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Clément (Joseph Charles Louis) Sénèque (South African 1896-1930) CHIMNEY STACKS AND TREES oil on board PROVENANCE from the private collection of the artist's granddaughter 32 by 19cm Lot 735 – 739 are a selection of five fine oil paintings from the acclaimed yet brief production of the Mauritian born artist, Clément Sénèque. These works have not previously been offered on the market, having been in Switzerland in the Sénèque family collection since the early 20th century, thus providing a unique opportunity to acquire fresh works by the artist. It is appropriate that in the 21st century the work of Sénèque is enjoying renewed interest and that the impact of his short career has received the scholarly attention of two KwaZulu-Natal art historians, Dr Melanie Hillebrand and Brendan Bell. Trained in Paris at the École des Beaux Arts in architecture and town planning, Sénèque enjoyed recognition in his time as an architect and self-taught painter with a precise eye for architectural structure and details. He admired the work of Frank Brangwyn and locally that of Gwelo Goodman and Pierneef. His verdant landscapes of Kwa-Zulu-Natal, light drenched architectural studies and harbour scenes were most popular in South Africa, eventually earning him the distinction of having his work acquired by all the major local public art collections and the post of chairman of the Natal Society of Arts Sketch Club in 1926. His production was exceptionally brief in South Africa - only five years from 1925-1930 - before he died of pneumonia. “Sénèque’s importance to Natal, despite his relatively short career is immense. Numerous contemporaries and younger artists admired and copied his style, thus producing what might be described as a Natal school of the twenties”. - Melanie Hillebrand On offer are two Natal landscapes; lot 735 is the arresting view of an aqueduct-like stone bridge, partly illuminated in sun, set in a serene landscape of dark, reflective water against a tropical forested landscape, with wild banana fronds and weeping trees against a modulated aqua sky. Although the work is inscribed on the back, Pont-La–Reduit and dated 1920, it is unclear if the inscription is indeed by the artist, as the subject is most likely the KwaZulu-Natal south coast. The second landscape, lot 736, is Chimney Stack and Trees (1926), which presents an unusual view of a distant Durban harbour through a vista of elongated bare trees. A glowing red-orange set of chimney stacks is dramatically illuminated by an early winter sun, the entire composition set against a pale turquoise sky, affirming the artist’s pre-occupation with the sky in his African works. However, “His interest lay in the structural masses of the land and the intersecting lines established by the horizon and vertical forms of buildings.” Less familiar to local audiences are his earlier French Alps and Montagne scenes, painted while on honeymoon in the region, or shortly afterwards. The Durban Art Gallery acquired one such work, Mont Blanc from Sallaches, in 1927. Equally impressive is lot 737, a 1925 work entitled French Alps which was exhibited in the Sénèque retrospective at the Tatham Gallery, Pietermaritzburg in 1969, and was considered to be one of his finest works in notes made to the draft of the introduction to the accompanying catalogue. “In order to add textural interest Sénèque covered his canvas in sackcloth, adding depth to the composition of French Alps. Melanie Hillebrand, in her PHD dissertation argues that, “His bold use of tone gives the mountains a stereoscopic quality.” He produced many paintings, drawings and prints of the French Alps as a result of his happy memories at the time. He returned to Durban, where he encountered difficulties getting established as an architect – although highly regarded – with a young wife and child to support. Despite the challenges, this proved to be the highpoint of Sénèque’s career. Lot 739 is an enchanting vignette of Sacre Coeur (1923) - the iconic Montmartre landmark –which confirms Sénèque’s architectural training and disciplined eye. Ironically, Montmartre was the home to legendry French artists including the Impressionists, to whom Sénèqe was openly hostile, arguing against modernist tendencies. Similar to another work sold in these rooms in February 2012, Nuns Outside Sacre Coeur (c.1926) shows an almost identical view and treatment but with the addition of a passing group of nuns clad in dark habits. Finally, Still Life with Vessels (1930), lot 738, an unusual work for Sénèque so late in his career, is one of his last paintings, as the artist died on 30 April 1930 after a short but important and influential life as a landscape painter in early 20th century KwaZulu-Natal. - Berman, E., Art and Artists of South Africa , A.A. Balkema , Cape Town, 1970 - Hillebrand, M., Art and Architecture in Natal 1910 -1940, Unpublished Thesis, University of Natal, 1986, p 96. Tatham Gallery, Clément Sénèque, Pietermaritzburg, 1969 We are grateful for the kind assistance of Mr Brendan Bell in cataloguing lots 735 – 739

Clément (Joseph Charles Louis) Sénèque (South African 1896-1930) LA BASILIQUE DU SACRE COEUR DE MONTMATRE signed and dated 23 oil on board PROVENANCE from the private collection of the artist's granddaughter 40 by 32,5cm Lot 735 – 739 are a selection of five fine oil paintings from the acclaimed yet brief production of the Mauritian born artist, Clément Sénèque. These works have not previously been offered on the market, having been in Switzerland in the Sénèque family collection since the early 20th century, thus providing a unique opportunity to acquire fresh works by the artist. It is appropriate that in the 21st century the work of Sénèque is enjoying renewed interest and that the impact of his short career has received the scholarly attention of two KwaZulu-Natal art historians, Dr Melanie Hillebrand and Brendan Bell. Trained in Paris at the École des Beaux Arts in architecture and town planning, Sénèque enjoyed recognition in his time as an architect and self-taught painter with a precise eye for architectural structure and details. He admired the work of Frank Brangwyn and locally that of Gwelo Goodman and Pierneef. His verdant landscapes of Kwa-Zulu-Natal, light drenched architectural studies and harbour scenes were most popular in South Africa, eventually earning him the distinction of having his work acquired by all the major local public art collections and the post of chairman of the Natal Society of Arts Sketch Club in 1926. His production was exceptionally brief in South Africa - only five years from 1925-1930 - before he died of pneumonia. “Sénèque’s importance to Natal, despite his relatively short career is immense. Numerous contemporaries and younger artists admired and copied his style, thus producing what might be described as a Natal school of the twenties”. - Melanie Hillebrand On offer are two Natal landscapes; lot 735 is the arresting view of an aqueduct-like stone bridge, partly illuminated in sun, set in a serene landscape of dark, reflective water against a tropical forested landscape, with wild banana fronds and weeping trees against a modulated aqua sky. Although the work is inscribed on the back, Pont-La–Reduit and dated 1920, it is unclear if the inscription is indeed by the artist, as the subject is most likely the KwaZulu-Natal south coast. The second landscape, lot 736, is Chimney Stack and Trees (1926), which presents an unusual view of a distant Durban harbour through a vista of elongated bare trees. A glowing red-orange set of chimney stacks is dramatically illuminated by an early winter sun, the entire composition set against a pale turquoise sky, affirming the artist’s pre-occupation with the sky in his African works. However, “His interest lay in the structural masses of the land and the intersecting lines established by the horizon and vertical forms of buildings.” Less familiar to local audiences are his earlier French Alps and Montagne scenes, painted while on honeymoon in the region, or shortly afterwards. The Durban Art Gallery acquired one such work, Mont Blanc from Sallaches, in 1927. Equally impressive is lot 737, a 1925 work entitled French Alps which was exhibited in the Sénèque retrospective at the Tatham Gallery, Pietermaritzburg in 1969, and was considered to be one of his finest works in notes made to the draft of the introduction to the accompanying catalogue. “In order to add textural interest Sénèque covered his canvas in sackcloth, adding depth to the composition of French Alps. Melanie Hillebrand, in her PHD dissertation argues that, “His bold use of tone gives the mountains a stereoscopic quality.” He produced many paintings, drawings and prints of the French Alps as a result of his happy memories at the time. He returned to Durban, where he encountered difficulties getting established as an architect – although highly regarded – with a young wife and child to support. Despite the challenges, this proved to be the highpoint of Sénèque’s career. Lot 739 is an enchanting vignette of Sacre Coeur (1923) - the iconic Montmartre landmark –which confirms Sénèque’s architectural training and disciplined eye. Ironically, Montmartre was the home to legendry French artists including the Impressionists, to whom Sénèqe was openly hostile, arguing against modernist tendencies. Similar to another work sold in these rooms in February 2012, Nuns Outside Sacre Coeur (c.1926) shows an almost identical view and treatment but with the addition of a passing group of nuns clad in dark habits. Finally, Still Life with Vessels (1930), lot 738, an unusual work for Sénèque so late in his career, is one of his last paintings, as the artist died on 30 April 1930 after a short but important and influential life as a landscape painter in early 20th century KwaZulu-Natal. - Berman, E., Art and Artists of South Africa , A.A. Balkema , Cape Town, 1970 - Hillebrand, M., Art and Architecture in Natal 1910 -1940, Unpublished Thesis, University of Natal, 1986, p 96. Tatham Gallery, Clément Sénèque, Pietermaritzburg, 1969 We are grateful for the kind assistance of Mr Brendan Bell in cataloguing lots 735 – 739

Tinus (Marthinus Johannes) de Jongh (South African 1885-1942) MEIRINGSPOORT signed; a plaque adhered to the front of the frame bares the artist's name and the title oil on canvas 67 by 100cm Tinus de Jongh was a self-taught artist who began his career as a decorator in Amsterdam, only later pursuing a career as an artist, much to the dismay of his parents. After achieving local recognition for his work in Amsterdam, he came to South Africa in 1921, where he would, like the artists before him, fall in love with the South African landscape. Esmé Berman, the highly respected and critically acclaimed art historian, notes that “De Jongh’s pictures amply answer the requirements of the broader buying public: they are sumptuous in scale, local in content, descriptive in character, traditional in style and bright in colour.” “When de Jongh first came to South Africa, he brought with him a sober Amsterdam approach; his scenes were warm and intimate, his palette subdued. His detailed brushwork was rich in impasto highlights and characteristically Dutch in manner. Like most European newcomers to South Africa, he was impressed by the rugged scenery of the Cape and proceeded to apply himself to portrayal of the gabled farm-houses, the verdant valleys and the sunset-tinted mountain peaks. Like so many artists from the duller northern climes he was also lured by brilliant sunlight into rejecting his customary subtle tones and substituting shrill oranges and pinks and purples.” - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town, 1974, p 76 & 77

Jan Ernst Abraham Volschenk (South African 1853-1936) CRAG AND KLOOF, RIVERSADLE, SOUTH AFRICA signed and dated 1911; inscribed with the title and the date on the reverse oil on canvas 45 by 35cm Jan Ernst Abraham Volschenk was born near Riversdale in the Western Cape to Dutch parents in 1853. Having not received any formal education in art, he initially pursued a career as a book keeper whilst painting in his spare time. In 1893 he accompanied the Reitz family on a tour of Europe where he was greatly inspired by the artwork he saw in France, the Netherlands, Germany, Italy and Switzerland. Upon his return, he joined The South African Drawing Club, with whom he would exhibit extensively. Volschenk’s studio looked out onto the Langeberg mountain range, which served as the inspiration and subject matter of the vast majority of his paintings. Crag and Kloof, lot 742, is one such painting. With its long view of the veld with cattle grazing and pink heaths delicately dotted, toward the rocky peaks of the Langeberg Mountain Range depicted in untiring attention to detail, and the vast expanse of sky, this work is quintessentially Volschenk. “Volschenk approached the task of celebrating his home landscape without theory or polemic. His aim was purely to record the information offered by his eyes.” - Esmé Berman - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town, 1974, p 315 & 316 - Borman, J., Jan Ernst Abraham Volschenk (1853 – 1936), available: http://www.johansborman.co.za/artist-biographies/volschenk-jea/1

Pieter Hugo Naudé (South African 1868-1941) TRANSVAAL HIGHVELD, SPRING signed oil on canvas PROVENANCE Donated by the artist to the Dutch Reformed Church, Heidelberg Gifted to the minister in 1971 and gifted to the minister in 1971, thence by descent to the current owner 35 by 50cm Pieter Hugo Naudé was born in 1869 in the Worcester district of the Western Cape, where he completed his initial schooling. Early on, his talent was recognised and encouraged, most notably by Olive Schreiner, the feminist author, social theorist and anti-war activist. In 1889 Hugo Naudé accompanied Schreiner on a trip to Europe, following which he enrolled at the Slade School of Fine Art before going on to study at the Kunst Akademie in Munich and working briefly in Europe. Upon his return to South Africa in 1896, he would travel by caravan from Worcester as far as the Victoria Falls, spending an extended period in Namaqualand in the Drakensberg, which served as inspiration for some of his most celebrated works. The pioneer of impressionism in South Africa, Naudé’s style was one of intuition rather than science. In lot 744 we see that Naudé was less concerned with the physical properties of light than he was with the sun-drenched colour, fresh air and natural abundance of the landscape with which he was surrounded. Much like in Transvaal Highveld, Spring, Esmé Berman comments that, “It is somehow always springtime in Naudé’s small canvases: the veld blooms, the sky is clear... He chose the picturesque views and revelled in the brilliant splash of wild flowers carpeting the general atmosphere rather than on defining detail. The charm of his works lies in their bracing, open-air freshness as much as in prettiness of content. A sense of composition, stemming from the disciplines of formal training, secures the underlying structure of the picture even when the scene dissolves in coloured flecks of sketchy paint.” - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town 1974, p 203 – 206 - Borman, J., Hugo Naude (1868 – 1941), online, available: http://www.johansborman.co.za/artist-biographies/naude-hugo/1

Various A COLLECTION OF BOOKS ON SOUTH AFRICAN ARTISTS Including the following: *Scholtz, J. du P. MOSES KOTTLER: HIS CAPE YEARS Tafelberg, Cape Town, 1976, first edition. Fair. Beige cloth. Some water damage on bottom of text block. Dust jacket has some fraying. *Vorster, M. JACOB PIERNEEF (1886 - 1957) AS PRINTMAKER Johannesburg Art Gallery, 1986. Soft cover. Good. Newton Thompson, J. & Timmons, H. B. GWELO GOODMAN: SOUTH AFRICAN ARTIST Allen & Unwin, Cape Town, 1951. Grey/green cloth. Foxing on edge of text block. Dust jacket with some small tears. *Redgrave, J. J. & Bradlow, E. FREDERICK I'ONS, ARTIST Maskew Miller, Cape Town, 1958. Blue cloth. Dust jacket with some small tears. PROVENANCE Johans Borman Fine Art

Ruth Prowse (South African 1883-1967) CAPE TOWN STREET SCENE signed with the artist monogram; signed in pencil on the reverse oil on board 28 by 22cm Ruth Prowse, the daughter of English immigrants, was one of the early students of the Cape Town Art School under the directorship of George Crossland Robinson. After this initial training she went onto study at the Slade School of Fine Art as well as the Royal Academy under the tutelage of John Singer Sargent. Upon returning to South Africa in 1908, Prowse lent the knowledge she had gained by means of teaching, and a year later, by serving on the board of the South African Society of Artists. In 1923 she was elected the keeper of the Michaelis Collection at the Old Town House. This role was to have a profound impact not only on her artistic output, but on her advocacy efforts too, in her fervent work for the preservation of historic buildings in Cape Town. Prowse’s artistic style is reminiscent of the 17th century Dutch golden age artwork with which she became so well acquainted in her work with the Michaelis Collection. Despite her role as a foundational member of the New Group, she did not introduce any sweeping stylistic innovations to the oeuvre of South African 20th century art, making her mark, instead, as a guardian of South African art interests, sitting on various important boards, including that of the National Gallery. Passionately and intimately acquainted with Cape architecture, Prowse is best known for her intricate street scenes – a fine example of which is presented in lot 760 - producing scores of views of Cape Town and its people. Her works are characterised by tonal warmth, beautifully exhibited in A Cottage at Fanehoef, Lot 761, in which one can almost feel the embrace of a hot summer’s day. Rather than sharp contrasts, Prowse’s palette is one of careful grading, with its pinky oranges and blues providing the accent notes. Her composition is sure, with shadows playing an important role, particularly in her street scenes. Her brushwork was direct, but not markedly impressionistic until fairly late in her life. She enjoyed the texture of paint, which she applied lavishly to her works. - Berman, E., Art and Artists of South Africa, A.A. Balkema, Cape Town, 1974, p 245 & 246

Ruth Prowse (South African 1883-1967) A COTTAGE AT FANEHOEF inscribed with the title on the reverse oil on board 30 by 22cm Ruth Prowse, the daughter of English immigrants, was one of the early students of the Cape Town Art School under the directorship of George Crossland Robinson. After this initial training she went onto study at the Slade School of Fine Art as well as the Royal Academy under the tutelage of John Singer Sargent. Upon returning to South Africa in 1908, Prowse lent the knowledge she had gained by means of teaching, and a year later, by serving on the board of the South African Society of Artists. In 1923 she was elected the keeper of the Michaelis Collection at the Old Town House. This role was to have a profound impact not only on her artistic output, but on her advocacy efforts too, in her fervent work for the preservation of historic buildings in Cape Town. Prowse’s artistic style is reminiscent of the 17th century Dutch golden age artwork with which she became so well acquainted in her work with the Michaelis Collection. Despite her role as a foundational member of the New Group, she did not introduce any sweeping stylistic innovations to the oeuvre of South African 20th century art, making her mark, instead, as a guardian of South African art interests, sitting on various important boards, including that of the National Gallery. Passionately and intimately acquainted with Cape architecture, Prowse is best known for her intricate street scenes – a fine example of which is presented in lot 760 - producing scores of views of Cape Town and its people. Her works are characterised by tonal warmth, beautifully exhibited in A Cottage at Fanehoef, Lot 761, in which one can almost feel the embrace of a hot summer’s day. Rather than sharp contrasts, Prowse’s palette is one of careful grading, with its pinky oranges and blues providing the accent notes. Her composition is sure, with shadows playing an important role, particularly in her street scenes. Her brushwork was direct, but not markedly impressionistic until fairly late in her life. She enjoyed the texture of paint, which she applied lavishly to her works. - Berman, E., Art and Artists of South Africa, A.A. Balkema, Cape Town, 1974, p 245 & 246

Johannes Petrus Meintjes (South African 1923-1980) AUTUMN EVENING signed and dated 1960 oil on board This painting appears as entry no. 683 in Johannes Meintjes Painting Catalogue 43,5 by 35,5cm Born in Riversdale in the Western Cape, Johannes Meintjes had the unprecedented success of becoming an overnight sensation after his first exhibition opened at the prestigious Gainsborough Galleries in Johannesburg in1944.He was a mere twenty one years of age at the time. Gifted and talented, Meintjes went onto have a vastly successful career in both the art and literary worlds, producing over 1,300 paintings, and thirty five books on various aspects of South African history and culture. At the young age of fifteen, the family re-located from their rural farm to Cape Town, where the young Johannes was taught by Florence Zerffi, and became great friends with Maggie Laubser. He admired Irma Stern and Alexis Preller, and the influence of all these artists on his work is apparent. His work is characterised by a dream-like quality, portraits and plein-aire scenes of groups of people being his primary choice of subject matter. Autumn Evening, lot 761, presents a moonlight picnic, set in front of a group of Cape cottages, infused with deep manganese and violet colours. The subjects appear to be farmworkers, revelling in the freedom and beauty of a moonlit night in the countryside. Rooikop Seun, lot 762, is a typical example of Meintjes’ portraiture work, with its bright pallet and stark, well-defined facial features.

Peter Clarke (South African 1929-2014) BACK STREET signed and dated 1950 mixed media on paper 27 by 38cm Peter Clarke, an artist of humble origins began life in with very few opportunities in apartheid South Africa. His intellectual gifts, talent and determination to follow his deep interest in visual art led him to overcome many obstacles, which would finally win him international recognition. This same determination was made vocal at the opening of a major retrospective at the South African National Gallery in 2011 when he explained his principled fight in order to overcome racial exclusion. In the end he was victorious, and today the work of Peter Clarke is highly sought after and the subject of a seminal publication, Listening to distant thunder, the art of Peter Clarke, by art historians Philippa Hobbs and Elizabeth Rankin. In his mid-twenties, Peter Clarke abandoned the security of his job in the Simon’s Town naval yard to follow his calling as an artist. He had an early successful exhibition in District Six, which encouraged him to focus his life’s work around the belief that art could play an active role in social development, which resulted in him becoming a leading figure in the Community Arts Project in Cape Town. We are privileged to offer a compelling selection of works form the artist produced in various media, including works on paper. Two important early works deal with his central focus, that of his community. The poignant, Back Street, lot 764, evokes an anxious moment within the difficult conditions of social inequity and poverty as a result of discriminatory policies in early apartheid South Africa. An important work, in dazzling tones of sea blue and red, it personifies the artist as a social commentator. Windmills, lot 766, is a beautiful and correspondingly joyous work, expressing the artist’s ability to find happiness in everyday life, despite the socio-political turmoil around him. Brilliantly coloured, three school boys are absorbed in the whirling plastic windmills popular with Cape children at Christmas time, when the south-easterly winds roar. Similarly, Evening Grazing, Teslaarsdal, Lot 765, exudes this same escapist quality. Out in the Overberg countryside, Clarke felt at peace and far removed from the turmoil of the city. It was here that he found himself inspired to paint his tranquil, yet decidedly modern pastoral scenes. - Hobbs, P. & Rankin, E., Listening to Distant Thunder: The Art of Peter Clarke, Fernwood Press, Cape Town, 2014

Peter Clarke (South African 1929-2014) WINDMILLS signed and dated 2/8/1973; inscribed with the title on the reverse acrylic on board PROVENANCE Gifted by the artist to current owner. 47 by 60cm Peter Clarke, an artist of humble origins began life in with very few opportunities in apartheid South Africa. His intellectual gifts, talent and determination to follow his deep interest in visual art led him to overcome many obstacles, which would finally win him international recognition. This same determination was made vocal at the opening of a major retrospective at the South African National Gallery in 2011 when he explained his principled fight in order to overcome racial exclusion. In the end he was victorious, and today the work of Peter Clarke is highly sought after and the subject of a seminal publication, Listening to distant thunder, the art of Peter Clarke, by art historians Philippa Hobbs and Elizabeth Rankin. In his mid-twenties, Peter Clarke abandoned the security of his job in the Simon’s Town naval yard to follow his calling as an artist. He had an early successful exhibition in District Six, which encouraged him to focus his life’s work around the belief that art could play an active role in social development, which resulted in him becoming a leading figure in the Community Arts Project in Cape Town. We are privileged to offer a compelling selection of works form the artist produced in various media, including works on paper. Two important early works deal with his central focus, that of his community. The poignant, Back Street, lot 764, evokes an anxious moment within the difficult conditions of social inequity and poverty as a result of discriminatory policies in early apartheid South Africa. An important work, in dazzling tones of sea blue and red, it personifies the artist as a social commentator. Windmills, lot 766, is a beautiful and correspondingly joyous work, expressing the artist’s ability to find happiness in everyday life, despite the socio-political turmoil around him. Brilliantly coloured, three school boys are absorbed in the whirling plastic windmills popular with Cape children at Christmas time, when the south-easterly winds roar. Similarly, Evening Grazing, Teslaarsdal, Lot 765, exudes this same escapist quality. Out in the Overberg countryside, Clarke felt at peace and far removed from the turmoil of the city. It was here that he found himself inspired to paint his tranquil, yet decidedly modern pastoral scenes. - Hobbs, P. & Rankin, E., Listening to Distant Thunder: The Art of Peter Clarke, Fernwood Press, Cape Town, 2014

Maggie (Maria Magdalena) Laubser (South African 1886-1973) PORTRAIT OF A GIRL WITH HEAD SCARF HOLDING A PUMPKIN signed oil on canvas Delmont, L. and Marais, D., Maggie Laubser: Her Paintings, Drawings and Graphics, Perskor Publishers, Johannesburg, 1994, illustrated on p 246 cat no 888 Meintjes, J. Maggie Laubser, Jacques Dusseau and Co, Cape Town, J. H. de Bussy, Pretoria, 1944, illustrated on p 11 PROVENANCE Mrs Wegener, Vereeniging; acquired from the exhibition Constantia Gallery, Johannesburg,1946, and thence by descent to the current owner 54 by 44cm Maggie Laubser has consistently remained on the top selling list of South African artists, and as a female artist, is second only in this achievement to her contemporary, Irma Stern. Like Stern, Laubser’s output was prolific, and both artists experienced the heady thrill of Berlin in the 1930s meeting the movers and founders of the expressionist school. Although Laubser met Max Pechstein, she was not taught by him, instead finding a mentor and supporter in the leading expressionist Karl Schmidt-Rottluff, amongst other German colleagues. Both Stern and Laubser travelled extensively throughout Europe, and for a brief period of time, travelled together in Germany. Laubser returned to South Africa to record what she saw around her in the idyllic, yet lonely life she encountered on her family’s rural Cape farm. The subsequent careers of Laubser and Stern diverged significantly, however, and they became fierce competitors. Portrait of A Girl with Headscarf Holding a Pumpkin, lot 774, reflects the life of a young farmworker in the milieu of a bountiful harvest epitomised by the giant pumpkin that almost engulfs her. This is an important early work in the genre of the “Poetic folk-lore imagery for which she is renowned.” Painted in 1941, it was exhibited in her seminal exhibition at the Constantia Gallery in Johannesburg in 1946, a time when the artist had “staked out her artistic territory: a world of simple images in which the harmony of her unsophisticated and untroubled youth survive.” It is illustrated in both the Catalogue Raisonné of the artist’s work and the 1944 publication on Maggie Laubser by her great friend and fellow artist, Johannes Meintjes. By the time this work was exhibited at the Constantia Gallery, Maggie Laubser had begun to achieve a relative measure of success; in this same year she was awarded the Medal of Honour for Painting from the South African Academy for Science and Art, making her the first woman ever to have received this accolade. A lifelong and constant concern of the artist was the struggle to make a living. As portraiture offered the possibility of commissions, it soon became her genre of choice. “She completed many portraits during the late 20’s and early 30’s – strong, positive portrayals- in all of which her sympathetic awareness of the human being behind the features is a conspicuous aspect of the work. A certain melancholy haunts these faces and suggests they are as much a portrait of the artist as of the individual sitter.” The large charcoal work on paper, Vrou Voor Visserhuisies, lot 775, was exhibited at the Prestige Retrospective Exhibition of Maggie Laubser held at the South African National Gallery in 1969 and exhibits the humble life led by the fishing community in her home town of Strand. Four years after this retrospective exhibition, Maggie Laubser died in her coastal home, leaving a pictorial legacy of hundreds of works reflecting her vison of an idyllic African world. As curator, Hayden Proud has noted “She embarked upon an interior journey and a communion with nature and its cycles; this resulting in a body of work that is unique in South African painting. Referring to this period in her old age she stated that ‘Everything I know the farm has taught me – not study abroad‘.” - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town, 1974, p 175 - Delmont, L. & Marais, D., Maggie Laubser: Her Paintings Drawings and Graphics, Perskor Publishers, Johannesburg, p 246 cat no 888 - Meintjes,J., Maggie Laubser, Jacques Dusseau and Co., Cape Town, 1944, p 11 - Proud, H. Revisions: Expanding the Narrative of South African Art, UNISA Press, 2006, p 64

Maggie (Maria Magdalena) Laubser (South African 1886-1973) VROU VOOR VISSERHUISIES signed and dated 40 charcoal on paper The South African National Gallery, Cape Town, 1969, cat no 172 Delmont, L. and Marais, D., Maggie Laubser: Her Paintings, Drawings and Graphics, Perskor Publishers, Johannesburg,1994 illustrated on p 269, cat no 1033 PROVENANCE Wolpe Galley Michael Stevenson, Cape Town Johans Borman Fine Art 50 by 58cm Maggie Laubser has consistently remained on the top selling list of South African artists, and as a female artist, is second only in this achievement to her contemporary, Irma Stern. Like Stern, Laubser’s output was prolific, and both artists experienced the heady thrill of Berlin in the 1930s meeting the movers and founders of the expressionist school. Although Laubser met Max Pechstein, she was not taught by him, instead finding a mentor and supporter in the leading expressionist Karl Schmidt-Rottluff, amongst other German colleagues. Both Stern and Laubser travelled extensively throughout Europe, and for a brief period of time, travelled together in Germany. Laubser returned to South Africa to record what she saw around her in the idyllic, yet lonely life she encountered on her family’s rural Cape farm. The subsequent careers of Laubser and Stern diverged significantly, however, and they became fierce competitors. Portrait of A Girl with Headscarf Holding a Pumpkin, lot 774, reflects the life of a young farmworker in the milieu of a bountiful harvest epitomised by the giant pumpkin that almost engulfs her. This is an important early work in the genre of the “Poetic folk-lore imagery for which she is renowned.” Painted in 1941, it was exhibited in her seminal exhibition at the Constantia Gallery in Johannesburg in 1946, a time when the artist had “staked out her artistic territory: a world of simple images in which the harmony of her unsophisticated and untroubled youth survive.” It is illustrated in both the Catalogue Raisonné of the artist’s work and the 1944 publication on Maggie Laubser by her great friend and fellow artist, Johannes Meintjes. By the time this work was exhibited at the Constantia Gallery, Maggie Laubser had begun to achieve a relative measure of success; in this same year she was awarded the Medal of Honour for Painting from the South African Academy for Science and Art, making her the first woman ever to have received this accolade. A lifelong and constant concern of the artist was the struggle to make a living. As portraiture offered the possibility of commissions, it soon became her genre of choice. “She completed many portraits during the late 20’s and early 30’s – strong, positive portrayals- in all of which her sympathetic awareness of the human being behind the features is a conspicuous aspect of the work. A certain melancholy haunts these faces and suggests they are as much a portrait of the artist as of the individual sitter.” The large charcoal work on paper, Vrou Voor Visserhuisies, lot 775, was exhibited at the Prestige Retrospective Exhibition of Maggie Laubser held at the South African National Gallery in 1969 and exhibits the humble life led by the fishing community in her home town of Strand. Four years after this retrospective exhibition, Maggie Laubser died in her coastal home, leaving a pictorial legacy of hundreds of works reflecting her vison of an idyllic African world. As curator, Hayden Proud has noted “She embarked upon an interior journey and a communion with nature and its cycles; this resulting in a body of work that is unique in South African painting. Referring to this period in her old age she stated that ‘Everything I know the farm has taught me – not study abroad‘.” - Berman, E., Art and Artists of South Africa, A. A. Balkema, Cape Town, 1974, p 175 - Delmont, L. & Marais, D., Maggie Laubser: Her Paintings Drawings and Graphics, Perskor Publishers, Johannesburg, p 246 cat no 888 - Meintjes,J., Maggie Laubser, Jacques Dusseau and Co., Cape Town, 1944, p 11 - Proud, H. Revisions: Expanding the Narrative of South African Art, UNISA Press, 2006, p 64

Various A COLLECTION OF BOOKS ON SOUTH AFRICAN ARTISTS Including the following: *Naude, A. HUGO NAUDE Struik, Cape Town, 1974 *Munro, G. R. JAMES THACKWRAY: AN UNASSUMING MASTER Paja Publishers, Johannesburg, 2013, signed by author. *Willemse, H. MORE THAN BROTHERS Kwela Books, Cape Town, 2000 *Bailey, H. G. PIETERMARITZBURG AND THE NATAL MIDLANDS Privately published, signed *Fox, J. THE LIFE AND ART OF FRANCOIS KRIGE Fernwood, Vlaeberg, 2000 PROVENANCE Johans Borman Fine Art

Vladimir Griegorovich Tretchikoff (South African 1913-2006) SELF PORTRAIT Accompanied by a a book on Tretchikoff bearing his signature. charcoal on paper Timmins, H. TRETCHIKOFF Cape Town: Howard Timmins, 1969. First edition, signed by Tretchikoff. 38 by 35cm

Amos Langdown (South African 1930-2006) NA DIE AAND SE VANGS signed oil on canvas 73 by 89,5cm Amos Langdown was born in Plettenberg Bay in 1940. Trained as a teacher at the Zonnebloem College in Cape Town, he was involved in the South African schooling system for many years, maintaining a balance between his passion for teaching and his artistic practise. Langdown’s first solo exhibition in 1960, while he was studying part-time at the Michaelis School of Fine Art, resulted in him being awarded a government grant to study abroad. The influence and guidance of his mentor, Katrine Harries, during this period is evident in his work with its firm basis in draughtsmanship, composition and its graphic quality. During his lifetime, Langdown participated is various international exhibitions, including the Venice Biennale, and his work appears in such prestigious collections as the Smithsonian Institute in Washington. Langdown has proved himself a great social commentator of life on the Cape Flats as well as the lifestyle of fishing communities across the Cape, evidenced in his magnanimous work, Na die Aand se Vangs, lot 795, which is infused with sympathetic insight and sentiment. Langdown’s palette is one of softness and subtlety, favouring characteristic hues of red-brown in his depiction of the Cape people, who appear to float upon his canvases. “As I dip my brush into paint, I dip it into my soul and he who cannot appreciate this, does not have a soul.” - Amos Langdown

Various TWO BOOKS ON SOUTH AFRICAN DECORATIVE ARTS Including the following: *Baraitser, M. & Obholzer, A. CAPE COUNTRY FURNITURE Struik, Cape Town, 1982 2nd revised edition *Cruise, W. CONTEMPORARY CERAMICS IN SOUTH AFRICA Struik, Cape Town, 1991

Various A COLLECTION OF BOOKS ON EARLY SOUTH AFRICAN ARTISTS Including the following: *Bowler, T. W. PICTORIAL ALBUM OF CAPE TOWN, WITH VIEWS OF SIMONS TOWN, PORT ELIZABETH AND GRAHAMSTOWN. Struik, Cape Town, 1984 *Simons, P. B. THE LIFE AND WORKS OF CHARLES BELL Fernwood, Cape Town, 1998 *Carruthers, J. & Arnold, M. THE LIFE AND WORK OF THOMAS BAINES Fernwood Press, Cape Town, 1996

Gail Catlin (South African 1948-) MOSAIC PANEL signed and dated 2004 liquid crystal and resin Catlin, G. Van Grebener, Fabbrizzio and Sampson, Liquid Crystal Painting, Stonehaven Publications, Cape Town, 1999, illustration plate 22 PROVENANCE purchased directly from the artist by the current owner 88,5 by 79cm

Various A COLLECTION OF SOUTH AFRICAN ART REFERENCE BOOKS Including the following: • Berman, E. ART AND ARTISTS OF SOUTH AFRICA Balkema Cape Town, 1983, enlarged edition. Fair. Blue cloth. Dust jacket shelfworn. Previous owners plate on endpaper. Internally clean. • Martienssen, H. TWENTIETH CENTURY SOUTH AFRICAN ART Human & Rousseau, Cape Town, 1966. Good. Beige cloth. Dust jacket torn top and bottom of spine with some paperloss. • de Jager, E.J. CONTEMPORARY AFRICAN ART IN SOUTH AFRICA Struik, Cape Town, 1973. Beige cloth. Good. One tear in dust jacket. • Jeppe, H. SUID AFRIKAANSE KUNSTENAARS 1900 – 1962 Afrikaanse Pers-boekhandel, Johannesburg, 1964. Blue cloth. Dust jacket shows some shelfwear. • Various ONS KUNS Lantern & S.A. Uitsaaikorporasie, Pretoria, 1969. Without plastic boards. Text block in good condition. • Various ONS KUNS 2 SA Vereniging vir die Bevordering Kennis en Kultuur, Pretoria, 1961. Fair. Soft cover with plastic wrap. Some paperloss on spine. • Various ONS KUNS 3 Toerien, H & Duby (eds), Die Stigting vir Onderwys, Wetenskap en Tegnologie, Pretoria. Pink cloth. Dust jacket in good condition with minimal shelfwear. PROVENANCE Johans Borman Fine Art

Various JOHANS BORMAN FINE ART CATALOGUES Including the following: • Borman, J. and Siebrits, W. ASPECTS OF SOUTH AFRICAN ART 1903 – 1999 Johans Borman and Warren Siebrits, Johannesburg, 2001. Fine. • Borman, J. ART THAT INSPIRES Johans Borman Fine Art, Cape Town, 2009. Fine. • Borman, J. and Taljaard, Z. ASPECTS OF ABSTRACTION Johans Borman Fine Art, Cape Town, 2011. Fine. • Borman, J. and Taljaard, Z. PERSONA Johans Borman Fine Art, Cape Town, 2011. Fine. • Borman, J. and Taljaard, Z. -SCAPE Johans Borman Fine Art, Cape Town, 2012. Fine. • Borman, J. and Taljaard, Z. IN THE SHADOW OF THE RAINBOW Johans Borman Fine Art, Cape Town, 2013. Fine. • Borman, J. and Taljaard, Z. MASTERPIECE Johans Borman Fine Art, Cape Town, 2016. Fine. PROVENANCE Johans Borman Fine Art

Various FOUR BOOKS ON SOUTH AFRICAN 20TH CENTURY MASTER ARTISTS Including the following: *Arnold, M IRMA STERN: A FEAST FOR THE EYE Fernwood Press, Cape Town, 1995. Fine. * Miles, E. THE WORLD OF JEAN WELZ Fernwood Press, Cape Town, 1997. Fine. * Van Rooyen, R. C. MAGGIE LAUBSER Struik Publishers, Cape Town, 1974. Fair. Some browning and water damage to back. Bottom of spine torn. *Dubow, N., C. IRMA STERN Struik Publishers, Cape Town, 1974. Fair. Shelfwear. PROVENANCE Johans Borman Fine Art

Marloth, Rudolph THE FLORA OF SOUTH AFRICA WITH SYNOPTICAL TABLES OF THE GENERA OF THE HIGHER PLANTS Cape Town: Darter Bros & Co, 1913 - 1915 First edition. Col. & b/w plates in profusion. Cloth, foxing, and scattered foxing, sello tape stains to endpapers from old plastic covers that were removed, 5 of the 6 books have average to good dustjackets, insect scarring to cloth cover boards.

Cape of Good Hope 1882-1904-Used Selection, plus revenue stamps and pre-paid stationary.

South Africa 1879-Half Penny Token-Cape Town, J.W.Irwin, Tea Merchant, GVF+Scarce.

U.S. ARMY NURSE DOLLPlastic-bodied doll, 6 1/2" tall, with brown synthetic hair, dressed in a well-executed replica of a World War II-era U.S. Army nurse's uniform, complete with cap, accoutrement bag, and red cape. The doll is housed in its original shipping carton, addressed to "The Merry McIntires" of Jefferson, Illinois, from Capt. J. McIntire, U.S. Army Medical Corps. Our research shows that McIntire was herself a nurse. The box bears several ink inscriptions, including: "Do Not Open Until Christmas Day!" and "There Are Always Surprises At Christmas!" The postmark gives a date of Nov. 15, 1944, squarely during wartime. Both pieces in very good condition.

HITLER YOUTH FOUL-WEATHER PONCHORare Hitler Youth foul weather poncho, rich brown cloth with an oil cloth backing, 45" long from the top of the collar to the end of the jacket. Three smooth brown composite buttons held with miniature paperboard buttons secure the front, and the same type of buttons are used to secure the arm openings in this sleeveless garment. The verso of each button bears an RZM stamp. The back of the garment features a series of straps beneath a flap on the shoulders that would allow the garment to be rolled up for easy storage. Bears a cloth label inside the collar, with Hitler Youth and RZM logos, identifying the garment as an "H.J. Regenumhang" ("Hitler Youth Rain Cape"), manufactured by Gieral. Very slightly worn at the lower back, else as-new. A very hard-to-find H.J. clothing article, especially in this condition.

A bishops outfit, the attire including cape, cassock, cope, stoles,etc. (A lot)

An articulated Darth Vader model with fabric cape, approx 80cm high

A collection of various mounted horns and unmounted skulls including "Himalayan Thar or Cloud Goat" on a circular ebonised mount, "Blue Duiker Cape Colony", "Dikdik" all on mounts, together with an unmounted skull of fallow deer and two further antelope skulls with horns CONDITION REPORTS The three mounted sets of horns have various scuffs, chips, marks and cracks. Dried skin over the top of the skulls is quite grubby. Exposed rusty screw showing on two of the mounts. all shields have various scrapes and scuffs and splits. The three unmounted skulls are all quite grubby and stained. white paint on one of the horned skulls. all teeth appear to be present on the fallow deer skull. Various scuffs, scratches and cracks throughout all the skulls. General signs of wear and tear throughout - please see images attached

An early 20th Century ocelot jacket, together with a fur cape, an astrakhan style coat, fake fur cape and a bag of fur hats, etc CONDITION REPORTS The Ocelot jacket has wear to the fur on the edges as well as some wear to the sleeves both under the arms and nearer the wrists. Wear to the shoulder. There are several areas of wear to the back including four pronounced areas in a line at the top. There is wear to the collar, there is a rip to the one under arm. There is staining and discolouration to the lining as well as various rips. There is one hook mechanism to the top of the jacket which is worn. Measures approx 57 cms from under arm to under arm on front and 64 cms from the top of the collar to the base on the back - see images for further details. The cape has wear to the edges and the join line at the back is quite pronounced. There is a vertical line wear on the collar seen, otherwise general wear and tear to include the thread being worn away on the hook mechanism. Astrakhan style coat has had some repairs to the edges of the cuffs. All other items have wear and tear to include a rip to one of the fox fur legs, various paws are missing, rips to the linings etc - see images for further details

A collection of six pairs of mounted horns including "Southern Oribi - RSA circa 1898", "Cape Brysbok", "Cape Brysbok with skull", "Spekes Gazelle circa 1927" and "Duiker Doe with ivorine plaque inscribed "Duiker Doe, very rare, shot by H Tyzack, Que Oue S Rhodesia" and "Steinbok bearing ivorine plaque inscribed "Steinbuck Ram Kroonstad District, O.R.C. June, 1905" bearing further label verso dated July 1906 and hand-written inscription "Lord Sellborne" CONDITION REPORTS All skulls are discoloured and grubby. Some of the skulls have breakages - please see images. Exposed and rusty screws, some have teeth missing. Duiker Doe horns appear to have been re-made out of something, perhaps plaster. The Oribi horns seem to have been painted at some point. All the horns have various scuffs and scrapes with some paint. All shields appear to have some scuffs, scrapes and scratches. Some have chips. Not all shields are original and the Steinbuck appears to have some of the skull re-made. General signs of wear and tear throughout - please see images attached.

A Cape Buffalo skull with horns

A collection of clothing to include tweed cape, a ladies keeper cloth jacket, a blue hacking jacket by Saddlemaster, together with a collection of other clothes to include shirts, stocks, gloves, etc

Books - Ian Fleming - The Man With The Golden Gun, published by Jonathan Cape, 1965, black cloth boards without gun, with dust jacket Condition:

A deeply fringed silk hand embroidered Chinese cape, dating from late 1800s

A circa 1950s Canadian Squirrel elbow length cape

A black lace edged cape, together with a heavily embellished circa 1890 cape decorated with jet beads, a velvet whale boned jacket decorated with jet beads on collar and cuffs, 1895/1900 , a silk 1900s bodice with a lace tulle insert on neckline, a black cotton underskirt 1900-1910, an Edwardian tulle blouse in a bolero design 1910-1916, a hat with an Ostrich feather and an Edwardian purse with black beads and gold sequins, with kid leather lining, and various hat pins in a box

A cream slub satin 1950s cocktail dress, with a Georgian waistcoat decorated with embroidery in flowers and gold braiding, together with a silk lined, red fine wool cape, with gold embellish design 1860s with a stand-up collar (3)

Policeman's cape, thought to be around 1950's.

Officer's long cape, with purple lining, King's Own Royal Lancashire Regiment.

A Queen's South African Campaign medal, with South Africa 1902 and Cape Colony clasps, inscribed 2790, Pte. T. Halligan, 2nd Lincolnshire Regt.

A Queen's South African Campaign medal, with Tansvaal, Paardeberg, and Cape Colony clasps, inscribed 4697, Pte. G. Dixon, Lincolnshire Regt.

A metal "Police" helmet with original lining and webbing strap; a police cape and a Metropolitan Police dress jacket and trousers dated inside "1955 issue" ++good condition

A 19th Century bisque shoulder head doll with moulded blonde hair, wearing a decorative snood, painted blue eyes and with white bisque lower arms and legs with painted black boots; cotton body, and wearing original silk hooded cape, white cotton dress with mother of pearl buttons and complete set of cotton and wool underwear, 57cms high ++right leg repaired, toe of boot on left boot broken off, head and other parts of body good, silk cloak with some damage

An Edwardian cream wool babies Christening cloak trimmed with cream lace, the flounced cape with self coloured floral embroidered decoration and with original satin fastening ribbons and silk lining ++good condition

Vintage fur items to include a white fur cape, brown fur coat, leopard skin collar and four pelts. (7)

Queens South Africa Medal Two Clasps Cheshire Regiment, medal was awarded to “2524 PTE H ASHTON CHESHIRE REGT”. Medal with clasps Cape Colony and Orange Free State. Ghost dates to the reverse.

Queens South Africa Medal Three Clasps Seaforth Highlanders, example with ghost dates to the reverse, awarded to “4090 PTE J J ELDRIDGE 2: SEA HIGHRS”. Medal with clasps Cape Colony, Orange Free State and Transvaal. Medal remains in good condition.

Queens South Africa Medal Three Clasps Loyal North Lancashire Regiment, awarded to “3279 PTE W SWARBRICK 1ST L N LANC REGT”. Medal has clasps Cape Colony, Orange Free State and Transvaal. Medal remains in good toned condition.

Queens South Africa Medal Three Clasps East Lancashire Regiment & WW1 British War Medal, QSA with clasps Cape Colony, Orange Free State and South Africa 1902 awarded to “6477 PTE J BRIGGS E LANC R”, WW1 silver British War medal awarded to “7136 CPL J H BRIGGS E LAN R”. Medals remain in good condition. (2 items)

Queens South Africa Medal Five Clasps 32nd (Lancashire) Company Imperial Yeomanry, awarded to “27969 PTE A HALL 32ND COY IMP YEO”. Medal has clasps Cape Colony, Orange Free State, Transvaal, South Africa 1901 and South Africa 1902. Medal is nicely toned with just a couple of contact marks to the edge.

Rare 59th Foot (2nd Nottingham Regiment) Albert Pattern Shako Plate circa 1844-55, fine gilt metal Victorian crowned eight pointed star, laurel wreath set to the centre with battle honours BHURTPORE, CORUNNA, NIVE, JAVA, VITTORIA, ST SEBASTIAN, PENINSULA and CAPE OF GOOD HOPE. Centre of the plate is strap with regimental details “2ND NOTTINGHAM” and gilt LIX to the centre. Two lug fittings on the reverse and two wire fittings to the crown. The crown possibly repaired. A rare and desirable early shako plate.

Queens South Africa Medal Five Clasps 3rd Dragoon Guards, awarded to “4221 PTE J DOHERTY 3RD DGN GDS”. Medal has clasps Cape Colony, Orange Free State, Transvaal, South Africa 1901 and South Africa 1902. Medal remains in good condition.

QUEENS SOUTH AFRICAN SILVER MEDAL 2 CLASPS - WITTEBERGEN & CAPE COLONY TO 9811 PTE C.EADE SCOTS GUARDS - DIED SENEKAL 20th SEPTEMBER 1900

TWO HANDCOLOURED PRINTS AFTER DRAWINGS BY LIEUT. COLE. COCKBURN 'Cape Diamond and Wolf's Cove, near Quebec', and 'The Falls of Montmorency', 52cm x 72cm; together with two hunting prints after Herring Sr., 57cm x 87cm (4)

Assorted Early 20th Century Baby and Toddler Costume, including long sleeved cotton muslin tops with embroidery, net and crochet dress with faux cape and train, labelled 'Au Louvre Layettes'; cream silk cape with ruffle trims, bonnets; Rob Roy double breasted cream silk jacket; and a cream shawl with Ayrshire style embroidery (one box)

Assorted Costume and Accessories including a Victorian grey linen day dress; a bone bead work jacket, a skirt, a cape, black lace pieces, a Christening gown and a length of cream silk chiffon

Black Velvet Opera Cape, with eau de nil silk lining; Madame Neal Ltd, Bradford Cream Applique Evening Jacket, with rust silk lining, and cream silk sleeves (2)

Late Victorian Cream Silk Two Piece Evening Gown, comprising fitted bodice with capped sleeves, black trims, bearing tailors label, 'E Collins, Court Dressmaker, Chester'; Red and Blue Silk Two Piece Fancy Dress Costume, with paisley mounts to the skirt, labelled 'Marie Balls, Portman Square'; and a Cream Silk Cape, with shoulder mount and tassel trim (3)