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Lot 240
A collection of vintage compacts to include a c1960s example in the form of a pocket watch, a boxed Fabergé example, a Stratton example with bird and floral decoration, an Art Deco style example and a white metal compact with engraved coat of arms for Cape Town Cape Province, a white metal pill box, a white metal propelling pencil and white metal Art Deco style brooch.
Lot 658
Queen's South Africa Medal 1899 (x2) and King's South Africa Medal 1902 (x2 and probable copy); the first QSA with 'Cape Colony', 'Orange Free State' and 'Transvaal' clasps (af, name visibly erased beneath current recipient), the second QSA with 'Orange Free State', 'South Africa 1901' and '1902' clasps (af, deep gouges and scratches due to attempted name erasure, now with two names), the first KSA with 'South Africa 1901' and '1902' clasps (af, name visibly erased beneath current recipient), the second KSA ex-brooch (af), the third KSA probably a copy (5).
Lot 10
Fleming (Ian), You Only Live Twice, 1st Edition, no dust jacket, black cl, 8vo, Jonathan Cape, 1964; On Her Majesty's Secret Service, 1st Edition, 5th Imp, dust jacket not price clipped, 8vo, 1963; Moonraker, dust jacket not price clipped, 8vo, 1964; The Spy Who Loved Me, 1st Edn, 6th Imp, dust jacket not price clipped, 8vo, 1964; The Man With The Golden Gun, 1st Edn, 3rd Imp, dust jacket not price clipped, 8vo, 1965, (5).
Lot 200
FRANK OWEN DOBSON (1886-1963) British (AR)Miss Peggy Louise Florence Salaman (born 1907) BritishBronze with green patinationSigned62 cm high Provenance: Royal Aeronautical Society, Hamilton Place, London.Note: In November 1931, Peggy Salaman set out to beat the record for the flight from London to Cape Town. She succeeded in arriving in Cape Town at 5.40am with Gordon Store, her co-pilot and navigator, beating the previous record set up by Glen Kidston by more than one day. CONDITION REPORTS: Generally good condition, expected wear.
Lot 479
A group of four Victoria, Edward VII and George V medals to "11303 Cpl. R. Aston", comprising - Queen's South Africa Medal, with five bars "Laings Neck", "Transvaal", "Relief of Ladysmith", "Tugela Heights", and "Cape Colony", King's South Africa Medal, with two bars South Africa 1901 &1902, 1914 Star, 1914-1918 War Medal
Lot 130
A PRESTIGE STAFF, NGUNI 92cm highPROVENANCE Michael Heuermann, Cape Town. Michael Heuermann sold a number of objects to Terence Pethica. Cf, T.A. Pethica, T. A. Nettleton, S. Klopper, 2007, The Art of Southern Africa: The Terence Pethica Collection, 5 Continents Editions, Milan, p.154, no.68 Carved sticks with spirals twisting around the shaft are found throughout southern Africa and represent snakes. There is a performative aspect to these sticks – when used in dance and turned or thrown the spiral would seem to move like a snake. Snakes had complex meanings, positive and negative, and could be associated with ancestor spirits. This is fine example and shows the virtuoso skills of the carver in the open double spiral carved from one piece of wood. It dates to the 19th century and sticks of this quality are rarely found on the market today.
Lot 171
Thamsanqa (Thami) Kitty (South African 1967-) SMUTS AND LION carved wooden sculpture height: 74cm Thami Kiti, an extraordinarily gifted carver is little known to collectors despite being well documented and included in prestigious collections and exhibitions in Cape Town. A product of the Community Arts Project during the turbulent 1980’s and 1990’s, Kiti’s work is represented in the holdings of both the Universities of Cape Town and the Western Cape. The artist was well represented in two important exhibitions seeking to redress the marginalization of Western Cape sculptors by their Limpopo counterparts, notably Made in Wood: Work form the Western Cape in 1992, and Against the Grain: Sculptors from the Cape, over a decade later; both at the Iziko South African National Gallery. He followed on this success with a solo show at the Irma Stern Museum. Raised in his father’s lands of the Eastern Cape, where his formative years were spent ranging the verdant area with the family cattle, Kiti invokes the longstanding ancestral traditions of skilled woodcarving from the area. Although on a monumental scale, Kiti’s compositions in hardwood recall the intricate and often amusing combinations of anthropomorphic figures on tobacco pipes, sticks and staffs - a genre for which 19th and early 20th century Xhosa-speaking carvers were renowned. The artist’s use of un-adorned wood, seasoned, finely honed and polished to reveal its natural patina, is a characteristic technique drawn from his cultural roots. Smuts and the Lion, combines a recognizable life size head of the statesman surmounting a classical lions’ head with flowing mane and single, powerful claw composed vertically. Totem like in composition, it can be viewed as an example of the artist’s resolve to seek commercial success by drawing on colonial imagery that would resonate with his privileged clients. - Carol Kaufmann
Lot 286
Peter Clarke (South African 1929-2014) RING-A-RING-OF-ROSES signed, inscribed 'Oslo' and dated 24.10.1978 mixed media on paper PROVENANCE Acquired directly from the artist and thence by descent to the current owner 48cm by 64cm Peter Clarke was invited to work at the Atelier Nord in Norway from October 1978 to the end of January 1979. Below his signature in Ring-A-Ring-Of-Roses, the artist has written ‘Oslo’ next to the date, 24.10.1978. While away in Norway, distance brought a different perspective of his home and a number of the works made while at Atelier Nord depicted South Africa. Ring-A-Ring-OfRoses is an example of a work made in Norway but portraying South African subject matter. To Clarke, Norway epitomised an ordered, contrastingly clean life and an organised society in comparison, however during his time there the artist found that he missed the ‘spontaneous warmth that makes a population alive.’ An example of this spontaneity and warmth can be seen in the expression depicted on the children’s faces. A great observer of the world around him, Clarke often represented children playing games, whether it was with a yo-yo, a windmill, a cricket match played in the street, or in this case the classical game of ring-a-ring-of-roses, which is a popular nursery rhyme commonly found on South African playgrounds. Many know the game and the accompanying song to represent the Great Plague of London, known as the Black Death, although this has never been confirmed. In its game form however, it takes on a jovial nature as depicted by the broad smiles on the faces of the girls in the present work. The painting depicts a group of four children, happily playing the game, by holding hands and dancing in a circle. The colour of the sky and the foreground are painted in various shades of rose-pink. The foreground and background are divided by a thick band of blue representing a wall. The vast landscape is interrupted only by a single electricity pole. A grey, ominous shadow leaks out from below the playing children. During his long career Clarke experimented with a variety of materials. In this mixed media work the artist has overlaid sections of fine gauze bandage (used traditionally for both damage and repair) on top of the blued wall. The gauze extends to just behind the children, who are surrounded by a halo of white. During his stay in Norway, Clarke made works of a larger scale, paintwork that was freer and used strips of coloured paper collage rather than brushwork, to portray clouds. The pink striations in the sky of Ring-A-Ring-of-Roses are created using pieces of paper, their torn edges forming a white lining around the clouds. Strips of silver paper are also incorporated into the sky for this effect. The bright pink sky brings to mind another popular rhyme; ‘Pink sky at night, shepherd’s delight’ meaning that the bright pink sunset signals that the following day will be clear and sunny. This delight is once again expressed on the faces of the dancing children. This work is about finding the silver lining in an area where circumstances seems to be dire, in this case the warmth of the people in South Africa, despite the political turmoil and socio-economic hardships faced by Clarke’s community. Hobbs, P and Rankin, E., Listening to distant thunder: the art of Peter Clarke, Fernwood Press, Cape Town, 2011
Lot 293
John Koenakeefe Mohl (South African 1903-1985) BACK FROM WORK IN SNOW signed and inscribed 'in the 20th century; signed and inscribed 'September 1981', 'in the 20th century', 'Soweto Johannesburg (SA) with the title on the reverse mixed media and oil on canvas 49 by 77cm In September of 1981, Johannesburg experienced its greatest snowfall on record, with snow laying 20cm deep in some areas. John Koenakeefe Mohl is known for depicting people at work, as well as on their way from or going to work, such as miners or field workers. His workers, as in Back From Work in Snow, are often faceless, as a way of expressing their dehumanisation. There is no romanticism of daily life in Mohl’s paintings. Mohl had great stature in the communities of Soweto and Sophiatown and was intent on spreading the importance of art in his community. Very uncommon of the time, Mohl offered art classes at his studio, in a black urban area, in the 1940’s. He actively promoted easel painting to his fellow black artists, sharing this Western European tradition, which allowed him to capture both the rural and urban settings of the working class, as well as workers in transition. The scene in Back from Work in Snow would have likely been painted from life. Soweto is an unusual place to experience snow and the people in the community are understandably ill-equipped to deal with a snowy climate, signalling the hardship of an extra cold winter. It suggests that the walk from work in the snow was a long and arduous one, as the workers carry heavy bags in their hands and atop their heads. There is a ray of hope in the bleak and unforgiving landscape in the top left hand corner where shades of a bright blue break through an otherwise grey sky covered in thick cloud. Alexander, L and Cohen E., 150 South African paintings: past and present, Struikhof Publishers, Cape Town, 1990 Proud, H (ed), Revisions: expanding the narrative of South African art, SA History Online and Unisa Press, 2006
Lot 301
Johannes Petrus Meintjes (South African 1923-1980) INTERIOR GROOTZEEKOEGAT signed and dated 1951 oil on board 36,5 by 29,5cm Meintjies catapulted to fame with a greatly successful exhibition in 1944, before the artist turned 22. He had studied under Florence Zerffi and was greatly influenced by the colour sense of Irma Stern and the compositional awareness of Maggie Laubser. He is known for his romantic style, powerful colours and unusual forms. In Interior Grootzeekoegat, which takes place in an interior on his family farm, we see what may be a self-portrait of the artist surrounded by books and his own paintings, on which his common motif of arum lillies are found throughout. Above the fireplace is his painting of Icarus, painted in 1948. An open doorway reveals a larger painting in another room of two nude figures surrounded by birds, another popular subject of Meintjies’. Above the doorway is a third painting, a 1951 self portrait, Self Portrait with Cigarette, depicting the artist holding a burning cigarette up to his lips. As a self portrait, Interior Grootzeekoegat, shows Meintjes' output, as both a prolific writer and artist surrounded by the books and artworks that inspired him. While the subject of the painting has his back turned to the viewer, his countenance is still present in the inclusion of his self-portrait above the doorway. The blue and white horizontal and vertical lines of the chair in the foreground are repeated throughout the composition in highlights on the fireplace, the doorway, the frames of both paintings, as well as the weaving of the second chair and even the blue light in the subject’s hair. Portrait of Two Men in Conversation, shows the heads of two men, one seen partly from behind, obscured by dark shadow, one seen facing the viewer. A cigarette is perched in the first figure’s hand, as if he has paused from smoking to make a point, while the second figure’s mouth is obscured by his own hand, while he draws on his cigarette. Meintjies painted numerous portraits of young men who greatly resembled his own likeness as evidenced in Portrait of Two Men in Conversation. The large, heavily hooded eyes and sharp, thickly outlined features are typical of a Meintjes portrait. As are their slim, long-fingered hands, which bring a sense of flow to the painting, drawing the viewers eye up into the eyes of the second figure, as he listens intently to his partner in conversation. The mouths of both men are obscured, one by his position, facing away from the viewer, the other by his hand, yet they seem to be connected, looking directly into each other’s eyes, as they converse. Berman, E., Art and artists of South Africa, A A Balkema, Cape Town, 1974
Lot 302
Johannes Petrus Meintjes (South African 1923-1980) PORTRAIT OF TWO MEN IN CONVERSATION signed oil on board 38,5 by 28cm Meintjies catapulted to fame with a greatly successful exhibition in 1944, before the artist turned 22. He had studied under Florence Zerffi and was greatly influenced by the colour sense of Irma Stern and the compositional awareness of Maggie Laubser. He is known for his romantic style, powerful colours and unusual forms. In Interior Grootzeekoegat, which takes place in an interior on his family farm, we see what may be a self-portrait of the artist surrounded by books and his own paintings, on which his common motif of arum lillies are found throughout. Above the fireplace is his painting of Icarus, painted in 1948. An open doorway reveals a larger painting in another room of two nude figures surrounded by birds, another popular subject of Meintjies’. Above the doorway is a third painting, a 1951 self portrait, Self Portrait with Cigarette, depicting the artist holding a burning cigarette up to his lips. As a self portrait, Interior Grootzeekoegat, shows Meintjes' output, as both a prolific writer and artist surrounded by the books and artworks that inspired him. While the subject of the painting has his back turned to the viewer, his countenance is still present in the inclusion of his self-portrait above the doorway. The blue and white horizontal and vertical lines of the chair in the foreground are repeated throughout the composition in highlights on the fireplace, the doorway, the frames of both paintings, as well as the weaving of the second chair and even the blue light in the subject’s hair. Portrait of Two Men in Conversation, shows the heads of two men, one seen partly from behind, obscured by dark shadow, one seen facing the viewer. A cigarette is perched in the first figure’s hand, as if he has paused from smoking to make a point, while the second figure’s mouth is obscured by his own hand, while he draws on his cigarette. Meintjies painted numerous portraits of young men who greatly resembled his own likeness as evidenced in Portrait of Two Men in Conversation. The large, heavily hooded eyes and sharp, thickly outlined features are typical of a Meintjes portrait. As are their slim, long-fingered hands, which bring a sense of flow to the painting, drawing the viewers eye up into the eyes of the second figure, as he listens intently to his partner in conversation. The mouths of both men are obscured, one by his position, facing away from the viewer, the other by his hand, yet they seem to be connected, looking directly into each other’s eyes, as they converse. Berman, E., Art and artists of South Africa, A A Balkema, Cape Town, 1974
Lot 320
and inscribed with the title pen and ink on paper Wright, J and Kerbel, C,. Fred Page: ringmaster of the imagination, Jeanne Wright and Cecil Kerbel, South Africa, 2011, p 91 25,5 by 18,5cm The work of Fred Page is probably best identified by its limited pallet and eerie subject matter. The dark emotive quality of his oeuvre is most likely the result of his upbringing – after losing his mother at the age of 10, he was exchanged from one relative to another before landing up in an orphanage. Page first moved to Port Elizabeth, the city with which his art has become synonymous, in 1937 to work in a tyre factory, having previously traipsed from one job to another after a short stint in the military. During World War II, Page returned to the military serving in the Signal Corps. It was only in 1945 after the war had ended that Page decided to become an artist. His initial training was by correspondence. Upon reception of a grant awarded to him as an ex-serviceman, Page went on to study at the Port Elizabeth School of Arts and Crafts from 1945 – 1947, where he was guided by the watchful eye of Jack Heath – a product of the post-war Royal Academy of Art. Page created surreal imagery, portraying the real world and the unexpressed world generated by human behaviour. Page shares many formal and conceptual qualities with the Surrealist movement. He often incorporated De Cherico’s use of monumental architecture as a means of creating a dislocation of the real, depicting elusive psychic experiences, possibly also influenced by his love for science fiction literature. His compositions are constructed like theatrical sets, as is evident in Shopfront where the white architecture and black, faceless windows, so typical of Page’s work, are found in the centre of the composition, and are framed on either side by classical columns. A set of three steps revealing Page’s incorporation of deep perspective, lead up to the set of doors separating two shop windows, revealing a dismembered mannequin in each window. Page recorded architectural features in great detail, as in the dark, cast iron railing of the fence in the foreground of The Presence. A statue of an angel carrying a trumpet is situated in what appears to be a city park, but the strange presence of an elephant and the phallic statue that flank her, suggest otherwise. The winged angel is an example of the macabre that Page often represented, having enjoyed visiting graveyards. Death remained a consistent theme that pervaded his work. Although Page himself denied the meaning of his own work, the pieces he created present a situation, evoking emotional tension rather than simply conveying a narrative. Proud, H., Revisions: Expanding the Narrative of South African Art, SA History Online and UNISA Press, Cape Town, 2006. Wright, J. & Kerbel, C., Fred Page: Ringmaster of the Imagination, Cecil Kerbel and Jeanne Wright, Port Elizabeth, 2001
Lot 321
The work of Fred Page is probably best identified by its limited pallet and eerie subject matter. The dark emotive quality of his oeuvre is most likely the result of his upbringing – after losing his mother at the age of 10, he was exchanged from one relative to another before landing up in an orphanage. Page first moved to Port Elizabeth, the city with which his art has become synonymous, in 1937 to work in a tyre factory, having previously traipsed from one job to another after a short stint in the military. During World War II, Page returned to the military serving in the Signal Corps. It was only in 1945 after the war had ended that Page decided to become an artist. His initial training was by correspondence. Upon reception of a grant awarded to him as an ex-serviceman, Page went on to study at the Port Elizabeth School of Arts and Crafts from 1945 – 1947, where he was guided by the watchful eye of Jack Heath – a product of the post-war Royal Academy of Art. Page created surreal imagery, portraying the real world and the unexpressed world generated by human behaviour. Page shares many formal and conceptual qualities with the Surrealist movement. He often incorporated De Cherico’s use of monumental architecture as a means of creating a dislocation of the real, depicting elusive psychic experiences, possibly also influenced by his love for science fiction literature. His compositions are constructed like theatrical sets, as is evident in Shopfront where the white architecture and black, faceless windows, so typical of Page’s work, are found in the centre of the composition, and are framed on either side by classical columns. A set of three steps revealing Page’s incorporation of deep perspective, lead up to the set of doors separating two shop windows, revealing a dismembered mannequin in each window. Page recorded architectural features in great detail, as in the dark, cast iron railing of the fence in the foreground of The Presence. A statue of an angel carrying a trumpet is situated in what appears to be a city park, but the strange presence of an elephant and the phallic statue that flank her, suggest otherwise. The winged angel is an example of the macabre that Page often represented, having enjoyed visiting graveyards. Death remained a consistent theme that pervaded his work. Although Page himself denied the meaning of his own work, the pieces he created present a situation, evoking emotional tension rather than simply conveying a narrative. Proud, H., Revisions: Expanding the Narrative of South African Art, SA History Online and UNISA Press, Cape Town, 2006. Wright, J. & Kerbel, C., Fred Page: Ringmaster of the Imagination, Cecil Kerbel and Jeanne Wright, Port Elizabeth, 2001
Lot 328
signed oil on canvas 60 by50cm Cecil Josephine Rose was the eldest daughter of Alfred John Barry, formerly of Kliprivier homestead, Swellendam. Home to the well-known Barry merchant family, it is considered one of the most beautiful Cape homesteads and is renowned as the Kliprivier Country House hotel. The subject of this romantic portrait, Cecil Josephine Rose Petersen eventually married a famous ear nose and throat surgeon, Mr Fred Petersen of Cape Town where she became known as a society hostess and personality in the 1930’s. She was well acquainted with and frequently entertained members of European aristocracy, including the exiled Queen of Yugoslavia. She had one daughter, the collage artist Yasmin Brandolini D’Adda, late of Castello Valmareno, Italy.
Lot 338
Amy Beatrice Hazell (South African 1864 --1946) BOUQUET OF ROSES unsigned oil on board PROVENANCE Acquired directly from the artist and thence by descent 27 by 21cm Beatrice Hazell was an under-rated, yet talented still life painter who came to South Africa at the age of 21 and studied at the Cape Town School of Art where she developed her skill in still life painting. In 1903 her work was shown on the second South African Society of Artist’s exhibition, a singular distinction as she was the only South African woman still life painter to be included in a male dominated genre. Buoyed by her success, she encouraged her friend, the young Maggie Laubser, to take up painting at the time. Eventually Hazell settled in Ceres, where she painted this luminous vignette of roses in 1939. Berman, E. 1974. Art and Artists of South Africa. AA. Balkema. Cape Town and Rotterdam. P.90 Proud. H. 2002. The Advancement of Art: The South African Society of Artists and its Exhibitors, 1902 -1950. Iziko Museums of Cape Town/SASA: Cape Town. p. 31.
Lot 485
A LARGE CHINESE STONEWARE CIZHOU STORAGE JAR, MING DYNASTY, 1368 – 1644 the ovoid body rising to a short neck terminating in an unglazed rolled lip, the pale ivory ground freely painted with floral scrolls between wavy bands in brown slip and iron oxide, age wear, minor chips and kiln blemishes 62,5cm high PROVENANCE Acquired from Global Heritage, Cape Town, 2001
Lot 486
A CHINESE STONEWARE CIZHOU STORAGE VESSEL, MING DYNASTY, 1368 – 1644 the ovoid body rising to a short narrow neck with dark brown rolled lip, the deep ivory-glazed body painted in dark brown slip with floral scrolls and calligraphy between wavy bands, the shoulder with numerous spur marks, the based embossed with a single character, age wear, discolouration, age crack and chipping 50,4cm high PROVENANCE Acquired from Global Heritage, Cape Town, 2002
Lot 554
A HONI SOIT QUI MAL Y PENSE EBONIZED, MAHONGANY AND FRUITWOOD CASED MUSIC BOX the hinged moulded rectangular top, centred by a floral marquetry patera, enclosing the music box playing ten tunes on nine bells, the front centred with a conforming patera, on bracket feet, stringing throughout25cm high, 65cm wide, 30,5cm deep PROVENANCE Sold: Stephan Welz & Co, Cape Town, 21 & 22 October 2017, lot 153
Lot 446
AMENDMENT - Lot to also include a travel trunk - Two boxes containing Victorian and later clothing and accessories etc. to include; a Victorian silk velvet and jet-beaded cape, an Astrakhan muff, an opera hat, a beige silk parasol with fringing, etc., another box of later clothing to include; a collection of scarves, evening bags, Frank Usher evening belt etc. (2 boxes)
Lot 1254
A Queen's South Africa Medal, with four clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901, awarded to 1369 Pte D. McGregor. A.& S. Highrs, together with a Naval General Service medal, with Malaya clasp, awarded to D/JX. 815073 S.V. Hill. A.B. R.N, and a 1914-1918 British War Medal, awarded to 2133 Spr. H. Peters. R.E. (3)
Lot 1265
A large quantity of antique and vintage Costume, including a Victorian black tucked silk bodice, trimmed with black and cream lace, matching skirts and underskirts stitching unpicked at waist, a black velvet short cape, white cotton undergarments, night shifts and Christening robes, an early 20thC silk evening cape, a St Johns College, Cambridge rowing team gents red blazer and cap, spats etc. various conditions (a lot)
Lot 115
Thomas Joshua Cooper (b.1946) The Celtic Sea and The North Atlantic Ocean, Cape Cornwall, Great Britain, Near the Southwest-most point of Mainland Great Britain (Lundy), 2002Gelatin silver print, mounted on card, signed 'Thomas' in pencil on card recto, signed, titled and editioned 3/3 in black ink verso, 40.5 x 58cm (16 x 22 7/8in)Provenance: Blains Southern, London
Lot 389
INDIA GENERAL SERVICE MEDAL 1895 with single clasp Punjab Frontier 1897-98 together with Queen's South Africa medal with three clasps Johannesburg, Paardeberg & Cape Colony together with King's South Africa medal with two clasps South Africa 1901 & 1902, all engraved to J Fawcett with printed information cards (3)
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31923 item(s)/page