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Lot 98
A COLLECTION OF PAINTINGS AND WATERCOLOURS, including SIBUSISO KHUMALO (South African Contemporary) mixed media x 2 - African warrior and female, 21 x 30cms, head and shoulders of a male in a township, 29.5 x 21cms, both signed, along with contemporary South African School coloured pencil x 4 - busy street scenes with vehicles and pedestrians, all unsigned 30 x 42cms, 27 x 39cms, 22 x 30cms, 22 x 34cms, along with a collection of four unframed late 19th / early 20th century watercolours, various landscapes and a seascape, one signed 'S. Edmondson', another signed and entitled 'On the River Blythe', 39 x 58cms, 27 x 37cms, 16 x 36cms and 13 x 18cms (10)Provenance: Estate of Prof. Ritchie Ovendale, Aberystwyth.Comments: some mounted but unframed
Lot 3020
JAMES MORRISON ARSA RSW (SCOTTISH 1932- 2020) SEASCAPE Mixed media on board, signed lower right, dated 1976, 25 x 53cm (9.9 x 20.9") Labels bearing inscriptions verso Condition Report:Presents in good condition. Some minor surface scoring, and minor linear impact damage to sky. Examined under UV
Lot 188
Karl WESCHKE (1925-2005) Cape Cornwall Seascape, circa 1966 Oil on board, 244.5 x 122cm.Provenance - Given to Donald Payne, in lieu of rent for Karl's studio at Nanpean Farm, Cape Cornwall.This oil is in original, unrestored, ex-studio condition. There are peripheral paint losses and some other damage to paint surface. It would benefit from a clean and light restoration.
Lot 34
Ivan Konstantinovich Aivazovsky (Russian, 1817-1900)Seascape signed in Cyrillic and dated 'Aivazovsky/1898' (lower right); further signed and inscribed 'To Alfred Fedecki with deep respect from Aivazovsky, 1898' (on the reverse) oil on canvas 38.5 x 30.5cm (15 3/16 x 12in).Footnotes:ProvenancePrivate collection, Greece.We are grateful to Dr. Gianni Caffiero who has inspected the painting and confirmed its authenticity.Alfred Konstantinovich Fedetsky (1857—1902) was a prominent photographer and film-maker of Polish descent, who took numerous portraits of notable Russian people (Aivazovsky, Tchaikovsky and Ioann of Kronstadt, among many others) as well as members of the Imperial family. He was the personal photographer of Duchess Alexandra Petrovna of Oldenburg.Working mostly in Kharkov, Fedetsky was also a pioneering cinematographer. He is mostly praised for his film 'The Grand Transfer of the Ozeryanskaya Icon from the Kuryazh Monastery to Kharkov, on 20 September 1896'.The unmistakable 'transparent wave' for which Aivazovsky is famed greets the viewer in the foreground of the painting, the alluring turquoise of the frothing waters seemingly lit by a shaft of light penetrating the storm clouds. Beyond the illuminated wave, the eye is led to a ship's mast askew and a jolly boat with passengers, oars aloft. The parting of the thunderous clouds and the glimpse of blue sky revealed above heralds the calm after the storm.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 31
Irma Stern (South African, 1894-1966)'Palm Trees', Zanzibar signed and dated 'Irma Stern/1945' (lower left)oil on canvas 69.8 x 69cm (27 1/2 x 27 3/16in).within artist's original Zanzibar frame.Footnotes:ProvenanceAcquired at the Argus Gallery in 1946 by Mrs Schutz;By direct descent to Mrs Peta Schutz;A private collection.ExhibitedCape Town, Argus Gallery, 1946.In a review of her 1946 exhibition at the Argus Gallery, Cape Town, of which the present work was a feature, the Cape Times review began with the emphatic statement:Rarely in Cape Town's art history has there been an exhibition of contemporary South African painting of such importance.(P.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946), p. 14).History, of course, has tended to confirm the significance of Irma Stern's work from this trip. The artist herself noted 'the first class success' of the show in a letter to her Johannesburg friends, the Feldmans, on March 10 1946: 'Having about 3-400 people in daily and just when I want peace at home – some more to come and buy from studio'. Previously she had written from Zanzibar that 'I have had a most successful time here'. And she wrote that she was 'conquering new ground for my work and development': she even anticipated that some people would be 'shocked to death about my work', presumably indicating the 'vigorous brush work and lavish pigment' that one enthusiastic reviewer applauded in her landscapes and figure studies at this time (see below). In fact, this 'development' proved to be the foundation of the aesthetic achievement of her Zanzibar works. While the sense of increased proximity – or presence - of Stern's figures distinguish the work of her second Zanzibar trip from the first, 'Palm Trees', 'Zanzibar Garden', 'Seascape', and a few other works, introduce a new planarity into her method of painting. In 'Palm Trees', the tall forms of the coconut palms stretch from the bottom to the top of the format focussing attention on the very surface of the work where impasto paint and broken lines flicker in the light. Similarly, in 'Lelemama Wedding Dance' (sold at Bonhams in 2021), also from her second visit to Zanzibar, Stern concentrates attention on the picture plane to suggest the dissolution of form into a sense of shimmering movement in the textiles and jewels of the dancers. This attention to surface is one of the principal concerns of Modernism, from the Impressionists to the Abstract Expressionists: compare the 'Palm Trees' with Monet's 'Poplars'. Although Irma Stern rejected abstraction with contempt, her focus on surface in these works amounted to a neglect of both space and topography that is actually a form of abstraction. On this basis, within a short time, Stern was to reject the sheer physicality of subject-matter in a search for a spiritual or symbolic interpretation of the world. Family tradition held that this beautiful painting represents a Congo Landscape and that it was acquired at an exhibition at the Argus Gallery, Cape Town, in 1946 or 1947. The title of the work has been incorporated into the major monograph on Irma Stern, but the difference in date between the two exhibitions is crucial. The 1947 exhibition was indeed largely devoted to work that Irma Stern had made during her second expedition to the Democratic Republic of the Congo between April and June 1946. But the earlier exhibition in March 1946 consisted mostly of work done by Stern on her extended second trip to Zanzibar between late July and the end of October 1945. In fact, Stern's Cashbook for March 1946 records that she sold #5 Palm trees, oil from this exhibition to the previous owner's family for £70 proving beyond doubt that the work was made in Zanzibar. Moreover, a review in the Cape Times, after praising the splendid figure studies that constituted the major part of the exhibition, confirms the origin of this painting:Vigorous brush work and lavish pigment account for the effect of shimmering heat in 'Zanzibar Garden' and 'Palms' and reflect the exuberance of the local flora in the still life subjects. (P.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946), p.14.)Significantly, the two works picked out in this excerpt are very similar in size and have almost identical frames. Although Stern made little reference to the Zanzibar landscape in either her book Zanzibar (1948) or her correspondence with the Feldmans, Palm Trees was certainly painted on the island. We are grateful to Professor Michael Godby for the compilation of the above footnote.BibliographyP.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946)Marion Arnold, Irma Stern, A Feast for the Eye, (Vlaeberg: Fernwood Press, 1995), pp. 81- 84.National Library of South Africa, Cape Town, MSC 31,3, Cashbook, p.83.Irma Stern, Zanzibar, (Pretoria: J.L. Van Schaik, 1948) Sandra Klopper, Irma Stern, Are you Still Alive? Stern's life and art seen through her letters to Richard and Freda Feldman, 1934-1966, (Cape Town: Orisha Publishing, 2017), pp. 129-130.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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