoon (est R8 710) and R71 950 in the evening (est R88
100). The gross fell well short of the R14.67m (117% of the low
estimate of R12.57m) of the firm’s recent Cape Town sale, though
not so far off the 58% of the 324 lots sold then . Average prices in
Cape Town were about R15 180 for the minor sessions, just over
R261 000 for the main session, and about R78 600 overall.

Pandora Art Gallery

03 September-17 October, “Tanti Piccoli Robot” a group exhibition.
Opening 03 September by art critic and journalist Johan Myburg. The
exhibition, complemented by a performance by the Rynier Prins Jazz
Trio. The unusual house which serves as the exhibition venue is slated
for demolition (to offer its spectacular views of Pretoria to newer
developments), but has found an unexpected last gasp as a vibrant
cultural hub.
621 Berea Street, Muckleneuk, Pretoria. C. 084 997 3903
pandora.art1@gmail.com www.pan-dora.co.za

Platform on 18th
19 August-04 September, “Phive” a group exhibition. Paintings,
Drawings and Sculptures by Carl Jeppe, Ariana van Heerden, Johan
Nortje, Sotiris Moldovanos and Dylan T Graham.
09-25 September, “99 Cents” Spring Exhibition, 15 Illustration Art-
ists.
232 18th Street Rietondale, Pretoria. T. 084 7644 258
www.platformon18th.co.za Work by Johann Louw and Karin Daymond

Pretoria Art Museum

15 September-29 October, “Neo-Emergence” a group exhibition,
curated by Nthabiseng Rachel Montshiwa.
Until December, A selection of ceramics, representing the develop-
Painters Who Print
ment of studio ceramics and the work of traditional rural potters of
South Africa over the past thirty years, is on display.
a celebration of work from The Artists Press
A selection of artworks from the permanent collection of the Museum
tells a brief story of South African art from the time of the first San Painters Who Print is an exhibition that celebrates some of the worlds that cameras and lines cannot adequately capture. The com-
artists. artists who have worked at The Artists Press. Over the past twenty bination of texture, subject matter and colour when handled well
North Gallery and Preiss Hall, T.012 344 1807/8 years of pioneering lithography in South Africa, Mark Attwood almost punch one in the stomach, taking ones breath away.
art.museum@tshwane.gov.za www.pretoriaartmuseum.co.za has noticed that artists who are primarily painters tend to make the A selection of work that has been done over the years at
most exceptional prints. The Artists’ Press reveals aspects of this alchemy. See landscapes
St Lorient Fashion and Art Gallery This trend was perhaps first noticed nearly 150 years ago with the through the eyes of Kim Berman and Karin Daymond, studies of
31 July-18 September, “Celebrating Pretoria” a group mixed media Impressionist artists who were as revolutionary in their printmak- the human form and its frailties in the work of Johann Louw and
exhibition featuring mostly paintings. ing as they were in their painting. Robert Hodgins. Examine social issues with Penny Siopis and
stlorient@iafrica.com Judith Mason and wonder into the world of archetypes and the
Lithography is an extremely versatile technique and can be occasionally mythical with Deborah Bell and Colbert Mashile.
The Tina Skukan Gallery adapted to suit the work of most artists, however different their Look at women with Pat Mautloa and Andre Naude.
29 August-23 September, “Should I go?” a solo exhibition by Anita visions may be. From the reverse glass painting of Conrad Botes
Bodenstein-Booyens. “Stay”, a group exhibition featuring Adele to the veils of oil paint used by Judith Mason, their proficiency in South African painters who have worked at The Artists’ Press
Adendorff, Audrey Anderson and Belinda Donnelly. paint easily crosses to printmaking. reveal their vision in print form. Monoprints by some of the artists
6 Koedoeberg Rd, Faerie Glen, Pretoria. T. 012 991 1733 will also be exhibited.To see the work go to www.artprintsa.com
www.tinaskukangallery.co.za Drawing and a strong graphic sense are the techniques that most
associate with the world of original prints. Collectors are often The exhibition will be held at the following galleries:
Trent Gallery heard saying, Yes, but is it a real print. Is it an etching? The do- 1) North West University Main Gallery 26 August - 22 September
Until 02 September, “Barbie at 51” a group show. main of authentic prints extends beyond the edge of a copper plate. 2010, Potchefstroom
01-14 September, “Art to Save the Environment”. Original prints are so much more than exacting lines pressed into a 2) Aardklop National Arts Festival, NWU, Potchefstoom, 27
Opening Wednesday 01 September 6:30pm. Curated by Louis and sheet of paper. September - 2 October 2010
Stephen Marcus BFinn. Twenty-five of South Africa’s most promi- In painting it is often the gesture of the mark making, the sizzling 3) Gallery at Grand Provence, Franschhoek, November 2010
nent and exciting contemporary artists will be exhibiting works on the quality of the colours and subtle moods that paint handled by an 4) Association of Arts in Pretoria, April 2011
environment at Trent Gallery from 2 September. Artists include Diane expert can capture. What painting offers one is an insight into
Victor, Gordon Froud, Angus Taylor, Norman Catherine, Andrew
Verster, Kay Potts, Jan van der Merwe, Roger Ballen, Kim Berman
and Henriette Ngako. For every work received, an indigenous tree
will be planted in one of the poorer areas of Pretoria/Tshwane, be this
at a school or in a park.
15-30 September, “Pretoria Re-mastered”
Opening Wednesday 15 September 18:30. Curated by Erica Fraser.
The masters’ works will be exhibited at the same time at the Pretoria
Art Museum.
02-14 October, “Boudiccea Castings Studio Show” featuring Sanna
Swart, Kay Potts and Tiaan Burger.
198 Long Street, Waterkloof, Pretoria. T. 012 460 5497.
Trent.art@gmail.com
www.trent-art.co.za

Mpumalanga

White River

The Loop Art Foundry & Sculpture Gallery

Casterbridge Complex Corner R40 and Numbi Roads White River
T. 013 751 2435 www.tlafoundry.co.za
PAGE 08
Eastern Cape
East London
Ann Bryant Gallery
The Main Gallery
05 August-12 September, “Diesel & Dust” selected works by Obie Oberholzer.
The Coach House
Until 04 September, “The Peep Show” An exhibition of works in miniature.
13-16 September, East London High Schools Group exhibition of school
students work.
21-23 September, The work of adults who make use of the Belgravia Art
Centre will be on display.
30 September-16 October, a Solo exhibition of oil paintings of Eastern Cape
Landscapes by Chanelle Staude.
9 St. Marks Rd, Southernwood, East London. T. 043 722 4044
annbryan@intekom.co.za
www.annbryant.co.za
Port Elizabeth
Alliance Française of Port Elizabeth
During September, “Extra- Muros: Architecture of Delight”
17 Mackay Street, Port Elizabeth. T. 041 585 7889
portelizabeth@alliance.org.za www.alliance.org.za
Epsac Gallery
23 August – 17 September, “Love This Place – Buy it Take it” a mixed me-
dium group exhibition. (Upper Gallery)
30 August – 15 September, “EPSAC Annual – Group Exhibition” Mixed
Medium (Lower Gallery)
01-15 September, “Epsac 91st Annual”, multimedia group exhibition. (Lower
gallery)
17 September-01 October, a solo exhibition by Jennifer Crooks. (Lower Gal-
lery)
05-15 October, Retrospective solo exhibition by Ninetta Steer. (Lower Gallery)
18-29 October, Print, ceramics and mixed media by Lydia Holmes and Janice
Mendelowitz.
36 Bird Street, P.E. T. 041 585 3641
Montage Gallery
During September, Various painters, including Wehrner Lemmer, Nonnie
Roodt, Alida Bothma, Leonè Spies and Peter Midlane, complemented by
ceramics of Zizamele.
59 Main Road, Walmer, Port Elizabeth. T. 041-5812893
montage1@iafrica.com www.montagegallery.co.za
Nelson Mandela Metropolitan Art Museum
Permanent exhibition, “Art in Mind”
Until 10 October, “Ubuhle bentsimbi: The beauty of beads”
Until 12 September, “Pleased to meet you: South Africa, Gateway to Africa”
An exhibition of top contemporary South African art from the Nelson Mandela
Metropolitan Art Museum’s permanent collections, supplemented by a selec-
tion of works by contemporary African
artists. Until 05 September, “Endgame” by Michael MacGarry.
1 Park Drive, Port Elizabeth. T. 041 506 2000
www.artmuseum.co.za
Ron Belling Art Gallery
31 August-17 September, “Some day some how some place some people”
acrylic and mixed media by Marius Lourens. Opening 31 August @ 6pm with
guest speaker David Jones.
21 September-08 October, “Face to face: intimate conversations with 25
PE(ople)” photography and interview by Sandy Coffey. 30
Park drive, Port Elizabeth. T. 041-586 3973 www.ronbelling.co.za
Western Cape
Cape Town
38 Special Art Café and Studio
13 August-10 September, “Catch 2010”, a group exhibition.
All work that does not sell will be burned. Burning takes place on Friday 10
September @ 8pm.
T. 021 462 1348 082.307.7883
curator@38special.co.za www.38special.co.za
Absolut Art Gallery
Until 05 September, a group exhibition featuring works by
Carla Bosch, Corne Weideman and Wakaba Mutheki.
Shop 43 Willowbridge Life Style Centre, Carl Cronje Drive, Bellville, CT. T.
021 914 2846
info@absolutartgallery.co.za www.absolutart.co.za
Artvark Gallery
Until 30 November, Paintings by Lolly Hahn-Page and
Tammy Griffin.
During September, New work of the well-acclaimed Zimbabwean Artist
Wendy Roselli.
48 Main Road Kalk Bay, T. 021 788 5584
Artvark now also at the Cape Quarter, on the 1st floor
Alliance Française of Cape Town
During September, “Fleshy Wasteland” by Retha Ferguson.
155 Loop Street, Cape Town.
T. 021 423 5699
capetown@alliance.org.za www.alliance.org.za
/A Word Of Art
A WORD OF ART will be closed for the next few months to work towards the
next big group show and on the www.writeonafrica.org project
66 Albert rd, Woodstock Industrial Centre. T. 021 448 7889
rickylee@writeonafrica.com
www.a-word-of-art.co.za
The Arts Association of Bellville
25 August - 15 September, The Vuleka 2010 Competion.
GALLERY LISTINGS FOR EASTERN AND WESTERN CAPE
29 September- 21 October, a solo exhibition by Johan Coetzee, and a Jewel-
lery exhibition by Marlize Meyer, Jolene Kritzinger, Isabel Pfaff, Liz Dunstan-
Deacon, Nadja Bossmann and Diana Ferreira.
The Arts Association of Bellville, The Library centre, Carel van Aswegan
Street, Bellville. T. 021 918 2301 info@artb.co.za
www.artb.co.za/gallery.htm
Atlantic Art Gallery
A permanent display showcasing leading contemporary
South African artists.
25 Wale Street, Cape Town. T. 021 423 5775
AVA
23 August-17 September: MINI ME, AVA’s ArtReach Fundraiser. Opening @
6pm on Monday 23 August, Closes Friday 17 September @9pm. Established
and emerging Artists have donated miniature works to be sold for a set price
of R790.00.
23 August-17 September, “Composed” by Malcolm Dare.
“Mari Yebepa” by Gerald Machona.
Association for Visual Arts, 35 Church Street, Cape Town.
T.021 424 7436 art@ava.co.za
www.ava.co.za
Barnard Gallery
26 July- 15 September, “Beyond Boundaries” by Rachelle Bomberg.
55 Main Street, Newlands. Fiona@luxurybrands.co.za
Blank Projects.
29 July-01 September, “High Violet” by Mary Wafer & “Nomadic Structures
Digest” by Kerim Seiler.
09 September-02 October, “The Menippean Uprising” a
group exhibition curated by Pierre Fouché & Hentie van der Merwe.
Opening 09 September @ 6pm.
113-115 Sir Lowry Rd, Woodstock, Cape Town. T.072 1989 221 info@blank-
projects.com www.blankprojects.com
Cape Gallery
22 August-02 October, “Borders” the Cape Gallery annual Wildlife Exhibition.
Opened by Noel Ashton on Sunday 22 August @ 4:30pm.
60 Church Street, Cape Town. T. 021 423 5309.
web@capegallery.co.za www.capegallery.co.za
Carmel Art
Dealers in Fine art, exclusive distributers of
Pieter van der Westhuizen etchings.
Until 15 September, Works by Pieter van der Westhuizen will be sale at a 20%
discount.
During September, New Works by Derric van Rensburg
Relocation of their Claremont and Constantia galleries
is now complete visit the new gallery at the Cape Quarter Square – Cape
Town’s newest upmarket and trendy shopping mall where Leonard Schneider
and Beila are available to assist you.
Cape Quarter Square,27 Somerset Road Green Point
(on the first floor above the Piazza & restaurant level)
T. 021 4213333 www.carmelart.co.za
Casa Labia Gallery
14 August-30 September, “White Painting” new works by
Hermann Niebuhr. Opening 14 August @ 2:30pm.
192 Main Rd, Muizenberg. T. 021 788 6067
info@casalabia.co.za www.casalabia.co.za
Cedar Tree Gallery
17 August-30 September, “The Palette and the Palate” A wine-centric exhibi-
tion, with works of vineyards, events inspired by wine, perhaps works while
under the influence of wine and works using wine as a medium.
Rodwell House, Rodwell Road, St James, Cape Town.
T. 021 787 9880
cedartreegallery@gmail.com www.cedartreegallery.co.za
David Porter Antiques
Buyers and sellers of South African art.
T. 021 6830580/083 452 5862
david@davidporterantiques.com
The Donald Greig Bronze Foundry and Gallery
Opened on 25th August 2010 at West Quay Road, V & A Waterfront, Cape
Town. Donald Greig is a specialized wildlife sculptor and his sculptures rang-
ing in size from life-size to paperweights will be on display at the gallery. The
foundry will do a bronze pour on most days and the entire ‘Lost Wax Casting
Process’ can be viewed by the public through special glass windows.
The Nautilus Building, No.14 West Quay Road, V&A Waterfront, Cape Town
T. 021 418 4515
greig@intekom.co.za www.donaldgreig.com
Erdmann Contemporary /Photographers Gallery
Until 04 September, “Again & Again” a solo exhibition of new drawings and
paintings by Manfred Zylla.
09-25 September, “ORDA” by Kilmany-Jo Liversage.
Opening Wednesday 08 September @ 6pm.
63 Shortmarket Str., Cape Town T. 021 422 2762
galleryinfo@mweb.co.za www.erdmanncontemporary.co.za
Everard Read Gallery
Until 31 Jan 2011, “Untamed”, an installation by Dylan Lewis at Kirstenbosch
Gardens.
02-17 September, “Sight”, an exhibition by Arabella Caccia & Deborah da
Silva. “Sight” is the product of a collaboration between Arabella Caccia (a
painter and a sculptor) and Deborah da Silva
(a photographer).
16 September-15 October, “Bronzes 1980-1990” Percy Konqobe
Everard Read, Cape Town and Rose Korber Art, in association with the Dreyer
Foundation, Germany, present an exhibition of major bronze sculptures by
noted Gauteng artist and Sangoma,
Percy Konqobe.
3 Portswood Road, Victoria and Alfred Waterfront, Cape Town.
T. 021 418 4527 ctgallery@everard.co.za
www.everard-read-capetown.co.za
34 Fine Art
17 August-09 October, “New” a group exhibition celebrating 34FineArt’s
new gallery as well as some refreshing new works from the current inventory
BUSINESSART | SEPTEMBER 2010
sourced from a fact finding mission to Europe and the UK.
www.vgallery.co.za / www.34fineart.com C. 082 354 1500
Focus Contemporary
During September, Special winter menu of fine African art including works by
Karin Miller, Christian Diedericks and Simon Annand.
28 October-25 November, “Pretending to be Flesh” by
Christian Diedericks
26 November-26 December, “Spot” by Helen Sear
67 Long Street, Cape Town. T. 021 419 8888
info@focuscontemporary.co.za www.focuscontemporary.co.za
The Framery Art Gallery
Until 04 September, line work and photography by
Miche and Armien.
07-17 September, Celebrating 15th birthday with Stock Clearance Sale African
and South African artwork acquired over last 15 years works by Wiseman
Zwane, Xolile Matakatya,Mongezi Gaum,
Frank Ross to mention a few.
18 September, Auction from 10am-2pm
23 September-06 November, Patrick Mokhuane and Timothy Zantsi. Opening
23 September @ 7pm.
67g Regent Road, Sea Point. T. 021 4345022
G2 Art
01-15 September, “In Search of truth and Beauty” mixed media work by
Tanya Bonello. Opening evening Wednesday 1st September 2010. 6pm - 8pm
61 Shortmarket Street, Cape Town. T.021 424 7169
di@g2art.co.za www.g2art.co.za
Galleria Gibello Cape Quarter
Until end of September, “Heaven and Earth” by Caroline Gibello
Shop 31, Cape Quarter Square, 27 Somerset Road, Green Point.
T. 021 425 0439
Gallery F
Contemporary and archival South African Art.
221 Long Str., Cape Town T. 021 422 5246
info@galleryf.co.za www.galleryf.co.za
Gill Allderman Gallery
Works by Judy Conway - large abstract acrylic works on canvas and sensitive
woodcuts by Mark Lumala Williams. Donna McKellar’s Miniatures, plus
many other artists are showing on the walls of the gallery Dathini Myziya,
Gionvanna Biallo; Donovan Ward;
Willie van Rensberg
278 on Main Road, Kenilworth.
www.alldermangallery.co.za gallery@new.co.za or call 083 5562540
Goodman Gallery, Cape
02 September-04 October, “All Things being Equal” by
Hank Willis Thomas.
3rd Floor, Fairweather House, 176 Sir Lowry Rd., Woodstock,
Cape Town T. 021 462 7573/4
www.goodmangallerycape.com
Greatmore Studios
Until o3 September, “The Second Creative Photography Mentorship Exhibi-
tion”
47-49 Greatmore Street, Woodstock. T. 021 447 9699
info@greatmoreart.org www.greatmoreart.org
iArt Gallery
01-30 September, Recent monoprints by Colbert Mashile. Presented in Col-
laboration with The Artists’Press.
15 October-13 November, “Mad Art Moments” An exhibition in in support of
the Make a Difference Foundation. Featuring Sheena Rose.
71 Loop Street, Cape Town. T. 021 424 5150
www.iart.co.za
iArt Gallery Wembley
01-25 September, “Blight” by Marlise Keith.
29 September-06 November, “Patmos and the war at sea” by
Alistair Whitton.
Wembley Square, Gardens, Cape Town T. 021 424 5150
www.iart.co.za
The eagerly awaited Kirstenbosch Biennale 2010 opens on Sat 4 Sept at
Kirstenbosch Gardens. Image (detail) Lynda de Wet - Protea cynaroides.
See www.baasa.co.za for more details
 BUSINESSART | SEPTEMBER 2010
Infin Art Gallery
A gallery of work by local artists.
Wolfe Street Chelsea Wynberg T. 021 761 2816 and Buitengracht Str. Cape
Town T. 021 423 2090 www.infinart.co.za
Irma Stern Gallery
Until 18 September, Childrens’ Book Illustrations by Fiona Moodie. Artist
walkabout on Friday 3 Sept at 11am
Cecil Rd, Rosebank, Cape Town. T. 021 685 5686
www.irmastern.co.za
Iziko SA National Gallery
Until 03 October, “1910-2010: From Pierneef to Gugulective”
a re-hang of the entire gallery is being curated to showcase the very best of
South African art.
Until October, “US”
25 Queen Victoria Street, Cape Town 021 481 3934
Iziko Michaelis Collection
Until 11 September, “The lie of the land: Representations of the
South African landscape”
Iziko Michaelis Collection, Old Town House, Greenmarket Square, Cape
Town 021 481 3800 hproud@iziko.org.za
www.iziko.org.za
Joao Ferreira Gallery
02 August-04 September, “Works on Paper” by Beezy Bailey
70 Loop Street, Cape Town. T. 021 423 5403
info@joaoferreiragallery.com www.joaoferreiragallery.com
Kalk Bay Modern
15 August-31 October, “Point of Focus” photography exhibition. Pinhole
Photography with selected conventional photography. Jenny Altschuler, Glen
Green, Nic Bothma, Gavin Foley, Geoff Kirby, Dave Robertson, Leanette
Botha and Kevin Factor are some of the
photographers featured in the exhibition.
1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay.
T.021 788 6571
kbmodern@iafrica.com www.kalkbaymodern.com
Lindy van Niekerk Art Gallery.
10-17 October, The Lindy van Niekerk Art Gallery’s Annual
October Art Exhibition.
31 Kommandeur Road, Welgemoed, Bellville. T. 021 913 7204/5
www.artpro.co.za
Michael Stevenson Contemporary
29 July-04 September, “Permanent Error” photographs by Pieter Hugo; “The
Eclipse Will Not Be Visible to the Naked Eye” video, installation and prints by
Dineo Seshee Bopape; “Noreturn” a film by Dominique Gonzalez-Foerster as
part of the Forex Series.
09 September-16 October, Solo exhibition of new paintings, drawings and
photos by Zander Blom.
09 September-16 October, DJ Spooky (As part of the FOREX
project series)
Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Cape Town.
T. 021 462 1500
info@michaelstevenson.com www.michaelstevenson.com
Michaelis Art Gallery
27 July-03 September, “reGeneration 2” Tomorrow’s Photographers Today
University of Cape Town, 31-35 Orange Street, Gardens.
Cell: 083 367 7168 www.michaelis.uct.ac.za
Raw Vision Gallery
11 Feb-14 Sep 2010, “African Odyssey” 20 Internationally acclaimed photog-
raphers exhibiting.
89 Sir Lowry Rd, Woodstock,
info@rawvisiongallery.com www.rawvisiongallery.com
Rose Korber Art
01-14 September, Continuation of exhibition:
“Celebrating South Africa”
16 September-15 October, “Bronzes 1980-1990” Percy Konqobe Everard
Read, Cape Town and Rose Korber Art, in association with the Dreyer Foun-
dation, Germany, present an exhibition of major bronze sculptures by noted
Gauteng artist and Sangoma, Percy Konqobe. Venue Everard Read, Cape
Town, 3 Portswood Road,
V & A Waterfront. T.021 418 4527 :
www.everard-read-capetown.co.za
20 October-20 November, “Abstraction and Meaning” by J P Meyer.
48 Sedgemoor Rd, Camps Bay, Cape Town T. 021 438 9152 Email: roskorb@
icon.co.za www.rosekorberart.com
Rust-en-Vrede Gallery
10 August - 02 September, Works by Heidi Ansley of Piet-my-Vrou Mosaic
studio, Elizabeth Miller-Vermeulen presents a series of works in oil.
In THE CUBE in the Clay Museum well-known potters from the Eastern Cape
exhibit “Wildly Colours”
07-30 September, Cristiaan Diedericks, Judy Woodborne and
Corlie de Kock, in 3 solo exhibitions, exhibit works in mixed media.
10 Wellington Rd, Durbanville.T.021 976 4692
www.rust-en-vrede.com Opening speaker : Jeffrey Oestreich (American Master Potter)
Salon 91
04 September-02 October, “Whitespace” a group exhibition of sculpture,
drawings, print and mixed media featuring Lee-Ann Boulter, Mareliza Nel,
Cara van der Westhuizen, Zelda Weber and Bianca Weingartz.
91 Kloof Street, Gardens, Cape Town. T 021 424 6930
info@salon91art.co.za www.salon91.co.za
South Gallery
Showcasing creativity from KwaZulu-Natal including
Ardmore Ceramic Art.
Ground Floor. Fairweather House, 176 Sir Lowry Rd, Woodstock,
T. 021 465 4672 info@southgallery.co.za
South African Print Gallery
Until 08 September, “Memory, Myth & Ritual” works by Eunice Geustyn.
107 Sir Lowry Rd, Woodstock, Cape Town. T. 021 462 6851
info@printgallery.co.za www.printgallery.co.za
GALLERY LISTINGS FOR EASTERN AND WESTERN CAPE Page 09
These Four Walls Fine Art
22 September-09 October, “Somebody Suit” by Jane Henderson
Oudstshoorn
T. 021 447 7393 Cell. 079 302 8073
Artkaroo Gallery
janet@thesefourwalls.co.za www.thesefourwalls.co.za
From 05 August, “Woman” by artists from the Klein Karoo region, such as
Janet Dixon, Hannelie Taute, Ramona Van Stavel, Ina Marx, Mariette De Vil-
Waterkant Gallery
liers, supported by a collection of Francois Tiran’s female nudes.
29 July-08 September, “Bollywood!” Bollywood! captures the truly unique
26 September-03 October, “Maak Jouself Tuis” an expression of the artistic
spirit of Bollywood past through its iconic and instantly recognisable poster
soul through the medium of the chair; functional & funky art by Karoo artists.
art. Bollywood! revisits the true film greats from the 50s to the 70s through a
Also featuring fine Karoo art in landscapes, figurative and abstract. Exhibition
series of original, vintage posters.
opens 26 September @ 4 PM. This exhibition coincides with Klein Karoo
09 September-20 October, “Die Dam and Other New Work” by Cirkine Rous-
Klassique Festival.
souw. Opening Thursday 09 September 5-8pm.
107 Baron van Reede Oudtshoorn,
123 Waterkant Street, Cape Town. T. 021 421 1505
T. 044 2791093
info@waterkantgallery.com www.waterkantgallery.com
janet@artkaroo.co.za www.artkaroo.co.za
Wessel Snyman Creative
23 September-13 October, “Dare to Dream in Silent Moments” An exhibition Paarl
of painting, drawing, installation, performance art and mixed media by Lucy
Skinner, Janet Botes & Roxi Bredenkamp. Performance art on the opening Hout Street Gallery
night at 8pm. Also featuring jewelry by Inkheart Design. Opening September 29 July-30 September, “The Winter Gala”
23 @7pm. 270 Main Street, Paarl. T. 021 872 5030
17 Bree Street, Cape Town. T. 021 418 0980. zetler@icon.co.za
wesselsnymancreative@gmail.com www.houtstreetgallery.co.za
What if the World…
02 September-02 October, “Life is Short” solo exhibition by Stellenbosch
Peter Eastman.
First floor, 208 Albert Rd, Woodstock, T.021448 1438 Art on 5
www.whatiftheworld.com Permanent exhibition of paintings and ceramics by Maryna de Witt, Pera
Schillings, and Karen Kieviet.
Worldart Gallery 7b Andringa Str., Stellenbosch
26 August-12 September, “The lion’s Den” by Michael Taylor. T. 021 887 7234
18 October–08 November, “Un-mute my tongue” A solo exhibition of new
paintings by Ayanda Mabulu Glen Carlou Estate
54 Church Street, Cape Town. T.021 423 3075 On exhibition is The Hess Art Collection, including works by
charl@worldart.co.za www.worldart.co.za Deryck Healey, Ouattara Watts and Andy Goldsworthy.
Simondium Rd, Klapmuts T. 021 875 5314
Youngblackman Gallery www.glencarlou.co.za
From 25 August, “Who’s abjet now bitch?”
by Andrew Lamprecht and Jonathan Kope. SMAC Art Gallery
69 Roeland Street, Cape Town. T. 083 383 0656 09 – 25 September, “Index. Leading Works from the Sanlam Art Collection”
www.youngblackman69.com (1st Floor, De Wet Centre, Stellenbosch)
02 September – 10 October, “Pre-Green” by Barend De Wet at Nirox
Foundation Project Space (Arts on Main Cnr Main & Berea Street,
Franschhoek Johannesburg.)
30 September – 28 November, “Green” by Barend De Wet. At Smac.
Galerie L’ Art (1st Floor, De Wet Centre, Stellenbosch) The exhibition will feature a
A permanent exhibition of old masters. combination of recent and older works; sculpture, painting and performance.
Shop no 3, The Ivy, Kruger Str., Franschhoek De Wet centre, Church Street, Stellenbosch.
T. 021 876 2497 www.galart.co.za T. 021 887 3607
www.smacgallery.com
The Gallery at Grande Provence
29 August-06 October,”andWhatnow?” the third part of its trilogy of exhibi- The Studio Gallery
tions opening on Sunday 29, August at 11h00 with Wilma Cruise as the open- Until 15 September, “Personal Playground” Stephen Rautenbach, well known
ing speaker. AVE BRITS will be the first exhibiting artist in The Project Room Stellenbosch sculptor is exhibiting his latest theme work along with surreal-
and our two guest artists are ist/ultra realist painter, William Parkin. Small sculptures by emerging sculptor
Graeme Williams and Andries Botha. Ariella Kuper will auction Letter Maqabuko are an added feature to the exhibition.
Lise Hanssen’s “The Baiting Tree” photographic works at 12:00. 44 Church Street, Stellenbosch. 021 682 7005.
Main Road, Franschoek. T. 021 876 8600. stephen.studiogallery@gmail.com
gallery@grandeprovence.co.za www.bronzeart.co.za
www.grandeprovence.co.za
Tokara
Hermanus From 15 October, TOKARA winery will launch its fifth annual Wine Made
Art series at the National Art Gallery in Cape Town, featuring works by young
artists from the Cape – all students from the Fine Arts Division of the Visual
Abalone Gallery
Arts Department at the University of Stellenbosch. The public can view the
Until 30 September, El Loko (Togo) In Search of Traces-Woodcuts and
artworks at the winery after the launch where they will be exhibited until the
sculptures.
end of December 2010
In The Main Gallery: A selection of works by Titia Ballot, Lien Botha, Christo
Crest of Helshoogte pass on the R310 between
Coetzee, Hannes Harrs, Elzaby Laubscher, Carl Roberts, Lynette ten Krooden.
Stellenbosch and Franschoek. T. 021 808 5900
2 Harbour Rd, The Courtyard, Hermanus. T.028 313 2935
www.tokara.com
info@abalonegallery.co.za www.abalonegallery.co.za
US Art Museum
Artists on Route 44 at the Fernkloof Nature Reserve
8– 30 September, Works by Conrad Theys.
08-12 September, The group produces woven articles, paintings in oil, acrylic
16 September – 1 October, Le Spectacle de Terroir.
and watercolour, leather art and ceramics.
Opening 16 September @ 6:30pm.
Knorhoek Wine Estate will be supporting them with a wine tasting which will
Cnr of Dorp and Bird Streets, Stellenbosch
take place on Friday 10 September from 5pm and wine orders may be placed
T. 021 808 3524/3489
at the exhibition throughout the duration.
Enquiries 028-271 3236 or kriki@sonicmail.co.za
Ceramics Southern Africa (Western Cape Region) Cordially Invites
You to the Opening of the 2010 National Ceramic Exhibition
Opening : Sunday 10 October 2010 at 11h00
Main Road Franschhoek
PO Box 102 Franschhoek 7690
The exhibition will run until 24 October 2010 Western Cape
Preview by appointment | Curator : Johann du Plessis South Africa
T + 27 21 876 8630
F + 27 21 876 8601
gallery@grandeprovence.co.za
The Restaurant at Grande Provence
For reservations : T +27 21 876 8600 F +27 21 876 8601
www.grandeprovence.co.za
Colbert Mashile 2010, monoprints,
56 x 76 cm.
Printed by The Artists’ Press
To be seen at iArt.
E-mail us your Gallery event and happening details to: show@arttimes.co.za
PAGE 10 GALLERY LISTINGS FOR KZ NATAL. PETER MACHEN’S ART COWBOY COLUMN BUSINESSART | SEPTEMBER 2010

Kwazulu- Natal Elizabeth Gordon Gallery

During August, September, A selection of Black and white signed
Tatham Art Gallery
08 June-26 September, “Jabulisa 2010
limited edition botanical photographs by Lisa-Jane Hamlin. The art and craft of Kwazulu-Natal.”
Durban During September, Works by Nora Newton. Until 26 September, First floor Exhibition Rooms:
120 Florida Rd., Durban. T. 031 303 8133 eqqart@iafrica.com The Whitwell Collection 1923-1926.
The African Art Centre www.elizabethgordon.co.za Until 26 September, Perimeter Gallery: Gallery Permanent
08-23 September, “Celebrating the Living Legends of Collection 1903-1974-works that are part of the Storm in the
KwaZulu Natal” KZNSA Gallery Wheatfield-an anthology of the Gallery history.
94 Florida, Durban. T. 31 312 3804/5 Until 05 September, Masuga’ by Rogan Ward, Deborah van Niekerk Cnr of Chief Albert Luthuli (Commercial) Rd. and Church Str.
africanartcentre@afri-art.co.za www.afriart.org.za and Caroline Birch. ‘Urban-Vermin’ by Michelle Silk. ‘Lingua (Opposite City Hall) Pietermaritzburg
Franca’ by Richard Hart. T. 033 342 1804 www.tatham.org.za
ArtSPACE Durban 14 September-09 October, all Galleries:
23 August-11 September, “All Shades of Brown” a solo exhibition by MTN new contemporaries award
Sandira Reddy; A Time to Love” by Sibusiso Duma; nominated artists are Donna Kukama, Kemang Wa Luhelere, Stuart
“The Road Less Travelled” by Di van Wyk. Bird and Mohau Modisakeng with appointed curator Nontobeko
13 September – 2 October, “Adornment in Borderland” by Ntombela. Opening 14 September @ 6pm.
Roz Cryer; “Urban Angel” by Caroline Birch 12- 31 October, Works by Conrad Botes
17 – 19 September, Fourth Annual Contemporary Art Sale-ArtWorks main, mezzanine, and park galleries)
Gallery at KwaNyoni in Hilton. C. 0834775599 166 Bulwer Rd., Glenwood. T. 031 2023686
4 – 16 October, Works by Steve Mandy www.kznsagallery.co.za
3 Millar Road, Stamford Hill, Durban. T.031 312 0793
info@artspace-durban.com www.artspace-durban.com
Ballito
Crouse Art KZN Gallery
Imbizo Gallery
During September, “The Soul of a Woman” by
09 September-30 October, “Spring Splashes” featuring
Helene Wagenaar and Este Mostert.
Matt Donaldson, Natasha Barnes, Leona Sykes and Jenny Meyer.
254 Windermere Road, Morningside, Durban.
Imbizo Gallery, Shop 7a, LifeStyle Centre, Ballito. Next to Beira Alta
T. 031 312 2315 www.crouseartkzn.co.za
T. 032-9461937
info@imbizogallery.co.za
Durban Art Gallery
From 03 September, “Red Eye Jomba” Renowned for its platform of
showcasing performance art, fashion, dance, music and everything in Margate
between, this special JOMBA! edition of RED EYE will dazzle audi-
ences. Featuring almost a hundred performers and based around the Margate Art Museum
notion of “The Body Politic” Museums art collection on display.
15 September-07 November, Standard Bank Young Artist 2010: T.039 312 8392 C.072 316 8094
Michael MacGarry. huey@hcm.gov.za
Until end September, “The Dreams for Africa Chair” Photographic
journey of the Woza Moya chair. “Conflicting Contexts” Work drawn
from the permanent collection curated by Vaughn Sadie.
Pietermaritzburg
2nd Floor City Hall, Anton Lembede St (former Smith St) Durban
The Blue Caterpillar Art Gallery
T. 031 311 2264 strettonj@durban.gov.za
01 – 30 September, oil paintings and lithographs by international
Durban University of Technology Art Gallery
Spanish artist- Didier Lorenco.
01-15 September, “Harbouring Histories” Various Artists at Durban
01 -30 October, oil paintings of Midlands farms and rural
University of Technology (DUT) Gallery.
settings by Charmaine Eastment.
The exhibition will be opened by Professor Graham Stewart (Deputy
The Blue Caterpillar art gallery at Butterflies for Africa
Dean, Faculty of Arts and Design, Durban University of Technology)
37 Willowton Road, Pietermaritzburg. T. 033 387 1356
on the 1 September. (Top) Michael Silk, City Loft 1, Mixed media. Richard Hart: So into you, 357
art@butterflies.co.za or bluecaterpillarart@hotmail.com
Durban University of Technology (DUT) Gallery, Steve Biko magnum cartridges, steel. Both are showing at The KZNSA Gallery, Durban
www.artsales.co.za
Campus. T. 031 373 2207 nkosinathig@dut.ac.za

Peter Machen
Janine Zagel is, among other things, the assistant of acclaimed
sculptor Andries Botha. But you wouldn’t necessarily know that
from the scores of Botha-related mails she sends out through the
cybersphere – she never signs or identifies herself as thus. You
might instead conclude that she’s some kind of discipline, imbued
with the persistence and ubiquity of of a Reuters news feed.
Meeting Janine in person, she is indeed something of an acolyte.
You can see it in her eyes. But while her devotion to Botha is
obvious, it’s her dedication to his artistic output that is particularly
intense. A few weeks ago, Zagel sent out one of her many missives
regarding Botha’s work. This one mentioned that the form of the
new Shaka which would replace Botha’s previous sculpture at
King Shaka International Airport had ostensibly been decided – it
was to be based on a drawing of the famous Zulu leader rendered
in the early 19th century by Lieutenant James King, one of the first
merchant settlers in what was then called Natal.
So, it’s kind of funny, given the general concern about ownership
of imagery in the towers of power at the moment, that either way,
Shaka’s imaging is defined by a white man, though in this case it’s
one of the early colonialists rather than the son of an Afrikaans
railway worker who, like Shaka, has risen to great things from a
challenging beginning. And I can’t help wondering if anyone on
the panel appointed to ponder the matter considered the possibility
that King might have been expressing his own set of colonial-era
prejudices in his drawing of Shaka Zulu – a drawing that is the
only surviving image we have of the Zulu king that was created in
his lifetime, and whose authenticity is suspect.
While it’s troubling that the warring image of Shaka is the only
one that is deemed iconic enough to hold sway, what concerns
me more is the notion that anyone, even the Zulu Royal Family
who are presumably descendents of the king, can lay claim to the
ownership of Shaka or any other aspect of our collective history
and culture. The Zulu leader is so shrouded in myth, legend and
competing histories, that he is little more than a cypher on which
we project our own constructions of the world. More than two
centuries after his death, he belongs to all of us. Suggesting that
the Royal Family – or the ANC – or the people of KZN – or the
Zulu people – own Shaka or his image is ludicrous. The Louvre,
for example, might think that they own the Mona Lisa, but they
surely don’t. Again, we all do.
And those who think they’re in charge of the Shaka ‘brand’ might
not enjoy Max de Vreez’s chapter on Shaka in Of Warriors, Lov-
ers and Prophets, his compassionate and illuminating collection
of local histories, in which he suggests that the mother-complex
laden Shaka (the one thing we do seem to know with certainty
about him) was possibly homosexual and also concerned with the
relative smallness of his prepubescent penis (it grew to a normal
size according to Du Preez, but only late in adolescence).
But those who are offended by what they see as inappropriate im-
aging – and I imagine that there are those whose gut will respond
to the idea that Shaka might have been a poofter with the same
queasiness that devout evengelical christians experience when
people call their god into disrepute – need to open their minds and
heart to the notion of multiplicity, to the fact that none of us should
be allowed to have the final word. It is significant that similar dis-
cussions have been happening around the image of Mandela, with
talk of ownership being ceded to the state after his death.
It is relevant also that these things are happening at the same
time that the ANC-led government is trying to control the flow
of information in the press (although they say they aren’t). Then
there’s the signing into law at the end of last year of the Films and
Publications Amendment Act 3 of 2009 which expects that all
published matter that might be seen to violate human dignity* be
passed before the Film and Publications Board prior to publica-
tion, except for those newspapers registered with the Press Om-
budsman. The act has dramatic implications for publications such
as SA Art Times, precisely because art often explores the edges
which make the Board perhaps justifiably uncomfortable. But just
because their discomfort is justifiable, it doesn’t mean that acting
on that discomfort is. It does mean however that the editors of this
paper could go to prison for five years if they publish an image
from an artist that is deemed to have gone too far in the eyes of the
authorities,
All of this is about trying to mould our values and morality
(although hopefully not in the image of our leaders). Just like the
National Party. Except it didn’t work too well then, and if no-one’s
noticed, the world has changed a little since. Imprison the press
– look, there’s the internet. Cut off specific web sites – look,
there’s a proxy ISP or a piece of privacy software. Ban a peer-to-
peer network. Oh look, there’s another one. The game is over.
While these restrictive laws and attitudes are an absolute affront
on the the freedom of speech guaranteed by our Constitution, and
will no doubt be challenged in the Constitutional Court, they’re
also pretty much useless in their objective of controlling images of
sex and violence. While I can’t imagine too many child pornog-
raphers going to the Film and Publication Board for permission
to publish, neither can I imagine Gabriel Clark-Brown doing so.
Or that matter, Sean O’ Toole, the editor of Art SA . I suspect they
have other things on their mind.
(*More specifically: “any material that contains sexual conduct
which violates or shows disrespect for the right to human dignity
of any person; degrades a person; constitutes incitement to cause
harm; advocates propaganda for war; incites violence or advocates
hatred based on any identifiable group characteristic and that
constitutes incitement to cause harm”.)
 BUSINESSART | SEPTEMBER 2010
Various Artists at Iziko Michaelis Collection, Cape Town. Until 11 September 2010
By Amy Halliday
First published on Artthrob.co.za
Dealing with an incredibly complex tradition within the confines
of a tight budget, Michael Godby’s ‘Lie of the Land: Representa-
tions of the South African Landscape’ at Iziko’s Old Town House
is a tightly-curated exhibition with clear, yet unreductive narrative
flow, articulate but unobtrusive wall texts, and a wide range of
work selected and set in productive dialogue to voice a multitude
of visual and ideological conversations. Its title, ‘The Lie of the
Land’, foregrounds the manner in which the contours of Land-
scape – the conventions through which land is mediated – are
never neutral but always attendant on power dynamics.
The lie of the land depends on the point of view from which it is
marked, measured and mined for its natural and socio-political
resources. In the erudite catalogue accompanying the exhibition
(which includes several significant pieces by scholars of envi-
ronmental, political and art history) and used as an educational
resource for the many schools that are visiting the show, Godby
traces the establishment of the genre of Landscape painting in
Europe alongside the European settlement of South Africa, for
the genre, ‘like mapping, represents a means of taking control of
space’.
Penny Siopis: Installation view of exhibition entrance, with Penny Siopis’s
‘Terra Incognita’ (1991) , Oil and collage on board, Painting courtesy of
Johannes Stegmann Art Gallery, University of the Free State
Entering the exhibition, one’s immediate attention is drawn to
Penny Siopis’s vivid Terra Incognita (1991). Here, the exploitation
of the land is coterminous with the exploitation of its indigenous
peoples – it is literally built, in the painting, on the back of a black
female figure – as signalled through the ground of representation:
layers and layers of cut-out figures and infrastructure from apart-
heid-era textbooks. The surface terrain of painting is activated
by the partly obscured palimpsest of the past: the South African
Landscape formed through the dynamic strata of history, memory
and representation. Siopis’s work thus strategically locates many
of the concerns that will be addressed in the course of the exhibi-
tion.
The exhibition is organised according to five overlapping themes.
These speak across and undermine any linear narratives of the
colonial to the contemporary, and include a remarkably repre-
sentative sample of the genre as a whole. This is particularly
evident with regard to late nineteenth and early twentieth century
works (by artists both well-known and relatively neglected by art
historical enquiry). The visitor begins with ‘Interfaces’, in which
Godby positions Landscape as the threshold of different systems
of knowledge, each of which variously cast the land according to
its own terms of reference. Landscape becomes, for example, a
way of understanding the space that lies between the known and
the unknown, best figured in paintings and maps depicting barri-
ers to passage, behind which lies the familiar and beyond which
stretches terra incognita (such as Nils Anderson’s Crossing the
Berg, 1939, which serves to commemorate and validate the Great
Trek).
The wilderness is also constructed, on the one hand, as fearsomely
hostile or awe-inspiringly sublime (seen, for example, in Robert
Hodgin’s Wilderness, 2009, Jo Ratcliffe’s photolithograph Nadir,
1988, or Regina Buthelezi’s tapestry Once There Came a Terri-
ble Beast, 1960s) and, on the other, as Arcadian (such as Samuel
Danielle’s early nineteenth century vision of A Kaffer Village,
in which the amaXhosa have been rendered according to classi-
cal ideals). Landscapes are also invested with both secular and
spiritual resonances, a theme which Sandra Klopper explores in
her catalogue essay.
Thomas Baines: Gold and Ivory: Elephants Charging over Quartzose
Country 1874, Oil on canvas, Sanlam Collection
SHOW REVIEW
The Lie of the Land
Having visited institutional and private collections around the
country, Godby has unearthed some extraordinary images. One
such is Thomas Bowler’s leading of a group of art students into
the Berg River (From the Centre of the Berg River, Paarl, 1861),
intent on inundating them with the beauty of creation. Thomas
Baines’s Gold and Ivory: Elephants Charging over Quartzose
Country (1874), with its vivid colours and detail which rush
towards the viewer, reveals that nature, even at its ‘wildest’, had
already been marked and measured according to how it could
be harnessed. While many of the nineteenth and early twentieth
century images are seen through colonial eyes, Godby also draws
attention to how black artists worked within, appropriated, and
interrogated largely western conventions for depicting Landscape,
including works by, among others, Gerard Sekoto, Gerard Bhengu
and Moses Tladi.
Situated in the transitional spaces in and around the stairwell are
artworks dealing with ‘Contestations’, all of which summon the
spectres of dispossession, violence and conflict that haunt South
Africa’s present in the face of its colonial and apartheid past. God-
by here invokes William Kentridge’s assertion that ‘Landscape
hides its history... Scenes of battles, great and small, disappear, are
absorbed by the terrain, except in those few places where memori-
als are specifically erected, monuments established, as outposts, as
defences against this process of disremembering and absorption’.
David Goldblatt’s Crosses erected on 16 June 2004, mounted off
the N1 near Polokwane, appear almost as theodolite markings on
the photographic surface (recalling Kentridge’s Colonial Land-
scape series) – but here their geometric regularity is used to appor-
tion physical and psychic space to memory, to mark the landscape
as a site of violence buried, but not forgotten.
Cecil Skotnes: Visit to a Battle Site 1974-5, Acrylic on canvas on wood,
Iziko South African National Gallery
Set alongside Cecil Skotnes’s Visit to a Battlesite (1974-5), where
the formal distortion and scale of the work makes it impossible
to tell whether the figures in the landscape are live agents or
buried corpses, and echoed above on the landing by Kim Ber-
man’s dimly-lit Landscape of the Truth Commission (1998) and
Paul Stopforth’s haunting Altarpiece for Thomas Kasire (1983),
in which the rocks all but hide an ephemeral figure, the curation
evocatively establishes the link between landscape, violence and
traumatic memory.
Reaching the top of the slightly shadowy staircase, the mood
shifts as one enters the light-filled upper room of the Old Town
House. One side examines the various ‘Inventions’ projected onto
South Africa’s land according to shifting sentiment and rhetorical
strategy, from meditations on nature in harmony to images imbued
with variously colonial, Afrikaner and black nationalism. Godby
sets up a particularly compelling sequence of agricultural images
to demonstrate how labour on, and cultivation of, the land is natu-
ralised as a validation of property rights. The series culminates in
Pieter Hugo’s stark and monumental effigy of waste: Discarded
Tomatoes and Chillies in the Veld, Messina/Musina (2007).
Various Artists: Installation view of Goldblatt photograph and Schutz
sculpture , Silver gelatin print on paper (photograph), and gelutong and
paint (sculpture),
The other side of the room (leading into several smaller spaces)
reflects on mankind’s myriad ‘Interventions’ into nature. Com-
munication and transport systems, border and boundary lines, are
revealed as integral to the process of owning and controlling the
land. These interventions range from the stark intrusion of barbed
wire in Robert Watermeyer’s Border Control Fence, Beit Bridge
Page 11
Port of Entry, 11th September 2008 (2008), alluding to contempo-
rary anxiety over immigration, or that of the railroad scarring the
undulating landscape of Irma Stern’s Umgababa (1922), reflecting
the ravages of industrialisation wrought on nature and people, to
the more naturalised order established in the suburban garden. The
latter is, in a moment of wonderful curatorial whimsy, demon-
strated through the echoed diagonal between a nude resident
intently mowing his lawn in David Goldblatt’s Saturday Afternoon
in Sunward Park, April 1979 (1982) and Peter Schütz’s painted
jelutong sculpture of a Suburban Garden and Home (2000), which
juts out from the wall below it.
In the final section of the exhibition, ‘Interrogations’, Godby ques-
tions the genre’s problematic formal and ideological history. Many
of the works deal with the specific formal techniques and modes of
viewing which frame our understanding of the land. For example,
Gavin Younge’s In Camera (2010) places the camera itself in front
of the objectifying lens, and Keith Dietrich’s Horizons of Babel:
Hottentotsberg (2005) presents a series of painted fragments ar-
ranged to present the illusion of a photographic panorama – with
its attendant truth claims and authoritative viewpoint – that has
been stitched together like a tourist montage.
Brett Murray
Empire 1997, Wrought iron, glass, soil and photograph
MTN Art Collection
A beleaguered Pierneef bears the brunt of it all; from Avant Car
Guard’s irreverent encounter with the artist’s grave to Wayne
Barker’s Super Boring, which announces Pierneef’s contemporary
irrelevance (despite the continued commercial success of his work
within the art market) with neon tubing affixed to an upside-down
and graffiti-defaced caricature of Pierneef’s trademark tree (the
original of which sold for £14 million on a recent London auc-
tion). Even Brett Murray’s Empire conjures up Pierneef’s late
woodcuts. Installed above the old colonial Town House’s hearth,
the work links the wrought iron contours of the land to ideologi-
cal edifices. The materiality of South Africa’s soil (in a jar which
also contains fragments of pottery as a cipher of the breadth of
time interred by the landscape) is subordinated to the rhetoric
of its framing in the image alongside the shiny commemorative
plaque to Empire. The techniques of oil painting, photography and
print-making – the cultural capital they carry and the command-
ing views they encompass – are particularly implicated in these
interrogations.
Given the imbrication of these media with the genre of Landscape,
one thing the exhibition lacks is much beyond these media in the
way of sculpture, video and installation work. While this deci-
sion may have been due to the nature of the exhibition space, one
can’t help but wonder whether the small adjoining rooms in which
Godby explored permutations within specific themes could have
been more productively used as spaces for showcasing video and
installation works that ‘think’ Landscape differently. What about
a site-specific sound intervention by James Webb? A topographic
installation by Sean Slemon? Video works by urban geographer
Ismael Farouk, one of Dan Halter’s Space Invader pieces, or Berni
Searle’s recent meditations on the interrelationship of land, history,
identity and memory (I’m thinking here of Alibama, which speaks
to many of the exhibition’s concerns)? These would provide a
provocative counterpoint to the largely two-dimensional offerings
arranged against the museum’s walls, producing both formal and
spatial variety for the visitor to negotiate, as well as a different
way of seeing and, in turn, knowing the land.
That said, this is an extremely comprehensive exhibition, which
manages to deal with a large and complex tradition in a coherent
and scholarly, yet nonetheless accessible, manner. Following on
from Godby’s examination of the genre of still life in the 2007-8
exhibition Is There Still Life?, this exhibition is a milestone in the
ongoing examination of South African visual history. In the midst
of ongoing land disputes, the rise of racialised nationalism and
xenophobia, and the ravages of the land being wrought by climate
change, it is an exhibition which poses durable questions about
the place and power of art: it thus demands – and deserves – our
attention.
Mikhael Subotzky and Patrick Waterhouse
Landscape, Ponte City, 2008. C-Print on dibond .
PAGE 12
The ever radiant Antonia Labia enjoys sharing her familay home with guests
Casa Labia, Muizenburg, an abundence of warmth, love and hospitality
Lloyd Pollak visits the recently reopened Casa Labia, home of the Labia family to discover a living warth of love for the arts, a refind cultural delight as well as a buzzing resturant
There are a handful of house museums in Cape Town that project
visitors into alternative visual universes worlds away from the
caution and timidity of colonial Anglo-Saxon decor and the stran-
glehold of what John Betjeman described as ‘ghastly good taste’.
The Irma Stern Museum, for instance, flies a defiantly foreign flag,
and its vibrant colours, heavily carved medieval and Renaissance
furniture, bold expressionist paintings and primitive tribal artifacts
are robust expressions of Irma’s detestation of staid convention.
The Casa Labia too represents a different culture and a different
tradition, yet its origins are deeply rooted in early 20th century
South African history. In 1917 Count Natale Labia was ap-
pointed Italian Consul to Johannesburg, and subsequently became
Consul general in Cape Town, where he met the lovely heiress,
Ida Robinson, the daughter of the mining magnate and rand-lord,
Sir J.B. Robinson. After a traditional Edwardian courtship, the
two inamorati wed in 1921, and when the Count was appointed
Italy’s first minister plenipotentiary, he and the Countess, decided
to leave the Robinson residence, Hawthornden, and build a home
of their own.
Friends Lionel Davis and Peter Clarke enjoy a conversation before setting
off. Both artists participated in the first show at the Labia Art Gallery.
The Casa Labia fulfilled a dual function: it was both a family
home and a formal, ambassadorial residence that projected an
Italian style and character. The Count had long-standing family
ties with la Serenissima, and thus it was decided that Casa Labia
should reflect the spirit of 18th century Venice.
Architecturally the Casa is characterized by a split identity. The
interiors are feminine, luxuriously sensual and decisively Vene-
tian, but, despite Cisalpine touches – the terracotta tiled roof,
arches, classical balustrades and fluted columns - the façade and
exterior are rugged versions of the imperial classicism associated
with Sir Herbert Baker.
Majestically enthroned upon a lofty podium of rusticated stone,
the Casa soars above the rocky coastline below. Height lends it
consequence and dignity, and opens up sweeping marine vistas
that extend all the way to the Hottentot’s Holland mountains fifty
miles away.
CASA LABIA CULTURAL CENTRE
All photographs: Jenny Altschuler
Princess Ida Labia by Edward Roworth, the Cape’s leading painter at the
time graces the stairway to the gallery.
The undeniably imposing character of the Casa is offset by its
suave cordiality. The flowing curves of the double return staircase
sweep one storey upwards, and lead the visitor into the project-
ing loggia with the grace of a liveried footman. The scrolls and
arcs in the tall segmented windows offset rigidity with fluid
curves. Twirling wrought iron lamps, window-bars and gratings,
a little grotto and fountain at the centre of the first landing, and
the tumbling yards of gossamery white voile in the festoon-draped
windows introduce a note of impish fantasy into the ensemble.
The Labia’s, a wealthy clan of ennobled merchants of Hispanic or-
igin, built their Venetian seat, the Palazzo Labia, from the 1700’s.
This grandiose baroque edifice was one of the last great palazzi of
the Serenissima’s golden Age, and it is a non-pareil inasmuch as it
boasts three principal facades, instead of one. The first overlooks
the Grand Canal; the second, the Campo San Geremia, while the
last gives onto on a broad, pedestrian thoroughfare. The palaz-
zo’s principal glory is a vast ballroom decorated by Tiepolo with
dazzling illusionistic frescoes depicting the amours of Anthony
and Cleopatra.
The Casa provides an echo of these distant splendors. The
interior fittings – furniture, chandeliers, mirrors, ceiling panels and
wall fabrics – were imported from Venice, and, to ensure authen-
ticity, they were installed by an imported Venetian decorator.
The walls of the principal staterooms are hung with formal floral
brocades in powder blue and gold. Persians envelop the parquet
floors. Billowing curtains with elaborately draped, fringed pel-
mets and thick tassels adorn the windows. The coffered, com-
partmented al antica ceilings are elaborately carved and gilded.
Fireplaces are carved from richly figured and coloured marbles.
Venetian mirrors, sconces, girandoles and chandeliers, with tiers of
cascading crystal lusters, add sparkle and vivacity. Picture frames
are gilded and elaborately carved, and the furniture is predomi-
nantly a playful Venetian Rococo painted in mellow, muted hues
with scrolls, floral sprays, leaves and buds picked out in coral
BUSINESSART | SEPTEMBER 2010
pink, sky blue, vieux rose and buttercup yellow.
Venetian taste was shaped by an ambiance of glittering mosaic,
brilliant light, shimmering water, reflections, and silk, porcelain
and lacquer from the Orient, and brilliant colour and a penchant
for bizarre and exotic fantasy have always stamped Venetian taste.
Although the Casa’s outright sumptuousness may shock devotees
of Sanderson chintz and plain white walls, it is characteristic of
the filigreed opulence of 18th century Venice, for this was the city
of elegant decline, the traipsing ground of the grand tourists and
milordi inglesi who transformed Piazza San Marco into the ‘draw-
ing room of Europe’ and participated with full-blooded gusto in
the city’s festivities, Carnivals and legendary masked balls.
The glory days of the Casa were the high summers of the 1930’s
when the family’s balls, parties and concerts were attended by fin-
anciers, statesmen and the beau monde of the day, and the ghosts
of yesteryear linger on in the many evocative family portraits
adorning the staterooms.
In 2008, Count Luccio Labia, the son of Count Natale Labia, and
the former’s daughter, Antonia, lovingly restored and re-furbished
Antonia Labia in one of the lounges
the Casa as a cultural and artistic centre. The splendid ball-room
will again be the site of concerts, poetry readings and gala opera
evenings. The first floor now accommodates a bright, spacious
art gallery, given over to exhibitions of contemporary art, and the
Africanova Boutique which showcases exquisite specimens of art,
craft and design with an indigenous accent.
Last, but not least, an airy, vaulted room, sparkling with light,
has been converted into an Italian restaurant. The Goddess Flora
thrones it on the painted ceiling and smiles down benignly on
the diners seated at tables decked with roses and brocade cloths.
French doors conduct one to an al fresco dining area on the sun-
basked patio with its tinkling fountain and purple blaze of potted
bougainvillea.
 BUSINESSART | SEPTEMBER 2010 CASA LABIA CULTURAL CENTRE Page 13

Edward Roworth’s formal, full-length, standing portrait of Count Natale Labia

“At last the Casa Labia has become what my grandfather originally envisioned: a statement of faith in the future
of his adopted country, and a celebration of all that is unique and beautiful about Italy and South Africa.”

Princess Ida Labia by Edward Roworth is a modern pastiche of the

standard English 18th century formula for aristocratic portraiture.
The princess is presented as a grande dame posing against soaring
columns and an English parkland setting of silvery trees. Wearing
a string of massive pearls and wielding a fan, she graciously fixes
her blue eyes upon the viewer as if she were about to receive him.
Her gown and shawl – a froth of pink chiffon, as vaporous as the
clouds above – are simplified versions of 18th century costume
brought up to date. Her short, ash-blonde, bobbed hair too makes
the work a piquant blend of established tradition and voguish
modernity.

Work by 16th century Venetian master Paris Bordone, of an unknown sitter
adorns the stairs. (Below) The Casa Labia from the Muizenburg coastline
The day I visited this unique Cape Town landmark, it teemed
with visitors and the restaurant was packed. I congratulated the
charming Antonia on her family’s munificence in so enriching
our cultural scene, and bringing the Casa back to life, and, with a
radiant smile of pleasure, she replied: “At last the Casa Labia has
become what my grandfather originally envisioned: a statement of
faith in the future of his adopted country, and a celebration of all
that is unique and beautiful about Italy and South Africa.”
The art of Casa Labia
The paintings at the Casa Labia represent a synthesis of Italian and
English tastes. The nucleus of the collection was acquired by the
Count who commissioned the three Roworth family portraits, but
otherwise concentrated on contemporary Italian works in the main.
Ida and Natale then inherited the well-known Robinson collec-
tion. This typified the Rand lord’s wish to acquire old master
paintings like those in the country house collections of the English
aristocracy. The Casa Labia’s portraits of nobility by Romney,
one attributed to Rubens, and another of Princess Mary, attributed
to Van Dyck, Gabriel Metsu’s 17th century Dutch genre scene and
Nicholas Berchem’s ideal Italian landscape, enhanced the status of
the baronet, Sir Joseph Benjamin by associating him with connois-
seurship, the landed gentry and old money.
Ida married late, and lost her adored husband after a mere decade.
On the death of Natale, the King of Italy’s father, bestowed a
princedom upon him in posthumous recognition for his services,
whereupon Ida became a Princess. The chatelaine of Casa Labia,
she was her Papa’s favorite, and on his demise it was she who in-
herited the bulk of his fortune. The Princess, a passionate animal
lover, who filled Hawthorden with strays, is fondly remembered
for her kindness and hospitality.
Edward Roworth’s formal, full-length, standing portrait of Count
Natale Labia seen against tumbling, claret drapery, a column and
a throne-like, gilded chair too is modeled on the status portraits
of yore. The Prince, dressed in the richly braided black velvet
regalia of a Minister Plenipotentiary and Envoy Extraordinary of
the Republic of Italy, cuts a fine figure. Weighed down by decora-
tions, he stands proudly to attention as he clasps his ivory hilted
ceremonial sword, and ostrich feather trimmed black hat.
The count, an extremely genial man of immense warmth, charm
and tact, was Italy’s first ambassador to South Africa. He es-
tablished trade links between the two counties, helped set up the
Lloyd Triestino shipping line, and made a major contribution to
the infrastructure of the Cape wine industry by bringing Italian
wine-makers to this country and promoting viticultural skills.
A passionate lover of South Africa, Count Natale traveled to Italy
with his wife and sons before the outbreak of the Second World
War. There he attempted to dissuade Mussolini from invading
Abyssinia, as this might pit Italians against South Africans and de-
stroy the amicable relations he had toiled so hard to forge. Alas,
il duce proved deaf to entreaty, and the resultant strain and bitter
disappointment are thought to have contributed to the massive
heart attack that struck the Count down shortly after his return to
Cape Town.
the upper right, nibbling at cherries. Further cherries fall out of
the basket to her left, and they may be a rebus for her name.
Francois Boucher’s tapestry cartoon, a Rousseauist pastoral, trans-
ports the viewer into an enchanting, Rococo, never-never land in
which the adorably chubby cherub leading two delectable maidens
to an effigy of Cupid, God of Love, are theatrically spot-lit. The
females are nominally shepherdesses. Although barefoot, they
sport the costliest silk couture, and their be-ribboned, rose-decked
and ringletted coiffeurs testify to their patronage of Paris’ most
exclusive hair-dressing establishments.
The deity, whose statue they are about to deck with roses, is
portrayed en grisaille, in a variation upon the pose of his flesh and
blood counterpart. The statue’s rounded base is dressed with lau-
rel leaves and roses, and inscribed with the words “L’Amour, c’est
le Bonheur” (Love is happiness), and the God’s action of plucking
an arrow from the quiver implies that he is about to fire the fatal
arrow that will make the damsels’ dreams come true.
This amorous vignette is set in a patently artificial confected land-
scape. The bosky grove, purling brook, luxuriant trees, creepers
and shrubs are all stage properties, conjured up in singing pastel
blues and synthetic greens to create a spectacle more beautiful
than any nature can provide.

Paris Bordone, a 16th century Venetian artist from Treviso, was

celebrated for his half-length paintings of gorgeous Venetian
courtesans, and this luscious belle with her peaches and cream
complexion and ringlets of Titian hair dressed with pearls, typifies
his refined eroticism. The unknown lady sits in an architectural
niche, and is portrayed en déshabillé with her dark blue dress
parted to expose her marble breasts. A russet velvet cloak covers
her knees, and a double gold chain hangs from her neck. In her
left hand she holds a sprig of buds, while with her right she
(Above) Casa Labia’s Art Gallery (Below) a member of staff gently adjusts
fondles another gold chain attached to her pet squirrel perched in
a marble statue to greet returning restaurant patrons.
PAGE 14
Strauss & Co’s next Auction Art Auctions : Cape Town 11 October and 1 November Johannesburg
Pierneef’s Barberton en Nelshoogte Kaapschehoop, coming up at
Strauss & Co’s Johannesburg sale 1 November 2010
Strauss & Co’s spring auctions, on 11th October at the Vineyard
Hotel and on 1st November at the Johannesburg Club in Wood-
mead respectively, are set to showcase some of the most exciting
examples of top South African art ever to come to auction. Amongst
these, are a number of key works by Jacob Hendrik Pierneef that
have been treausured in private collections and not been seen publi-
cally.
Pierneef’s Barberton en Nelshoogte Kaapschehoop, coming up at
Strauss & Co’s Johannesburg sale, has an illustrious provenance.
It was acquired from the artist by Johannes Lambertus van Schaik
(1888 – 1965) on 25th November 1949 and inherited by his son Jan
Jacob van Schaik (1917 – 2009). The former came to South Africa
from Holland in 1911 and joined the bookseller De Bussy in Johan-
nesburg. In 1914 he founded the bookselling and publishing house
J L van Schaik in Pretoria. The business flourished and on his death
his two sons Jan and Hans continued to run the company until 1986
when it was sold to Nasionale Pers. It still continues to trade under
the name Van Schaiks.
Acquired from the artist’s studio shortly after it was painted, the
provenance is evidence of the close and supportive relationship
between the artist and the bibliophile. As a patron of the arts, Van
The author, curious about where Pierneef stood to paint his Koringlande, Agter Paarl led her to a fascinating adventure that is often part of a good and hard day’s work in art auctioneering
The excitement of finding the site/s from were Pierneef chose to paint, makes his work even more dramatic and beautiful
Emma Bedford, Strauss & Co
Researching a work of art can often lead one on unexpected and
exciting journeys. When Stephan Welz suggested I research the
Pierneef’s Koringlande, Agter Paarl to identify the site from which
the artist painted, I relished the thought, especially as a painting of a
Boland scene is so rare in the artist’s oeuvre.
If one needs to identify historic Boland homes and farms, who
better to consult than a restoration specialist who knows the area
well? So I called Len Raymond of Dal Josafat Restorations who
very quickly identified the Simonsberg mountains ranging from the
foothills around Klapmuts on the left of the painting towards Stel-
lenbosch on the far right. He speculated that it was painted from an
elevation at Uitkyk above Kanonkop and Nattevallei and that some
of it could be on present day Warwick.
But he was perplexed about the buildings in the painting, the
absence of the old oaks surrounding the homesteads there and ex-
pressed doubt that wheat farms were ever that high up on the slope.
Nevertheless on a cold, rainy winter’s day I drove out along the
R304 from Stellenbosch to the intersection with the Elsenburg
Road where we looked over towards Warwick. What we could see
looked similar to some of the mountains in Pierneef’s painting and
I contacted the owners immediately. A rapid response dashed my
hopes but very helpfully, a Google Earth photo with the view from
Joostenberg was attached to the email.
So, with renewed excitement I quickly emailed the owners of
Joostenberg on the other side of the N1. It was pointed out to me
that the Joostenberg homestead is south facing while the homestead
in Pierneef’s painting is north facing. Very helpfully, the mountains
were identified from left to right as Klapmutskop, Kanonkop and
STRAUSS & CO UPCOMING ART AUCTIONS
Pierneef Paintings Attract Wide Interest
Schaik is known to have collected impressive works that include
Irma Stern’s Gladioli, to be auctioned on Strauss & Co’s 11th Octo-
ber sale at the Vineyard Hotel. The fact that he selected this particu-
lar painting is evidence of its importance in Pierneef’s oeuvre.
Viewed from the Nelshoogte plateau along the southern part of the
Mpumalanga escarpment area west of the town of Barberton, the
painting offers a spectacular view of the valley with the river cours-
ing into the distance. The foreground has an astonishing wealth of
detail in the vegetation and thorn trees so emblematic of Pierneef’s
landscape paintings.
The title alerts us to the artist’s thoughts as he traced the contours of
this remarkable area. Kaapschehoop, a tiny hamlet in the Barberton
district, was one of the first places in which alluvial gold deposits
were discovered in the 1880s. Prospectors, seeing in the 10 000
square kilometre valley a resemblance to the Cape of Good Hope
with Table Mountain towering above it, named it De Kaap valley
and their incorrigible optimism gave rise to the official name of the
hamlet. Pierneef’s painting thus becomes a cultural meditation on
the origins of the gold industry that gave first Barberton and then the
Witwatersrand their raison d’être.
The artist succeeds in achieving both a breadth of vision and a depth
of perspective by structuring his composition in astute ways. The
rolling hills and the sloping mountains that are arranged in a series
of interlocking diagonals, encourage our eye to travel to the edges
of the painting and back to its centre, emphasising the width of the
landscape. Linear perspective that leads one’s eye, via the zigzag-
ging river to the vanishing point and aerial perspective with warm
colours that advance in the foreground and cool, receding colours in
the background, provide the impression of deep space.
The result is a painting that is breathtaking in its scale and ability
to evoke the vastness of the South African landscape. While the
artist’s compositional strategies lend complexity to the painting, the
apparently endless variations, lull one into a sense of wonder and
satisfaction.
Pierneef’s Koringlande Agter Paarl, on Strauss & Co’s Cape Town
sale in October, was painted in 1952 and is a rare example of the
artist’s Cape landscapes. It depicts a Cape Dutch farmhouse nestled
amongst sweeping wheat fields at the foot of a dramatic mountain
range which includes, from the left, Klapmutskop, Kanonkop and
Simonsberg with the Stellenbosch mountains in the distance on
Simonsberg and it was confirmed that a lot of wheat or other cereals
were planted in the 1950s when wine was not profitable.
They suggested it could be Matjieskuil. So I emailed the owners of
that farm with its impressive and meticulously restored Hawksmoor
Manor. They were away in France but replied promptly with great
excitement.
Again I was disappointed but they wondered whether it wasn’t
Eenzaamheid, a farm owned by the Briers family. They pointed
out that all the farms from Muldersvlei to Malmesbury, including
Matjieskuil, had been owned by various descendants of the Briers
family for centuries. They also advised contacting the owners of
Hercules Pillaar, nearby Eenzaamheid.
The wine journalist, Tim James, also directed me to Eenzaamheid
but I had initial trouble tracking down the owners. In the meantime,
another source directed me to the Muratie Estate which was owned
by the painter, G. P. Canitz in the 1940s and 50s. Believing this to be
the most plausible theory because the artists might have befriended
one another, I approached the owners with great confidence only to
be let down, swiftly but kindly.
So I returned to Tim’s suggestion and contacted Christo and Karina
Briers-Louw through Charles Back. With absolute conviction,
Christo claimed “Dis my geboue!” My heart surged. I couldn’t
believe that I’d at last found the site. “Maar” he said, “dis nie my
berge nie!” How was that possible? I thought he must be mistaken.
So on a crisp and sunny Monday morning in August I drove out to
Eenzaamheid to shoot photographs of the farm buildings and try to
find the site. Taking the R304 to Malmesbury I stopped along the
way to take photos of similar views. I was definitely getting onto the
right track.
BUSINESSART | SEPTEMBER 2010
the right. Some of the farms situated in this area were planted with
wheat and tobacco during the 1950s when wine proved unprofitable.
The success of this painting is due in great measure to Pierneef’s ex-
traordinary ability to harness keen observation and sound technical
expertise to a profound knowledge of the South African landscape.
His architectonic approach to painting, which ordered composition
by foregrounding its underlying structure, was ideally suited to
capturing the vastness of the South African landscape that he loved
so dearly. Dutch artist and theorist Willem van Konijnenburg, whose
marked influence on Pierneef resulted in a greater abstraction of na-
ture, was a great source of inspiration. In a letter to the artist written
in 1929, Van Konijnenburg offered the following encouragement:
Perseverance takes root in the deep love the artist has for nature. It
is indeed this quality that pleases me so much, I feel that this love is
present in full measure in you, in the painter Pierneef.
Pierneef’s love of farms and homesteads was nurtured in part
through his love of working the soil and of building, a skill he had
learnt from his father, Gerrit Pierneef, a master builder and contrac-
tor. By 1939 he had acquired a piece of land in the Pretoria district
and begun building his own house, assisted by a local stonemason.
Built in the form of a kraal, his home was called Elangeni, the Zulu
word for ‘in the sun’.
A common feature in Pierneef’s landscapes is brilliant light, which
he employed not only as a means to articulate form but to imbue his
landscapes with radiant light. His devotion to capturing the strong
local sunlight so unlike that of Europe, contributed in large part to
the development of his characteristically South African landscapes.
Pierneef’s stylisation of form was inspired as much by his studies
of Bushman rock art as by his knowledge of European modernist
trends. Rhythmic bands of foreground ochre soil, the middle ground
of wheat fields and the distant blue mountains, arranged in strong
horizontal registers, achieve a perfect balance that enhances feelings
of calm and tranquillity.
The painting exudes an atmosphere of contentment and well-being,
which the artist has achieved through his use of subtle, warm tones
in simplified, broad planes. Massing clouds forecast rain that is so
essential for agriculture. No sign of human activity disturbs the
peace. It is as if all the labour required for a fully functioning farm is
at rest. The result is an idyllic Boland scene.
For further information contact Bina Genovese on 021 683 6560 or
visit www.straussart.co.za.
Despite a really busy start to their work week the Briers-Louws took
time out to show me around the farm, give me access to their exten-
sive archives and plied me with really good coffee. Christo showed
me the original long cottage, or pioniersgebou, indicating that early
farmers built these to accommodate all aspects of farming – from
the family, to the livestock and the hay.
As their fortunes improved they built the Cape Dutch homestead
and the pioniersgebou was often abandoned. As a result there are
very few Boland farms that retain the Cape Dutch homestead and
pioniersgebou in close proximity to one another as on Eenzaamheid.
While their pioniersgebou has retained many original elements
and much of its character, it has been lovingly restored and well
furnished, to provide wine tastings and overnight accommodation
for up-market, foreign tourists.
Christo was right – the view of the mountains that Pierneef chose
could not be seen from his farm but as I drove back I took the Her-
cules Pillaar turn-off and was exhilarated to see a very similar view
from Hohenfelde.
Much as I would have loved to have found the precise site from
which Pierneef painted, I had to agree with Christo’s conclusion
– the painting is a conglomerate. Not only has the artist borrowed
buildings from different sites, but he had swiveled them around on
their axes and relocated them to another site to create a more pictur-
esque painting. And while the painting is an absolutely convincing
rendition of the character of the area, it nevertheless confirms the
extent to which the artist used his imagination, stylised the moun-
tains, extended the wheat fields and added an impressive sky, in
order to create a work of art that would encompass all the things he
wanted to express about this beautiful and beloved land.
 BUSINESSART | SEPTEMBER 2010 SWELCO UPCOMING ART AUCTION Page 15

Walter Whall Battiss: Prelude to the dance R 600 000 – 800 000 . Conrad Botes: Murder and Mayhem, R 35 000 – 45 000. Cecil Edwin Frans Skotnes: Tribute to Uccello No.2 R 700 000 – 900 000

Forthcoming Cape Swelco, Spring Decorative and Fine Arts Auction 5th and 6th October 2010
Stephan Welz & Company, will be holding their Spring Decorative contemporary auction environment housed within the 300-year old Stern, William Kentridge, Cecil Skotnes, JH Pierneef, Pieter Hugo
and Fine Arts Auction on the 5th and 6th of October 2010 at their walls of the original wine cellar of the Alphen estate,” says Shona Naudé, Keith Alexander, Edoardo Villa, Conrad Botes, Erik Laub-
newly refurbished auction premises at The Great Cellar housed on Robie, manager of the Cape Town office. scher, Robert Hodgins, Walter Battiss and many others.
the Alphen Hotel grounds in Constantia. Pre-auction public viewing will take place Friday the 1st through
“The opportunity to renovate our current office space into fully op- The inaugural auction is also the perfect foil in which to juxta- to Sunday the 3rd of October. Viewing is free of charge and open
erational auction rooms has been a twelve month project. We have, pose South African Masters and Contemporary stars alongside to the public. For further enquiries and details regarding the cata-
with the assistance of our architects, been able to create a fantastic each other at the forthcoming auction. Well represented are Irma logue please contact 021-794-6461.

(Left) François Krige: Peach Blossoms in Vineyard, R 350 000 - 450 000, Sold for R 540 000 (R 604 800). (Right top) Frans David Oerder: Daydreaming young girl, R 50 000 - 80 000, Sold for
R 110 000 (R 123 200) (Below middle) Hennie Niemann Jnr.:The yellow scarf, R 35 000 - 50 000, Sold for R 75 000 (R 84 000). (Below) Fred Page The frocky horror shoppe

Results for Stephan Welz & Co’s ized a remarkable R 156 800; a very good result for this fantastic
artist. Furthermore two of the three Frans Oerders up for auction sold
The African section of the sale was very well represented – all five
George Pemba works sold well within estimate with lots 375 “Unem-
annual August sale with lot 259, “Daydreaming young girl” grabbing lots of attention
and attaining R 123 200 on a pre-sale estimate of R 50 000 – 80 000.
ployed” and lot 376 “Get Out !!!” doing the best. Ephraim Ngatane’s
work “ The guitar player” (lot 379) Speelman Mahlangu’s “Primal
The highest price reached for the evening was a beautiful Pierneef Life” (lot 380) and Helene Sebidi’s ALOES (lot 381) all reached good
The 17 and 18 August auction held in the Rosebank sale rooms of
landscape entitle “Landscape with river”, realizing R 1 232 000. Nils prices.
Stephan Welz & Co, was a sale full of highlights and a new world
Andersen also seemed to be popular with both works on offer sell- The sculpture section had an almost 100% selling rate with both At-
record to get Spring off to a good start. Day one was focused on
ing and lot 280, “Farmyard scene”, soaring above its high estimate. tributed to Frederic Remington works (lots 388 & 389) selling and the
Books, maps, Africana and art whilst day two’s focus was on furni-
Although Gregoire Boonzaier’s market seems a bit buoyant, the star of this section, lot 392 Lucas Sithole’s “Standing figure” , attain-
ture, the decorative arts and jewellery.
beautiful cover lot 296, “Still life with apples”, enticed the crowd and ing an astounding R 168 000, three times the high estimate.
realized R 89 600.
The Tuesday afternoon’s paintings section produced some most sat-
Alexis Preller, as usual, did well with lot 299 “Study of a shell”, The session ended with contemporary works of all sorts – Fred Page
isfactory performances across an extremely broad range of artists on
reaching R 145 600. François Krige however, was the star of the was well represented by lots 394 “The frocky horror shoppe” and 395
offer. The artists that stood out however were amongst others, Adriaan
evening with all works by him, selling well and lot 314 “Peach blos- “Chacma on my dresser”, both selling well within estimate. The three
Boshoff’s two colourful watercolour works entitled Dixie land
soms in Vineyard” excelling at R 604 800, a new world record for the William Kentridge works on offer all sold. Lot 397, “The exchange”,
crooner and “Cleaning the catch” (lots 208 and 209) selling for R 22
artist. Lot 317 Bettie Cilliers-Barnard’s “Abstract Still Life” attained did the best out of the lot, soaring over the high estimate of R 50 000
400 and R 29 120 respectively. Ted Hoefsloot was another artist that
R 78 400, thus selling just below the high estimate. Lot 336, the mag- with R 67 200. Lot 399, “Dancing nose”, a charity lot for The South
excelled with all four lots (190 – 193 all at R 5 000 – 7 000) dedicated
nificent Dino Paravano pastel, “Wildebeest herd”, exceeded expecta- African Ballet Theatre, reached a figure of R 31 360. Not only did the
to him selling well. Walter Battiss followed suit with all seven lots
tion by going for R 20 160. Pieter van der Westhuizen and Conrad privileged highest bidder receive a stunning work by William Ken-
selling of which lot 198, HAT, did marvelously well reaching R 22
Theys, two firm favourites, reached R 61 600 (lot 355 “Flowerfield”) tridge, but also received a limited edition of Meerlust 2004 Cabernet
400 (R 10 000 – 15 000).
and R 84 000 (lot 356 “Man with white jersey”) respectively. Hennie Sauvignon which was donated to the SABT by Mr Hannes Myburgh
The specialist painting evening session starting at 18:30 on the same
Niemann Snr ‘s work all sold (4 lots) as did those by Louis van Heer- of Meerlust Wine Estate. The commissioned labelled magnum bottle
day offered up a lot of surprises. In the international section lot 251
den and Marie Vermeulen-Breedt. Hennie Niemann Jnr seems to be was also designed by William Kentridge.
After Rembrandt van Rijn, “Man with a black hat” did brilliantly
the man of the moment with both lots 365 “Yellow scarf” and lot 366 With just under 800 lots offered over four sessions, it was a busy cou-
reaching R 31 360 on a pre-sale estimate of R 15 000 – 20 000.
“Luvale woman”, selling way above high estimates at R 84 000 and ple of days with many highlights and a satisfying percentage of sales
However, it was the range of traditional and contemporary South
R 145 600 respectively. Cecil Skotnes was represented by successful achieved across the broad range of departments covered by Stephan
African paintings and sculptures that produced the evening’s notable
sales of lots 368 ICON XII attaining R 268 800 and the iconic “Shaka Welz & Company. With their next sale being in Cape Town on Octo-
performances. Lot 256 by Cathcart Methven “Umgeni River” real-
Zulu” portfolio (lot 371) excelling at R 67 200. ber 5 & 6, however, there is no time for them to rest on their laurels.
 The South African Print Gallery
is proud to present an exciting body of work of lithos, silksreens and etchings by:

Eunice Geustyn
Memory, Myth & Ritual
Show runs until 08 September, The South African Print Gallery: Dealers with interesting artists and exciting prints. 107 Sir Lowry Road, Woostock, Cape Town. www.printgallery.co.za