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The 2011 Art Benefit The 2011 Art Benefit in aid of the Red Cross War Memorial Children’s Hospital hosted by BoE Private Clients


The 2011 Art Benefit in aid of the Red Cross War Memorial Children’s Hospital hosted by BoE Private Clients

Fundraising for the Red Cross War Memorial Children’s Hospital and Paediatric Healthcare in the Western Cape www.childrenshospitaltrust.org.za


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dedication To each and every person, spirit and heart who has contributed to this event over the years, I dedicate this message to you.  You all know who you are, and know how much love, gratitude and respect I feel for you. You understood the reasons. You believed in the dream. You made what we have achieved together possible. On behalf of myself, my dear partner and friend in this adventure, Linda and the children, parents and staff of the Red Cross War Memorial Children’s Hospital, I thank you. Together we have built buildings, lifted spirits, given hope, encouraged others and above all saved lives.  Amanda Bloch Patron The Children’s Hospital Trust

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ADDRESS The purpose of this auction is to celebrate and help save the life of at least one child by raising funds for the Burns Unit at the Red Cross War Memorial Children’s Hospital in Cape Town. We have planned an event to enchant you, to make you forget, for a short while, the apocalyptic chaos of the world. Like Puck in A Midsummer Night’s Dream, we will anoint your senses with the juice of fantasy for a few hours before returning to reality. We are grateful to many people for making the event not only possible but a real celebration: the Premier of the Western Cape, Helen Zille, who has so generously and warmheartedly given us the venue and all of its services to ensure that the evening is both prestigious and enjoyable; the artists included in this auction who have wholeheartedly embraced the event and created and donated work. Many of them have also worked and played in the Hospital with the children, showing, as usual, enormous generosity of spirit; Jay Pather and his magical team of beautiful, lithe dancers who welcome you all to the event with wonderful fanfare, and a few surprises; Philip Miller, the superb South African composer known, amongst many achievements, for his work with William Kentridge and for his recent extraordinary collaboration with Gerhard Marx on the cantata REwind, has conceived the music especially for the event; Hasan and Husain Essop for their film, commissioned to raise funds in New York for the Red Cross War Memorial Children’s Hospital. The film, made in a spirit of hope, shows their unusual interactions as they explored the Hospital and made contact with everyday people in extraordinary jobs. It also reveals the suffering that children and their parents endure and the vital work of the doctors and nurses to help relieve their pain. Some years ago I was brought to the Red Cross War Memorial Children’s Hospital after I had made a pledge to help revive a sick old building. As I walked through a succession of dingy, depressing corridors serving as wards, I was struck by the compassion and gentleness of the doctors and nurses, who worked together to bring comfort and laughter into a very dull place. These dedicated people sometimes work twelve to sixteen hours a day, operating and caring even though some of them should be officially retired. There are simply no replacements. The Burns Unit was my last stop. There the pain seemed worse than in other wards. The process of having bandages changed on raw wounds to arrest infection is agonising and some of the children and babies were too sore and traumatised to even cry. A little girl climbed onto my lap. She had no eyebrows, nose or ear lobes. With stumps for fingers, she cheerfully examined my sunglasses, curious about this strange old woman who had wandered into her ward. I had no way of knowing how to touch and hold her as she had extensive burns, and wore loose clothing for comfort. When I enquired as to her age and how much treatment she still had to endure, I was told she was six and would need to be treated till the age of eighteen. Her injuries, like those of so many others, had been sustained in a shack fire. The shacks in Cape Town’s townships, small shelters made mainly from corrugated iron, cardboard and plastic, are natural fire

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conductors. The Cape winds whip flames from gas lamps, candles and stoves into raging infernos that sweep through the township, destroying homes and lives. Those who can run are lucky. The Red Cross War Memorial Children’s Hospital is there waiting to help. My greatest passion in life, outside of my immediate family, is art, and on the day I visited the Hospital I decided that somehow I would make this place my second passion, to help heal some wounds, to try to save at least one child. With love, I have coerced and cajoled the artists I know as well as others I don’t, but whose work I admire, to help this cause. The response has been inspiring. All the artists have shown a true spirit of giving through creation. Their enthusiasm has fueled my determination and passion. There is no way to thank them, except through the results of this auction. And so, with my colleague Amanda Bloch, who is much more dedicated than I, we hope to bring light into the Hospital, banishing darkness where possible, by helping with equipment, furnishing rest areas for tired nurses, painting walls with the help of artists, and even working towards new state-ofthe-art operating theatres that will bring the hospital into the twenty-first century! Memories of the love and pain that I saw on my first visit to the hospital and the promise to myself that I would help come flooding back to me, reinforcing my commitment to this cause. The exhibition I have curated for you at this event is, I hope, of high quality, and gives you a chance to invest, commercially and spiritually, in the art and in a worthy cause. The names of those of you who have supported us so generously through the years, helping our cause through your purchases and donations, are forever engraved in the stepping-stones of this new hospital. You are helping to save lives in a new and precious nation. Those who are newcomers to this dream are warmly welcomed. Dreams are made of hard work and perseverance and many have shown both of these qualities. Isobel Estorick from Los Angeles, with no South African connection, has dedicated herself to fundraising for the Red Cross War Memorial Children’s Hospital by buying work from people who have been the victims of xenophobia in South Africa and selling their products in Los Angeles and New York at small exclusive venues. This has enabled her to establish the Simunye Trust, which remits all funds to the Hospital. She is an unexpected guardian angel, and it was her commission that helped the Essop brothers to make their informative film. We are also blessed by our donors from Italy. After a fabulous lunch hosted by Anton Weavind in a country restaurant above Naples, my dear friends Massimo and Olimpia Mosschino promised they would help. They have been consistent donors to a place “somewhere in Africa”, trustingly contributing to a fantasy hospital they had never seen.

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Marguerite Stephens, mother of generous Anton Weavind, has been my close friend for nearly fifty years. Years ago, struggling to survive, she established a weaving studio now acclaimed throughout the world. She has a waiting list that follows her like a ball of never-ending, unwinding mohair, but she was determined to give us a tapestry. As she weaves for William Kentridge she marched into his studio and ordered him to work on the cartoon of the diva so suitably serenading us at this event. On her way out, she casually threw back, “It’s for the Red Cross War Memorial Children’s Hospital you know!” “Fine, fine” came the usual generous response from William, who is always available for help. We thank them warmly, but especially Mags who stopped production on other projects to make this tapestry for us. Amanda Bloch and I started this project as colleagues full of determination but with little knowledge. The only firm agreement we made was that every penny raised would go to the Red Cross War Memorial Children’s Hospital and there would be no reimbursement or personal financial gain. For this event we decided on fifty-five tables as a maximum. Then the calls came rushing in – everyday more people begging for tables. We must be doing something right, and this is the best reward for hard work. Through this cause, we have cemented long-lasting friendships and opened many doors for new projects as well. When I am gone, I know I will keep hearing the words “Another ten sold” and I will ask, “Where will you put them?” But that doesn’t matter for Puck has worked his magic, and we are helping to save lives! Linda Givon Curator       

            

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people, partnerships and prosperity BoE Private Clients is committed to promoting prosperity through people and partnerships. This commitment underscores our focus on philanthropy, and in particular the provision of services to private individuals whose concern for human welfare and advancement translates into the range of philanthropic initiatives that seek to promote the greater good of the broader public. Against that background, it is a privilege for BoE Private Clients to host the 2011 Art Benefit in aid of the Red Cross War Memorial Children’s Hospital. As you may know, all proceeds from the event are to be applied to the purchase of specialist equipment for the Hospital’s new Burns Unit, a facility that will provide desperately needed relief for the existing Burns Ward, which was built in 1956 and treats more than 3 500 children with burns every year. We value the partnership with Amanda Bloch, Patron of the Children’s Hospital Trust, with Linda Givon curator and co-founder of this event as well as those who have been responsible for bringing together the impressive collection of artworks and making this event possible. We salute each and every one of the top South African artists who so generously donated works for auction. And above all, we thank you, the bidders and buyers at the auction, for your presence and your preparedness to support this worthy cause. Just as the Art Benefit brings together the artists, the experts, the buyers and the beneficiaries, so too does BoE Private Clients offer its services to both donors and non-profit organisations (NPOs). Our dedicated Philanthropy Office — the only institution of its kind in South Africa — facilitates the involvement of clients in longer-term giving through the establishment and structuring of charitable trusts/foundations, and provides assistance to NPOs to enable them to achieve longer-term financial sustainability. With a history of involvement in philanthropy that stretches back to the company’s origins in 1834, BoE Private Clients is honoured to be associated with the 2011 Art Benefit in aid of the Red Cross War Memorial Children’s Hospital. Paul Finlayson Managing Director BoE Private Clients

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p. 48 20 36 12 69, 57 38 10 54 70 56 03 34 32 63 24 18 46, 04 30 52 44 72 40, 64, 68 54, 73 07 14 19 59 50 08 47 31 29 43 71 16 05 38 60 36 34 17

artists

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artists

Aggenbach, Sanell (lot 39) Alexander, Jane (lot 16) Battiss, Walter (lot 28) Bell, Deborah (lot 10 & 11) Bester, Willie (lot 46, 54) Bieber, Jodi (lot 30) Botha, Wim (lot 9) Broomberg, Adam & Chanarin, Oliver (lot 44) Brown, David (lot 54) Catherine, Norman (lot 45) Cianfanelli, Marco (lot 2) Cohen, Steven (lot 27) Essop, Hasan & Husain (lot 25) Gavronsky, Claire (lot 51) Geers, Kendell (lot 19) Goldblatt, David (lot 14) Goodman, Frances (lot 3 & 37) Hodgins, Robert (lot 23) Hodgkiss, John (lot 41) Hugo, Pieter (lot 35) Inggs, Stephen (lot 54) Kentridge, William (lot 32, 52, 54) Koloane, David Nthubu (lot 43, 54) Kumalo, Sydney Alex (lot 6) Langa, Moshekwa (lot 12) Miller, Philip (lot 53) Mlangeni, Sabelo (lot 48) Mofokeng, Santu (lot 40) Muholi, Zanele (lot 7) Murray, Brett (lot 38) Neethling, Jan (lot 24) Nhlengehtwa, Jabulani Sam (lot 22) Oltmann, Walter (lot 34) Payne, Malcolm (lot 54) Poynton, Deborah (lot 13) Richards, Colin (lot 4) Rose,Tracey (lot 31) Rubin, Harold (lot 49) Schreuders, Claudette (lot 29) Searle, Berni (lot 26) Segogela, Johannes Mashego (lot 14)

62 28 09 41 22 45 02 42 53 21 58 06 26

Shakinovsky, Rose (lot 50) Siopis, Penelope (lot 21) Skotnes, Cecil Edwin (lot 8) Stephens, Marguerite (lot 32) Subotzky, Mikhael (lot 18) Tillim, Guy (lot 36) Van den Berg, Clive (lot 1) Vรกri, Minnette (lot 33) Veleko, Nontsikelelo (lot 42) Victor, Diane (lot 17) Villa, Edoardo (lot 47) Wafer, Jeremy (lot 5) Williamson, Sue (lot 20)

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lot 1 Clive van den Berg Man Flails with a Map, 2009 Acrylic on canvas 61 x 45.5 cm Courtesy the artist and Goodman Gallery

lot 2 Marco Cianfanelli Contain, 2009 Mild steel 20 x 36 x 36 cm Courtesy the artist and Goodman Gallery 3


lot 3 Frances Goodman My Friends Call Me the Queen of Hearts (The Dream), 2011 Silk, lace, organza, satin, beads and embroidery Dimensions variable Edition 2/2 Courtesy the artist and Goodman Gallery 4

lot 4 Colin Richards Ivory Tower, 2009 Digital print on paper 103 x 66.5 cm AP 2/2 Courtesy Art on Paper


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lot 5 Jeremy Wafer Tree, 2006 Digital print on archival paper 16 x 25 cm Edition 1/10 Courtesy the artist and Goodman Gallery 6

lot 6 Sydney Alex Kumalo Just Friends, signed and dated on verso Pastel on paper 76 x 56 cm Private collection


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lot 7 Zanele Muholi Lerato Marumolwa, Embekweni, Paarl, 2009 Silver gelatin print 86.5 x 60.5 cm Edition 2/8 Courtesy the artist

lot 8 Cecil Edwin Skotnes (1926–2009) Still Life, signed and dated May 1994 Watercolour on paper 30 x 46.5 cm Private collection 9


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lot 9 Wim Botha Untitled (‘Witness’ series VI), 2011 Carved Michaelis Collection catalogues, stainless steel and wood Work in progress Courtesy the artist 11


lot 10 Deborah Bell Voice, 2011 Mixed media on paper 30 x 20.5 cm Private collection 12


lot 11 Deborah Bell Wonder, 2011 Mixed media on paper 30 x 20.5 cm Private collection 13


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lot 12 Moshekwa Langa Untitled, 1999/2010 Mixed media on paper 140 x 100 cm Private collection 15


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lot 13 Deborah Poynton Diorama I, 2011 Oil on canvas 95 x 95 cm Courtesy the artist

lot 14 Johannes Mashego Segogela The Feast, 1994 Enamel paint on wood Dimensions variable Private collection 17


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lot 15 David Goldblatt Moon over Diepkloof, 1972 Silver gelatin print on fibre-based paper 30 x 40 cm Courtesy the artist and Goodman Gallery 19


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lot 16

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Jane Alexander Dig it all Yummy, 2004 Archival pigment ink on cotton rag paper 61 x 54 cm Edition of 15

Diane Victor Miss September, 2011 Unique print 50 x 66 cm

Courtesy the artist

Courtesy the artist and Goodman Gallery 21


lot 18 Mikhael Subotzky Hermanus with bricklaying team, Cape Town CBD, 2005 Archival pigment ink on cotton rag paper 56 x 235 cm Edition 2/7 Courtesy the artist and Goodman Gallery 22


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lot 19 Kendell Geers FATE, 2010 Indian ink on paper 103 x 66.5 cm Edition 2/7 Courtesy the artist and Goodman Gallery 25


lot 20 Sue Williamson YOUTH FACING HISTORY: Krakow, Poland ‘Other Voices Other Cities series’, 2011 Archival pigment ink on archival paper 60 x 281 cm Edition 3/8 Photographer: Michael Kaweski Courtesy the artist and Goodman Gallery 26


ARTIST’S STATEMENT Youth Facing History: Krakow, Poland is the most recent in Sue Williamson’s ‘Other Voices Other Cities’ series, in which the artist invites young people around the world to workshop and vote on a statement expressing what it means to them to live in their particular city. Krakow is a city where, apart from the beautiful medieval old town, the major tourist attractions are the Schindlers Lift factory and tours to Auschwitz. The Krakow group stand holding their statement against a remaining section of the wall built to contain the Jewish ghetto by the Nazis in 1941 before the ultimate liquidation of the ghetto in 1943.

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lot 21 Penelope Siopis Ribbon, 2009 Ink, glue and oil on canvas 76 x 115 cm Courtesy the artist 28


lot 22 Jabulani Sam Nhlengethwa Ella Fitzgerald, 2010 Mixed media on paper 50 x 60 cm Courtesy the artist and Goodman Gallery 29


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lot 23 Robert Hodgins Pretty Boy Floyd, 1980 Silkscreen 66 x 47.5 cm Courtesy Jan Neethling

lot 24 Jan Neethling The Boss, 2006 Etching 28 x 38 cm AP Courtesy Art on Paper 31


lot 25 Hasan & Husain Essop Arafat, 2011 Archival pigment ink on archival paper 90 x 270 cm Courtesy the artists and Goodman Gallery 32


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lot 26 Berni Searle Lament VI, 2011 Pigment ink on cotton paper 81 x 91 cm Edition 1/5 Courtesy the artist 34

lot 27 Steven Cohen Golgotha # 1, 2007 C-type print 80 x 65 cm Edition 1/5 Photographer: Marianne Greber Courtesy the artist


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lot 28 Walter Battiss (1906–1982) A Rare Plant, 1973 Silkscreen on paper 43.5 x 63 cm Edition 22/25 Private collection 36

lot 29 Claudette Schreuders Bird in the Hand, 2007 Bronze and enamel paint 38 x 12 x 15 cm Edition of 25 + 1 AP Courtesy the artist


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lot 30 Jodi Bieber Tshepiso, 2008 Digital print in pigment ink 250 x 250 cm Edition 6/10 Courtesy the artist and Goodman Gallery 38

lot 31 Tracey Rose CrooningCroonCrooners, 2005 Photograph (set of 23) 84 x 55.8 cm Edition 1/8 Courtesy the artist and Goodman Gallery


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Detail of weaving process in studio

lot 32 Tapestry design by William Kentridge woven at the Stephens Tapestry Studio Diva, 2011 Mohair 250 x 250 cm Edition of 6 + 2AP + studio proof Courtesy the artist, the Stephens Tapestry Studio and Goodman Gallery 41


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lot 33 Minnette Vรกri Self Portrait (Coua), 2007 Ink on paper 75 x 55 cm Courtesy the artist and Goodman Gallery

lot 34 Walter Oltmann Beetles and Suits, 2008 Bleach and ink on paper 42 x 60 cm Courtesy the artist and Goodman Gallery 43


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lot 35 Pieter Hugo Obechukwu Nwoye. Enugu, Nigeria, 2008 C-type print 110 x 100 cm Edition of 9 + 2AP Courtesy the artist

lot 36 Guy Tillim Rayina Henock and Massiye Henock, Petros Village. Malawi, 2006 Archival pigment ink on cotton rag paper 43.5 x 66.5 cm Edition 2/8 Courtesy the artist 45


lot 37 Frances Goodman Married to: Dogs, 2011 Beads, sequins, diamante, organza and embroidery thread 48.5 x 60 cm Edition of 9 + 2AP Private Collection 46

lot 38 Brett Murray Traditional Weapon, 2010 Metal, gold and silverleaf 98.5 x 77 x 4 cm Courtesy the artist and Goodman Gallery


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Artist’s statement Sanell Aggenbach’s work primarily deals with the intricate intersection of history and private narratives by considering the process of recall and interpretation. For the past few years her focus has largely been on found images of formal portraiture and archived negatives. In the new work Sonic Swingers she references translucent and tampered photographic film where muffled identities dilute into abstraction and pagan references merge with  the ritualised celebration of youth.

lot 39 Sanell Aggenbach Sonic Swingers, 2011 Oil on canvas 50 x 60 cm Courtesy the artist 48


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lot 40 Santu Mofokeng Playing Pool, Boitumelong Township, 1994 Gelatin silver print 19 x 28.5 cm Courtesy Maker 51


lot 41 John Hodgkiss Family Tree, 1999 Inkjet on cotton rag paper 61 x 43 cm Edition 4/7 Courtesy the artist 52


lot 42 Nontsikelelo Veleko Beauty is in the Eye of the Beholder: Sibu II, 2003 Pigment ink on archival paper 61 x 43 cm Edition 6/10 Courtesy the artist and Goodman Gallery 53


lot 43 David Nthubu Koloane Flight, 2010 Mixed media on paper 50 x 70 cm By courtesy the artist and Goodman Gallery 54

lot 44 Adam Broomberg & Oliver Chanarin Red House #2, 2006 C-type print 100 x 76 cm Courtesy the artist and Goodman Gallery


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lot 45 Norman Catherine Peaceful Sleep, 2008 GiclĂŠe print 82 x 97 cm Edition 6/45 Courtesy the artist 56


lot 46 Willie Bester Mother and Child, 2011 Mixed media 57 x 60 x 5 cm Courtesy the artist 57


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lot 47 Edoardo Villa Couple, signed bottom inside figure and dated 1976 Bronze 38 x 10 x 10 cm Private collection

lot 48 Sabelo Mlangeni Idolobha Langakithi, 2011 Gelatin silver print 40.5 x 51 cm Edition of 5 + 2AP Private collection 59


HAROLD RUBIN Harold Rubin was born in South Africa, lived under apartheid, and is passionate about jazz music. He played the clarinet with people like Kippie Moketsi in Sophiatown, and with many other people and ‘mixed’ groups in the townships. Drawing was his other passion and in 1963 he chose to protest against apartheid through this medium. His drawing of a naked Christ on the cross, with a large bearded head and an expression of agony, attracted a lot of attention not because of Rubin’s excellence as an artist but because the work was perceived as a depiction of Christ as a naked monster. The inscription across the work, ‘Oh Lord you know not what you do’, earned the artist a charge of blasphemy and an immediate trial. Rubin made history because of his acquittal, which set a precedent for the assessment of censorship and the confiscation of artworks. As soon as the trial ended, Rubin emigrated to Israel where he lives and works as a jazz musician and a visual artist, still protesting against injustice. People in South Africa who worked with him remember him as an icon and legend for his protest against the apartheid regime.

lot 49 Harold Rubin Mona Lisa, 2006 Oil and graphite on canvas 142 x 140 cm Private collection 60


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lot 50 Rose Shakinovsky For Derrida 11, 2011 Oil paint and mixed media 100 x 70 cm Courtesy the artist and Goodman Gallery

lot 51 Claire Gavronsky Red Crossing, 2011 Oil on canvas 101 x 77 cm Courtesy the artist and Goodman Gallery 63


lot 52 William Kentridge Untitled: Drawing for Other Faces, 2011 Charcoal on paper 29 x 78.5 cm Courtesy the artist and Goodman Gallery 64


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lot 53 Philip Miller Music by Miller; Artwork by Kentridge, 2011 Music on vinyl disc Edition of 1 + AP 66


lot 54 Red Cross Children’s Hospital Kids Kronk and Toy Toi, 2011 Mixed media Dimensions variable 67


silent auction From the Homage Portfolio to Cecil Skotnes


William Kentridge 69


Willie Bester 70


David Brown 71


Malcolm Payne 72


Stephen Inggs 73


David Koloane 74


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2011 art benefit Art Auction Terms & Conditions 1

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Third Party Liability: Every person at the auction at any time shall be deemed to be there at their own risk and with notice of the condition of the premises and of the items contained therein, they shall have no claim against the Premier, Leeuwenhof Estate, the Children’s Hospital Trust, the auctioneer or the organisers of the event and their representatives in respect to any injury they may sustain or any accident which may occur. All items to be auctioned may be inspected and examined prior to the auction in the gallery area provided at Leeuwenhof. The curator and the Children’s Hospital Trust shall not be responsible for the condition and state of preservation of works and information regarding the works sold. All items will be sold in the state of preservation they are in at the time of knockdown. The catalogue descriptions are made to the best of the curator, Linda Givon’s knowledge and belief and shall not constitute guarantees in the legal sense. Every bidder buys in his/her own name and for his/her own account. Permission for proxy bidding is required from the Children’s Hospital Trust. Telephone bids must have been submitted at least 24 hours prior to auction and describe the item listing the catalogue number and the bid price, which shall be understood as knockdown price. The auctioneer cannot guarantee that a telephone connection to the bidder can be made. The knockdown makes acceptance and payment obligatory. Upon knockdown, the risk of loss, damage, confusion etc. beyond the auctioneer’s or event organisers control in respect of the auctioned-off item shall pass to the buyer, who also shall bear the expenses. Payment of Purchases: All purchases must be paid for before any artwork will be delivered to the buyer. All bidders need to have completed a Bidders form with preferred payment method. Payment by Cash, Cheque, EFTPOS, VISA, MASTERCARD are the only forms of payment accepted unless prior arrangements have been made with the Children’s Hospital Trust. Cheques are accepted for payment but always at the discretion of the Children’s Hospital Trust. In the event of default in payment ownership of the auction item in question will revert to The Children’s Hospital Trust. Auctioned items are stored after knockdown by the Children’s Hospital Trust at the expense and risk of the buyer. Insurance of items is at the buyers expense and will not be the responsibility of the Children’s Hospital Trust. Clearance of purchases: No auction lot shall be removed from the gallery area unless authorised and supervised by a representative of the Children’s Hospital Trust, Patron Amanda Bloch or curator, Linda Givon. All lots shall be paid for and removed from the auction floor at the buyers’ risk. Artwork will be shipped or couriered on the request of and in accordance with the instructions of the buyer and at the buyers risk. All deliveries outside of the Cape Town area will be charged for in addition to the purchase price.


For further information or the registration of telephone bids, please contact: Helen White Communications Manager The Children’s Hospital Trust Tel: +27 (0)21 686 7860 Fax: +27 (0) 21 686 7861 Email: Helen.white@chtrust.org.za www.childrenshospitaltrust.org.za The Children’s Hospital Trust Physical address: Ground Floor, Nurses Home Red Cross War Memorial Children’s Hospital Cnr Klipfontein & Milner Road (entrance on Milner) Rondebosch Cape Town 7700 Postal address:                            The Children’s Hospital Trust Suite #259 Postnet x18 Rondebosch 7701 Banking details: Account name: The Children’s Hospital Trust Account number: 0714 33090 Branch code: Rondebosch Branch, Code – 025 00911 Swift Code: SBZAZAJJ Bank Tel Number: +27 21 680 4729 Reference: Auction lot number and surname PBO number: 930 004 493 (public benefit organisation) Trust number: T297/94

 

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notes



Goodman Gallery supports Red Cross Art Benefit