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Lot 379
English school (early 20th century)Still life study, Cherries and Pearsindistinctly signed, dated 1924, oil on canvas, 35cm x 45cm; another, a basket of fruit, oil on canvas; another, watercolourA 19th century watercolour, Driving the flock home; another, Autumn Beeches; others, qty A 19th century Lithographic print of a young girl, signed; other prints, (15)
Lot 395
A reproduction Royal Worcester blue and white miniature mask jug; a large blue and white ware vase (damages); two Royal Crown Derby specimen teacups and saucers, pattern no's. 1297 and XLIX; a Royal Crown Derby hexagonal box and cover, pattern 1297, with original box; a Royal Worcester globular vase with slender neck decorated still-life fruit, signed illegibly; and other decorative ceramics, including an old tile.
Lot 650
A 20th century watercolour of an Irish coastal scene, signed bottom right Sam McLarnon, with Ballycastle address details verso, 28 x 46 cm approx in wooden frame together with a watercolour of a still life of a vase of tulips and daisies, signed bottom right Sarah Farwell, 36 x 46 cm approx and a further watercolour of a farmyard, all framed
Lot 385
Gregoire Johannes Boonzaier (South African 1909-2005) BLUE ORCHIDS signed and dated 1981; signed and titled on the reverse oil on board 44,5 by 34cm Gregoire Boonzaier was born in 1909 in Cape Town and passed away in 2005. The flower studies PINK HIBISCUS and BLUE ORCHIDS bears the characteristic style of Boonzaier’s use of tremulous outlines used to accent the forms of trees, houses and flowers that is reminiscent of Pieter Wenning’s structural devices. He was influenced by Wenning and the Dutch painters he encountered during his time at The Hague School. According to Scott (1965: 15) Boonzaier was also influenced by European artists such as Braque, Utrillo and Cezanne. The pure browns and greys of Braque appealed to Boonzaier’s own colour sense, whereas his approach to still-life themes occasionally varies with strong tones, pure and romantic with a modern approach. By adopting a wide colour range Boonzaier accomplishes a more romantic expression of mood with a distinctive reality and exuberance. Although he exhibited exceeding talent from an early age and enjoyed a career of outstanding artistic popularity, his most valuable contribution to South African art was undoubtedly his driving effort as chairman of the New Group. Boonzaier has been a valuable influence on a large number of Cape painters, almost singlehandedly establishing a secure market for Cape Impressionism, not only in South Africa, but on an international scale. CS Reference: • Scott, F. P. 1964. Gregoire Boonzaier. Tafelberg-Uitgewers, Cape Town.
Lot 384
Gregoire Johannes Boonzaier (South African 1909-2005) PINK HIBISCUS signed and dated 1980 oil on canvas laid down on board 35 by 25cm Gregoire Boonzaier was born in 1909 in Cape Town and passed away in 2005. The flower studies PINK HIBISCUS and BLUE ORCHIDS bears the characteristic style of Boonzaier’s use of tremulous outlines used to accent the forms of trees, houses and flowers that is reminiscent of Pieter Wenning’s structural devices. He was influenced by Wenning and the Dutch painters he encountered during his time at The Hague School. According to Scott (1965: 15) Boonzaier was also influenced by European artists such as Braque, Utrillo and Cezanne. The pure browns and greys of Braque appealed to Boonzaier’s own colour sense, whereas his approach to still-life themes occasionally varies with strong tones, pure and romantic with a modern approach. By adopting a wide colour range Boonzaier accomplishes a more romantic expression of mood with a distinctive reality and exuberance. Although he exhibited exceeding talent from an early age and enjoyed a career of outstanding artistic popularity, his most valuable contribution to South African art was undoubtedly his driving effort as chairman of the New Group. Boonzaier has been a valuable influence on a large number of Cape painters, almost singlehandedly establishing a secure market for Cape Impressionism, not only in South Africa, but on an international scale. CS Reference: • Scott, F. P. 1964. Gregoire Boonzaier. Tafelberg-Uitgewers, Cape Town.
Lot 451
John Koenakeefe Mohl (South African 1903-1985) HOME WARD ON SLEDGE signed and dated 59; inscribed on the reverse: "Home Ward on Sledge, Bechuanaland Protectorate (Africa), painted by John Koenakeefe Mohl, painted in 1959" (sic) oil on board PROVENANCE Acquired directly from the artist. 62 by 70cm including artist's handmade frame Elza Miles (1997:57) states that Mohl was a leading figure to his peers; leading by example - his painted landscapes have a strong sense of the historical importance of place – not to mention that his compositions are often framed as windows on South African life and scenery. From 1946 to 1959, when he painted HOME WARD ON A SLEDGE, Mohl was commissioned by the Government and Tribal Administration of Botswana to record scenes of historical importance to the Bechuanas (Miles 1997:57). Miles (1997:58) notes how Mohl inscribed his paintings commissioned by the regent Kgosi Tshekedi Khama, ‘by a Motswana artist. J.K. Mohl’, as a gesture of acknowledging his nationality. What is interesting about this painting is that HOME WARD ON A SLEDGE is inscribed with the title as well as: ‘Bechuanaland Protectorate (Africa) By J. Koenakeefe Mohl. Painted in 1959.’. Although Mohl felt a strong kinship with Bechuanaland, going so far as to refer to his roots as a Motswana artist, he titled this painting HOME WARD…; and inscribed it with a phrase of memento, almost as if he wanted to be reminded of the landscape that he originated from but had to leave. Painted nearing the end of his commissions by Khama, it could be read that although the artist still felt a stronger patriotism to South Africa as his place of birth he still felt very strongly about the preservation of his heritage. The painting has a soft whimsical feel to it, the mountains in the distance pulls the viewer along on the journey where the oxen dominate the landscape, casting their shadows in the setting afternoon sun and dwarfing the two figures on the sledge behind them, accentuating the vastness of the Botswana landscape. CS Reference: • Miles, E. 1997. Land and Lives, A story of early black artists. Published by Human & Rousseau, Cape Town, Pretoria, Johannesburg.
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