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BUSINESS ART June 2009 | Supplement to The South African Art Times | E-mail: | Member of the Global Art Information Group

Work by Andre Stead to be seen at the Good Food and Wine Show - Cape Town International Convention Centre from 28 May. For more details see

Love of Art in the Time of Recession Caitlin Ross While some gallerists tentatively maintain that South Africa’s economy is peripheral enough for their businesses to avoid a head-on battering by the global recession, many have noted a drop in sales over recent months, and some are even facing closure. Johannesburg institution Warren Siebrits will close its doors by the end of the month, and a number of galleries failed to make a single sale at the Johannesburg Art Fair (JAF). Reports seem to indicate there is a polarized safe-ground on each end of the price spectrum, with sales forging along unscathed for names like Siopis and Kentridge on the high end, and entrylevel buyers forking out for prints

on the other. Philippa Duncan, shared-head at auctioneers Stephen Welz & Co. said work of up to R100 000 is still “relatively easy” to move but beyond that the bidders have started needing some encouragement. It looks as if the downturn has changed the landscape of artbuying by chasing away those who would spend moderately for their own enjoyment or a sideline buying venture, and left mainly old-guard collectors and minor dabblers. “People are now looking for the big names, for a low-risk investment,” said Neil Dundas, senior curator for the Goodman Gallery, Johannesburg.

Some very low-risk investments were made in Maggie Laubser, Walter Batiss, Vladimir Tretchikoff and others at the Kebble collection auction earlier this month, which garnered R54 million in sales. Another trend, noted by Warren Siebrits, is a move away from investment in contemporary towards modern art. “That’s what we’ve struggled with at the gallery.” He said more people have become collector-dealers, and that is where the contemporary art world starts to suffer. Modern art shows more promise of short-term returns, which is not the case with the contemporary market, in which work can take 10 to 15 years to appreciate.

With the buyers-market showing a more shrewd and conservative leaning, the prospect of a 15-year delay on returns is perhaps a bit alarming. Siebrits said he can’t, and won’t, compromise the way in which he runs his gallery by cutting costs and has opted instead to take his business online. It cost the gallery around R500 000 to put up a Jo Ratcliffe exhibition, on top of monthly overheads. “Thus far we’ve sold four or five works, and after the gallery commission we’re down R350/R400 000, on the back of one show.” “If the economic climate doesn’t change we will all start literally hemorrhaging money. We’re not quite bankrupt yet, but if we continued to run at a loss of R1

million a year it would not be good for anyone.” Joost Bosland, of Michael Stevenson agreed. “What is probably quite hard to sell now is commodified B-list work by big names. If people can choose between an original oil and a Damien Hirst print, they might have gone for the Hirst before but people are going back to more serious work.” The sign of the times is a traditional 2m x 4m oil on canvas. Suzette Bell-Roberts, curator of the Bell-Roberts Gallery, mused over whether people in a comfort zone are more reckless in their tastes. Perhaps, then, in times of looming anxiety folks just don’t want work that is too demanding of them. The

gallery broke even with the sale of one Kevin Brand piece at the JAF, and Suzette said she empathized with Siebrits. “He’s one of the very ethical people in the art world. The temptation is always there, to adjust the prices, but once an artist has established their value it’s unfair to the collectors.” She has cut back overheads where possible and is spending less on advertising, sending emails rather than posting. David Brodie of the BrodieStevenson in Joburg, said while there has been a drop, the market “certainly hasn’t been drying up”, though buyers are “looking harder, thinking longer, buying smarter”. “We deal largely with emerging artists, so we pay particular atten-

tion to pricing work appropriately. It’s not in anyone’s interests to price way into the stratosphere. People start thinking, well, what is the value and is it worth it?” Although sales may be limping, public interest is reportedly at a healthy trot and openings are wellattended. Artspace curator Theresa Lizamore has responded to the downturn by going full-throttle. On 17 May she launched Artspace Warehouse in Fairlands, intended to cater to a wider audience. “It’s important to look at alternatives”, she said, adding that she is investing a lot more in marketing and exposure and negotiating pitches with artists. “You have to consider your market”. The cheapest work currently on show at the Artspace in Rosebank is priced at between

R2900 and R8000 and a sale is yet to be made. Neil Dundas offered similar advice. “You have to be sensitive to what the spending trends are. If you’re showing an established artist, include some major work but also put out smaller stuff. Look at exhibiting things in a modest price range.” One has to wonder what the most up-to-date definition of “modest” is if quality work of R2900 is languishing on walls in a popular gallery. “Anyone who says they’re not feeling the recession is lying, or very lucky,” said Bosland.

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Peter Fairhead - Arts Benefactor 24 where he developed particular expertise in advising individuals and families on the complex and sophisticated business of managing worldwide wealth. Peter Fairhead was well-known and respected in Cape Town family and business circles as the Chairman of Fairheads Trust Company, one of the oldest independent trust and fiduciary companies in South Africa. But he was equally well-known and loved by the organisers and residents of community-based organisations in and around Cape Town.

Tragic Death of Arts Benefactor Peter Fairhead, 64, chairman of Fairheads Trust Company, Cape Town was killed on 22nd March when his new Harley Davidson bike ran out of control and threw

him over a highway railing sixty metres below to his death. Professionally, Peter trained as both a lawyer and an accountant. He obtained his degrees at Stellenbosch University. He joined the family business at the age of

These include Camphill Village West Coast, where Peter was chairman for nearly 30 years, Ncedeluntu Sanctuary Trust in Somerset West (run by Mama Lumka, the “wheelbarrow saint”), and the UCT Clanwilliam project which exposes the youth of an impoverished community to art and dance. Funding by Fairhead Trust coupled with Peter’s philanthropic

inspiration were the guiding forces behind the Clanwilliam Arts and Culture project. The project takes the form of an annual visual and dramatic enactment in Clanwilliam of San legends, in which the area is rich in history. The local learners explore the theme in a week-long workshop involving dance, storytelling, shadow puppetry, and arts and crafts, such as the construction of larger-than-life illuminated figures based on traditional San themes. Annually they parade through the streets by night singing and dancing and acting out their chosen theme. It is one of the highlights of Clanwilliam’s community project activities and eagerly awaited by the participants each year. Peter Fairhead is survived by a sister and brother, Jill and Tyrrel, as well as his wife Barbara and his six stepdaughters and their children.

Given the limited size of the SA art world, it’s common for people to wear more than one hat. Few wear as many as Teresa Lizamore: consultant to two major institutional collections and, for the past few weeks, curator of not just one but two commercial gallery spaces. And, in a way, it all happened by chance. Formerly a secretary, when in 1982 Sasol moved from Sandton to their since much enlarged Rosebank HQ she applied for a job in their PR department. She was asked by then CEO Joe Stegmann if she would be interested in helping to set up a corporate art collection, and when she said yes, was promptly sent to RAU (now the University of Johannesburg) for three years, at Sasol’s expense, to study the history of art. There she studied under Leoni




Teresa Lizamore - Art Space Johannesburg considers it a beautiful space, filled with good exhibitions, but in time felt a need to move to a more central location offering better exposure. So in March 2008 she moved to the art strip in Parkwood. The timing could hardly have been worse, just months before the art market went into meltdown worldwide. But even that hasn’t deterred her from another venture. A common problem on the art strip is storage space, so Lizamore decided to redevelop her old gallery both as a store and a new kind of venue. So last month saw the launch of the satellite Artspace Warehouse back in Fairland, which functions as a salon where, in the words of the blurb, “clients can view stock at leisure in a relaxed environment.” Alternatively, they can view her entire stock on screen, then have individual works brought to Parkwood for physical inspection. Like Artspace itself, Artspace Warehouse is available for hire for private functions, seminars and workshops. While it is not primarily an exhibition space, it may host exhibitions from time to time: the launch featured an exhi -

bition around Verenka Paschke’s illustrated book, Stil Lewe, which is still running. Sasol has always regarded its art collection as part of its social responsibility programme, and Lizamore extends that philosophy to her other activities. Sasol itself sponsors the annual New Signatures competition, which claims to be the oldest in SA. For some years, it also sponsored the Sasol Wax award, now sadly discontinued. And regular open days are not only opportunities to roam the Rosebank HQ to view the latest acquisitions, they have also been used to showcase various musical groups from must, however inelegantly, be referred to as the previously disadvantaged. At RMB, it was decided in 2006 to liven up the staff canteen walls by commissioning local artists to paints murals reflecting the corporate culture of Traditional Values, Innovative Ideas. Eight up-andcoming artists were commissioned to paint six 2,4 m x 1.3 m murals (two works were created by two artists jointly) which are now part of its collection and permanently on view in the canteen.

its own mentorship project for established artists to give guidance to new artists. Last year’s mentors were Leora Farber, Tanya Poole and Walter Oltmann; this year’s, Wilma Cruise, Kagiso Pat Mautloa, David Koloane, and Usha Seejarim, so the project has obviously found favour with top creative talents who want to plough something back into the community. Given her corporate links, Lizamore is in a good position to gauge the impact of the recession on corporate spending on the arts. While it would be improper for her to comment specifically on the plans of Sasol or RMB, it’s clear she sees this as a vulnerable area, “soft” spending in contrast to recipients like health or education. It’s a widely shared fear, not just in SA but internationally. One can only hope that the efforts of persuasive advocates like Lizamore will minimise the impact, and that her commercial ventures will continue to prosper.

Michael Coulson

And last year, Artspace launched

Photo: Willie Mojafe Schmidt, who became a mentor and close friend. Schmidt was appointed to the advisory committee of art professionals Sasol set up. She was also already consulting to Rand Merchant Bank, in which capacity Lizamore first assisted her, then succeeded her when Schmidt emigrated some 15 years ago. Stegmann was another strong early supporter, and Lizamore describes building up the Sasol collection as a “wonderful journey.” Twentyodd years ago it was possible to buy a lot of work at what today look ridiculously low prices. Moreover, the aim was to build up a representative contemporary collection, which could mean acquiring controversial pieces. Stegmann refused to be swayed by staff protests, which Lizamore says would not be so easy to ignore in these more democratic days.

Lizamore worked full-time for Sasol for 10 years, subsequently first part-time and now as a consultant. This brought freedom to diversify, as Sasol didn’t allow full-time staff to take other work. Consulting to RMB was the first fruit of this, and though that collection receives less exposure than Sasol’s, it comprises 1 500 works, not that far short of Sasol’s 2 000. But it’s a very different kind of collection: while there are no claims to representivity, some may find it more accessible, as the main, and by no means unworthy, objective is just to put visually appealing art on the walls. Then, in 2000, she fulfilled a longstanding ambition by opening the first Artspace gallery at her home in Fairland. This operated until 2007, with much success. She

Crowds spill out of ArtSpace Gallery on its opening night

Alex Dodd

One of the themes that I picked up on that this year’s Joburg Art Fair was a trend in intimate, personal, psycho-sexual paintings. Paintings that grapple with psychological rather than socio-political realities or conceptual trickery, they explore loss, desire, memory, transience, an uncertain connection to the notion of place or home… Interestingly, these paintings came mostly out of Cape Town, with a strong showing at the João Ferreira stand. I was drawn again and again to the hazy, valium-seeped paintings of Sanell Aggenbach, whose muted palette and private renegade narratives recall the poems of Sylvia Plath, Michael Cunningham’s landmark novel, The Hours, or Sam Mendes’s recent screen adaptation of Richard Yates’s 1961 novel, Revolutionary Road. It is as if Aggenbach comes to her subjects dazed and half in a dream, with only one foot in this fast and furious world of ours. Her portraits have a strange, gloomy allure, drawing one into a ghostly world in which one cares fiercely but mutely, as if in a dream. Also at João Ferreira were the odd Freudian gymnastics conjured in Mark Hipper’s black and white oils, and the hauntingly nostalgic paintings of Louise Linder, which seem to recall some kind of lost idyll, being based on small black and white photographs from her childhood in Mozambique. I have long been a fan of the lyrical and oddly incidental glimpses of life captured in the quietly sensual paintings of Tom Culberg, who seems to have migrated from João Ferreira to Whatiftheworld… And there are others who gravitate towards these twisted, private dalliances in painting. But mostly they are from Cape Town or represented by the Cape Town galleries, while the focus in Johannesburg

seems to be more outward looking, with a strong foothold in photography cerebral/conceptual engagements with form, social documentary excursions, installation and urban interventions. That is why I was so refreshed this weekend to sneak into Brodie/ Stevenson on a quiet Saturday afternoon, while nobody else was about, and have Mary Wafer’s paintings all to myself. Wafer is one of the few contemporary Highveld painters who approach the canvas with the same psychological depth that I was drawn to at the Fair. Her paintings are darkly lyrical, yet at the same time fiercely

experienced differently by every person in it, the whole, what makes Joburg Joburg, seems to exist almost entirely in the imaginations of its inhabitants.’ Being greatly enamoured of Wafer’s passionately matter-offact canvases, I purposely did not attend the opening and waited until a few weeks later when it was safe to soak up the show without the interference of the sipping throngs. This silent mode of absorption seemed the perfect context in which to receive these images, which are a wonderful kind of headtrip. Wafer’s freeway painting that adorns the cover of Ivan Vladisl

committed to the prosaic concrete world in which we find ourselves up here on the Reef. Her solo is no disappointment. And with the fabulously stoic title, The frontier is never somewhere else, it doesn’t get more grittily Joburg than this. ‘My paintings take the urban landscape of Johannesburg as subject matter… The overwhelmingly challenging materiality of the city demands a constant navigation, attention and vigilance, a perpetual re-negotiation and re-interpretation of the particular imagined and real spaces we occupy,’ writes Wafer. ‘Because the city is envisioned and

avic’s novel, The Exploded View, is forever burned into my consciousness, and the titles of her paintings do not betray that inherently literary mental tattoo. Disjunctive phrases like (Murder) When our mouths are filled with the uninvited tongues of others or menacing sentences like I need to be in a town where they know what I’m like evoke truncated narratives that offer clues into the depopulated scenes before you. But the words and details are never enough to tell a full story – more like forensic tidbits that provoke dislocated red herring thoughts.

The titles also thicken the crime plot instigated by two paintings in particular, which feature little more than left over splotches of blood. I think what I love most about these urban abstractions is the paradox they evoke in relation to the notion of Romance. At surface level, they could be construed as cynical, abstract depictions of a harsh and soulless city. But that would be overlooking the passion and sensuality of the brushwork. Each smudge, blur, slash and drip of oil paint seems like some strange oblique homage to this inscrutable city. And the abstraction of buildings reaches moments of transcendent beauty – black, grey, muted beauty interrupted by the unexpected brilliant green of Astroturf or the dazzling illumination of neon light at night. These are paintings that seem so beyond any sense of Romance as pertains to the 18th century European tradition. But look again. Are they not deeply solitary engagements with the landscape? Are they not passionately concerned with the sublime play of light? Is the painter’s relationship with Johannesburg not a doomed kind of love? These are the kinds of questions that spring to mind when faced with Wafer’s paintings. And why I am at one with her description of painting as a ‘conceptual practice that operates as a platform for investigating social realities’. Sometimes people forget that painting can be the most conceptual art form of all. Images: (Above) Mary Wafer (Murder) Black and Blue 2009 Oil on canvas 40 x 50 cm Image appears courtesy Brodie/ Stevenson (Left) Mary Wafer An End has a Start 2008 Oil on canvas 105 x 150 cmImage appears courtesy Brodie/Stevenson


East London

Ann Bryant Art Gallery 18 Jun-4 Jul, Ian Vincent retrospective; 23 Jun, Slide lecture by Barry Gibbs, 7pm; 22 Jun, Stephen Welz and Co i.a.w. Sotheby’s Art Appraisers and Auctioneers 9 St Marks Road, Southernwood, East London T. 043 722 4044 Annbryant@intekom.

Port Elizabeth

Alliance Francaise Port Elizabeth 1–8 Jun, Ars Gratia Artis by Yvonne Sommeling and Sarah Haines; 12 – 20 June, Paris to Maputo by Amanda van Wyngaardt; 6-27 Jun, NEWNOWNEXT, an exhibition examining integration, including work by young artists, Emma Minkley, Monde Goniwe, Phula Matolo, Aurélie Biewesch, Zeralde Gouws, Luthando Faku, Katie Jones and Janno Scholtz. 17 MacKay Street, Richmond Hill, T. 041 585 7889 Nelson Mandela Metropolitan Art Museum 7 May-12 Jul, Scenes in the Street, through the eyes of artists and photographers. 1 Park Drive, Port Elizabeth, T. 041 506 2000 Rick Becker Gallery 8 May–31 Jun, Flying Solo, an exhibition of paintings by Rick Becker. 93 Villiers Road, Walmer, Port Elizabeth T. 041 581 2748 carriebckr@gmail. com

Free State

Bloemfontein Oliewenhuis Art Museum 12 May-25 Jun, Reservoir in Bloemfontein, curated by Erica Fraser. Participating artists include André Naudé, Annette Pretorius, Daniel Mosako, Diane Victor, Diek Grobler, Erica Fraser, Frikkie Eksteen, Marijke de Kock, Marinda du Toit, Michael Teffo, Peter Sibanda, Retha Buitendach, Retief van Wyk, Rina Stutzer, Susanna Smith, Sybrand Wiechers and B&B Magwasa. 16 Harry Smith Street, Bloemfontein T. 051 447 9609

Clarens Johan Smith Art Gallery Glass, Bronze, Ceramics, Old Masters, Contemporary works. Windmill Centre Main Street Clarens T. 058 256 1620 Blou Donki Art Gallery Contemporary Art, Steel Sculptures, Functional Art, Photography, Ceramics. Windmill Centre Main Street Clarens T. 058 256 1757


AOP Gallery (Art on Paper) 23 May-13 Jun, prints by David Koloane, Dumisani Mabaso, Colbert Mashile and Kagiso Pat Mautloa 44 Stanley Ave, Braamfontein Werf (Milpark), T. 011 726 2234 Artspace - JHB 6-27 Jun, Karin Preller, New Works in painting. 22 Jun-11 Jul, Collected, oil paintings by Jeannie Kinsler; Wish List, paintings by Faye Spencer. Chester Court, 142 Jan Smuts Avenue, Parkwood, Johannesburg. T. 011 880 8802 Brodie/Stevenson 4 Jun-4 Jul, ‘Scuse us while we kiss da sky, editioned prints, painting, sculpture and installation by Avant Car Guard. 373 Jan Smuts Avenue, Johannesburg T. 011 326 0034, The Constitutional Court 2-31 Jul, Mandela @ 90, a tribute to Madiba in his 90th year, including works by Billy and Jane Makhubele, Johannes Maswanganyi, Roy Ndinisa, Beverly Price and Susan Woolf. Constitution Hill, Cnr Queens and Sam Hancock, Hospital Streets, Braamfontein T. 011 359 7400 David Brown Fine Art 21 May-12 Jun, Printed, works from The Blue Door Studio by Collin Cole, Colleen Alborough, Amanda Ballen, Lizette Chilvers, Lee-At Meyerov, Chonat Getz, Deborah Glencross, Ivy Grobler, Jean Heath, Linda Hess, Caroline Hooper-Box, Pauline Hugo, Trish Jackson, Renee Johannes, Dina Kroon, Paula Louw, Paul Mantzios, Liz Reed, Sharon Sampson, Bev Watson, Christina Wood, Lena Woolf and Derek Zietsman 39 Keyes Ave,off Jellicoe, Rosebank, Johannesburg. T. 011 788 4435

David Krut Projects 7 May-13 Jun, Into the Spine, paintings and prints by Maja Maljevic. 142 Jan Smuts Avenue, Parkwood, Johannesburg T. 011 447 0627 Gallery MOMO 14 May-8 Jun, Solace of a Migrant, Paintings by Zambian artist Stary Mwaba. 11 Jun-6 Jul, exhibition of Designer Rugs and Littoral, a solo exhibition of photographs by Patricia Driscoll. 52 7th Avenue, Parktown North, Johannesburg T.011 327 3247 Gallery on the Square For June, a mix of South African and international fine art sculpture and ceramics 32 Maude Street, Nelson Mandela Square at Sandton City, Sandton, Johanesburg. T. 011 784 2847

T. 011 482 9719 Standard Bank Gallery 9 Jun-18 Jul, Wonderland, photographs by Standard Bank Young artist of 2008, Lolo Veleko Cnr. Simmonds & Frederick Streets, Johannesburg, 2001 Tel: 011 631 1889 Seippel Gallery Until 27 Jun, Project Gallery, Street Scenes, recent paintings by Linda Shongwe; Main Gallery, Sculptures and installations by Kevin Brand, Vincent Baloyi and Danelle Janse van Rensberg. August House, 76-82 End Street, Doornfontein. T. 011 401 1421 The Art Place, Gallery & Art Centre 13 Jun–4 Jul, Dream World, a mixed media exhibition. 144 Milner Ave, Roosevelt Park, T 011 888-9120

Alliance Francaise, Johannesburg 1 Jun-8 Jun, Ars Gratia Artis, paintings by Yvonne Sommeling and Sarah Haines. 12-20 June, Paris to Maputo, a solo show of paintings by Amanda van Wyngaardt. 17 Lower Park Drive (corner of Kerry Road, Parkview, Johannesburg. T. 011 646 1169

University of Johannesburg Arts Centre Gallery 1 Jun-31 Jul, Alter, a solo exhibition by Majak Bredell. University of Johannesburg, Auckland Park Kingsway campus cnr. Kingsway and Universiteits Rd, Auckland Park T. 011 559 2099/2556

Artist Proof Studio Gallery 2 Jun–10 Jul, Wonderful Experience, Monotypes and multiple prints by Cameroonian artist, Joël Mpah Dooh. Bus Factory, 3 President Street, c/o Henry Nxumalo, Newtown t. 011 492 1278


Brown Spice Boutique 15 May-20 Jun, The Art of Green Living, an exhibition of eight emerging environmental artists. The Peech Hotel, 61 North Street, Melrose. Goodman Gallery 28 May-20 Jun, Nation State; 9 Jul-1 Aug, works by Lisa Brice 163 Jan Smuts Avenue, Parkwood, Johannesburg, T. 011 788 1113 Nirox Foundation and Goodman Gallery Until 5 Jun, Contemporary Sculpture in the Landscape, various artists, at the Cradle of Humankind. Contact the Goodman Gallery for viewing and walkabouts, by appointment only. T. 011 788 1113 GordArt Gallery 16 May–6 Jun, paintings by Severa Rech Casserino. Shop 1 Parkwood Mansions, 144 Jan Smuts Ave, Parkwood, t/f 011 880 5928 Graham Fine Art Gallery 16 Jul-16 Sep, Imaging and Imagining: South African Art circa 1896-2008; South African Investment Art, from the permanent collection. Shop 31, Broadacres Lifestyle Centre, Cnr. Valley & Cedar Roads Fourways, Johannesburg. T.011 465 9192 Johannesburg Art Gallery 10 May-3 Jul, Journey on a Tightrope an Albert Adams Retrospective. Until 7 Jun, For Tshepo, Ten Years Later, Mphapho “Ra” Hlasane, Artist at the Nando’s Project Room #4. Until 3 Jul, Portraiture through Photography, curated by Khwezi Gule, in the Basement Gallery. King George Street, Joubert Park, Johannesburg T. 011 725 3180 Market Photo Workshop 20 May–17 Jun, Tierney Fellowship Exhibition, and Amelioration, a solo show of photographs by Tracy Edser. 2 President Street, Newtown, Johannesburg, 2000 T. 011 834 1444 Museum Africa 25 May-24 Dec 2010, l’Afrique: A Tribute to Maria Stein-Lessing and Leopold Spiegel; Co-curated by Nessa Leibhammer and Natalie Knight. 121 Bree Street, Newtown, Johannesburg, T. 011 833 5624 Origins Centre 28 May-24 Jul, Exposition, Solo exhibition by Fiona Couldridge. Cnr Yale and Enoch Santonga Str. University of the Witwatersrand T. 011 717 4700 Resolution Gallery Until 17 Jun, Disasters, Angel Haro, Michael Wille, Vulindlela Nyoni. 142 Jan Smuts Avenue, Parkwood, Johannesburg T. 011 880 4054 Sally Thompson Gallery 14 Jun-11 Jul, A Child’s Gaze, photographs by Martin Osner and Lens Light Landscape, photographs by Eugene van der Merwe 78 Third Avenue, Melville,

Alette Wessels Kunskamer Exhibition of Old Masters and selected leading contemporary artists. Maroelana Centre, Maroelana. GPS : S25º 46.748 EO28º 15.615 T. 012 346 0728 C. 084 589 0711 Cameo Framers and Gallery 30 May-12 Jun, Pierre Fiction: A Retrospective, works on paper by Jaco van Sckalkwyk 198 Long Street, Waterkloof, Pretoria T. 082 923 2551 Fried Contemporary Art Gallery 23 May-20 Jun, Affordable Art Fair, including works by dele Adendorff, Adelle van Zyl, André Naudé, Audrey Anderson, Cate Terblanche, Celia de Villiers, Cheryl Gage, Collen Maswanganyi, Daandrey Steyn, Daniel Mosako, Debbie Cloete, Diek Grobler, Diana Hyslop, Erna Bodenstein, Esther Simonis, Fabian Wargau, Francois van Reenen, Frikkie Eksteen, Gordon Froud, Guy du Toit, Gwen Miller, Ian Redelinghuys, Irene Naudé, Johan Conradie, John Clarke, Kay Potts, Lance Friedlande, Louis Fourie, Louise Kritzinger, Nikki Swanepoel, Pieter Swanepoel, Regi Bardavid, Richard Smith, Ruhan Janse van Vuuren, Sidwell Rihlamvu, Sybrand Wiechers, Thelma van Rensburg and Ulricke Louren 430 Charles Str, Brooklyn, Pretoria T. 012 346 0158 Magpie Gallery 16 May-4 Jun, Aperture, an exhibition of photography by members of the Pretoria Photographic Society. Shop 21B, Southdowns Shopping Centre, Centurion T. 012 665 1832 www. Naude Modern 30 May-24 Jun, sculpture by Gordon Froud, Guy du Toit and Wilma Cruise 254a St Patrick’s Road, Muckleneuk Ridge, Pretoria, T. 012 440 2201 Platform on 18th 14 May-6 Jun, History in Rust, paintings, mixed media and sculpture by Dewald Veldsman, Sarel Petrus and Gerda van Wyk. 232 18th Street, Rietondale, Pretoria T. 084 764 4258 Pretoria Art Museum

PAM - North Gallery, Until Jul, an interesting selection of artworks from the Museum’s permanent collection. PAM – South Gallery, Until 1 Dec, A selection of artworks tells a brief story of South African art from the time of the first San artists, includes early 20th century painters, Resistance artists and artists of the 21st century. PAM - Albert Werth Hall, 14 May-16 Aug, Mbongeni Buthelezi’s first touring national exhibition of “plastic painting”. PAM - East Gallery, until 22 Jun, from the Museum’s Permanent Collection, Artists from Polly Street and Rorke’s Drift Glass Gallery, Corobirk Collection, ceramics selection representing studio ceramics and rural traditional potters of SA T.012 344 1807/8 Pretoria Association of Arts 15 May-3 Jun, Panphobia, sculptures by Sybrand Wiechers. North Gallery, Until 21 May, Penny Baillie 173 Mackie Street, New Muckleneuk, Pretoria, Gauteng, 0181, Tel. (012) 346 3100 St Lorient Fashion and Art Gallery 7 Jun-12 Jul, Is it an ism or is it me? A group exhibition of portraiture

492 Fehrsen st, Brooklyn Circle, Pretoria T. 021 460 0284 Email:


UNISA Art Gallery 23 May-30 Jun, Dystopia, a group show including work by Adelle van Zyl, Brett Murray, Celia de Villiers, Christiaan Diederick, Christiaan Hattingh, Churchill Madikida, Collen Maswanganyi, Dale Yudelman, Daniel Halter, Diane Victor, Jan van der Merwe, Dineo Bopape, Elfriede Dreyer, Frikkie Eksteen, Guy du Toit & laan Bekker, Gwenneth Miller, Jenna Burchell, Johan Thom, Kai Lossgott, Karlien de Villiers, Kudzanai Chiurai, William Kentridge and others. Theo van Wijk Building, Goldfields entrance, 5th floor. Unisa Campus, Pretoria. T.012 429 6823

The Loop Art Foundry & Sculpture Gallery Casterbridge Complex Corner R40 and Numbi Roads White River T. 013 751 2435

White River



Alliance Francais Durban 13 May-5 Jun, Lomographic Itineraries, 50 lomographs from Paris to Madagascar. 22 Sutton Crescent, Morningside, Durban T. 031 312 9582 Artisan Contemporary 17 Jun-15 Jul, an exhibition of handcrafted rings 344 Florida Rd, Morningside, T. 031 312 4364 Email: Art Space - DBN 1–20 Jun, Signature Works on Paper (SWOP,Travelling Exhibition from Inky Cuttlefish Studios; Inkanyezi, Anna Alcock. 22 Jun–11 Jul, Collected, oil paintings by Jeannie Kinsler and Wish List, paintings by Faye Spencer. 3 Millar Road, Durban. T.031 312 0793 Bank Gallery 11 Jun-11 Jul, Erosion, a solo exhibition of sculptures by Ledelle Moe Bank Gallery, Morningside, Durban T. 031 312 6911, Durban Art Gallery 13 May-28 Jun, Sacred Legacy, Reproductions of historical photographs of Native North Americans by legendary photographer/ethnographer Edward Curtis. 3 Jun-19 Jul, Roger Ballen: Boarding House. Until Dec 2009, Pic(k) Of The DAG, South African works from the gallery’s Permanent Collection. Second Floor, City Hall, Anton Lembede Street, Durban T. 031 311 2268 museums/dag Durban University of Technology (DUT) Gallery 4 Jun-10 Jul, Industry Sets Criteria: interior design student exhibition Steve Biko Campus, Cecil Renaud Theatre 2nd floor, Durban artgallery@ or 031 373 2207 Elizabeth Gordon Gallery A variety of new paintings, including works by Hussein Salim, Harvey Rothschild and Robert Domijan and Coral Spencer-Domijan. 120 Florida Road, Durban T. 031 303 8133 Imbizo From 11 Jun, Once upon a Thyme, an exhibition of paintings by Frans Groenwald Shop 7A, Ballito Lifestyle Centre, Ballito 4418 T. 032 946 1937 KZNSA Gallery 2–21 Jun, Transitions, drawing by Paul Emmanuel; Electric Psycho Flying Eternity Catcher, drawings by Michael Croeser; It’s a Mask, acrylic paintings by Bheki Khambule. 166 Bulwer Road, Glenwood, T. 031 2023686,

Pietermaritzburg Tatham Art Gallery Until 21 Jun, Schreiner Gallery, Settling In, a solo exhibition by Vulindlela Nyoni. Until 28 Jun, Contemporary Reflections Exhibition Cnr. Of Chief Albert Luthuli (Commercial) Rd. and Church Street (Opposite City Hall) Pietermaritzburg. T. 033 342 1804

Northern Cape

Kimberley William Humphreys Art Gallery Permanent Collection Exhibition - Includes works of a variety of contemporary SA artists Civic Centre, Cullinan Crescent, Kimberley, T. 053 831 1724,

Western Cape Cape Town

34 Long Until 19 Jun, MIXIT, compilation of works in various media by seventeen artists, including MOTEL7, Faith47, Black Koki, Kentridge, Dumas, Bester, Murakami, D*Face, Blek le Rat, Matthew Hindley and Asha Zero. 34 Long Street, Cape Town T. 021 426 4594, The Anglican Aids and Healthcare Trust 25 May-3 Jul, Art From Southern Africa, a collection of contemporary artworks from South Africa, Zimbabwe and Mozambique. 1 Braehead Road, Kenilworth, Cape Town T. 021 7631300, FAX: +27 21 7624237 Art B Gallery From 20 May, b.lettered exhibition a traditional application of the Calligraphic art form, including handmade books, citations, special awards and metal mobiles, jewellery and examples of beach calligraphy. Work of international calligraphers will also be exhibited. On display will be the tools of the trade and materials. Library Centre, Carel van Aswegen Street, Bellville T. 021 918 2301, Association for Visual Arts (AVA) 25 May-12 Jun, Studio Visit, curated by Bianca Baldi and Kirsty Cockerill, including works by Barend de Wet, Pierre Fouché, Jonathan Garnham, Douglas Gimberg, Georgina Gratrix, Rebecca Haysom, Vivien Kohler, Andrew Lamprecht, Lizza Littlewort, Charles Maggs, Christian Nerf, Ndikhumbule Ngqinambi, Norman O’Flynn, Chad Rossouw, Kathryn Smith, Shakes Tembani and Ed Young. 15 June - 03 July, Saturnine, a solo exhibition of acrylic painting and screenprints by Connor Cullinan. 35 Church Street, Cape Town, T. 021 424 7436, Atlantic Art Gallery A permanent display showcasing leading contemporary South African artists. 25 Wale Street Cape Town, T. 021 423 5775 Bell-Roberts Contemporary Art Gallery Until 20 Jun, The Real Heroes, photography by Clint Strydom, 4-25 Jul, No More Me, new paintings by Andrea Mariconti 176 Sir Lowry Road, Woodstock, T. 021 465 9108 Blank Projects 17 Jun-24 Jul, Man Eating, two videos by David Greg Harth 198 Buitengracht Street, Bo-Kaap, Cape Town, T.072 1989 221, Cape Gallery 21 Jun-26 Jul, Winter Soltice, a group exhibition, including paintings by Margot Hattingh, Derek Drake and Judy Woodborne. 60 Church Street, Cape Town, T. 021 423 5309 Cape Town International Convention Centre From 28 May, sculptures by Andre Stead in association with Grande Provence 1 Lower Long Street, Cape Town, 8001 T. 021 788 6538 Cape Town School of Photography From 18 Jun, Stems, photographs by Adrienne van Eeden Wharton, Andrew Putter and Emmett Walsh. 4th Floor, 62 Roeland Street, Cape Town, 021 4652152 Carmel Art Dealers in Fine art 66 Vineyard Road, corner Cavendish St, Clarement T.021 671 6601 Constantia Village Shopping Centre, Main Road, Constantia T. 021 794 6262 Christopher MǾller Art New arrivals including J.H Pierneef, Otto Klar, Charl Theodore and Hugh Mbayiwa. 82 Church Street, Cape Town, T. 021 439 3517 David Porter Antiques Buyers and sellers of South African art T. 021 683 0580/083 452 5862

Erdmann Contemporary /Photographers Gallery 3-16 Jun, ‘Diesel and Dust’, photographs by Obie Oberholzer 63 Shortmarket Street, Cape Town T. 021 422 2762 Everard Read Gallery - Cape Town 11-25 Jun, The City, A group exhibition exploring the urban landscape in all its guises, featuring:Beezy Bailey, Ricky Dyaloyi, Sasha Hartslief, Vusi Khumalo, MJ Lourens, Denby Meyer, John Meyer, Allesandro Papetti, Paul Roux, Caryn Scrimgeour and Claire Walker Portswood Rd, V&A Waterfront T. 021 418 4527 Exposure Gallery From 4 Jun, Soy Cuba....I am Cuba, an exhibition of photographs The Old Biscuit Mill, 373 Albert Road, Woodstock. T. 021 447 4124 Focus Contemporary, Fine Young Art Until 31 Jun, O Sumo San, Photography by Philippe Marinig. 2 Long Street Cape Town, T. 021 419 8888 Gallery F 8 May-end Jun, The spirit of District 6 collection, photography by Cloete Breytenbach. 221 Long Street, Cape Town, T. 021 422 5246 Gill Allderman Gallery 5 Jun-25 Jul, Featuring a collection of sculptures, paintings and works on paper by various artists; including Claire Christie, Donovan Ward, Kemang Lehulere, Liz Linder, Gill Cowen, Judy Conway, Velile Soha, Jeanne Wassenaar, Anne Gas, Sophie Peterson, Selvin November, Lionel Davis, Baba Jakela, Dathini Mzayiya, Ena Carstens, Butho Phakathi. 278 Main Road, Kenilworth, Cape Town T. 083 556 2540 Goodman Gallery, Cape 4-27 Jun, Kagiso Pat Mautloa shows sculpture and multimedia works on paper and canvas; 2-19 Jul, Artslot, a compilation of artist’s films at the Encounters Documentary Film Festival 2009. Includes work by Moshekwa Langa, William Kentridge, Minnette Vári, Kathryn Smith, Clive van den Berg, Dan Halter, Sue Williamson and Charles Maggs. 3rd Floor, Fairweather House, 176 Sir Lowry Road Woodstock, Cape Town T. 021 462 7573/4, Infin Art Gallery Wolfe Street Chelsea Wynberg T. 021 761 2816 and Buitengracht St Cape Town T. 021 423 2090 Irma Stern Museum 24 Jun-25 Jul, If beauty is in the eye of the beholder, does it matter if the lens is made in China? Recent paintings by Paul Roux. Cecil Road, Rosebank, Cape Town T. 021 685 5686 South African National Gallery Until 14 Jun, The Tropics, Views from the middle of the globe; Until Jul 09, Scratches on the Face. Until 28 Jun, ‘Dis-ease’, a collection of recent video art drawn from the Rijksakademie archives, curated by Greg Streak. Government Avenue, Company’s Garden T. 021 467 4660, João Ferreira Gallery 3-27 Jun, Sometimes they Catch You: the underground revisited, and exhibition of photographs and paintings by Tony Squance 70 Loop Street,Cape Town, T. 021 423 5403 Johans Borman Fine Art Gallery SA Master Paintings; By Irma Stern, Maggie Laubser, JH Pierneef, Hugo Naudé, Ruth Prowse, Gerard Sekoto, George Pemba and Gregoire Boonzaier, as well as contemporary works by Walter Meyer, Jacobus Kloppers, Hussein Salim, Ben Coutouvidis, Hennie Niemann Jnr, Philip Barlow, Marlene von Dürckheim and others. In-Fin-Art Building, Upper Buitengracht Street, Cape Town, T. 021 423 6075/082 5664631 Kalk Bay Modern 24 Jun-24 Jul, Art Works on Paper, Cecil Skotnes, Penny Siopis, Colbert Mashile, Michele Tabor, Jane Eppel, Lyn Smuts, Rory Botha, Nat Mokgosi. 1st Floor, Olympia Buildings, 136 Main Road Kalk Bay. T.021 788 6571 Kirstenbosch 30 May-7 Jun, South African Society of Artists Annual Members Exhibition Sanlam Hall, Kirstenbosch Botanical Gardens, Rhodes Drive, Newlands T. 021 797 2601

Kunst House 18 May–31 Aug, a varying collection of work by resident artists 62 Kloof Street, Gardens, T. 021 422 1255 Lindy van Niekerk Art Gallery Exhibition of SA’s leading artists. 31 Kommandeur Road, Welgemoed, Belville T. 021 913 7204/5 Michael Stevenson Contemporary 4 Jun–1 Aug, Everything Matters, paintings by Deborah Poynton; Ingubo Yesizwe, new installation by Nicholas Hlobo; This is my Africa, documentary by Zina-Saro-Wiwa; Shroud, a sculpture by Katharine Jacobs Ground Floor, Buchanan Building, 160 Sir Lowry Road, Cape Town, T. 021 462 1500 Raw Vision Gallery Until 16 Jun, Messages from the Future, digital prints by Mike Fisher 89 Sir Lowry Road, Woodstock. Muti Gallery 11 Jun-31 Jul, Tee Hee, kinetic sculptures by Francois van Reenen; Until 4 Jun, Solo exhibition by Gabrielle Raaff. 3 Vredehoek Avenue, Oranjezicht, T. 021 465 3551 Orange Cactus From 28 May, Caleidoscope, paintings by Leonie E. Brown, Hannes van der Walt, Frieda van Zyl and Salome Briers. Shop 28 & 29 Seaside Village, cnr Otto du Plessis Drive & Cormorant Rd, Big Bay, Bloubergstrand T. 021 554 4797 or 082 3777 474 Rose Korber 1-30 Jun, new paintings by Paul du Toit 48 Sedgemoor Road, Camps Bay, Cape Town T. 021 438 9152 e-mail: Rust-en-Vrede 2-20 Jun, Salon A & B, Chaos, by photographer Betsi-Ann Muller; Salon C: New hand-coloured linocuts by Theo Paul Vorster 10 Wellington Road, Durbanville. T. 021 976 4691

Main Road Franschoek, T. 021 876 8600 Galerie L’ Art A permanent exhibition of old masters Shop no 3, The Ivy, Krugerstreet, Franschoek T. 021 876 2497

Knysna Knysna Fine Art From 29 May, paintings by Candace Charlton 8 Grey Street Knysna, T.044 382 5107

Plettenberg Bay Lipschitz Gallery Until 30 Jun, Peter Clarke Retrospective Hill House, Number One Main Street, Plettenberg Bay, T. 044 533 4581

George Strydom Gallery 9 Jun-11 Jul, Southern Cape Art, selected artwork from artists of the Southern Cape. Marklaan Centre, 79 Market Street, George, T. 044 874 4027.

Paarl The Hout Street Gallery Showcasing works by both established and new South African artists. 270 Main Street Paarl T. 021 872 5030


Dorp Straat Gallery 1 Jun-1 Jul, group show of sculptures and paintings by Kobus Lagrange, Louis Nell, Henk Serfontein, Anthony Sherratt. 144 Dorp Street, Stellenbosch T. 021 887 2256 Red Black and White 4-27 Jun, Dawid’s Choice: painters from near, sculptors from far 5a Distillery Road, Bosman’s Crossing, Stellenbosch. T. 021 886 6281

Salon91 Contemporary From 15 May, No Strange Land, featuring work by Miss joon, Paul Senyol, Jaco Haasbroek, Justin Southey, and Donovan Overton. 91 Kloof Street, Gardens, Cape Town 021 424 6930

Sasol Art Museum Until 13 Jun, Johann Louw, a midcareer retrospective. 52 Ryneveld Street, Stellenbosch. T. 021 808 3695

South Gallery Showcasing creativity from KwazuluNatal;For June, Ardmore Ceramic Art. Fairweather House, 176 Sir Lowry Road Woodstock, Ground Floor. T. 021 465 4672

SMAC Art Gallery 25 Jun-1 Sep, On Skin, works by Ricky Benett; Abstract South African Art from the Isolation Years, part III; Collection 11 in the library De Wet Centre, Church Street, Stellenbosch T. 021 887 3607

These Four Walls Fine Art Galley 29 May-13 Jun, Thought Suspended, an exhibition of works by Leka Berning; 19 Jun-4 Jul,works by Conor Ralphs 169 Lower Main Road, Observatory, T. 021 447 7393. The South African Print Gallery Until end Jun, Tributes: Sam Nhlengethwa and Friends, showcases Nhlengethwa’s Tribute Series in dialogue with works by Peter Clarke, Marlene Dumas, William Kentridge, David Koloane and Judith Mason. 107 Sir Lowry Road, Woodstock, Cape Town, T. 021 462 6851 Urban Contemporary Art 06 May-27 Jun, Nuance, work by four painters and a sculptor, Catherine Ochulla, Maricel Albertyn, Lionel Smit, Varenka Paschke and Jonathan Munnik. 46 Lower Main Road, Observatory, Cape Town T. 021 447 4132, VEO Gallery From 2 Jun, Ani-mal, a group exhibition and charity auction in aid of P.E.T.S. Including work by Ian Marley, Solly Smook, Candice Dawn B, Willie le Roux, Kevin de Klerk, Thalea Lombard, Riaan van Zyl, Téreza Harling, Lana Faasen, Thea van Staden, Anastasya Eliseeva, Ilze Coetzee, Richard Mudariki, Wallen Mapondera, René Schoonraad, Leonie van der Westhuizen, Chantel de Lange, Kevin Collins, and others. Jarvis Road, De Waterkant, Cape Town. T. 021 421 3278 What if the World… 27 May-27 Jun, The Travels of Bad, photographs and limited edition catalog by Zander Blom First floor, 208 Albert Road Woodstock T. 021 448 1438


Gallery Grande Provence 31 May – 30 June, sculptures by Jacques Dhont and paintings by Nicolaas Maritz

Stellenbosch Art Gallery Permanent exhibition of Conrad Theys, John Kramer, Gregoire Boonzaier, Adriaan Boshoff and other artists. 34 Ryneveld Street, Stellenbosch T. 021-8878343

Elgin Oudebrug Gallery Paintings, pastels and sculptures Grabouw, Elgin T. 021 859 2595

Hermanus Abalone Gallery 30 May-13 Jun, Homage a Cecil Skotnes, 10 landscapes, and poems by Stephen Gray; 15 Jun-28 Jul, Printed III, graphic works by Nils Burwitz, Hannes Harrs, Dirk Meerkotter, Pippa Skotnes 2 Harbour Rd, The Courtyard, Hermanus. T. 028 313 2935 www.abalonegallery. The Old Harbour Gallery For June, a selection of Springstone Whale Tails by Tonderai Marezva. No.4 Warrington Place, Harbour Road, Hermanus T. 028 3132751 / 0822595515

Philip Harper Galleries Specialising in South African old masters and select contemporary artists. Oudehof Mall, 167 Main Road, Hermanus T. 028 312 4836

To be included Please e-mail your show listings to: by the 15th of the month



Jan Vermeiren: Nude

Winter Gala: a celebration of South African artists Now in its thirty-fourth year, the annual Winter Gala at the Hout Street Gallery in Paarl opens on 30 July and runs until 20 September 2009. Paintings by 25 top South African artists, from established icons to newer names, will be on display, all set in the cosy, relaxed environment of the Gallery, which is an extension of owners David and Gail Zetler’s charming Georgian home. An array of exquisite sculptures, glass work and ceramics will also form part of the exhibition. The Gallery’s adjoining, up-market gift shop presents a wide range of ceramics, bronzes, crafts, hand-blown glass and creative jewellery, as well as a comprehensive range of Carrol Boyes functional art. The Hout Street Gallery is situated at 270 Main Street, Paarl, and is open seven days a week, on Monday - Saturday from 08:30am - 5:30 pm and on Sunday from 10:00am - 5:00 pm. Contact David or Gail Zetler on + 27 (0) 21 872 5030, email or visit

Works from Stillewe by Varenka Paschke at The Art Warehouse, Johannesburg. See for more details.

Work from Zander Blom: The Travels of Bad showing at Whatiftheworld Gallery from 28 May. See for further details

Works to be shown as part of “Diesel & Dust” selected photographs by Obie Oberholzer - to be seen at The Photographer’s Gallery Wednesday 3 June @ 6 pm. From Top to bottom:

Anthelope by Grace Kotze as part of a show entitled: Darkness and Wonder

Work by David Greg Harth entitled: Man Eating. Visiting artist David Greg Harth presents two video works: “What ate that black man” (2007) and “Black eating white” (2009). In these works, the artist’s interest in the tensions of race and sexuality come to the fore through the act of chewing. Starts 17 June. see for more details

Untitled (The Great Ruaha River near Morogoro. Tanzania) 2002 Untitled (Shepherd near Ongeluksnek. Kingdom of Lesotho) 2004 - Untitled (Zulu sugarcane workers - Thabo & Xolani, on the long road to Umthombo.South Africa. 1984) 1994 - Untitled (Highground in Maluti mountains. Kingdom of Lesotho.) 2006

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A view on the International Art Market Michael Coulson When art markets tumble, a logical response for auction houses is to slash the number of lots on offer at their sales and, hopefully, to lift the average quality. It’s a strategy that met mixed success in the New York spring sales. It worked best for Christie’s, whose Impressionist and modern art evening sale grossed US$103m, with 38 of the 48 lots sold, equivalent to 79% by lot and 94% of the low estimate. Two more works appear to have been withdrawn before the sale. The highest price was attained by Picasso’s late period Mousquetaire a la pipe, which fetched US$14.6m (all prices include the buyer’s premium) (estimate $12m-$18m). The same artist’s late period Femme au chapeau (estimate: $8m-$12m), from the collection of artist and film director Julian Schnabel, which Christie’s had expected to be a highlight, was a minor disappointment, taken by a trade buyer for $7.75m. Alberto Giacometti’s sculpture Bust de Diego (Stele 3) went for $7.7m (est $4.5m-$6.5m), and Tamara de Lempicka’s Portrait de Madame M set a record for the artist, at $6.1m, despite only just topping the low estimate (est $6m$8m). Russian-born painter Alexej von Jawlensky’s Odalyske was bid up to $5.1m (est $4m-$6.5m). In relation to the estimate, one of the best prices was $746 500 for an Egon Schiele drawing, Liegende, estimated at only $200 000$300 000.

The ploy had worked less well for Sotheby’s the previous evening, however. Although the house claimed a satisfactory 70.6% sale by lot and grossed $61,4m, 75% of the low estimate (range $81.5m$118.8m), the two top estimates, Giacometti’s sculpture Le Chat and a Picasso 1938 portrait of his daughter Maya, both estimated at $16m-$24m, failed to sell. The latter, consigned by hotelier William Achenbaum, a victim of the Madoff fraud, attracted just one bid, of $12m, confirming dealers’ view that the estimates were way too optimistic. Christie’s Mousquetaire Picasso, incidentally, was also owned by a Madoff victim, Jerome Fisher of Nine West shoes, who reportedly lost $150m in the scam. Top price was $9.3m for Mondrian’s Composition in Black and White with Double Lines (est $3m-$5m), followed by a shortlived record for De Lempicka’s Portrait de Marjorie Ferry, at $4.9m (est $4m-$6m) – just one of four works by that artist, from the collection of German fashion designer Wolfgang Joop, which together brought in $13.8m. Despite individual successes, this was Sotheby’s lowest gross in this category since $33m in November 2001 – two months after 9/11. The following week, Christie’s grossed $93.7m for its post-war and contemporary art evening sale, selling 91% by lot (49 of 54) and 94% of the low estimate. The sale included 20 works from the highly regarded collection of pho-

tographer, patron of the arts and philanthropist Betty Freeman, who died (aged 87) in January, which grossed $31.6m and included the top price, a record $7.9m (est $6m-$10m) for a David Hockney diptych, Beverly Hills Housewife. World records were also set for Claes Oldenburg and the possibly less well-known Douglas Wheeler, Tony Smith and Kerry James Marshall. However, at $2,2m (est $1.4m$1.8m), Oldenburg’s Typewriter Eraser wasn’t even in the 10 highest prices. Hockney was followed by $6.6m (est $4m-$6m) for Richard Diebenkom’s Ocean Park No 117, $6m (est $4m-$6m) for Lichtenstein’s Frolic and $5.9m (est $5m-$7m) for Basquiat’s Mater. Christie’s America president Marc Porter says the fact that 30 lots sold for $1m-plus showed that there’s continued demand for rare and high-quality works, especially those from estates, museums and private collections. With nothing to match the Freeman boost, Sotheby’s contemporary sale grossed only $47m, 81% by lot and 78% by value. More than 40% of the lots fetched hammer prices below the low estimate and eight of the 49 weren’t sold. Top price was $5.5m (est $6m$8m) for a Jeff Koons Baroque Egg. London analyst Colin Gleadell points out that, bought by hedge fund manager Daniel Loeb for $3m in 2004, it had been offered by Gagosian Gallery (which bought the work in) for closer to $20m last year.

Auction records were set by untitled works by Martin Kippenberger, at $4.1m (est $3.5m-$4.5m) and Christopher Wool, $1.9m (est $1.5m-$2m). The most notable price was $3.5m (est $1m-$1.5m) for a 1934 Alexander Calder, Ebony Sticks in Semi-Circle, while Basquiat’s Red Man One fetched $3.6m ($3m-$5m). The results may sound reasonable given the state of the world economy. But fact is, Christie’s grossed $331m from last year’s evening contemporary show, and Sotheby’s $362m. Last year’s top price was $86m for a Francis Bacon, by Russian oligarch (and owner of Chelsea football club) Roman Abramovich, while the two houses together offered 10 works expected to top $10m. And, like the Koons egg, many lots this year fetched far less than recent market prices. Have prices bottomed? At least one savvy long-time investor, Phillip Hoffman, thinks so. His well-backed Fine Art Fund group is negotiating to buy the collections of an unnamed Spanish bank and an also unnamed manufacturer for up to $65m, and will sniff around other corporate collections expected to come on the market this year from companies with cash flow problems. There may be bargains from distressed sellers like this, but whether the open market has bottomed may become more apparent when the auction focus shifts to London this month.

Troubles deepen for museums: layoffs, budget cuts and cancelled shows Published in The Art Newspaper No end in sight as pain continues for institutions across the country By Jason Edward Kaufman Posted online: 15.4.09 From Issue 201 (April 2009) Museums and the recession: there is an alternative to closure or selling off the collections—sharing NEW YORK.The financial crisis reached US museums in force during the first quarter of 2009. The storm clouds of the recession that had been gathering since last autumn unleashed a deluge of layoffs, budget reductions, salary cuts and cancelled exhibitions as museums across the country sought to rein in deficits and work out budgets for the coming year. The portfolio of the wealthiest arts institution, the Getty Trust in Los Angeles, lost $1.5bn in the second half of 2008, falling to $4.5bn

with additional losses since. The trust—which operates two museums and conservation, research and grant-making programmes— will cut 25% from its 2010 budget, reducing operations from $284m to $216m. President and chief executive James Wood says the cuts will affect staffing, programming and operations, and that “the Getty’s acquisitions budgets will be reduced substantially”. The Metropolitan Museum’s endowment, which generated a third of the institution’s $220m budget last year, shrunk from $2.9bn to less than $2.1bn. The loss of income would yield deficits of “$20m to $30m in four years” if not corrected by expense reductions, says a spokesman. Major cuts have come from a restructuring of the flagging retail business. The museum has closed eight of its 23 stores nationwide—making 127 merchandising positions redundant—and plans to close another seven. The goal is $10m in staff reductions for the coming financial year, says a spokesman, adding that another 10% of the museum’s

2,500 employees will be let go before 1 July. As a result of the banking crisis, the Seattle Art Museum has lost $5.8m in annual rental and related income from its tenant Washington Mutual. J.P. Morgan acquired the failed bank last autumn, but in February backed out of the lease on eight floors in the museum’s tower. J.P. Morgan provided a fiveyear $10m grant to help bridge the gap, which is heightened by a 27% drop in the endowment. “We need a tenant in there as soon as possible,” says a spokeswoman. The Detroit Institute of Arts is hard hit, laying off 20% of its 301 employees and trying to cut $6m from its $34m budget for the coming year. The 56 full-time and seven part-time positions include six curatorial positions. “People are stunned,” director Graham Beal told local reporters. The Indianapolis Museum of Art has cut 10% of its staff and 15% of its operating expenses, and slowed the pace for opening its Fairbanks

Art and Nature Park. Crystal Bridges Museum of American Art in Bentonville, Arkansas, a project of Wal-Mart billionaire Alice Walton, has rescheduled its opening from 2010 to 2011. The Los Angeles County Museum of Art, which is cutting as much as 15% from its 2010 budget, has delayed renovation of its Lacma West building. The Whitney Museum has cut 15% from its 2009 budget, but denies that the recession has affected plans for a new branch in the Meatpacking District of Manhattan’s West Side. A number of museums have scaled back costly travelling exhibitions. Philadelphia is postponing “The Crown of Aragón: the Art of Barcelona, Mallorca, Valencia and Zaragoza”, slated for spring 2010; the Minneapolis Institute of Arts has cancelled “Surreal Things” from London’s Victoria & Albert Museum; and the Walters Art Museum cancelled a 2010 exhibition of Jean-Léon Gérôme planned with Paris’s Musée d’Orsay and the Getty because it would have resulted in a net loss of $300,000,

says director Gary Vikan. The trustees of Brandeis University appear intent on selling works from the school’s Rose Art Museum to raise operating funds for the struggling university. The chief financial officer says funding is in place for two years, but the trustees have requested object files from the museum and insiders say they plan to sell through Christie’s. Rose director Michael Rush says 90% of the works have no donor restrictions. He and the rest of the museum staff are to be laid off in June. There were significant layoffs at the Museum of Contemporary Art San Diego, the Museum of Contemporary Art Denver, the High Museum in Atlanta, the Walters Art Museum in Baltimore and the newly opened Taubman Museum of Art in Roanoke, Virginia. The Philadelphia Art Museum has made 30 positions redundant (7% of its staff) and interim chief executive Gail Harrity was among the senior staff taking salary cuts

The Art Institute of Chicago, Philadelphia Art Museum and Brooklyn Art Museum have increased admission fees—with Chicago’s jumping 50% to $18. Collaborations may be a way forward. Five of 63 museum directors surveyed by the American Association of Museums say they are considering mergers with other institutions or groups. (Their identities were not disclosed.) But several said they were considering closing. The national advocacy group Americans for the Arts estimates that around 10% of the 100,000 US non-profit arts organisations will close in the next few years. But while a number of regional performing arts groups have shut their doors, in the visual arts sector only the Las Vegas Art Museum and the tiny Minnesota Museum of American Art have closed.

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Peter Doig, Iron Hill, 1991. Fine Art Fund claimed a 107% profit when it sold for £1.3m in 2006

Downturn hits art investment funds Plans to inject at least $200m into the market have been shelved

By Melanie Gerlis Published in The Art Newspaper LONDON. Several art funds launched during 2008—including one that Charles Saatchi was advising—have failed to secure the required cash from investors, The Art Newspaper has learned. The London-based Art Trading Fund, which launched its second fund in May 2008, has had to “delay” its plans as it was “unable to raise the necessary amounts”, co-founder Chris Carlson said. The fund aimed to raise $50m to invest in contemporary art and boasted Mr Saatchi as one of its consultants. While potential invest­ors had verbally committed around $35m to the fund, only $15m came in, according to Mr Carlson. The company’s first fund, which raised $10m in 2007, was likely also to “take a hit” he said, but added that this would be “nothing catastrophic”. Meanwhile, Meridian Art Partners, a New York-based fund that aimed to raise $100m during 2008, has also run into difficulties. Cofounder Andrew Littlejohn said that it became apparent towards the end of 2008 that the drop in confidence “precluded most investors from being interested in longer-term investment vehicles”, particularly something that is “as esoteric as art”. He and his co-founder Pamela Johnson, both previously at Phillips de Pury, had planned to invest in emerging art markets but, he said, they found that problems at the private banks with whom it had partnered, together with recent scandals such as the Bernard Madoff fund fraud, had dampened investor enthusiasm. Funds that buy and sell art on be

half of a group of investors proved popular during the boom. Philip Hoffman, who launched the London-based Fine Art Fund five years ago, says his funds are a success, although his returns cannot be independently confirmed. He believes that “without a track record, new funds will have a terrible time in this market environment”. Even his company has felt the effects: he admits that it lost one major investor in the Middle Eastern fund launched last year, for which it is hoping to raise $30m. Dean Art Investments, which aimed to raise $50m, is also said to have been unable to attract the necessary capital. Its chairman David Thomas did not wish to comment. Market sources add that a planned €100m fund—a joint venture between Phillips de Pury and Milan-based Advanced Capital that announced its intention to launch last summer—has also found it difficult to get investors. Further, Phillips de Pury’s managing director, Brook Hazelton, who was to co-manage the fund, left the auction house earlier this year. But Advanced Capital said it has been waiting to get the green light from the Italian authorities before beginning the official marketing process, so its launch date has not yet been announced. Simon de Pury of Phillips de Pury confirmed that formal fundraising began at the end of March, adding that Mr Hazelton’s departure from the firm was “completely independent from the development of this enterprise”. Meanwhile, Mr Littlejohn, Mr Carlson and Mr Hoffman all now speak of the opportunities offered by “distressed sellers” of fine art—ie those who need cash more than their paintings.




Roundup of May’s South African Art Auctions Michael Coulson Even allowing for all the hype, Graham Britz’s auction of work from the Brett Kebble collection was pretty impressive. True, deducting the buyer’s premium, the reported gross of R53.8m fell short of the minimum target of R50m, and will be even more so if the R3.19m (all prices quoted include the 10% buyer’s premium but not Vat) sale of a Tretchikoff is cancelled because of doubts over its authenticity, but it’s still an SA record, topping R37m for the much vaunted maiden sale by Strauss & Co earlier this year. Only nine of the 133 lots failed to sell, and Britz is confident he will sell these by private treaty. The auction claimed 26 world records, but this too contains an element of hype. Irma Stern appears on the list four times, all for graphics. So does Pranas Domsaitis.

More impressive are R660 000 for a Volschenk landscape and R495 00 for a Maud Sumner Namibian landscape , a price matched by a Willem Hendrikz bronze Marega and Stanley Pinker’s oil Trapeze in the Sky, and R418 000 for a Portway abstract landscape. Top price, however, was R4.95m for Stern’s Woman Sewing Karos, followed by a record R3.85m for an Alexis Preller oil, Christ Head, whose Sanctuary was sold for R1.32m. Stern still lifes fetched R3.52m and R1.76m, another Tretchikoff, Portrait of a Zulu Warrior, R1.43m and a Pierneef landscape R1.1m. Others to top R500 000 include R1.54m, R935 000, R880 000, R825 000, R660 000 and R605 000 for Maggie Laubser portraits of women, R880 000 and R528 000 for Pieter Wenning landscapes, R880 000 and R605 000 for Wenning still lifes, R715 000

for Eleanor Esmonde-White’s Two Seated Figures and R550 000 for her Women Dancing, and R660 000 each for a Freida Lock still life and two Laubser landscapes, Emboldened by this success, Britz now plans to hold an annual auction: a day sale of graphics and minor work, a quality evening sale, and an afternoon sale for post-war and contemporary art. Maybe buyers had emptied their chequebooks at the Kebble sale, but there were some notable failures at the Stephan Welz & Co/Sotheby’s (Swelco) Cape Town sale a few weeks later. These included the two top estimates, Stern’s portrait of actress Zoe Randall (R1.8m-R2.4m), a Pierneef landscape (R800 000-R1m), and the cover lot, a Gregoire Boonzaaier Malay Quarter scene (est R350 000-R450 000). Top price was a remarkable R470

000 (est R70 000-R100 000) for a superb Pinker nude. A Wenning landscape reached R403 000 (est R400 000-R600 000), a Hugo Naude landscape R392 000 (est R250 000-R350 000), an impressive Sumner Namibian landscape R314 000 (R140 000-R180 000), an Adriaan Boshoff landscape R448 000 (est R250 000-R350 000), and Tretchikoff’s Vegetable Seller R336 000 (est R220 000-R260 000). A copy of the book on Tretchikoff, published by Howard Timmins, incidentally, went for R14 560, against an estimate of only R1 500-R2 000. Of the 130 works in the main (evening) session, no less than 47 didn’t find buyers. The gross was R5.84m, against an estimate range of R8.86m-R11.8m. Interestingly, Swelco had much more success with its afternoon

sale of minor work, only 11 of 114 remaining unsold. But top price was only R87 360 for a 19th-century I’Ons landscape (est R25 000R30 000), followed by R47 040 for Hennie Niemann’s Mozambiquen Woman (sic) (est R25 000-R35 000) and three works that went for R39 200 each: Walter Battiss’s Bird Masks (est R15 000-R20 000) and landscapes by Tinus de Jongh (est R20 000-R30 000) and Boshoff (est R30 000-R40 000). This session grossed about R1.7m; the estimate range was R1.14mR1.47m. Swelco’s next sale is in Johannesburg, in August. Entries have already closed, but Strauss is open until end-June for its next Jo’burg sale, scheduled for September, followed by its first Cape sale in October.

Melvyn Minnaar

The Artful Viewer: June 2009 The right direction From the start, the awkwardlynamed Cape Africa Platform entwined itself in the ‘us-againstthem’ syndrome - ‘us’ being African, ‘them’ being the ruling, and then booming, Western art world. Most of the debate at that dreadful non-event Sessions eKapa, and then the hoopla leading up to the ultimately deflated and abandoned TransCape, was a battle within that paradox. Unwinnable for its contradictions - as signalled by the idea of a ‘biennale that is not a biennale’ - it seems that reality has kicked in - for the better. The present Cape 09 biennale (yes, it’s called that now!), on until June 21, is turning out to be quite nice, thanks. It’s even exciting for some of its invention. With all the posturing of the past and the hubris out of the way, we can now get down to the business of art. Be modest, and you surprise yourself. Stripped of that politically-charged

point-of-departure of having to be the alternative to the Documentas and Venice Biennales with all their power, politics, money and influence, this year’s efforts seem offer a genuine empowerment (to use a PC word) of the local. There are new faces and names - or work by some that we knew, but who came up trumps - and there are certainly clever curatorial thinking. In fact, it’s a cultural buzz. Organisers Cape Africa Platform (doesn’t all those ‘Cape’s drive one nuts?) and its young curator project must collect the kudos. The three young ‘graduates’, who took on projects for Cape 09, have done pretty well. What their undertakings lack in polish (the back-up of information dissemination and professional logistics management), was made up by high-energy and creative enthusiasm. And some persuasive thoughtfulness. Loyiso Qanya’s exhibition, Umahluko at Lookout Hill in Khayelitsha is well anchored in the geography where that rather dreary building finds itself. (By the

way, Mirjam Asmal-Dik of Cape says her organisation has offered to run the hall of Lookout Hill, but the response from Cape Town’s city council is stuck in the mud.). Qanya, who clearly learnt a lot on his apprentice curatorial travels, is aware that art must talk to passersby and relate to those who even incidentally pop-in. If some of his choices are curious, the response of the local community is probably the thing. It will be interesting to hear afterwards what the neighbours thought. Anthea Buys and her Joburg pals’ First Official Provisional Fynbos Museum of the Greater Khayelitsha Area just outside the hall’s windows has, from the start, held an exciting conceptual charge. This too will play out and be measured in community reaction. For now, it looks great. Of course, having a big show in Lookout Hill brings into play the issue of the city’s geographical distances that translates into social and cultural barriers. Not many culture vultures from deep in the

City Bowl are venturing out to check out Qanya and Buys’ good work. It’s out of reach, they moan. Yet this is art, right there, at hand, for people living in Khayelitsha. For now, that reality sits as an uneasy Cape Town cultural paradox. Lerato Bereng’s Thank You Driver project, employing various taxi’s traipsing out there relates to the same issue. This young curator graduate too has tapped into the blunt reality of the extended city. The feedback from actual commuters will be interesting. Another Cape young curator, Nonkululeko Mlangeni’s Do You Know Where Brenda Fassie Is? is as well anchored in truth-on-theground. Every visitor to Langa High, where she and her collaborators have installed a truly amazing show/event/exhibition/tribute/memorial, will be impressed by how vigorously the various components come together. More over, the sense of creativity lingers in the air, as youngsters and family members have been drawn in.

Mlangeni delivers on one of the key challenges for a curator: to inspire viewers and participants beyond themselves. It is simply a swell effort. Inspired and inspiring. The same counts for the splendid Chimurenga Library in the gorgeously-refurbished old Drill hall. It’s conceptually so nifty (thanks in the main to Douglas Gimberg and Stacy Hardy) that it makes your head spin. Unfortunately- and this is a fault-line running through most of the Cape 09 components - the general public seems disconnected. A substantial amount of thinking will need to go into addressing the connection between the art being made for schemes like Cape 09, and connecting it with audiences. The curators are fruitfully working the cultural terrain. And this is, thankfully not handled with political charge. But in the next round we need to see the crowds drawn to and worked in - from Higgovale to Atlantis, from Imizamo Yethu to Upper Bishops Court.

Stephan Welz & Co in association with Sotheby’s May Auction Supplied • Stanley Pinker’s “Seated Nude” sets a new world record • David Botha’s wet street scene “Die Geel Sonbreel” proved popular and a record R212 800 was achieved • A Chinese pale celadon Nephrite carving sells for R268 800, fifteen times its presale estimate • Silver celebrates a 96% successful sale

Peter Machen

Durbanites like to give in to spectacle, albeit usually in a relatively low-key kind of way. Although the city fathers – I think the phrase still stands, at least metaphorically – spend much of their time trying to stamp out the general seediness that has always been a vital aspect of the city, there is certainly still a large clump of Durbanites who favour a bit of casual burlesque. And while the municipality is currently trying to turn the Morning Market in the working class Warwick Junction – one of the vital hearts of a multi-hearted city – into a 2010 mall with high-fashion labels, in front of the city hall itself you’ll usually see a cross-dresser caked in white powder entertaining the crowds with his male body and feminine charms, while bearded men who clearly lack the benefits of a personal hygienist tell us very loudly about how we’re all going to hell (I’m beginning to suspect they may have a point). And just round the corner, a few Fridays ago, a few hundred Durbanites of

Stanley Pinker’s “Seated Nude”, achieved a world record of R470 400 in the second session, which is a world record for a portrait by the artist. Collectors struggled for ownership rights in a tough bidding war. This price exceeded all expectations when it was finally knocked down to a determined buyer in the room.

all kinds of persuasions entered the Durban Art Gallery for a little bit of a party . Fronted by choreographer and all-over-the-place creative Durbanite David Gouldie, Naked is a moveable cultural feast that has occupied several venues over the last few years in vastly different formats, the consistent thread being a night of over-the-top entertainment with soul. (David is not demure). The event was referred to by many as a “mini-Red Eye”, Red Eye being the legendary social art events which the gallery used to host regularly (and now very irregularly) and which spawned a whole spate of art parties around the country and a whole bunch of infighting in Cape Town. (Soft Serve anyone). But the Naked event was very different to Red Eye. The art was largely performance-based but constructed so that the barrier between the performers and the audience disappeared and you were never entirely sure who

was what, or indeed what exactly was going on. The result was strangely dreamlike. And interestingly, because there was far less of what one might define as fine art in the event, the audience actually did manage to engage with much of the work already in the gallery for once, giving the exhibition Not Alone: Make Art Stop Aids one final but deep pool of appreciation before it was taken down a few days later. And for the first time in quite a long time, I heard a good few people talking in substantial depth about what the works meant to them, rather than simply deciding whether they liked them or not. But while this warmed my heart, these gallery events are in a way more about psychological urban regeneration than they are about art. They are a chance for those who have mostly abandoned the city to return to it, and for those who live in the city to engage meaningfully with it. And it’s significant that the caked-in-white

cross dresser has also performed in the gallery. And it’s even more significant that his spirit lingers on in what is truly one of Durban’s most democratic and representative spaces. I had planned to write substantially about Durban artist Grace Kotze in this column but my love for the DAG has edged her out and left only a couple of paragraphs. So I’m sorry Grace, and I’m sorry also for those SAAT readers who didn’t get to see your exhibition Darkness and Wonder at the KZNSA. Kotze (shifting to formality) has, over the last decade, produced a prolific body of work that contains both deep beauty and high concept, and really deserves to extend her reputation beyond the confines of the province. It is odd, in fact, that talent this substantial, skill this refined, belongs to an artist who is not known nationally. And I can only hope that by suggesting it here, and words being what they are – having a bit of power on occasion - that the exhibition will

move on to Cape Town, Joburg and beyond. Someone out there give Kotze a phone call. Finally, I’m the kind of ou for whom all creative production exists on the same continnum, so while I know that SA Art Times is not a music mag, I can’t help but mention in passing that watching Jim Neversink perform at Society in Florida Road was one of my most blessed aesthetic experiences in the last few year, certainly blessed enough to make me evangelical. Fronted by former Durbanite Michael Whitehead, the beautiful and furious country rock of Neversink gets as close to art as you can get without being stuffed in a frame and hung on a wall or in a Damien Hirst piece. Whitehead lives in Joburg. If you get a chance, go see him and his brilliant accomplices. If you see his albums buy them. They’re like prints of his work. Only cheaper.

This week at Stephan Welz & Co., in association with Sotheby’s, auction in Cape Town, saw approximately 600 lots fall under the hammer. The auction sessions were punctuated by spirited and lively bidding both in the room and on the phones. Numerous world records which were achieved including Stanley Pinker’s “Seated Nude”, which sold for R470 400, Christo Coetzee’s “Homage to Riemann Pasternak Van Geometry”, R201 600, and a richly textured Robert Gwelo Goodman pastel of the wine farm “Morgenster”, R72 800, a new record for a work on paper by the artist. The first session was accented by the historically significant Frederick Timpson I’Ons “Grahamstown Road” which was fiercely contested and finally knocked down at R87 360 against its pre-

sale estimate of R25 000. Walter Battiss’ silkscreens proved popular once more with a record price of R39 200 paid for “Bird Masks”. Stanley Pinker’s “Seated Nude”, achieved a world record of R470 400 in the second session, which is a world record for a portrait by the artist. Collectors struggled for ownership rights in a tough bidding war. This price exceeded all expectations when it was finally knocked down to a determined buyer in the room. Paul Stopforth’s graphic portrayals of apartheid atriocities struck a chord with a particular collector who set a new world record for the artist at auction with “Altarpiece for Thomas Kasire”, selling for R53 750. Lucas Sithole’s delightful “Ngijabulile” sculpture exceeded expectations with the price of R53 760. Hugo Naude’s “Namaqualand” achieved R392 000, matching the top-end of its pre-sale estimate. Interestingly this work was discovered along with an Adolph Jentsch watercolour bought in a miscellaneous job lot and was to become a case of “cash in the attic” for the happy owner. The watercolour had been discarded after its glass had been broken. Maud Sumner’s evocative “An Extensive Dune Landscape” from her later elemental body of work which include dune-andseascapes, R313 600, doubling its pre-sale estimate. Alfred Neville Lewis’s “Magnolia Study in a Ginger Jar” set a new South

African record for a still life by the artist of R89 600.

Furniture remained steady with top quality pieces achieving good prices; notably a magnificent Louis XIV giltwood and inlaid centre table which realized R31 360, an elegant Anglo-Indian drum table, R35 840 which sold mid-estimate, and a fine Cape rusbank which achieved R24 640.

The star lot of the third session was a large pale celadon nephrite carving of Guanyin which was fiercely contested to an impressive price of R268 800. Other highlights included a beautiful Chinese Flambè bottle vase from the Qing dynasty, R35 840, and a twentieth century Meissen part dinner service which doubled its pre- sale estimate at R31 360. South African ceramics once again fared well with a Hylton Nel earthenware doll selling for R8 960. Silver sold particularly well – the star lots being an elegant set of Elizabeth II silver ‘rat-tail’ pattern cutlery, manufactured by Gee and Holmes, which sold for R53 760, a Paul Storr toast rack, 1817, sold for R19 040, and a pair of German four-light candelabra, which exceeded their pre-sale estimate with a resounding R14 560. Please note that all prices quoted include buyers’ premium.

(From left to right) Karen Randle and Shona Robie (Stephan Welz & Co) with Liz Futeran (middle) Lara and Mark Kretschmer (chairman of Stephan Welz & Co) (right) Gordon Massie (ArtInsure) and Ian Hunter (Stephan Welz & Co)

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