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![Altista [?], late 19th/ early 20th century, Still life of fruit and vines in a Classical landscape, enamel on metal panel, in](https://cdn.globalauctionplatform.com/21181d6b-13ea-4626-ad56-ac06009ab3fe/1e7e73a4-6e22-4251-876b-ac0700db796f/468x382.jpg)
Lot 443
Edvard Munch(Norwegian 1863-1944)NORWEGIAN LANDSCAPEetching sheet size: 10,5 by 15cm We believe that Stephan Welz & Co is the first auction house in South Africa to offer an artwork by the incomparable Edvard Munch. Munch is one of the great masters of Modernism and he is known for producing artwork that reveal and communicate inner turmoil and existential states. While Munch is known for The Scream and other stirring paintings which express the intricacies of human nature, the conflict, the confusion and the pain of existence, there is a fragility that Munch seemed better able to express through the medium of printmaking. Munch experimented with several printmaking techniques and he is credited with introducing woodblock prints to Norway. In 1902 Munch presented a body of work that presented several facets of human experience, which he called The Frieze of Life. The work brought the artist acclaim but while his career thrived, his physical and mental health deteriorated. In 1908, after several years of success, Munch began engaging in a number of activities that the artist seemed to be drawn to as a means of escapism that proved to be self-destructive. During this time the artist travelled relentlessly and drank to excess yet he has been described as experiencing chronic anxiety. Eventually the artist was committed into Dr Jaconson’s private clinic in Copenhagen for a number of months. Norwegian Landscape is an exceptional work, as it reveals the human experience at its most fragile and raw. Munch created the work in 1908, it is the first artwork that he produced after his nervous breakdown which occurred in the same year. This work is a testament to the courage of a soul, completely undone yet still compelled to put etching needle to copper plate in order to express himself. Graphologists claim that one’s handwriting can be altered directly after experiencing a trauma, this notion may be evident in this etching, the delicate lines that collectively form this etching seem tentative. Could this etching be a result of the artist testing whether his artistic abilities are still intact during a situation where those who have experienced a breakdown express a sensation of being mentally unravelled. Or, was the making of this print entirely out of a sense of compulsion, the action of creating an etching so familiar that the artist found it a comfort? In 1908 Munch sat down, very possibly in the garden at Dr Johnson’s private clinic and completed a landscape that depicts nature in its inclusion of two trees in the frground, as well as rolling hills in the background, but which still seems barren and devoid of life. The perspectival lines that depict the road or ditch, portraying an unceasing distance, such as that described by many experiencing personal anguish, the path back to normalcy seems endless. The landscape is overall stark, quiet, lonely, the black etched lines are sharp, like incisions on the paper. The composition is secluded except for the one small element of hope, a little cottage along the mid-right margin. The mere act of creating a piece of art may signal Munch’s first steps out of the mire of his breakdown. This is a work of courage. It depicts the boldness of an artist who has experienced hell and is unafraid to reveal the pain of the journey. While this print would have been a later state, it is difficult to say of which state it is a part as some catalogues refer to the work having two states, while others comment that three states were produced. The print was published by Paul Cassirer in Berlin in 1908. Source: Munchmuseet
Lot 445
Willem Hermanus Coetzer(South African 1900 - 1983)GATHERING CLOUDSsigned and dated 62pastel on paper behind museum glass37 by 44,5cm PROVENANCEStephan Welz & Co., Cape Town, October 2017, Lot 309 A billowing cumulonimbus cloud in the late afternoon sunshine such as the one glowingly depicted in Gathering Clouds (lot 445) was a particularly significant subject for WH Coetzer. It was a sight similar to one he counted in his autobiography as a ‘formative event’, declaring his life-long love ‘for rolling masses of sunlit cumulus clouds’. Gathering Clouds was completed when WH Coetzer was in his early sixties. In it the dynamic shapes of the soaring cloud are intricately described. The artist uses the setting sun’s strongly directional illumination to build volume and depth. He has arranged the blushed and creamy hues of the warmly sunlit areas of the cloud between bulky dove-grey forms to the foreground and rear and employed darker shadows throughout to create multi-dimensional layers. The subdued and diffused light which bathes the rest of the landscape magnifies the dramatic effect of the sunlight. Coetzer has compressed the fields, the farmstead and the distant mountains beyond into the lowest quarter of the picture plane to convey the scale of the cloud within the composition; it is being viewed from afar and yet still it towers beyond the uppermost boundary of the frame. The winding track adds to the perception of depth as it leads the viewer into the landscape and quickly fades towards the distant horizon. The bright reflections of the sunlit cloud in the track’s flooded ruts accentuate the foreground and serve to balance the composition as a whole, both from top to bottom and from left to right. The pools of water in the foreground also provide an element of narrative to the scene: this is not an ominous storm advancing towards the viewer. Instead the cloud has passed over, the sun has reappeared and the viewer is invited to admire nature’s splendour and the artist’s skill in rendering it. Source WH Coetzer: 80, The Autobiography of WH Coetzer, CUM Boeke, Roodepoort, 1980, p 6
Lot 221
LATE 19TH CENTURY CONTINENTAL SCHOOL, Gentleman smoking a pipe, oil on panel, indistinctly signed lower right, approximate size 24.5cm x 16.5cm, a modern oil on board of a horse and jockey in early 19th Century style, unframed approximate size 20cm x 25.5cm and a still life of fruit, watercolour, mounted as oval, unsigned, approximate size 28.5cm x 44cm, framed and glazed (3)
Lot 86
JOHN JESSOP HARDWICK (BRITISH 1832-1917) 'Almond Blossom and Narcissus', still life, watercolour, signed, No.39 and dated 1869 lower right, bears three paper labels verso and pencil inscription, approximate size 18cm x 23cm, framed and glazed Condition Report Glass is filthy. Colours are good but paper looks to have very slight pipples, card mount is more modern
Lot 267
A COLLECTION OF DECORATIVE PICTURES AND PRINTS to include an Italian school painting of a fisherman on a lake; a painting by H Seward, oils on canvas depicting a fountain in Sloane Square; a modern still life signed Siebert and further decorative pictures and prints (10) Condition: most in reasonable condition, some of the frames in need of minor repair; the picture of a river scene, the woman wearing a hat, the Venetian canal with numerous gondoliers, the two horses - all modern prints; the butterfly picture and the bridge all modern paintings; the sea scape also a modern picture
Lot 206
TIM WIDDOWSON Tower Bridge and The Tower of London, 26cm x 36cm, watercolour, signed in pencil lower right together with a collection of further decorative pictures and prints including a still life of flowers by PM Owen, Poppies in a Wheat Field by Longden, French country scene by Michael Diew etc Condition: the modern watercolours generally in reasonable condition, in modern frames again in reasonable condition; the print of an old master fresco in a tatty frame
Lot 344
Italian School, 20th Century, Still life study of mixed flowers in a vase on a ledge, oils, in a gilt metal mounted green velvet frame, 9.5 x 7.5cm, oval, also a companion, a pair and a graduated circular pair in similar style, indistinctly signed, in crimson velvet frames hung together with gilded ropetwist cords and tassel drop, 46cm high (4).
Lot 1085
Gabrielle Stoddart (British 1943-): 'Still Life with Quince', oil on canvas signed, titled verso 53cm x 63cmNotes: Born in Brighton in 1943, Gabrielle trained at Hornsey College of Art and briefly taught at Brighton College of Art in 1973. She later enjoyed a successful career as a freelance illustrator in London winning many commissions for book illustration, advertising, editorial and fashion work, which she combined with various teaching posts. In 1987 she moved to Suffolk and became a full-time painter. Condition Report Click here for further images, condition, auction times & delivery costs
Lot 1086
Walter Taylor (British 1860-1943): Still Life of Flowers in a Vase, watercolour signed with studio stamp 38cm x 30cm Provenance: from the collection of the late Brian Hill of Bridlington, purchased by Brian Hill from the Michael Parkin Gallery, Motcomb St. London 1994 Condition Report Click here for further images, condition, auction times & delivery costs
Lot 1002
Laurence Perugini (1880-1940) - Still life flowers in a silver bowl, oil on canvas, signed and dated 1930 lower right, 65 x 52cmCondition report: Some small areas of paint loss.Stretcher marks on the right hand side.Some areas of craquelure.Canvas loose in frame.Otherwise good condition overall.
![A 19th century [possibly earlier] oil painting on canvas still life of a living area. Signed M E H. The frame has old sticker](https://cdn.globalauctionplatform.com/a29f2876-7b06-4bb6-8595-ac0200872d36/5e523db0-331b-4380-ac64-ac06009c1107/468x382.jpg)
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77111 item(s)/page