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Lot 1038A
Ma Haifang, Chinese b. 1956, watercolour painting of figures with birds in cages, seated beneath a blossoming tree, with calligraphy and three red seal marks, 67cm x 68cm,PROVENANCE: A gift from the vendor's brother, who worked in China, to their father. Ma Haifang was born in 1956 in Da Xing in the County of Beijing, and graduated from the Chinese Painting Department of the Central Academy of Fine Arts in 1981. He has exhibited regularly in China from the 1990s onwards, including Galleries in Geneva, Brussels, Zurich, London, Paris, and elsewhere.. .
Lot 1274
Bristol Savages Frank Shipsides and Patrick Collins - a 20th Century watercolour painting on paper depicting steam powered boats on water at sunset, signed Frank Shipsides along with a pen and ink sketch entitled 'Associated with the Sea' depicting a Victorian pier and pebble beach, signed Patrick Collins. Both framed and glazed. Along with a signed 'Frank Shipsides Bristol' book. Measures 43cm x 51cm x 56cm.
Lot 1522
Arthur Charles Fare (1876-1958) - Original early 20th century watercolour painting of Algar Manor, Iron Acton, South Gloucester. being signed and titled by the artist. Framed and glazed. Measures 55 cm x 44 cm ( frame ) & 34 cm x 24 cm ( painting ) together with an Arthur Charles Fare (1876-1958) - Original 1938 watercolour painting of Algar Manor, Iron Acton, South Gloucester. being signed, dated and titled by the artist. Framed and glazed. Measures 56 cm x 46 cm ( frame ) & 34 cm x 24 cm ( painting ).
Lot 162
J. Wilson Hartley Point, North East Coast Watercolour, monogrammed and dated 1939 Labels reverse include finalist in Russell Flint watercolour painting competition 15th December 1939 and Laing Art Gallery, Newcastle 27cm x 36cm Mid 19th century English school Adbaston Old Hall 1800 and Adbaston New Hall 1853 A pair of watercolours 29cm x 41cm (3)
Lot 270
JOHN HASSALL (TWENTY FIRST CENTURY) TWO PAINTINGS OIL PAINTING Golden Eagle about to Land Signed and dated 2007 9 ½? x 11 ½? (24.1cm x 29.2cm) WATERCOLOUR ?Sitting on the Dock of the Bay? Signed and dated 2005 7 ¼? x 21 ¼? (18.4cm x 54cm) ALAN KENWORTHY ARTIST SIGNED PRINT OF A PENCIL DRAWING ?Top Mossley?, (3)
Lot 534
* CLAIRE HARKESS RSW (SCOTTISH b 1970), KINGFISHER watercolour on paper, signed and dated '96 23cm x 16cm Mounted, framed and under glass. Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Six hundred miles due west of Ecuador surrounded by the Pacific Ocean lie the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through the paintings. Painting in watercolour offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery and at other prestigious galleries around the UK.
Lot 688
* JAMES S DAVIS DA PAI RSW FRSA (SCOTTISH b 1944), HOME FOR TEA mixed media on panel, signed 45cm x 50cm Mounted, framed and under glass. Note: James Davis was born in Scotland in 1944. He studied contemporary painting at the Glasgow School of Art between 1963 and 1967. He specialised in drawing and painting under the tutorage of Scottish artists William Armour and David Donaldson. For more than 40 years James Davis paintings have been exhibited extensively with the Royal Glasgow Institute ( RGI), Royal Scottish Watercolour Society (RSW), Royal Scottish Academy RSA and the Paisley Art Institute ( PAI). James Davis was elected to the RSW in 2003. James Davis paintings are predominantly landscapes, figurative and portraits and he paints in both watercolours and oils. Davis has been the recipient of many art awards for his contemporary paintings including the David Cargill Award; RGI in 2003 and the Reid Kerr Painting Award in 2005. James has established a strong following with leading private and corporate art collectors of contemporary Scottish art. These include: HRH The Duke of Edinburgh; The Royal Collection; Holyrood Palace; King Hussein Family Private collection; Vatican Commission Scott's College Rome; Glasgow City Chambers; Merk Finance; Arisaig Holdings, Singapore and Strathclyde Education Authorities. His paintings also feature in many private contemporary art collections in the UK, Canada, USA, Italy, Holland, France, Switzerland, Australia and Tasmania.
Lot 690
* JANET KENYON (BRITISH b 1959), NELSON'S COLUMN (LONDON) watercolour on paper, signed 51cm x 71cm Mounted, framed and under glass. Note: Janet Kenyon is the multi-award winning watercolour artist who has gained an enviable reputation for her innovative use of watercolour and is now widely recognised as one of the UK’s leading watercolour artists. Over the course of her career, Janet has received an impressive number of accolades, including winner of the Sunday Times/Smith & Williamson Cityscape Prize twice , first in 2009 for her painting titled: Northern lights, Blackpool and most recently in 2016 for her painting titled: Gridlock (Manhattan) The Sunday Times Watercolour Competition is the largest and most prestigious showcase of contemporary watercolour painting in the UK. Born and brought up in Bolton, Lancashire in 1959. In 1975 she studied for two years at Bolton College of Art & Design. In 1977 she moved away from Bolton to study at Leeds Polytechnic and later gained a B.A. Hons. in Graphic Design. It was here she began to experiment in watercolour and ever since as continued to push the boundaries of this very difficult medium. For Janet it’s the capturing of natural & artificial light, in her paintings, and the way it interacts with the landscape, alongside the unexpected perspective and sense of space, that ignites her imagination. Janet’s highly individual and distinctive landscapes have been exhibited in many leading galleries including the Mall Galleries, London, The Royal Scottish Academy, Edinburgh and The Lowry Gallery, Salford and can also be found in corporate and private collections throughout the UK and abroad.
Lot 1672
•DAME LAURA KNIGHT, DBE, RA, RWS (1877-1970) LAMORNA COVE Signed, watercolour and gouache 37.5 x 42.5cm. Provenance: London, The Royal Academy, The Diploma Gallery, 1965, no.119, whereat purchased by Mrs P. Murray; thence by direct descent in Mrs Murray's family. A letter from the artist to Mrs Murray and the cheque (£78.15s) accompanies the lot. The letter in full reads: Dear Mrs Murray Your very kind letter and cheque for £78-15-0 enclosed, has been sent on to me at the above address [Park Hole, Colwall, Nr. Malvern, Worcs.]. I hope you will love `Lamorna Cove` (No119) when it is delivered to you by my agent, Messrs James Bourlet, at the close of the Diploma Gallery on September the twelth [sic] ... where to? The wonderful way in which you speak of my exhibition fills me with joy and encouragement. Although I am now an antique, I hope I have not become just a piece of furniture. With many thanks, yours sincerely, Laura Knight * Following her marriage to Harold Knight in 1903, Laura and her husband moved to the artists' colony of Staithes on the Yorkshire coast. They failed to thrive financially and, after a holiday in Cornwall in 1907, they moved to Newlyn where they settled much more contentedly. They mixed (and shared painting trips) with all the other artists, including Alexander Stanhope Forbes, Ernest and Dod Proctor, Alfred Munnings and Samuel John Lamorna Birch. The Knights spent twelve years in Cornwall before moving to London in 1919, but they maintained a happy association with Newlyn during their holidays. In Janet Dunbar's book on Laura Knight (1975), she writes, "The sunlight on this Cornish Coast was unlike anything Laura remembered in Staithes ... it was golden, glowing, turning the blue-green sea into sparkling iridescence... Laura wholeheartedly accepted the tenet of the Newlyn School that outdoor subjects, like landscapes and seascapes, should be faithful transcripts from nature painted from first to last on the spot." The view is from Tregurnow cliff top, above Flagstaff Cottage, looking down into Lamorna Cove. Granite from these cliffs was hauled to London for the building of the Thames Embankment. This early composition for the celebrated oil concentrates upon the glittering light of the water that has filled the cove upon the rise of the tide. "The little bay", Knight recalled, had been "turned to gold by the reflection of the sun shining on the cliff above ...it was an excessively bright canvas". Indeed, the subject was so memorable that it lingered long in Knight's memory, so much so that, during a week of murky fogs in the capital in the winter of 1919-1920, she developed her sketches and her acute visual memory into the stunning exhibit for the Royal Academy that summer (no.618). The challenge was to recall the sparkling and ever-changing colours that had so memorably illuminated the cove. Such was Laura Knight's inspiration that she managed to pin down just enough of the glorious light, sunshine and rippling water on that magical day to recreate the special `ebullient vitality` of the Cornish coast in the dark days of a London winter whilst 300 miles away from the county of Cornwall that she loved so much. The 1965 retrospective exhibition at The Royal Academy was the first such show ever accorded to a female Academician. Knight's autobiography, The Magic of a Line (London 1965), Caroline Fox's Dame Laura Knight (Oxford 1988) and an unframed 1935 print of `Lamorna Cove` (Frost & Reed) accompany this lot (6 items)
Lot 133
George Jennings, 'Castle remains beside a mountainous lakeland scene', unsigned oil painting, 19.5 x 29.5cm, labelled verso and a companion, a pair, R H Davis, 'Coastal village with sailing boats and figures', 24.5 x 34cm, signed watercolour and a small indistinctly-signed oil on card of a woodland scene with cottage, 12 x 10cm, (4).
Lot 1259
RAN IN-TING (LAN YINDING, TAIWAN, 1903-1979), Dragon Dance, watercolour, signed and inscribed Formosa lower right, red seal and three line inscription upper left, 11.5cm x 37.5cm Footnote: sent as a three fold Christmas card, inscribed LP 2416 to the central panel on the reverse and 'Merry Christmas and Happy New Year/Ram/Taipei Taiwan' to the right hand panel. Ran In-Ting was born in Yilan, Taiwan. He learned painting from Kinichiro Ishikawa and devoted himself to watercolours, creating paintings of the surrounding Taiwanese scenery, customs and traditions. He was selected to membership to a number of art associations, including the Royal Watercolour Society,
Lot 309
Miniature portrait of a priest, unsigned, watercolour on ivory, 12 x 10cm, 4.75 x 4in, set in a gilt and painted architectural frame.Condition report: The painting is in good, original condition. There are several vertical splits in the ivory and some small areas across the painting where the paint is lifting. The painting is framed and glazed. The frame has the odd minor knock and loss commensurate with age.
Lot 397
Martin Frederick Hamlyn (1886-1966), Circus scene with figures, watercolour, 29 x 40.5cm, 11.5 x 16in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.
Lot 403
Patience Arnold (1901-1992), "The Singing Cats", signed and dated '74, watercolour, 34 x 42.5cm, 13.5 x 16.75in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.
Lot 439
Thomas Danby (British, 1818-1886), "Pennard Castle, South Wales", signed, titled on fragmented label verso, watercolour, 43.5 x 65.5cm, 17 x 25.75in.Condition report: The painting is in good, original condition with strong colours. The paper has yellowed universally. The painting is framed in its slip mount but not glazed. The frame has the odd knock and loss commensurate with age.
Lot 440
James Jackson Curnock (1839-1892), " Tryfan , North Wales", signed and dated 1876, titled on artist's label verso, watercolour, 60.5 x 90.5cm, 23.75 x 35.75in.Condition report: The painting is in good, original condition with strong colours. There are a few minor spots of foxing across the painting. The painting is ornately framed and glazed. The frame has some knocks and losses commensurate with age.
Lot 441
Warren Williams A.R.C.A. (1863-1941), "Beddgelert, Old Mill", signed, titled and dated 'Sept. 1935' on verso, watercolour, 33.5 x 50.5cm, 13.25 x 20in.Condition report: The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is ornately framed and glazed.
Lot 442
Warren Williams A.R.C.A. (1863-1941), Coastal scene with travellers on the beach, signed, watercolour, 32.5 x 49cm, 12.75 x 19.25in.Condition report: The painting is in good, original condition with strong colours. There is the odd minor spot of foxing across the painting. The painting is ornately framed and glazed.
Lot 443
Warren Williams A.R.C.A. (1863-1941), "Evening, The Old Mill Pond, Cemaes, Anglesey", signed, titled on verso, watercolour, 42 x 33.5cm, 16.5 x 13.25in.Condition report: The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is ornately framed and glazed.
Lot 4041
Johann Matthias Ranftl (Austrian, 1805-1854), a landscape with a girl fishing and a boy on a tree trunk, signed and dated 1845 l.l., watercolour, 20 by 15cm, in a gilt frameNote: it is thought this is a preparatory study for a larger 1845 oil painting in the Princeley Collection of Leichtenstein, Vaduz-Vienna
Lot 490
GEORGE GOODWIN KILBURNE RI ROI RMS (1839-1924); a watercolour genre painting of a young maid with bonnet and apron carrying a floral display towards the stairs, signed lower-left and attributed to the slip frame, with Fine Art Repository label verso, 80 x 50cm, in gilt frame and glazed. CONDITION REPORT Inside of glass and slip frame in need of a clean, some slight losses to the frame , the image itself has no obvious signs of significant damage or repair.
Lot 640
Victorian Orlando Norrie 11 Watercolour Paintings of Officer’s & Soldiers. An interesting and varied selection of 11 small watercolours of Officer’s and Other Ranks of various British army regiments. Most cavalry Officer’s are depicted on their mounts. Regiments include: Life Guards. ... Grenadier Guards. .... Argyll & Sutherland Highlanders. ... Royal Horse Guards. ... 17th Lancers. ... 1st Royal Dragoons. ... Royal Engineers. ... King’s Royal Rifle Corps. ... 11th Hussars. ... Royal Scots Greys. ... 10th Hussars. ... The larger size is 4 1/2 x 5 inches. Colours remain fresh, most signed. These painting are now placed in a Victorian military style photograph printed album, album with age wear.
Lot 505
Lady Anne Barnard (British 1750-1825) KHOI WOMAN provenance and artist's name inscribed on the reverse watercolour on paper 20,5 by 16,5cmIt is with great pride that Stephan Welz & Co debuts two important and exquisitely executed water colours by Lady Anne Barnard from her momentous visit to the Cape of Good Hope during the First British Occupation (1795-1801). Rarely on the market, these works are accompanied by unique documentary provenance and have been in the possession of the descendants of Lady Anne Barnard from 1966. They are offered for the first time with a handwritten letter from Lady Anne Barnard to Henry Dundas in 1801.The two watercolours give us a rare glimpse into the lives of individual women from the underclasses of the Cape Colony at the end of the 18thcentury. In ground-breaking new research, historian Tracey Randle has traced the origins and possible identities of the subjects depicted in Lots 505 and 506. Her article is included in this special focus on Lady Anne Barnard.The aristocratic Anne Lindsay was a leading figure of the Scottish Enlightenment, and the most prolific letter writer, diarist and recorder of any woman of the age. Well connected and witty she was sought after as a sparkling presence in the salons of Georgian society. Her circle included the illustrious presence of The Prince of Wales, Samuel Johnson, Edmund Burke, Henry Dundas, Joshua Reynolds and Thomas Gainsborough among others. Her independence was considered scandalous at the time, and eventually in her early forties she capitulated by marrying beneath her in both age and class. Twelve years her junior, her new husband Andrew Barnard – whom she lovingly nurtured and encouraged – secured a prestigious post as Colonial Secretary of the Cape of Good Hope in 1797. Acting as the first lady of the Cape Colony, Lady Anne Barnard’s African adventures and achievements became legendry. Almost two centuries after her death her legacy continues to make an impact.Anne was raised by a noble and free thinking father, The Earl of Crawford and Balcarres in a secluded castle on the coast of Fife, Scotland. James Lindsay married a woman forty years his junior, and at the advanced age of sixty, welcomed Anne into the world as the first of eleven children. Sadly, Anne found her mother to be remote – worn down by the burden of child bearing – yet it was her affectionate and bookish father who encouraged her intellectual curiosity and creative gifts. Favoured with beautiful looks, the youthful Anne rejected at least twelve proposals of marriage and the continuous – and unsolicited – advances of older predatory men. It has been suggested [1]that Anne may not have been able to bear children as the result of a sexually transmitted disease, incurable at the time. However, this did not deter her maternal feelings, and possibly motivated her empathetic and compassionate concerns, an attitude generally absent from other contemporary accounts of life at the Cape of Good Hope at the turn of the 19thcentury.Lady Anne was a prolific recorder of life at the Cape – in letters (one of which is on [i]sale), diaries and of course her acclaimed visual record of sketches, drawings and watercolours as well as a few rare oils. She differed from contemporary colonial male artists, in that her work was produced without future publication or official sanction in mind. Her drawings were personal and intimate capturing scenes from the domestic and social life was part of at the time. Drawings were quickly sketched at the dinner table, from her quarters at the Castle, in a carriage oren plein air. She was unusually curious about the wellbeing and origins of the servants and slaves around her. In this way her watercolours of people reveal an empathy absent from the work of other recorders – such as her neighbour at the Castle, Samuel Daniel.The famous image of the so-called Black Madonnaexists in two very similar preparatory sketched versions[ii] of the completed coloured watercolour on offer. The identity of the young Indian slave recorded as Theresaby the artist, is depicted in a maternal scene nursing her master van Reenen’s lastborn child. Tracey Randall in her article, has identified the child as the baby of the van Reenen family of Ganzekraal farm, near Darling, Cape. The tenderness of this portrait is underscored by the artist’s comments that she was able to capture the sleeping infant and young nurse in a leisurely manner as they dozed off [2]The second maternal portrait Mother and childdepicts a self-confident and smiling mother gazing directly at the viewer. Dressed in the regal sheep skin cloak and beaded adornment of a Khoi chieftainess, she was sketched at Ganzekraal on the same day in 1799 asBlack Madonna. This was recorded by Lady Anne in her diaries and subsequently highlighted by Tracey Randall.[iii]The full-length miniature vignettedepicts a joyful infant on the shoulders of her mother reaching for a dried gourd rattle, set against a distant landscape, reminiscent of the West Cape coast.These exquisite renderings now take their place amongst a small groups of works on paper selected for a local South African[iv]audience from Lady Anne Barnard’s profuse archive. Originally part of the Bibliotheca Lindesianaheld by the Earls of Crawford and Balcarres in their stately home, the archive has recently been transferred to the National Library of Edinburgh in Scotland.The arresting watercolours of life at the Cape and her adventurous journeys to the interior have never been published nor publicly exhibited in compliance with Lady Anne Barnard’s express wishes. The significance and value of these exceptionally rare and re-discovered images is invaluable to a new reading of the South African past.CAROL KAUFMANN[1]TAYLOR, STEPHEN, DEFIANCE THE LIFE AND CHOICES OF LADY ANNE BARNARD.2016.FABER &FABER, LONDON.[2]SEE BARKER, NICOLAS. LADY ANNE BARNARD’S WATERCOLOURS AND SKETCHES: GLIMPSES OF THE CAPE OF GOOD HOPE. FERNWOOD PRESS. 2009.[I]ONE SMALL OIL PAINTING IN PARTICULAR STANDS OUT AS IT IS A SELF-PORTRAIT OF HER BATHING AU NATURELAT HER BELOVED PARADISE, PRESENTLY HOUSED IN THE WILLIAM FEHR COLLECTION AT THE CASTLE OF GOOD HOPE IN CAPE TOWN.[II]IN THE IZIKO SOCIAL HISTORY COLLECTIONS AND THE BALCARRES COLLECTION[III]WE ARE MOST GRATEFUL TO TRACEY RANDALL (PHD CANDIDATE) FOR ALLOWING US TO PUBLISH HER GROUND- BREAKING RESEARCH IN THIS CATALOGUE.[IV]SEVEN PORTRAITS ANNOTATED WITH THE NAMES OF LOCAL INDIVIDUALS WERE PRESENTED IN 1972 TO THE SOUTH AFRICAN CULTURAL HISTORY MUSEUM (NOW THE IZIKO SOCIAL HISTORY COLLECTION).PROVENANCEBy descent. A letter gifting the works accompanies the watercolour of The Black Madonna.ACKNOWLEDGMENTSOur gratitude is due to Tracey Randall ( PHD Candidate), Ariadne Petoussis (The Vineyard) , Esther Esmyol (iziko Social History Collections), Melanie Geustyn ( Special Collections, South African Library) and others for their inspirational information, ideas and assistance with the presentation of Lady Anne Barnard’s watercolours.
Lot 506
Lady Anne Barnard (British 1750-1825) BLACK MADONNA provenance and artist's name inscribed on the reverse watercolour on paper 18 by 14cm It is with great pride that Stephan Welz & Co debuts two important and exquisitely executed water colours by Lady Anne Barnard from her momentous visit to the Cape of Good Hope during the First British Occupation (1795-1801). Rarely on the market, these works are accompanied by unique documentary provenance and have been in the possession of the descendants of Lady Anne Barnard from 1966. They are offered for the first time with a handwritten letter from Lady Anne Barnard to Henry Dundas in 1801.The two watercolours give us a rare glimpse into the lives of individual women from the underclasses of the Cape Colony at the end of the 18thcentury. In ground-breaking new research, historian Tracey Randle has traced the origins and possible identities of the subjects depicted in Lots 505 and 506. Her article is included in this special focus on Lady Anne Barnard.The aristocratic Anne Lindsay was a leading figure of the Scottish Enlightenment, and the most prolific letter writer, diarist and recorder of any woman of the age. Well connected and witty she was sought after as a sparkling presence in the salons of Georgian society. Her circle included the illustrious presence of The Prince of Wales, Samuel Johnson, Edmund Burke, Henry Dundas, Joshua Reynolds and Thomas Gainsborough among others. Her independence was considered scandalous at the time, and eventually in her early forties she capitulated by marrying beneath her in both age and class. Twelve years her junior, her new husband Andrew Barnard – whom she lovingly nurtured and encouraged – secured a prestigious post as Colonial Secretary of the Cape of Good Hope in 1797. Acting as the first lady of the Cape Colony, Lady Anne Barnard’s African adventures and achievements became legendry. Almost two centuries after her death her legacy continues to make an impact.Anne was raised by a noble and free thinking father, The Earl of Crawford and Balcarres in a secluded castle on the coast of Fife, Scotland. James Lindsay married a woman forty years his junior, and at the advanced age of sixty, welcomed Anne into the world as the first of eleven children. Sadly, Anne found her mother to be remote – worn down by the burden of child bearing – yet it was her affectionate and bookish father who encouraged her intellectual curiosity and creative gifts. Favoured with beautiful looks, the youthful Anne rejected at least twelve proposals of marriage and the continuous – and unsolicited – advances of older predatory men. It has been suggested [1]that Anne may not have been able to bear children as the result of a sexually transmitted disease, incurable at the time. However, this did not deter her maternal feelings, and possibly motivated her empathetic and compassionate concerns, an attitude generally absent from other contemporary accounts of life at the Cape of Good Hope at the turn of the 19thcentury.Lady Anne was a prolific recorder of life at the Cape – in letters (one of which is on [i]sale), diaries and of course her acclaimed visual record of sketches, drawings and watercolours as well as a few rare oils. She differed from contemporary colonial male artists, in that her work was produced without future publication or official sanction in mind. Her drawings were personal and intimate capturing scenes from the domestic and social life was part of at the time. Drawings were quickly sketched at the dinner table, from her quarters at the Castle, in a carriage oren plein air. She was unusually curious about the wellbeing and origins of the servants and slaves around her. In this way her watercolours of people reveal an empathy absent from the work of other recorders – such as her neighbour at the Castle, Samuel Daniel.The famous image of the so-called Black Madonnaexists in two very similar preparatory sketched versions[ii] of the completed coloured watercolour on offer. The identity of the young Indian slave recorded as Theresaby the artist, is depicted in a maternal scene nursing her master van Reenen’s lastborn child. Tracey Randall in her article, has identified the child as the baby of the van Reenen family of Ganzekraal farm, near Darling, Cape. The tenderness of this portrait is underscored by the artist’s comments that she was able to capture the sleeping infant and young nurse in a leisurely manner as they dozed off [2]The second maternal portrait Mother and childdepicts a self-confident and smiling mother gazing directly at the viewer. Dressed in the regal sheep skin cloak and beaded adornment of a Khoi chieftainess, she was sketched at Ganzekraal on the same day in 1799 asBlack Madonna. This was recorded by Lady Anne in her diaries and subsequently highlighted by Tracey Randall.[iii]The full-length miniature vignettedepicts a joyful infant on the shoulders of her mother reaching for a dried gourd rattle, set against a distant landscape, reminiscent of the West Cape coast.These exquisite renderings now take their place amongst a small groups of works on paper selected for a local South African[iv]audience from Lady Anne Barnard’s profuse archive. Originally part of the Bibliotheca Lindesianaheld by the Earls of Crawford and Balcarres in their stately home, the archive has recently been transferred to the National Library of Edinburgh in Scotland.The arresting watercolours of life at the Cape and her adventurous journeys to the interior have never been published nor publicly exhibited in compliance with Lady Anne Barnard’s express wishes. The significance and value of these exceptionally rare and re-discovered images is invaluable to a new reading of the South African past.CAROL KAUFMANN[1]TAYLOR, STEPHEN, DEFIANCE THE LIFE AND CHOICES OF LADY ANNE BARNARD.2016.FABER &FABER, LONDON.[2]SEE BARKER, NICOLAS. LADY ANNE BARNARD’S WATERCOLOURS AND SKETCHES: GLIMPSES OF THE CAPE OF GOOD HOPE. FERNWOOD PRESS. 2009.[I]ONE SMALL OIL PAINTING IN PARTICULAR STANDS OUT AS IT IS A SELF-PORTRAIT OF HER BATHING AU NATURELAT HER BELOVED PARADISE, PRESENTLY HOUSED IN THE WILLIAM FEHR COLLECTION AT THE CASTLE OF GOOD HOPE IN CAPE TOWN.[II]IN THE IZIKO SOCIAL HISTORY COLLECTIONS AND THE BALCARRES COLLECTION[III]WE ARE MOST GRATEFUL TO TRACEY RANDALL (PHD CANDIDATE) FOR ALLOWING US TO PUBLISH HER GROUND- BREAKING RESEARCH IN THIS CATALOGUE.[IV]SEVEN PORTRAITS ANNOTATED WITH THE NAMES OF LOCAL INDIVIDUALS WERE PRESENTED IN 1972 TO THE SOUTH AFRICAN CULTURAL HISTORY MUSEUM (NOW THE IZIKO SOCIAL HISTORY COLLECTION).PROVENANCEBy descent. A letter gifting the works accompanies the watercolour of The Black Madonna.ACKNOWLEDGMENTSOur gratitude is due to Tracey Randall ( PHD Candidate), Ariadne Petoussis (The Vineyard) , Esther Esmyol (iziko Social History Collections), Melanie Geustyn ( Special Collections, South African Library) and others for their inspirational information, ideas and assistance with the presentation of Lady Anne Barnard’s watercolours.
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