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BUSINESS ART SEPTEMBER 2010 | E-mail: | Member of the Global Art Information Group

Antonia Labia ushers in a new chapter and new age in their rich family history as patrons of the arts in South African cultural community “At last the Casa Labia has become what my grandfather originally envisioned: a statement of faith in the future of his adopted country, and a celebration of all that is unique and beautiful about Italy and South Africa.” Read about Lloyd Pollak’s visit to The Casa Labia inside. Photo (detail): Jenny Altschuler

Judith Mason New work at The South African Print Gallery Judith Mason’s new series of lithographs are now available at The South African Print Gallery, Woodstock, Cape Town ( . They have been printed using the new monotype transfer technique that Mark Attwood at The Artist’s Press have developed to meet the needs of artists who are primarily painters. On the subject of pomegranates this is what Judith stated that: “Pomegranates have always been my favourite fruit because of their beautiful caskets of jewel-like seeds within, and the hard, almost pot-like exterior. It is an ancient fruit, celebrated in the Song of Solomon and regarded by the Early Church as a symbol of the Resurrection. In these prints I have tried to celebrate the fruit’s sensual qualities, and its oozing ruby juice, and have juxtaposed it with a hammer to remind one of its skull-like vulnerability.” See for more Published monthly by Global Art Information Editor: Gabriel Clark-Brown PO Box 15881 Vlaeberg, 8018 Advertising: Eugene Fisher Tel. 021 424 7733 Fax. 021 424 7732 Subscriptions: Bastienne Klein

News: Shows: Artwork:

Newspaper rights: The newspaper reserves the right to reject any material that could be found offensive by its readers. Opinions and views expressed in the SA Art Times do not necessarily represent the offi cial viewpoint of the editor, staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business, product or service. Copyright of the enclosed material in this publication is reserved.

National Ceramic Exhibition 2010 Grande Provence Gallery Franschhoek

10 October to 27 October

Daily from 10h00 to 18h00

For reservations : T +27 21 876 8600 F +27 21 876 8601 Main Road Franschhoek PO Box 102 Franschhoek 7690 Western Cape South Africa

T +27 21 876 8630

F + 27 21 876 8601


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Botha’s popular interpretation of Shaka was that he was not just a fearsome warrior, but a man who took pride in his environment and kingdom. The Zulu King asked for the statue to be removed as he felt that Botha’s interpretation of Shaka looked too much like a herdboy.

Durban’s Airport Shaka sculpture possibly to go from Botha’s enviromently caring - to Royal approved tough guy image Peter Machen While the King Shaka airport just outside of Durban is running smoothly by all accounts, King Shaka himself is still noticable by his absence. Where Andries Botha’s statue of the proud king once stood – for a few short weeks - tending his cattle, only the cattle remain. The statue was removed when King Goodwill Zwelithini pronounced that he was not happy about the way in which Shaka was represented. According to the royal family, he looks “more like a herd boy than the fierce hunter-warrior of Zulu folklore�. A decision about how to represent the Zulu King has not yet been made but it seems certain that he will not be presented in anything like the pastoral mode suggested by Botha’s initial work. The drawing, attributed to Lieutenant James King drawn before 1836, is the only contemporaneous image we have of Shaka, and has thus been frequently used as the template for illustrations and photographic reconstructions.

After the statue was taken down, a panel was appointed to advise on the content and nature of the new sculpture. The panel

which includes academics, historians and members of the Zulu royal house, have not yet delivered their report but panel member Jabulani Maphalala, a historian, revealed last week that the royal house delegation had brought a drawing of Shaka to the meeting.

As Pietermaritzburg’s Witness pointed out, Isaacs’ book was only published 8 years after James King’s death, and the image is at best a printer’s re-drawn copy of a drawing of Shaka by King. It is equally possible that the drawing bears no resemblance to its subject.

The drawing, attributed to Lieutenant James King, is the only contemporaneous image we have of Shaka, and has thus been frequently used as the template for illustrations and photographic reconstructions.

As for who will create the new sculpture, nothing has yet been said, but Botha has recused himself from the task. Combining the work of another artist with Botha’s existing cattle might present an artistic issue in terms of authorship and artistic intent, but that is clearly not a priority for the Airport Company of South Africa or the appointed panel.

In the drawing, which first appeared in Nathanial Isaacs’ Travels and Adventures in Eastern Africa published in 1836, Shaka is markedly elongated and carries a spear and a shield. While the Zulu leader did in fact meet King, it is not known whether the portrait was drawn from memory or a ‘sitting’ and in fact the veracity of King’s authorship of the drawing is not even certain.

Meanwhile Botha’s stone-and-gabion elephants continue to languish in bureaucratic limbo by the side of an eThekwini freeway, shrouded in shadecloth and the limited attention span of the news cycle...

Honours Programme in Visual Studies One-year programme The Department of Visual Arts at Stellenbosch University invites applications for admission to the abovementioned Honours programme. This course focuses on select critical issues encompassing contemporary and historical visual culture and students will be exposed to an array of interdisciplinary theories and polemics surrounding visual culture from a wide variety of historical periods and geographical locations. Topics covered include critical discourses and practices in photography, models of subjectivity in the visual arts, the politics and poetics of curatorship, and issues around post-colonial African visual culture. In addition to three tutored modules, students are expected to complete an independent research project in consultation with a supervisor. The Honours programme in Visual Studies serves as preparation for a Master’s in Visual Studies. These postgraduate courses equip students for employment in a variety of fields, including the academia, galleries, heritage sites, arts administration, art dealership, the media industry and museums.


your knowledge partner

Full details and application forms are available from: 5IF%FQBSUNFOUPG7JTVBM"SUT 4UFMMFOCPTDI6OJWFSTJUZ 1SJWBUF#BH9 .BUJFMBOErUFM rGBYrFNBJMZC!TVOBD[B Closing date for applications: %FDFNCFS 21972 sa art

some day some how some place some people

marius lourens a social landscape (acrylics) 31 August – 17 September 2010

Ron Belling Art Gallery

30 Park Drive, Port Elizabeth his work is included in several public and private art collections 041 5863973 / 072 2027652, email:


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Pieter Hugo: Zakaria Salifu, Agbogbloshie Market, Accra, Ghana 2010. from the Permanent Error series, C-print. Image courtesy of Michael Stevenson, Cape Town and Yossi Milo, New York.

Melvyn Minnaar The Artful Viewer: Tuned to the ethical? The comical capers of the crooks involved in the real-life killing of Brett Kebble may have provided some absurdist amusement during the testimony in the ongoing murder trial. What it did not hide, was the real dark, even evil, underworld life of this sometime self-promoting patron of the arts. Not that long ago, despite a convenient blur of history, artists were falling over their feet to get his attention, directly or indirectly. All this for their own fame and, especially, the fortune he dished out. Curators and administrators bought into the sweet talk. The media - including the few left in the cultural wasteland - fell for it, lock, stock and barrel. Kebble had scored one of the greatest PR triumphs in the business of smoke and mirrors, taking art for a ride. The Kebble awards were gloriously welcomed as a gift to the South African cultural enterprise. How quickly we forget. Or decide to forget.

position, the ‘high-ground’, as they say. (Wasn’t so-called ‘struggle art’, in all its propagandistic fervour, the ultimate such endeavour?) Yet, the Kebble art debacle proved exactly otherwise. Or did it? Two Cape exhibitions that end early this month hold up the flame brightly. They also are remarkable milestones in the artists’ careers - high points of their individual creativity. Throughout his career - a substantial one that we can trace here in the Cape since the 1970s - Manfred Zylla has produced art in the great German tradition of satire and shock, of ripping the seams of the fat-cat establishment fabric apart. Brechtian in its relentless, hard questioning of social morals, his art is ever enhanced by high technical proficiency and exploration. The latter has provided a constant freshness to his work. As well as loaded its challenges.

Few voices in the art world then questioned the man’s motives. Virtually none were practising artists. It was all too good to be true. For a handful observers, like Marilyn Martin, at the time, Iziko director, and Martin Welz at Noseweek magazine, the Kebble patron performance was all too transparent.

His current exhibition, closing soon at the Erdmann Contemporary, is a mixed bag of small and very large drawings. Often the message is in your face - ‘American Invasion of Obs’, ‘Again and Again and Again’ or ‘Reds’. But it is the thrill of the throw-away-ness of the intensely-worked pieces that stay and stay, and claim their moral profundity.

In hindsight, the dosh that was generously handed over as artists’ prizes, at worse, now seems like blood money, at best, takings of shady origin. That spent on the glitzy, good parties were too generous to even be questioned for source.

Throw-aways feature symbolically in Pieter Hugo’s top-notch show at Michael Stevenson. In this case, these are the horrors of fat-cat First World consumer society who sent their First World debris to form a different kind of relentless, heart of darkness in Africa.

If artists sometimes confess that their job is similar to that of the oldest profession in man’s world (and tell stories about how masterpieces were created under dubious circumstances and tyrannical, egocentric patrons), we’ve always taken it that there is something positive that drives art. Under the blatantly decorative and entertaining, the DNA of good and great art - so we’ve convinced ourselves - always carries a gene tuned to the ethical.

His photographs of the slum of rubbish at Agbogbloshie in Ghana, where old computer stuff, sent from the West, is dumped, may well be his best work to date.

Even if irony, satire and paradox (which we easily think we can cope with in the post-structural times) are part and parcel of the contemporary artwork and its processes, we trace morality to a positive

There is no escape from this Goya-esque cruel beauty. An installation of video portraits set against a devastated, sometime literally burning, landscape, is hypnotising. It mirrors the large prints of the local individuals (the same kind of hapless men-at-work that Zylla portrays). It is a show that hammers, as it should, a stake through our pink heart.


Free State Bloemfontein Oliewenhuis Art Museum 16 September-31 October, Works by Claire Menck (In the Main Building) 16 Harry Smith Street, Bloemfontein T. 051 447 9609

Clarens Johan Smith Art Gallery 25 September-04 October, Johan Smith presents his 16th Annual Exhibition in oil depicting typical Eastern Free State Landscapes. Preview Friday 24 September 3pm-7pm. Official opening (by Pierre van Pletzen [Oubaas from 7de Laan]) at 11am on Saturday 25 September. Preview again from 09am- 10:45am. Windmill Centre Main Street Clarens T. 058 256 1620 Blou Donki Art Gallery Contemporary Art, Steel Sculptures, Functional Art, Photography and Ceramics. Windmill Centre Main Street Clarens T. 058 256 1757

Gauteng Johannesburg Absa Art Gallery 08-24 September, “My Shadow and I” by Philip Badenhorst. Opening 08 September @ 6:15pm. Absa Tower North, 161 Main Street, Johannesburg. T. 011 350 5139 Alliance Française of Johannesburg 07-18 September, “Réunion Chroniques” a photographic exhibition from Reunion Island. Featuring François-Louis Athenas, Raymond Barthes, Thierry Fontaine, Yo-Yo Gonthier, Line Leclerc, Edgar Marsy, René Paul Savignan and Laurent Zitte. 21-25 September, “Body of Work” paintings by Amande Denyer Godden and Mike Newton. Opening on Tues 21, Wed 22, Thurs 23 Sept 2010 from 6pm- 8:30pm each evening as well as Saturday the 25th from 10am – 1pm 17, Lower park Drive, Corner Kerry Road, Parkview T. 011 646 1169 Artist Proof Studio 28 August-09 October, “Layer upon Layer” prints by Bronwen Findlay. In collaboration with Tim’s Print studio and Artists Proof Studio. Opening Saturday 28 August @ 12am. The Bus Factory, 3 President Street, West Entrance, Newtown Cultural Precinct, Newtown. T. 011 492 1278 Artspace –Jhb 21 August-04 September, “O”, a print and jewellery exhibition by Angela Yeung and Rob Mills. 04 September-23 October, Mentorship Programme Exhibitions Three different exhibitions of the participants of the Artspace Mentorship Programme. 27 October-17 November, Solo Exhibition of prints by Judy Woodborne. 1 Chester Court, 142 Jan Smuts Ave., Parkwood, Johannesburg T. 011 880 8802 Artspace Warehouse 05 September-02 October, “Unnatural Selection” butterfly prints by Henning Ludeke. Opening 05 September @ 5:30pm, Opening speaker Pieter van Heerden, Director, Association of Arts, Pretoria 10 October-06 November, “Skins” a group exhibition. 3 Hetty Ave, Fairlands, Jhb. T. 011 880 8802 Bailey Seippel Gallery 22 August-22 October, “A Life Behind the Lens” by Ranjith Kally. A Durban Perspective on South Africa 1946-1982. Opening reception on Sunday 22 August @ 12am. Speech by Riason Naidoo from the Iziko South African National Gallery. Arts on Main, 260 cnr Fox and Berea, CBD Johannesburg. T. +27 71 227 0910

GALLERY LISTINGS FOR FREE STATE, GAUTENG AND MPUMALANGA CIRCA on Jellicoe 9 September - 3 October, Mixed media New Works by Gavin Younge. 7 - 31 October, Mixed Media with wood by Enric Pladevall. 4 November - 16 Dec, Mixed media, bronze sculpture by Deborah Bell. 2 Jellicoe Ave. T. 011 788 4805 CO-OP Until 04 September, “Greener on the Other Side” by Kudzanai Chiurai. Kudzanai Chuirai’s third poster series in collaboration with Dokter and Misses. The show explores the franchise of democracy. 68 Juta Street, Braamfontein T. 011 023 0336 David Brown Fine Art Until 04 September, An exhibition of paintings, etchings and glass sculpture by Colin Cole, Chonat Getz, Aurelia James, Linda Hess and Lizette Chilvers. During September, Spring Collection, various artists. 39 Keyes Avenue, off Jellicoe, Rosebank. T. 011 788 4435 David Krut Projects 12 August-25 September, “Fool’s Gold” by Stephen Hobbs. 140 Jan Smuts Ave., Parkwood, Johannesburg T. 011 447 0627 Everard Read Gallery Jhb 09 September - 03 October, “Stage” pastel on paper by Haneke Benade, “An Accumulation of Change” oil paintings by Rina Strutzer. 07 - 31 October, mixed Media on paper often earth or pastel by Thea Soggot. Leon Vermeulen. 04 - 25 November, Oil on canvas by Paul Augustinus. 6 Jellicoe Ave., Rosebank, Johannesburg T. 011 788 4805 Gallery 2 11 September-02 October, “Position in Space” by Karin Daymond. 140 Jan Smuts Ave, Parkwood. T. 011 447 0155/98 Gallery AOP 12 August-02 September, “Dislocated Landscapes” by Kim Berman 04-07 September, Judith Mason artist’s book: “Skoelapperheuwel, Skoelappervrou” 11 September-02 October, “...and to that sea again” by Richard Penn 09-30 October, “Draw links” contemporary drawing 44 Stanley Ave., Braamfontein Werf (Milpark), T. 011 726 2234 Gallery MOMO 12 August-06 September, “The Young Ones” by Theresa-Anne Mackintosh. 09-18 September, a group show. 30 September-25 October, “Urban Africa” by David Adjaye 52 7th Avenue, Parktown North, Johannesburg T. 011 327 3247 Gertrude Posel Gallery This gallery has a permanent exhibition of traditional southern, central and West African art. University of the Witwatersrand, Senate House, Jorissen Street, Braamfontein Tel: 011 717 1365 Goodman Gallery 26 August-20 October, “Kind of Blue” by Sam Nhlengethwa 163 Jan Smuts Ave., Parkwood, Johannesburg T. 011 788 1113 16 Halifax Works by Michael Heyns can now also be viewed by appointment in Johannesburg at 16 Halifax Street Bryanston. Dana MacFarlane 082 784 6695 Henry Taylor Gallery The Henry Taylor Gallery specializes in South African Investment art; hence, it is not uncommon to find Old Master paintings by Errol Boyley and J.H. Pienreff, hanging alongside up and coming artists such as Claire Denaire or Gian. P. Garizio. Shop No G 7.2 Cnr. Cedar Rd. and Witkoppen Rd. Fourways T. 011 70-53194 www.henrytaylor

Brodie/Stevenson 05 August-18 September, “Furies” Solo exhibition of new paintings and a video installation by Penny Siopis. 05 August-18 September, “Project 008” by Lunga Kama. 373 Jan Smuts Ave., Johannesburg T. 011 326 0034

Johannesburg Art Gallery 09 August-December, “Transformations: woman’s art from the late 19th century to 2010” artists taken from JAG’s Collection. 22 June-26 September, “Borders” an exhibition from the 8th Bamako Encounters, The African Photographic Biennale. Until 29 August, “Without Masks” 06 June-04 September, “Deep Play” by Harun Farocki King George Str., Joubert Park, Johannesburg T. 011 725 3130

Carol Lee Fine Art 11-19 September, “Source” a group exhibition. upstairs@bamboo Cnr 9th Street & Rustenburg Road, Melville, Jhb. T. 011 486 0526

Manor Gallery 01 August- 05 September, “The 7th annual Black Like US exhibition” Guest Artists Sam Maduna, Makiwa and Daniel Novela exhibiting together with other Black Like Us artists including

BUSINESSART | SEPTEMBER 2010 Abe Mathabe, Chenjerai Kadzinga, Edward Selematsela, Mind Shana, Fungai and Stanley Mawelela. 12-28 September, “The Dulcie Robinson Little Artists exhibition) a charity exhibition of affordable artworks by mostly orphans and disadvantaged children from the ages of 8-18. Opening 12 September 11am for 11:30am. Norscot Manor Centre, Penguin Drive. T. 011 465 7934 Museum Africa Until 24 Dec 2010, “l’Afrique: A Tribute to Maria Stein-Lessing and Leopold Spiegel” co-curated by Nessa Leibhammer and Natalie Knight. 121 Bree Str., Newtown, Johannesburg T. 011 833 5624 Resolution Gallery 03 August-23 October 2010, “Public Perception” a poster show by Andy Robertson.142 Jan Smuts Ave., Parkwood, Johannesburg T. 011 880 4054 Seippel Gallery 14 August-09 October, Recent Works by Mbongeni Buthelezi. Auke de Vries. From 10 October, Water paintings by Jill Trappler. Arts on Main, Cnr of Fox and Berea, Johannesburg T. 011 401 1421 Spaza Art Gallery From 19 September, “Spring Exhibition” various artists including music and poetry. 19 Wilhelmina Street, Troyville. T. 011 614 9354 C. 082 494 3275 Standard Bank Gallery 03 August-18 September, “A Vigil of Departure” by Louis Maqubela. 12 October-04 December, “People, Prints and Process-Twenty five years at Caversham” Cnr of Simmonds & Frederick Str.’s, Johannesburg, 2001 T. 011 631 1889 University of Johannesburg Art Gallery 08-29 September, “Ectopian States” group exhibition. This exhibition, curated by Jacki McInnes, Spier winner of an artist residency in Brazil in 2010, includes works by some of South Africa’s most prominent artists working to the theme of the degradation of our environment. Exhibiting artists include Willem Boshoff, Kim Gurney, Maja Marx, Lee-At Meyerov, Marcus Neustetter and Strijdom van der Merwe, with collaborative works from Jacki McInnes and John Hodgkiss, and Mario Marchisella and Marianne Halter. Visit for exhibition updates and details Auckland Park Kingsway, Campus Cnr. Kingsway and Universiteids Rd., Auckland. T. 011 559 2099/2556 Zietsies 13 August-03 September, “Roadtrip” by Alex Hamilton an exhibition about memory, adventure, landscape and the car that always broke down on the side of the road. No 1. Beverley Road, Aucklandpark. T. 021 447 2396

Pretoria 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 Association of Arts Pretoria Early to Mid September, “A Cultural Bridge to India” a group show 173 Mackie Street, Nieuw Muckleneuk, Pretoria. T. 012 346-3100 Brooklyn Theatre in association with Trent Gallery 28 August-15 October, “Collections” featuring Anna Vorster, Ernest Rood, Joel Tsepho Sebothoma and Renier Oosthuizen. Greenlyn Village Shopping Centre, Thomas Edison Street, Menlo Park. Stuart @ 082 923 2551,, Fried Contemporary 02 September-03 October, Works by Paula Louw. Opening 02 September @ 6:30pm. Walkabout by the artist @ 7pm. 430 Charles St, Brooklyn, Pretoria. T. 012 346 0158 Gallery Michael Heyns 29 August-18 September, “Clay” a long-awaited exhibition of new plates, tiles and sculptures by the versatile Michael Heyns. Opening 29 August @ 11am. 351 Lynnwood Road Menlo Park Pretoria T.012 460 3698, Cell.082 451 5584



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Swelco’s Johannesburg Auction feedback By Michael Coulson It’s probably indicative of the lacklustre quality of the work on offer rather than a double dip in the market that Stephan Welz & Co (Swelco) sold only three of the 12 highest-estimate SA artworks at this week’s sale in Johannesburg, as lower down the scale results were somewhat better. And none of the top three beat the low estimate, if buyer’s premium and any other charges are deducted.

New work by Gavin Younge to be seen at Circa Gallery, Johannesburg

A Pierneef landscape fetched R1.232m (estimate R1.2m-R1.6m), a Frans Oerder still life R268 800 (est R300 000-R500 000) and a Francois Krige still life R224 000 (est R200 000-R250 000). Overall, Tuesday evening’s session of major work grossed R6.6m, 63% of the low estimate of R10.5m, with 75 of the 146 lots sold (51%). Returns in the afternoon session of minor work were a little better: sales of R479 000 were 79% of the low estimate of R608 000, with 55 of 95 lots sold (58%). Top price in the afternoon was just R29 120 for Adriaan Boshoff’s watercolour, Cleaning the Catch (est R12 000-R16 000).

Just about the only other notable price was R190 400 for George Pemba’s Get Out! (est R150 000-R200 000). A notable casualty was Gabriel de Jongh, only two of his nine works finding buyers. Erich Mayer sold only three of eight, Chris Tugwell three of seven and Johan Oldert three of six, while Walter Battiss fared best, selling eight of 10. Five of the six Gregoire Boonzaaiers went and five of the nine Boshoffs. An overall gross of just under R7.1m was 64% of the low estimate of R11.1m, while 130 lots sold were 54% of the total of 241. The overall average price was R46 100 (est R54 500): R6 400 in the afternoon (est R8 710) and R71 950 in the evening (est R88 100). The gross fell well short of the R14.67m (117% of the low estimate of R12.57m) of the firm’s recent Cape Town sale, though not so far off the 58% of the 324 lots sold then . Average prices in Cape Town were about R15 180 for the minor sessions, just over R261 000 for the main session, and about R78 600 overall.

Pandora Art Gallery 03 September-17 October, “Tanti Piccoli Robot” a group exhibition. Opening 03 September by art critic and journalist Johan Myburg. The exhibition, complemented by a performance by the Rynier Prins Jazz Trio. The unusual house which serves as the exhibition venue is slated for demolition (to offer its spectacular views of Pretoria to newer developments), but has found an unexpected last gasp as a vibrant cultural hub. 621 Berea Street, Muckleneuk, Pretoria. C. 084 997 3903 Platform on 18th 19 August-04 September, “Phive” a group exhibition. Paintings, Drawings and Sculptures by Carl Jeppe, Ariana van Heerden, Johan Nortje, Sotiris Moldovanos and Dylan T Graham. 09-25 September, “99 Cents” Spring Exhibition, 15 Illustration Artists. 232 18th Street Rietondale, Pretoria. T. 084 7644 258 Pretoria Art Museum 15 September-29 October, “Neo-Emergence” a group exhibition, curated by Nthabiseng Rachel Montshiwa. Until December, A selection of ceramics, representing the development of studio ceramics and the work of traditional rural potters of South Africa over the past thirty years, is on display. A selection of artworks from the permanent collection of the Museum tells a brief story of South African art from the time of the first San artists. North Gallery and Preiss Hall, T.012 344 1807/8 St Lorient Fashion and Art Gallery 31 July-18 September, “Celebrating Pretoria” a group mixed media exhibition featuring mostly paintings. The Tina Skukan Gallery 29 August-23 September, “Should I go?” a solo exhibition by Anita Bodenstein-Booyens. “Stay”, a group exhibition featuring Adele Adendorff, Audrey Anderson and Belinda Donnelly. 6 Koedoeberg Rd, Faerie Glen, Pretoria. T. 012 991 1733 Trent Gallery Until 02 September, “Barbie at 51” a group show. 01-14 September, “Art to Save the Environment”. Opening Wednesday 01 September 6:30pm. Curated by Louis and Stephen Marcus BFinn. Twenty-five of South Africa’s most prominent and exciting contemporary artists will be exhibiting works on the environment at Trent Gallery from 2 September. Artists include Diane Victor, Gordon Froud, Angus Taylor, Norman Catherine, Andrew Verster, Kay Potts, Jan van der Merwe, Roger Ballen, Kim Berman and Henriette Ngako. For every work received, an indigenous tree will be planted in one of the poorer areas of Pretoria/Tshwane, be this at a school or in a park. 15-30 September, “Pretoria Re-mastered” Opening Wednesday 15 September 18:30. Curated by Erica Fraser. The masters’ works will be exhibited at the same time at the Pretoria Art Museum. 02-14 October, “Boudiccea Castings Studio Show” featuring Sanna Swart, Kay Potts and Tiaan Burger. 198 Long Street, Waterkloof, Pretoria. T. 012 460 5497.


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

Work by Johann Louw and Karin Daymond

Painters Who Print

a celebration of work from The Artists Press Painters Who Print is an exhibition that celebrates some of the artists who have worked at The Artists Press. Over the past twenty years of pioneering lithography in South Africa, Mark Attwood has noticed that artists who are primarily painters tend to make the most exceptional prints. This trend was perhaps first noticed nearly 150 years ago with the Impressionist artists who were as revolutionary in their printmaking as they were in their painting. Lithography is an extremely versatile technique and can be adapted to suit the work of most artists, however different their visions may be. From the reverse glass painting of Conrad Botes to the veils of oil paint used by Judith Mason, their proficiency in paint easily crosses to printmaking. Drawing and a strong graphic sense are the techniques that most associate with the world of original prints. Collectors are often heard saying, Yes, but is it a real print. Is it an etching? The domain of authentic prints extends beyond the edge of a copper plate. Original prints are so much more than exacting lines pressed into a sheet of paper. In painting it is often the gesture of the mark making, the sizzling quality of the colours and subtle moods that paint handled by an expert can capture. What painting offers one is an insight into

worlds that cameras and lines cannot adequately capture. The combination of texture, subject matter and colour when handled well almost punch one in the stomach, taking ones breath away. A selection of work that has been done over the years at The Artists’ Press reveals aspects of this alchemy. See landscapes through the eyes of Kim Berman and Karin Daymond, studies of the human form and its frailties in the work of Johann Louw and Robert Hodgins. Examine social issues with Penny Siopis and Judith Mason and wonder into the world of archetypes and the occasionally mythical with Deborah Bell and Colbert Mashile. Look at women with Pat Mautloa and Andre Naude. South African painters who have worked at The Artists’ Press reveal their vision in print form. Monoprints by some of the artists will also be exhibited.To see the work go to The exhibition will be held at the following galleries: 1) North West University Main Gallery 26 August - 22 September 2010, Potchefstroom 2) Aardklop National Arts Festival, NWU, Potchefstoom, 27 September - 2 October 2010 3) Gallery at Grand Provence, Franschhoek, November 2010 4) Association of Arts in Pretoria, April 2011


Eastern Cape East London Ann Bryant Gallery The Main Gallery 05 August-12 September, “Diesel & Dust” selected works by Obie Oberholzer. The Coach House Until 04 September, “The Peep Show” An exhibition of works in miniature. 13-16 September, East London High Schools Group exhibition of school students work. 21-23 September, The work of adults who make use of the Belgravia Art Centre will be on display. 30 September-16 October, a Solo exhibition of oil paintings of Eastern Cape Landscapes by Chanelle Staude. 9 St. Marks Rd, Southernwood, East London. T. 043 722 4044

Port Elizabeth Alliance Française of Port Elizabeth During September, “Extra- Muros: Architecture of Delight” 17 Mackay Street, Port Elizabeth. T. 041 585 7889 Epsac Gallery 23 August – 17 September, “Love This Place – Buy it Take it” a mixed medium group exhibition. (Upper Gallery) 30 August – 15 September, “EPSAC Annual – Group Exhibition” Mixed Medium (Lower Gallery) 01-15 September, “Epsac 91st Annual”, multimedia group exhibition. (Lower gallery) 17 September-01 October, a solo exhibition by Jennifer Crooks. (Lower Gallery) 05-15 October, Retrospective solo exhibition by Ninetta Steer. (Lower Gallery) 18-29 October, Print, ceramics and mixed media by Lydia Holmes and Janice Mendelowitz. 36 Bird Street, P.E. T. 041 585 3641 Montage Gallery During September, Various painters, including Wehrner Lemmer, Nonnie Roodt, Alida Bothma, Leonè Spies and Peter Midlane, complemented by ceramics of Zizamele. 59 Main Road, Walmer, Port Elizabeth. T. 041-5812893 Nelson Mandela Metropolitan Art Museum Permanent exhibition, “Art in Mind” Until 10 October, “Ubuhle bentsimbi: The beauty of beads” Until 12 September, “Pleased to meet you: South Africa, Gateway to Africa” An exhibition of top contemporary South African art from the Nelson Mandela Metropolitan Art Museum’s permanent collections, supplemented by a selection of works by contemporary African artists. Until 05 September, “Endgame” by Michael MacGarry. 1 Park Drive, Port Elizabeth. T. 041 506 2000 Ron Belling Art Gallery 31 August-17 September, “Some day some how some place some people” acrylic and mixed media by Marius Lourens. Opening 31 August @ 6pm with guest speaker David Jones. 21 September-08 October, “Face to face: intimate conversations with 25 PE(ople)” photography and interview by Sandy Coffey. 30 Park drive, Port Elizabeth. T. 041-586 3973

Western Cape Cape Town 38 Special Art Café and Studio 13 August-10 September, “Catch 2010”, a group exhibition. All work that does not sell will be burned. Burning takes place on Friday 10 September @ 8pm. T. 021 462 1348 082.307.7883 Absolut Art Gallery Until 05 September, a group exhibition featuring works by Carla Bosch, Corne Weideman and Wakaba Mutheki. Shop 43 Willowbridge Life Style Centre, Carl Cronje Drive, Bellville, CT. T. 021 914 2846 Artvark Gallery Until 30 November, Paintings by Lolly Hahn-Page and Tammy Griffin. During September, New work of the well-acclaimed Zimbabwean Artist Wendy Roselli. 48 Main Road Kalk Bay, T. 021 788 5584 Artvark now also at the Cape Quarter, on the 1st floor Alliance Française of Cape Town During September, “Fleshy Wasteland” by Retha Ferguson. 155 Loop Street, Cape Town. T. 021 423 5699 /A Word Of Art A WORD OF ART will be closed for the next few months to work towards the next big group show and on the project 66 Albert rd, Woodstock Industrial Centre. T. 021 448 7889 The Arts Association of Bellville 25 August - 15 September, The Vuleka 2010 Competion.

GALLERY LISTINGS FOR EASTERN AND WESTERN CAPE 29 September- 21 October, a solo exhibition by Johan Coetzee, and a Jewellery exhibition by Marlize Meyer, Jolene Kritzinger, Isabel Pfaff, Liz DunstanDeacon, Nadja Bossmann and Diana Ferreira. The Arts Association of Bellville, The Library centre, Carel van Aswegan Street, Bellville. T. 021 918 2301 Atlantic Art Gallery A permanent display showcasing leading contemporary South African artists. 25 Wale Street, Cape Town. T. 021 423 5775 AVA 23 August-17 September: MINI ME, AVA’s ArtReach Fundraiser. Opening @ 6pm on Monday 23 August, Closes Friday 17 September @9pm. Established and emerging Artists have donated miniature works to be sold for a set price of R790.00. 23 August-17 September, “Composed” by Malcolm Dare. “Mari Yebepa” by Gerald Machona. Association for Visual Arts, 35 Church Street, Cape Town. T.021 424 7436 Barnard Gallery 26 July- 15 September, “Beyond Boundaries” by Rachelle Bomberg. 55 Main Street, Newlands. Blank Projects. 29 July-01 September, “High Violet” by Mary Wafer & “Nomadic Structures Digest” by Kerim Seiler. 09 September-02 October, “The Menippean Uprising” a group exhibition curated by Pierre Fouché & Hentie van der Merwe. Opening 09 September @ 6pm. 113-115 Sir Lowry Rd, Woodstock, Cape Town. T.072 1989 221 Cape Gallery 22 August-02 October, “Borders” the Cape Gallery annual Wildlife Exhibition. Opened by Noel Ashton on Sunday 22 August @ 4:30pm. 60 Church Street, Cape Town. T. 021 423 5309. Carmel Art Dealers in Fine art, exclusive distributers of Pieter van der Westhuizen etchings. Until 15 September, Works by Pieter van der Westhuizen will be sale at a 20% discount. During September, New Works by Derric van Rensburg Relocation of their Claremont and Constantia galleries is now complete visit the new gallery at the Cape Quarter Square – Cape Town’s newest upmarket and trendy shopping mall where Leonard Schneider and Beila are available to assist you. Cape Quarter Square,27 Somerset Road Green Point (on the first floor above the Piazza & restaurant level) T. 021 4213333 Casa Labia Gallery 14 August-30 September, “White Painting” new works by Hermann Niebuhr. Opening 14 August @ 2:30pm. 192 Main Rd, Muizenberg. T. 021 788 6067 Cedar Tree Gallery 17 August-30 September, “The Palette and the Palate” A wine-centric exhibition, with works of vineyards, events inspired by wine, perhaps works while under the influence of wine and works using wine as a medium. Rodwell House, Rodwell Road, St James, Cape Town. T. 021 787 9880 David Porter Antiques Buyers and sellers of South African art. T. 021 6830580/083 452 5862 The Donald Greig Bronze Foundry and Gallery Opened on 25th August 2010 at West Quay Road, V & A Waterfront, Cape Town. Donald Greig is a specialized wildlife sculptor and his sculptures ranging in size from life-size to paperweights will be on display at the gallery. The foundry will do a bronze pour on most days and the entire ‘Lost Wax Casting Process’ can be viewed by the public through special glass windows. The Nautilus Building, No.14 West Quay Road, V&A Waterfront, Cape Town T. 021 418 4515

BUSINESSART | SEPTEMBER 2010 sourced from a fact finding mission to Europe and the UK. / C. 082 354 1500 Focus Contemporary During September, Special winter menu of fine African art including works by Karin Miller, Christian Diedericks and Simon Annand. 28 October-25 November, “Pretending to be Flesh” by Christian Diedericks 26 November-26 December, “Spot” by Helen Sear 67 Long Street, Cape Town. T. 021 419 8888 The Framery Art Gallery Until 04 September, line work and photography by Miche and Armien. 07-17 September, Celebrating 15th birthday with Stock Clearance Sale African and South African artwork acquired over last 15 years works by Wiseman Zwane, Xolile Matakatya,Mongezi Gaum, Frank Ross to mention a few. 18 September, Auction from 10am-2pm 23 September-06 November, Patrick Mokhuane and Timothy Zantsi. Opening 23 September @ 7pm. 67g Regent Road, Sea Point. T. 021 4345022 G2 Art 01-15 September, “In Search of truth and Beauty” mixed media work by Tanya Bonello. Opening evening Wednesday 1st September 2010. 6pm - 8pm 61 Shortmarket Street, Cape Town. T.021 424 7169 Galleria Gibello Cape Quarter Until end of September, “Heaven and Earth” by Caroline Gibello Shop 31, Cape Quarter Square, 27 Somerset Road, Green Point. T. 021 425 0439 Gallery F Contemporary and archival South African Art. 221 Long Str., Cape Town T. 021 422 5246 Gill Allderman Gallery Works by Judy Conway - large abstract acrylic works on canvas and sensitive woodcuts by Mark Lumala Williams. Donna McKellar’s Miniatures, plus many other artists are showing on the walls of the gallery Dathini Myziya, Gionvanna Biallo; Donovan Ward; Willie van Rensberg 278 on Main Road, Kenilworth. or call 083 5562540 Goodman Gallery, Cape 02 September-04 October, “All Things being Equal” by Hank Willis Thomas. 3rd Floor, Fairweather House, 176 Sir Lowry Rd., Woodstock, Cape Town T. 021 462 7573/4 Greatmore Studios Until o3 September, “The Second Creative Photography Mentorship Exhibition” 47-49 Greatmore Street, Woodstock. T. 021 447 9699 iArt Gallery 01-30 September, Recent monoprints by Colbert Mashile. Presented in Collaboration with The Artists’Press. 15 October-13 November, “Mad Art Moments” An exhibition in in support of the Make a Difference Foundation. Featuring Sheena Rose. 71 Loop Street, Cape Town. T. 021 424 5150 iArt Gallery Wembley 01-25 September, “Blight” by Marlise Keith. 29 September-06 November, “Patmos and the war at sea” by Alistair Whitton. Wembley Square, Gardens, Cape Town T. 021 424 5150

Erdmann Contemporary /Photographers Gallery Until 04 September, “Again & Again” a solo exhibition of new drawings and paintings by Manfred Zylla. 09-25 September, “ORDA” by Kilmany-Jo Liversage. Opening Wednesday 08 September @ 6pm. 63 Shortmarket Str., Cape Town T. 021 422 2762 Everard Read Gallery Until 31 Jan 2011, “Untamed”, an installation by Dylan Lewis at Kirstenbosch Gardens. 02-17 September, “Sight”, an exhibition by Arabella Caccia & Deborah da Silva. “Sight” is the product of a collaboration between Arabella Caccia (a painter and a sculptor) and Deborah da Silva (a photographer). 16 September-15 October, “Bronzes 1980-1990” Percy Konqobe Everard Read, Cape Town and Rose Korber Art, in association with the Dreyer Foundation, Germany, present an exhibition of major bronze sculptures by noted Gauteng artist and Sangoma, Percy Konqobe. 3 Portswood Road, Victoria and Alfred Waterfront, Cape Town. T. 021 418 4527 34 Fine Art 17 August-09 October, “New” a group exhibition celebrating 34FineArt’s new gallery as well as some refreshing new works from the current inventory

The eagerly awaited Kirstenbosch Biennale 2010 opens on Sat 4 Sept at Kirstenbosch Gardens. Image (detail) Lynda de Wet - Protea cynaroides. See for more details



Infin Art Gallery A gallery of work by local artists. Wolfe Street Chelsea Wynberg T. 021 761 2816 and Buitengracht Str. Cape Town T. 021 423 2090

These Four Walls Fine Art 22 September-09 October, “Somebody Suit” by Jane Henderson T. 021 447 7393 Cell. 079 302 8073

Irma Stern Gallery Until 18 September, Childrens’ Book Illustrations by Fiona Moodie. Artist walkabout on Friday 3 Sept at 11am Cecil Rd, Rosebank, Cape Town. T. 021 685 5686

Waterkant Gallery 29 July-08 September, “Bollywood!” Bollywood! captures the truly unique spirit of Bollywood past through its iconic and instantly recognisable poster art. Bollywood! revisits the true film greats from the 50s to the 70s through a series of original, vintage posters. 09 September-20 October, “Die Dam and Other New Work” by Cirkine Roussouw. Opening Thursday 09 September 5-8pm. 123 Waterkant Street, Cape Town. T. 021 421 1505

Iziko SA National Gallery Until 03 October, “1910-2010: From Pierneef to Gugulective” a re-hang of the entire gallery is being curated to showcase the very best of South African art. Until October, “US” 25 Queen Victoria Street, Cape Town 021 481 3934 Iziko Michaelis Collection Until 11 September, “The lie of the land: Representations of the South African landscape” Iziko Michaelis Collection, Old Town House, Greenmarket Square, Cape Town 021 481 3800 Joao Ferreira Gallery 02 August-04 September, “Works on Paper” by Beezy Bailey 70 Loop Street, Cape Town. T. 021 423 5403 Kalk Bay Modern 15 August-31 October, “Point of Focus” photography exhibition. Pinhole Photography with selected conventional photography. Jenny Altschuler, Glen Green, Nic Bothma, Gavin Foley, Geoff Kirby, Dave Robertson, Leanette Botha and Kevin Factor are some of the photographers featured in the exhibition. 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571 Lindy van Niekerk Art Gallery. 10-17 October, The Lindy van Niekerk Art Gallery’s Annual October Art Exhibition. 31 Kommandeur Road, Welgemoed, Bellville. T. 021 913 7204/5 Michael Stevenson Contemporary 29 July-04 September, “Permanent Error” photographs by Pieter Hugo; “The Eclipse Will Not Be Visible to the Naked Eye” video, installation and prints by Dineo Seshee Bopape; “Noreturn” a film by Dominique Gonzalez-Foerster as part of the Forex Series. 09 September-16 October, Solo exhibition of new paintings, drawings and photos by Zander Blom. 09 September-16 October, DJ Spooky (As part of the FOREX project series) Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Cape Town. T. 021 462 1500 Michaelis Art Gallery 27 July-03 September, “reGeneration 2” Tomorrow’s Photographers Today University of Cape Town, 31-35 Orange Street, Gardens. Cell: 083 367 7168 Raw Vision Gallery 11 Feb-14 Sep 2010, “African Odyssey” 20 Internationally acclaimed photographers exhibiting. 89 Sir Lowry Rd, Woodstock, Rose Korber Art 01-14 September, Continuation of exhibition: “Celebrating South Africa” 16 September-15 October, “Bronzes 1980-1990” Percy Konqobe Everard Read, Cape Town and Rose Korber Art, in association with the Dreyer Foundation, Germany, present an exhibition of major bronze sculptures by noted Gauteng artist and Sangoma, Percy Konqobe. Venue Everard Read, Cape Town, 3 Portswood Road, V & A Waterfront. T.021 418 4527 : 20 October-20 November, “Abstraction and Meaning” by J P Meyer. 48 Sedgemoor Rd, Camps Bay, Cape Town T. 021 438 9152 Email: roskorb@

Wessel Snyman Creative 23 September-13 October, “Dare to Dream in Silent Moments” An exhibition of painting, drawing, installation, performance art and mixed media by Lucy Skinner, Janet Botes & Roxi Bredenkamp. Performance art on the opening night at 8pm. Also featuring jewelry by Inkheart Design. Opening September 23 @7pm. 17 Bree Street, Cape Town. T. 021 418 0980. What if the World… 02 September-02 October, “Life is Short” solo exhibition by Peter Eastman. First floor, 208 Albert Rd, Woodstock, T.021448 1438 Worldart Gallery 26 August-12 September, “The lion’s Den” by Michael Taylor. 18 October–08 November, “Un-mute my tongue” A solo exhibition of new paintings by Ayanda Mabulu 54 Church Street, Cape Town. T.021 423 3075 Youngblackman Gallery From 25 August, “Who’s abjet now bitch?” by Andrew Lamprecht and Jonathan Kope. 69 Roeland Street, Cape Town. T. 083 383 0656


Galerie L’ Art A permanent exhibition of old masters. Shop no 3, The Ivy, Kruger Str., Franschhoek T. 021 876 2497 The Gallery at Grande Provence 29 August-06 October,”andWhatnow?” the third part of its trilogy of exhibitions opening on Sunday 29, August at 11h00 with Wilma Cruise as the opening speaker. AVE BRITS will be the first exhibiting artist in The Project Room and our two guest artists are Graeme Williams and Andries Botha. Ariella Kuper will auction Lise Hanssen’s “The Baiting Tree” photographic works at 12:00. Main Road, Franschoek. T. 021 876 8600.

Hermanus Abalone Gallery Until 30 September, El Loko (Togo) In Search of Traces-Woodcuts and sculptures. In The Main Gallery: A selection of works by Titia Ballot, Lien Botha, Christo Coetzee, Hannes Harrs, Elzaby Laubscher, Carl Roberts, Lynette ten Krooden. 2 Harbour Rd, The Courtyard, Hermanus. T.028 313 2935 Artists on Route 44 at the Fernkloof Nature Reserve 08-12 September, The group produces woven articles, paintings in oil, acrylic and watercolour, leather art and ceramics. Knorhoek Wine Estate will be supporting them with a wine tasting which will take place on Friday 10 September from 5pm and wine orders may be placed at the exhibition throughout the duration. Enquiries 028-271 3236 or

Rust-en-Vrede Gallery 10 August - 02 September, Works by Heidi Ansley of Piet-my-Vrou Mosaic studio, Elizabeth Miller-Vermeulen presents a series of works in oil. In THE CUBE in the Clay Museum well-known potters from the Eastern Cape exhibit “Wildly Colours” 07-30 September, Cristiaan Diedericks, Judy Woodborne and Corlie de Kock, in 3 solo exhibitions, exhibit works in mixed media. 10 Wellington Rd, Durbanville.T.021 976 4692 Salon 91 04 September-02 October, “Whitespace” a group exhibition of sculpture, drawings, print and mixed media featuring Lee-Ann Boulter, Mareliza Nel, Cara van der Westhuizen, Zelda Weber and Bianca Weingartz. 91 Kloof Street, Gardens, Cape Town. T 021 424 6930 South Gallery Showcasing creativity from KwaZulu-Natal including Ardmore Ceramic Art. Ground Floor. Fairweather House, 176 Sir Lowry Rd, Woodstock, T. 021 465 4672 South African Print Gallery Until 08 September, “Memory, Myth & Ritual” works by Eunice Geustyn. 107 Sir Lowry Rd, Woodstock, Cape Town. T. 021 462 6851

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Oudstshoorn Artkaroo Gallery From 05 August, “Woman” by artists from the Klein Karoo region, such as Janet Dixon, Hannelie Taute, Ramona Van Stavel, Ina Marx, Mariette De Villiers, supported by a collection of Francois Tiran’s female nudes. 26 September-03 October, “Maak Jouself Tuis” an expression of the artistic soul through the medium of the chair; functional & funky art by Karoo artists. Also featuring fine Karoo art in landscapes, figurative and abstract. Exhibition opens 26 September @ 4 PM. This exhibition coincides with Klein Karoo Klassique Festival. 107 Baron van Reede Oudtshoorn, T. 044 2791093

Paarl Hout Street Gallery 29 July-30 September, “The Winter Gala” 270 Main Street, Paarl. T. 021 872 5030

Stellenbosch Art on 5 Permanent exhibition of paintings and ceramics by Maryna de Witt, Pera Schillings, and Karen Kieviet. 7b Andringa Str., Stellenbosch T. 021 887 7234 Glen Carlou Estate On exhibition is The Hess Art Collection, including works by Deryck Healey, Ouattara Watts and Andy Goldsworthy. Simondium Rd, Klapmuts T. 021 875 5314 SMAC Art Gallery 09 – 25 September, “Index. Leading Works from the Sanlam Art Collection” (1st Floor, De Wet Centre, Stellenbosch) 02 September – 10 October, “Pre-Green” by Barend De Wet at Nirox Foundation Project Space (Arts on Main Cnr Main & Berea Street, Johannesburg.) 30 September – 28 November, “Green” by Barend De Wet. At Smac. (1st Floor, De Wet Centre, Stellenbosch) The exhibition will feature a combination of recent and older works; sculpture, painting and performance. De Wet centre, Church Street, Stellenbosch. T. 021 887 3607 The Studio Gallery Until 15 September, “Personal Playground” Stephen Rautenbach, well known Stellenbosch sculptor is exhibiting his latest theme work along with surrealist/ultra realist painter, William Parkin. Small sculptures by emerging sculptor Letter Maqabuko are an added feature to the exhibition. 44 Church Street, Stellenbosch. 021 682 7005. Tokara From 15 October, TOKARA winery will launch its fifth annual Wine Made Art series at the National Art Gallery in Cape Town, featuring works by young artists from the Cape – all students from the Fine Arts Division of the Visual Arts Department at the University of Stellenbosch. The public can view the artworks at the winery after the launch where they will be exhibited until the end of December 2010 Crest of Helshoogte pass on the R310 between Stellenbosch and Franschoek. T. 021 808 5900 US Art Museum 8– 30 September, Works by Conrad Theys. 16 September – 1 October, Le Spectacle de Terroir. Opening 16 September @ 6:30pm. Cnr of Dorp and Bird Streets, Stellenbosch T. 021 808 3524/3489

Ceramics Southern Africa (Western Cape Region) Cordially Invites You to the Opening of the 2010 National Ceramic Exhibition Opening : Sunday 10 October 2010 at 11h00 Opening speaker : Jeffrey Oestreich (American Master Potter) The exhibition will run until 24 October 2010 Preview by appointment | Curator : Johann du Plessis

The Restaurant at Grande Provence For reservations : T +27 21 876 8600 F +27 21 876 8601

Main Road Franschhoek PO Box 102 Franschhoek 7690 Western Cape South Africa T + 27 21 876 8630 F + 27 21 876 8601

Colbert Mashile 2010, monoprints, 56 x 76 cm. Printed by The Artists’ Press To be seen at iArt.

E-mail us your Gallery event and happening details to:



Kwazulu- Natal Durban The African Art Centre 08-23 September, “Celebrating the Living Legends of KwaZulu Natal” 94 Florida, Durban. T. 31 312 3804/5 ArtSPACE Durban 23 August-11 September, “All Shades of Brown” a solo exhibition by Sandira Reddy; A Time to Love” by Sibusiso Duma; “The Road Less Travelled” by Di van Wyk. 13 September – 2 October, “Adornment in Borderland” by Roz Cryer; “Urban Angel” by Caroline Birch 17 – 19 September, Fourth Annual Contemporary Art Sale-ArtWorks Gallery at KwaNyoni in Hilton. C. 0834775599 4 – 16 October, Works by Steve Mandy 3 Millar Road, Stamford Hill, Durban. T.031 312 0793 Crouse Art KZN Gallery During September, “The Soul of a Woman” by Helene Wagenaar and Este Mostert. 254 Windermere Road, Morningside, Durban. T. 031 312 2315 Durban Art Gallery From 03 September, “Red Eye Jomba” Renowned for its platform of showcasing performance art, fashion, dance, music and everything in between, this special JOMBA! edition of RED EYE will dazzle audiences. Featuring almost a hundred performers and based around the notion of “The Body Politic” 15 September-07 November, Standard Bank Young Artist 2010: Michael MacGarry. Until end September, “The Dreams for Africa Chair” Photographic journey of the Woza Moya chair. “Conflicting Contexts” Work drawn from the permanent collection curated by Vaughn Sadie. 2nd Floor City Hall, Anton Lembede St (former Smith St) Durban T. 031 311 2264 Durban University of Technology Art Gallery 01-15 September, “Harbouring Histories” Various Artists at Durban University of Technology (DUT) Gallery. The exhibition will be opened by Professor Graham Stewart (Deputy Dean, Faculty of Arts and Design, Durban University of Technology) on the 1 September. Durban University of Technology (DUT) Gallery, Steve Biko Campus. T. 031 373 2207

Elizabeth Gordon Gallery During August, September, A selection of Black and white signed limited edition botanical photographs by Lisa-Jane Hamlin. During September, Works by Nora Newton. 120 Florida Rd., Durban. T. 031 303 8133 KZNSA Gallery Until 05 September, Masuga’ by Rogan Ward, Deborah van Niekerk and Caroline Birch. ‘Urban-Vermin’ by Michelle Silk. ‘Lingua Franca’ by Richard Hart. 14 September-09 October, all Galleries: MTN new contemporaries award nominated artists are Donna Kukama, Kemang Wa Luhelere, Stuart Bird and Mohau Modisakeng with appointed curator Nontobeko Ntombela. Opening 14 September @ 6pm. 12- 31 October, Works by Conrad Botes main, mezzanine, and park galleries) 166 Bulwer Rd., Glenwood. T. 031 2023686


Tatham Art Gallery 08 June-26 September, “Jabulisa 2010 The art and craft of Kwazulu-Natal.” Until 26 September, First floor Exhibition Rooms: The Whitwell Collection 1923-1926. Until 26 September, Perimeter Gallery: Gallery Permanent Collection 1903-1974-works that are part of the Storm in the Wheatfield-an anthology of the Gallery history. Cnr of Chief Albert Luthuli (Commercial) Rd. and Church Str. (Opposite City Hall) Pietermaritzburg T. 033 342 1804

Ballito Imbizo Gallery 09 September-30 October, “Spring Splashes” featuring Matt Donaldson, Natasha Barnes, Leona Sykes and Jenny Meyer. Imbizo Gallery, Shop 7a, LifeStyle Centre, Ballito. Next to Beira Alta T. 032-9461937

Margate Margate Art Museum Museums art collection on display. T.039 312 8392 C.072 316 8094

Pietermaritzburg The Blue Caterpillar Art Gallery 01 – 30 September, oil paintings and lithographs by international Spanish artist- Didier Lorenco. 01 -30 October, oil paintings of Midlands farms and rural settings by Charmaine Eastment. The Blue Caterpillar art gallery at Butterflies for Africa 37 Willowton Road, Pietermaritzburg. T. 033 387 1356 or

(Top) Michael Silk, City Loft 1, Mixed media. Richard Hart: So into you, 357 magnum cartridges, steel. Both are showing at The KZNSA Gallery, Durban

Peter Machen Janine Zagel is, among other things, the assistant of acclaimed sculptor Andries Botha. But you wouldn’t necessarily know that from the scores of Botha-related mails she sends out through the cybersphere – she never signs or identifies herself as thus. You might instead conclude that she’s some kind of discipline, imbued with the persistence and ubiquity of of a Reuters news feed. Meeting Janine in person, she is indeed something of an acolyte. You can see it in her eyes. But while her devotion to Botha is obvious, it’s her dedication to his artistic output that is particularly intense. A few weeks ago, Zagel sent out one of her many missives regarding Botha’s work. This one mentioned that the form of the new Shaka which would replace Botha’s previous sculpture at King Shaka International Airport had ostensibly been decided – it was to be based on a drawing of the famous Zulu leader rendered in the early 19th century by Lieutenant James King, one of the first merchant settlers in what was then called Natal. So, it’s kind of funny, given the general concern about ownership of imagery in the towers of power at the moment, that either way, Shaka’s imaging is defined by a white man, though in this case it’s one of the early colonialists rather than the son of an Afrikaans railway worker who, like Shaka, has risen to great things from a challenging beginning. And I can’t help wondering if anyone on the panel appointed to ponder the matter considered the possibility that King might have been expressing his own set of colonial-era prejudices in his drawing of Shaka Zulu – a drawing that is the only surviving image we have of the Zulu king that was created in his lifetime, and whose authenticity is suspect. While it’s troubling that the warring image of Shaka is the only one that is deemed iconic enough to hold sway, what concerns me more is the notion that anyone, even the Zulu Royal Family who are presumably descendents of the king, can lay claim to the ownership of Shaka or any other aspect of our collective history and culture. The Zulu leader is so shrouded in myth, legend and

competing histories, that he is little more than a cypher on which we project our own constructions of the world. More than two centuries after his death, he belongs to all of us. Suggesting that the Royal Family – or the ANC – or the people of KZN – or the Zulu people – own Shaka or his image is ludicrous. The Louvre, for example, might think that they own the Mona Lisa, but they surely don’t. Again, we all do.

as SA Art Times, precisely because art often explores the edges which make the Board perhaps justifiably uncomfortable. But just because their discomfort is justifiable, it doesn’t mean that acting on that discomfort is. It does mean however that the editors of this paper could go to prison for five years if they publish an image from an artist that is deemed to have gone too far in the eyes of the authorities,

And those who think they’re in charge of the Shaka ‘brand’ might not enjoy Max de Vreez’s chapter on Shaka in Of Warriors, Lovers and Prophets, his compassionate and illuminating collection of local histories, in which he suggests that the mother-complex laden Shaka (the one thing we do seem to know with certainty about him) was possibly homosexual and also concerned with the relative smallness of his prepubescent penis (it grew to a normal size according to Du Preez, but only late in adolescence).

All of this is about trying to mould our values and morality (although hopefully not in the image of our leaders). Just like the National Party. Except it didn’t work too well then, and if no-one’s noticed, the world has changed a little since. Imprison the press – look, there’s the internet. Cut off specific web sites – look, there’s a proxy ISP or a piece of privacy software. Ban a peer-topeer network. Oh look, there’s another one. The game is over.

But those who are offended by what they see as inappropriate imaging – and I imagine that there are those whose gut will respond to the idea that Shaka might have been a poofter with the same queasiness that devout evengelical christians experience when people call their god into disrepute – need to open their minds and heart to the notion of multiplicity, to the fact that none of us should be allowed to have the final word. It is significant that similar discussions have been happening around the image of Mandela, with talk of ownership being ceded to the state after his death. It is relevant also that these things are happening at the same time that the ANC-led government is trying to control the flow of information in the press (although they say they aren’t). Then there’s the signing into law at the end of last year of the Films and Publications Amendment Act 3 of 2009 which expects that all published matter that might be seen to violate human dignity* be passed before the Film and Publications Board prior to publication, except for those newspapers registered with the Press Ombudsman. The act has dramatic implications for publications such

While these restrictive laws and attitudes are an absolute affront on the the freedom of speech guaranteed by our Constitution, and will no doubt be challenged in the Constitutional Court, they’re also pretty much useless in their objective of controlling images of sex and violence. While I can’t imagine too many child pornographers going to the Film and Publication Board for permission to publish, neither can I imagine Gabriel Clark-Brown doing so. Or that matter, Sean O’ Toole, the editor of Art SA . I suspect they have other things on their mind.

(*More specifically: “any material that contains sexual conduct which violates or shows disrespect for the right to human dignity of any person; degrades a person; constitutes incitement to cause harm; advocates propaganda for war; incites violence or advocates hatred based on any identifiable group characteristic and that constitutes incitement to cause harm”.)



Page 11

The Lie of the Land

Various Artists at Iziko Michaelis Collection, Cape Town. Until 11 September 2010 By Amy Halliday First published on Dealing with an incredibly complex tradition within the confines of a tight budget, Michael Godby’s ‘Lie of the Land: Representations of the South African Landscape’ at Iziko’s Old Town House is a tightly-curated exhibition with clear, yet unreductive narrative flow, articulate but unobtrusive wall texts, and a wide range of work selected and set in productive dialogue to voice a multitude of visual and ideological conversations. Its title, ‘The Lie of the Land’, foregrounds the manner in which the contours of Landscape – the conventions through which land is mediated – are never neutral but always attendant on power dynamics. The lie of the land depends on the point of view from which it is marked, measured and mined for its natural and socio-political resources. In the erudite catalogue accompanying the exhibition (which includes several significant pieces by scholars of environmental, political and art history) and used as an educational resource for the many schools that are visiting the show, Godby traces the establishment of the genre of Landscape painting in Europe alongside the European settlement of South Africa, for the genre, ‘like mapping, represents a means of taking control of space’.

Having visited institutional and private collections around the country, Godby has unearthed some extraordinary images. One such is Thomas Bowler’s leading of a group of art students into the Berg River (From the Centre of the Berg River, Paarl, 1861), intent on inundating them with the beauty of creation. Thomas Baines’s Gold and Ivory: Elephants Charging over Quartzose Country (1874), with its vivid colours and detail which rush towards the viewer, reveals that nature, even at its ‘wildest’, had already been marked and measured according to how it could be harnessed. While many of the nineteenth and early twentieth century images are seen through colonial eyes, Godby also draws attention to how black artists worked within, appropriated, and interrogated largely western conventions for depicting Landscape, including works by, among others, Gerard Sekoto, Gerard Bhengu and Moses Tladi. Situated in the transitional spaces in and around the stairwell are artworks dealing with ‘Contestations’, all of which summon the spectres of dispossession, violence and conflict that haunt South Africa’s present in the face of its colonial and apartheid past. Godby here invokes William Kentridge’s assertion that ‘Landscape hides its history... Scenes of battles, great and small, disappear, are absorbed by the terrain, except in those few places where memorials are specifically erected, monuments established, as outposts, as defences against this process of disremembering and absorption’. David Goldblatt’s Crosses erected on 16 June 2004, mounted off the N1 near Polokwane, appear almost as theodolite markings on the photographic surface (recalling Kentridge’s Colonial Landscape series) – but here their geometric regularity is used to apportion physical and psychic space to memory, to mark the landscape as a site of violence buried, but not forgotten.

Penny Siopis: Installation view of exhibition entrance, with Penny Siopis’s ‘Terra Incognita’ (1991) , Oil and collage on board, Painting courtesy of Johannes Stegmann Art Gallery, University of the Free State Entering the exhibition, one’s immediate attention is drawn to Penny Siopis’s vivid Terra Incognita (1991). Here, the exploitation of the land is coterminous with the exploitation of its indigenous peoples – it is literally built, in the painting, on the back of a black female figure – as signalled through the ground of representation: layers and layers of cut-out figures and infrastructure from apartheid-era textbooks. The surface terrain of painting is activated by the partly obscured palimpsest of the past: the South African Landscape formed through the dynamic strata of history, memory and representation. Siopis’s work thus strategically locates many of the concerns that will be addressed in the course of the exhibition. The exhibition is organised according to five overlapping themes. These speak across and undermine any linear narratives of the colonial to the contemporary, and include a remarkably representative sample of the genre as a whole. This is particularly evident with regard to late nineteenth and early twentieth century works (by artists both well-known and relatively neglected by art historical enquiry). The visitor begins with ‘Interfaces’, in which Godby positions Landscape as the threshold of different systems of knowledge, each of which variously cast the land according to its own terms of reference. Landscape becomes, for example, a way of understanding the space that lies between the known and the unknown, best figured in paintings and maps depicting barriers to passage, behind which lies the familiar and beyond which stretches terra incognita (such as Nils Anderson’s Crossing the Berg, 1939, which serves to commemorate and validate the Great Trek).

Cecil Skotnes: Visit to a Battle Site 1974-5, Acrylic on canvas on wood, Iziko South African National Gallery Set alongside Cecil Skotnes’s Visit to a Battlesite (1974-5), where the formal distortion and scale of the work makes it impossible to tell whether the figures in the landscape are live agents or buried corpses, and echoed above on the landing by Kim Berman’s dimly-lit Landscape of the Truth Commission (1998) and Paul Stopforth’s haunting Altarpiece for Thomas Kasire (1983), in which the rocks all but hide an ephemeral figure, the curation evocatively establishes the link between landscape, violence and traumatic memory. Reaching the top of the slightly shadowy staircase, the mood shifts as one enters the light-filled upper room of the Old Town House. One side examines the various ‘Inventions’ projected onto South Africa’s land according to shifting sentiment and rhetorical strategy, from meditations on nature in harmony to images imbued with variously colonial, Afrikaner and black nationalism. Godby sets up a particularly compelling sequence of agricultural images to demonstrate how labour on, and cultivation of, the land is naturalised as a validation of property rights. The series culminates in Pieter Hugo’s stark and monumental effigy of waste: Discarded Tomatoes and Chillies in the Veld, Messina/Musina (2007).

The wilderness is also constructed, on the one hand, as fearsomely hostile or awe-inspiringly sublime (seen, for example, in Robert Hodgin’s Wilderness, 2009, Jo Ratcliffe’s photolithograph Nadir, 1988, or Regina Buthelezi’s tapestry Once There Came a Terrible Beast, 1960s) and, on the other, as Arcadian (such as Samuel Danielle’s early nineteenth century vision of A Kaffer Village, in which the amaXhosa have been rendered according to classical ideals). Landscapes are also invested with both secular and spiritual resonances, a theme which Sandra Klopper explores in her catalogue essay.

Thomas Baines: Gold and Ivory: Elephants Charging over Quartzose Country 1874, Oil on canvas, Sanlam Collection

Various Artists: Installation view of Goldblatt photograph and Schutz sculpture , Silver gelatin print on paper (photograph), and gelutong and paint (sculpture), The other side of the room (leading into several smaller spaces) reflects on mankind’s myriad ‘Interventions’ into nature. Communication and transport systems, border and boundary lines, are revealed as integral to the process of owning and controlling the land. These interventions range from the stark intrusion of barbed wire in Robert Watermeyer’s Border Control Fence, Beit Bridge

Port of Entry, 11th September 2008 (2008), alluding to contemporary anxiety over immigration, or that of the railroad scarring the undulating landscape of Irma Stern’s Umgababa (1922), reflecting the ravages of industrialisation wrought on nature and people, to the more naturalised order established in the suburban garden. The latter is, in a moment of wonderful curatorial whimsy, demonstrated through the echoed diagonal between a nude resident intently mowing his lawn in David Goldblatt’s Saturday Afternoon in Sunward Park, April 1979 (1982) and Peter Schütz’s painted jelutong sculpture of a Suburban Garden and Home (2000), which juts out from the wall below it.

In the final section of the exhibition, ‘Interrogations’, Godby questions the genre’s problematic formal and ideological history. Many of the works deal with the specific formal techniques and modes of viewing which frame our understanding of the land. For example, Gavin Younge’s In Camera (2010) places the camera itself in front of the objectifying lens, and Keith Dietrich’s Horizons of Babel: Hottentotsberg (2005) presents a series of painted fragments arranged to present the illusion of a photographic panorama – with its attendant truth claims and authoritative viewpoint – that has been stitched together like a tourist montage.

Brett Murray Empire 1997, Wrought iron, glass, soil and photograph MTN Art Collection A beleaguered Pierneef bears the brunt of it all; from Avant Car Guard’s irreverent encounter with the artist’s grave to Wayne Barker’s Super Boring, which announces Pierneef’s contemporary irrelevance (despite the continued commercial success of his work within the art market) with neon tubing affixed to an upside-down and graffiti-defaced caricature of Pierneef’s trademark tree (the original of which sold for £14 million on a recent London auction). Even Brett Murray’s Empire conjures up Pierneef’s late woodcuts. Installed above the old colonial Town House’s hearth, the work links the wrought iron contours of the land to ideological edifices. The materiality of South Africa’s soil (in a jar which also contains fragments of pottery as a cipher of the breadth of time interred by the landscape) is subordinated to the rhetoric of its framing in the image alongside the shiny commemorative plaque to Empire. The techniques of oil painting, photography and print-making – the cultural capital they carry and the commanding views they encompass – are particularly implicated in these interrogations. Given the imbrication of these media with the genre of Landscape, one thing the exhibition lacks is much beyond these media in the way of sculpture, video and installation work. While this decision may have been due to the nature of the exhibition space, one can’t help but wonder whether the small adjoining rooms in which Godby explored permutations within specific themes could have been more productively used as spaces for showcasing video and installation works that ‘think’ Landscape differently. What about a site-specific sound intervention by James Webb? A topographic installation by Sean Slemon? Video works by urban geographer Ismael Farouk, one of Dan Halter’s Space Invader pieces, or Berni Searle’s recent meditations on the interrelationship of land, history, identity and memory (I’m thinking here of Alibama, which speaks to many of the exhibition’s concerns)? These would provide a provocative counterpoint to the largely two-dimensional offerings arranged against the museum’s walls, producing both formal and spatial variety for the visitor to negotiate, as well as a different way of seeing and, in turn, knowing the land. That said, this is an extremely comprehensive exhibition, which manages to deal with a large and complex tradition in a coherent and scholarly, yet nonetheless accessible, manner. Following on from Godby’s examination of the genre of still life in the 2007-8 exhibition Is There Still Life?, this exhibition is a milestone in the ongoing examination of South African visual history. In the midst of ongoing land disputes, the rise of racialised nationalism and xenophobia, and the ravages of the land being wrought by climate change, it is an exhibition which poses durable questions about the place and power of art: it thus demands – and deserves – our attention.

Mikhael Subotzky and Patrick Waterhouse Landscape, Ponte City, 2008. C-Print on dibond .




The ever radiant Antonia Labia enjoys sharing her familay home with guests

Casa Labia, Muizenburg, an abundence of warmth, love and hospitality All photographs: Jenny Altschuler Lloyd Pollak visits the recently reopened Casa Labia, home of the Labia family to discover a living warth of love for the arts, a refind cultural delight as well as a buzzing resturant There are a handful of house museums in Cape Town that project visitors into alternative visual universes worlds away from the caution and timidity of colonial Anglo-Saxon decor and the stranglehold of what John Betjeman described as ‘ghastly good taste’. The Irma Stern Museum, for instance, flies a defiantly foreign flag, and its vibrant colours, heavily carved medieval and Renaissance furniture, bold expressionist paintings and primitive tribal artifacts are robust expressions of Irma’s detestation of staid convention. The Casa Labia too represents a different culture and a different tradition, yet its origins are deeply rooted in early 20th century South African history. In 1917 Count Natale Labia was appointed Italian Consul to Johannesburg, and subsequently became Consul general in Cape Town, where he met the lovely heiress, Ida Robinson, the daughter of the mining magnate and rand-lord, Sir J.B. Robinson. After a traditional Edwardian courtship, the two inamorati wed in 1921, and when the Count was appointed Italy’s first minister plenipotentiary, he and the Countess, decided to leave the Robinson residence, Hawthornden, and build a home of their own.

Friends Lionel Davis and Peter Clarke enjoy a conversation before setting off. Both artists participated in the first show at the Labia Art Gallery. The Casa Labia fulfilled a dual function: it was both a family home and a formal, ambassadorial residence that projected an Italian style and character. The Count had long-standing family ties with la Serenissima, and thus it was decided that Casa Labia should reflect the spirit of 18th century Venice. Architecturally the Casa is characterized by a split identity. The interiors are feminine, luxuriously sensual and decisively Venetian, but, despite Cisalpine touches – the terracotta tiled roof, arches, classical balustrades and fluted columns - the façade and exterior are rugged versions of the imperial classicism associated with Sir Herbert Baker. Majestically enthroned upon a lofty podium of rusticated stone, the Casa soars above the rocky coastline below. Height lends it consequence and dignity, and opens up sweeping marine vistas that extend all the way to the Hottentot’s Holland mountains fifty miles away.

pink, sky blue, vieux rose and buttercup yellow. Venetian taste was shaped by an ambiance of glittering mosaic, brilliant light, shimmering water, reflections, and silk, porcelain and lacquer from the Orient, and brilliant colour and a penchant for bizarre and exotic fantasy have always stamped Venetian taste. Although the Casa’s outright sumptuousness may shock devotees of Sanderson chintz and plain white walls, it is characteristic of the filigreed opulence of 18th century Venice, for this was the city of elegant decline, the traipsing ground of the grand tourists and milordi inglesi who transformed Piazza San Marco into the ‘drawing room of Europe’ and participated with full-blooded gusto in the city’s festivities, Carnivals and legendary masked balls.

Princess Ida Labia by Edward Roworth, the Cape’s leading painter at the time graces the stairway to the gallery.

The undeniably imposing character of the Casa is offset by its suave cordiality. The flowing curves of the double return staircase sweep one storey upwards, and lead the visitor into the projecting loggia with the grace of a liveried footman. The scrolls and arcs in the tall segmented windows offset rigidity with fluid curves. Twirling wrought iron lamps, window-bars and gratings, a little grotto and fountain at the centre of the first landing, and the tumbling yards of gossamery white voile in the festoon-draped windows introduce a note of impish fantasy into the ensemble. The Labia’s, a wealthy clan of ennobled merchants of Hispanic origin, built their Venetian seat, the Palazzo Labia, from the 1700’s. This grandiose baroque edifice was one of the last great palazzi of the Serenissima’s golden Age, and it is a non-pareil inasmuch as it boasts three principal facades, instead of one. The first overlooks the Grand Canal; the second, the Campo San Geremia, while the last gives onto on a broad, pedestrian thoroughfare. The palazzo’s principal glory is a vast ballroom decorated by Tiepolo with dazzling illusionistic frescoes depicting the amours of Anthony and Cleopatra. The Casa provides an echo of these distant splendors. The interior fittings – furniture, chandeliers, mirrors, ceiling panels and wall fabrics – were imported from Venice, and, to ensure authenticity, they were installed by an imported Venetian decorator. The walls of the principal staterooms are hung with formal floral brocades in powder blue and gold. Persians envelop the parquet floors. Billowing curtains with elaborately draped, fringed pelmets and thick tassels adorn the windows. The coffered, compartmented al antica ceilings are elaborately carved and gilded. Fireplaces are carved from richly figured and coloured marbles. Venetian mirrors, sconces, girandoles and chandeliers, with tiers of cascading crystal lusters, add sparkle and vivacity. Picture frames are gilded and elaborately carved, and the furniture is predominantly a playful Venetian Rococo painted in mellow, muted hues with scrolls, floral sprays, leaves and buds picked out in coral

The glory days of the Casa were the high summers of the 1930’s when the family’s balls, parties and concerts were attended by financiers, statesmen and the beau monde of the day, and the ghosts of yesteryear linger on in the many evocative family portraits adorning the staterooms. In 2008, Count Luccio Labia, the son of Count Natale Labia, and the former’s daughter, Antonia, lovingly restored and re-furbished

Antonia Labia in one of the lounges

the Casa as a cultural and artistic centre. The splendid ball-room will again be the site of concerts, poetry readings and gala opera evenings. The first floor now accommodates a bright, spacious art gallery, given over to exhibitions of contemporary art, and the Africanova Boutique which showcases exquisite specimens of art, craft and design with an indigenous accent. Last, but not least, an airy, vaulted room, sparkling with light, has been converted into an Italian restaurant. The Goddess Flora thrones it on the painted ceiling and smiles down benignly on the diners seated at tables decked with roses and brocade cloths. French doors conduct one to an al fresco dining area on the sunbasked patio with its tinkling fountain and purple blaze of potted bougainvillea.



Page 13

Edward Roworth’s formal, full-length, standing portrait of Count Natale Labia

“At last the Casa Labia has become what my grandfather originally envisioned: a statement of faith in the future of his adopted country, and a celebration of all that is unique and beautiful about Italy and South Africa.”

Princess Ida Labia by Edward Roworth is a modern pastiche of the standard English 18th century formula for aristocratic portraiture. The princess is presented as a grande dame posing against soaring columns and an English parkland setting of silvery trees. Wearing a string of massive pearls and wielding a fan, she graciously fixes her blue eyes upon the viewer as if she were about to receive him. Her gown and shawl – a froth of pink chiffon, as vaporous as the clouds above – are simplified versions of 18th century costume brought up to date. Her short, ash-blonde, bobbed hair too makes the work a piquant blend of established tradition and voguish modernity.

Work by 16th century Venetian master Paris Bordone, of an unknown sitter adorns the stairs. (Below) The Casa Labia from the Muizenburg coastline The day I visited this unique Cape Town landmark, it teemed with visitors and the restaurant was packed. I congratulated the charming Antonia on her family’s munificence in so enriching our cultural scene, and bringing the Casa back to life, and, with a radiant smile of pleasure, she replied: “At last the Casa Labia has become what my grandfather originally envisioned: a statement of faith in the future of his adopted country, and a celebration of all that is unique and beautiful about Italy and South Africa.” The art of Casa Labia The paintings at the Casa Labia represent a synthesis of Italian and English tastes. The nucleus of the collection was acquired by the Count who commissioned the three Roworth family portraits, but otherwise concentrated on contemporary Italian works in the main. Ida and Natale then inherited the well-known Robinson collection. This typified the Rand lord’s wish to acquire old master paintings like those in the country house collections of the English aristocracy. The Casa Labia’s portraits of nobility by Romney, one attributed to Rubens, and another of Princess Mary, attributed to Van Dyck, Gabriel Metsu’s 17th century Dutch genre scene and Nicholas Berchem’s ideal Italian landscape, enhanced the status of the baronet, Sir Joseph Benjamin by associating him with connoisseurship, the landed gentry and old money.

Ida married late, and lost her adored husband after a mere decade. On the death of Natale, the King of Italy’s father, bestowed a princedom upon him in posthumous recognition for his services, whereupon Ida became a Princess. The chatelaine of Casa Labia, she was her Papa’s favorite, and on his demise it was she who inherited the bulk of his fortune. The Princess, a passionate animal lover, who filled Hawthorden with strays, is fondly remembered for her kindness and hospitality. Edward Roworth’s formal, full-length, standing portrait of Count Natale Labia seen against tumbling, claret drapery, a column and a throne-like, gilded chair too is modeled on the status portraits of yore. The Prince, dressed in the richly braided black velvet regalia of a Minister Plenipotentiary and Envoy Extraordinary of the Republic of Italy, cuts a fine figure. Weighed down by decorations, he stands proudly to attention as he clasps his ivory hilted ceremonial sword, and ostrich feather trimmed black hat. The count, an extremely genial man of immense warmth, charm and tact, was Italy’s first ambassador to South Africa. He established trade links between the two counties, helped set up the Lloyd Triestino shipping line, and made a major contribution to the infrastructure of the Cape wine industry by bringing Italian wine-makers to this country and promoting viticultural skills. A passionate lover of South Africa, Count Natale traveled to Italy with his wife and sons before the outbreak of the Second World War. There he attempted to dissuade Mussolini from invading Abyssinia, as this might pit Italians against South Africans and destroy the amicable relations he had toiled so hard to forge. Alas, il duce proved deaf to entreaty, and the resultant strain and bitter disappointment are thought to have contributed to the massive heart attack that struck the Count down shortly after his return to Cape Town. Paris Bordone, a 16th century Venetian artist from Treviso, was celebrated for his half-length paintings of gorgeous Venetian courtesans, and this luscious belle with her peaches and cream complexion and ringlets of Titian hair dressed with pearls, typifies his refined eroticism. The unknown lady sits in an architectural niche, and is portrayed en déshabillé with her dark blue dress parted to expose her marble breasts. A russet velvet cloak covers her knees, and a double gold chain hangs from her neck. In her left hand she holds a sprig of buds, while with her right she fondles another gold chain attached to her pet squirrel perched in

the upper right, nibbling at cherries. Further cherries fall out of the basket to her left, and they may be a rebus for her name. Francois Boucher’s tapestry cartoon, a Rousseauist pastoral, transports the viewer into an enchanting, Rococo, never-never land in which the adorably chubby cherub leading two delectable maidens to an effigy of Cupid, God of Love, are theatrically spot-lit. The females are nominally shepherdesses. Although barefoot, they sport the costliest silk couture, and their be-ribboned, rose-decked and ringletted coiffeurs testify to their patronage of Paris’ most exclusive hair-dressing establishments. The deity, whose statue they are about to deck with roses, is portrayed en grisaille, in a variation upon the pose of his flesh and blood counterpart. The statue’s rounded base is dressed with laurel leaves and roses, and inscribed with the words “L’Amour, c’est le Bonheur” (Love is happiness), and the God’s action of plucking an arrow from the quiver implies that he is about to fire the fatal arrow that will make the damsels’ dreams come true. This amorous vignette is set in a patently artificial confected landscape. The bosky grove, purling brook, luxuriant trees, creepers and shrubs are all stage properties, conjured up in singing pastel blues and synthetic greens to create a spectacle more beautiful than any nature can provide.

(Above) Casa Labia’s Art Gallery (Below) a member of staff gently adjusts a marble statue to greet returning restaurant patrons.




Strauss & Co’s next Auction Art Auctions : Cape Town 11 October and 1 November Johannesburg Pierneef Paintings Attract Wide Interest Schaik is known to have collected impressive works that include Irma Stern’s Gladioli, to be auctioned on Strauss & Co’s 11th October sale at the Vineyard Hotel. The fact that he selected this particular painting is evidence of its importance in Pierneef’s oeuvre. Viewed from the Nelshoogte plateau along the southern part of the Mpumalanga escarpment area west of the town of Barberton, the painting offers a spectacular view of the valley with the river coursing into the distance. The foreground has an astonishing wealth of detail in the vegetation and thorn trees so emblematic of Pierneef’s landscape paintings.

Pierneef’s Barberton en Nelshoogte Kaapschehoop, coming up at Strauss & Co’s Johannesburg sale 1 November 2010 Strauss & Co’s spring auctions, on 11th October at the Vineyard Hotel and on 1st November at the Johannesburg Club in Woodmead respectively, are set to showcase some of the most exciting examples of top South African art ever to come to auction. Amongst these, are a number of key works by Jacob Hendrik Pierneef that have been treausured in private collections and not been seen publically. Pierneef’s Barberton en Nelshoogte Kaapschehoop, coming up at Strauss & Co’s Johannesburg sale, has an illustrious provenance. It was acquired from the artist by Johannes Lambertus van Schaik (1888 – 1965) on 25th November 1949 and inherited by his son Jan Jacob van Schaik (1917 – 2009). The former came to South Africa from Holland in 1911 and joined the bookseller De Bussy in Johannesburg. In 1914 he founded the bookselling and publishing house J L van Schaik in Pretoria. The business flourished and on his death his two sons Jan and Hans continued to run the company until 1986 when it was sold to Nasionale Pers. It still continues to trade under the name Van Schaiks. Acquired from the artist’s studio shortly after it was painted, the provenance is evidence of the close and supportive relationship between the artist and the bibliophile. As a patron of the arts, Van

The title alerts us to the artist’s thoughts as he traced the contours of this remarkable area. Kaapschehoop, a tiny hamlet in the Barberton district, was one of the first places in which alluvial gold deposits were discovered in the 1880s. Prospectors, seeing in the 10 000 square kilometre valley a resemblance to the Cape of Good Hope with Table Mountain towering above it, named it De Kaap valley and their incorrigible optimism gave rise to the official name of the hamlet. Pierneef’s painting thus becomes a cultural meditation on the origins of the gold industry that gave first Barberton and then the Witwatersrand their raison d’être. The artist succeeds in achieving both a breadth of vision and a depth of perspective by structuring his composition in astute ways. The rolling hills and the sloping mountains that are arranged in a series of interlocking diagonals, encourage our eye to travel to the edges of the painting and back to its centre, emphasising the width of the landscape. Linear perspective that leads one’s eye, via the zigzagging river to the vanishing point and aerial perspective with warm colours that advance in the foreground and cool, receding colours in the background, provide the impression of deep space. The result is a painting that is breathtaking in its scale and ability to evoke the vastness of the South African landscape. While the artist’s compositional strategies lend complexity to the painting, the apparently endless variations, lull one into a sense of wonder and satisfaction. Pierneef’s Koringlande Agter Paarl, on Strauss & Co’s Cape Town sale in October, was painted in 1952 and is a rare example of the artist’s Cape landscapes. It depicts a Cape Dutch farmhouse nestled amongst sweeping wheat fields at the foot of a dramatic mountain range which includes, from the left, Klapmutskop, Kanonkop and Simonsberg with the Stellenbosch mountains in the distance on

the right. Some of the farms situated in this area were planted with wheat and tobacco during the 1950s when wine proved unprofitable. The success of this painting is due in great measure to Pierneef’s extraordinary ability to harness keen observation and sound technical expertise to a profound knowledge of the South African landscape. His architectonic approach to painting, which ordered composition by foregrounding its underlying structure, was ideally suited to capturing the vastness of the South African landscape that he loved so dearly. Dutch artist and theorist Willem van Konijnenburg, whose marked influence on Pierneef resulted in a greater abstraction of nature, was a great source of inspiration. In a letter to the artist written in 1929, Van Konijnenburg offered the following encouragement: Perseverance takes root in the deep love the artist has for nature. It is indeed this quality that pleases me so much, I feel that this love is present in full measure in you, in the painter Pierneef. Pierneef’s love of farms and homesteads was nurtured in part through his love of working the soil and of building, a skill he had learnt from his father, Gerrit Pierneef, a master builder and contractor. By 1939 he had acquired a piece of land in the Pretoria district and begun building his own house, assisted by a local stonemason. Built in the form of a kraal, his home was called Elangeni, the Zulu word for ‘in the sun’. A common feature in Pierneef’s landscapes is brilliant light, which he employed not only as a means to articulate form but to imbue his landscapes with radiant light. His devotion to capturing the strong local sunlight so unlike that of Europe, contributed in large part to the development of his characteristically South African landscapes.

Pierneef’s stylisation of form was inspired as much by his studies of Bushman rock art as by his knowledge of European modernist trends. Rhythmic bands of foreground ochre soil, the middle ground of wheat fields and the distant blue mountains, arranged in strong horizontal registers, achieve a perfect balance that enhances feelings of calm and tranquillity. The painting exudes an atmosphere of contentment and well-being, which the artist has achieved through his use of subtle, warm tones in simplified, broad planes. Massing clouds forecast rain that is so essential for agriculture. No sign of human activity disturbs the peace. It is as if all the labour required for a fully functioning farm is at rest. The result is an idyllic Boland scene. For further information contact Bina Genovese on 021 683 6560 or visit

The author, curious about where Pierneef stood to paint his Koringlande, Agter Paarl led her to a fascinating adventure that is often part of a good and hard day’s work in art auctioneering

The excitement of finding the site/s from were Pierneef chose to paint, makes his work even more dramatic and beautiful Emma Bedford, Strauss & Co Researching a work of art can often lead one on unexpected and exciting journeys. When Stephan Welz suggested I research the Pierneef’s Koringlande, Agter Paarl to identify the site from which the artist painted, I relished the thought, especially as a painting of a Boland scene is so rare in the artist’s oeuvre. If one needs to identify historic Boland homes and farms, who better to consult than a restoration specialist who knows the area well? So I called Len Raymond of Dal Josafat Restorations who very quickly identified the Simonsberg mountains ranging from the foothills around Klapmuts on the left of the painting towards Stellenbosch on the far right. He speculated that it was painted from an elevation at Uitkyk above Kanonkop and Nattevallei and that some of it could be on present day Warwick. But he was perplexed about the buildings in the painting, the absence of the old oaks surrounding the homesteads there and expressed doubt that wheat farms were ever that high up on the slope. Nevertheless on a cold, rainy winter’s day I drove out along the R304 from Stellenbosch to the intersection with the Elsenburg Road where we looked over towards Warwick. What we could see looked similar to some of the mountains in Pierneef’s painting and I contacted the owners immediately. A rapid response dashed my hopes but very helpfully, a Google Earth photo with the view from Joostenberg was attached to the email. So, with renewed excitement I quickly emailed the owners of Joostenberg on the other side of the N1. It was pointed out to me that the Joostenberg homestead is south facing while the homestead in Pierneef’s painting is north facing. Very helpfully, the mountains were identified from left to right as Klapmutskop, Kanonkop and

Simonsberg and it was confirmed that a lot of wheat or other cereals were planted in the 1950s when wine was not profitable. They suggested it could be Matjieskuil. So I emailed the owners of that farm with its impressive and meticulously restored Hawksmoor Manor. They were away in France but replied promptly with great excitement. Again I was disappointed but they wondered whether it wasn’t Eenzaamheid, a farm owned by the Briers family. They pointed out that all the farms from Muldersvlei to Malmesbury, including Matjieskuil, had been owned by various descendants of the Briers family for centuries. They also advised contacting the owners of Hercules Pillaar, nearby Eenzaamheid. The wine journalist, Tim James, also directed me to Eenzaamheid but I had initial trouble tracking down the owners. In the meantime, another source directed me to the Muratie Estate which was owned by the painter, G. P. Canitz in the 1940s and 50s. Believing this to be the most plausible theory because the artists might have befriended one another, I approached the owners with great confidence only to be let down, swiftly but kindly. So I returned to Tim’s suggestion and contacted Christo and Karina Briers-Louw through Charles Back. With absolute conviction, Christo claimed “Dis my geboue!” My heart surged. I couldn’t believe that I’d at last found the site. “Maar” he said, “dis nie my berge nie!” How was that possible? I thought he must be mistaken. So on a crisp and sunny Monday morning in August I drove out to Eenzaamheid to shoot photographs of the farm buildings and try to find the site. Taking the R304 to Malmesbury I stopped along the way to take photos of similar views. I was definitely getting onto the right track.

Despite a really busy start to their work week the Briers-Louws took time out to show me around the farm, give me access to their extensive archives and plied me with really good coffee. Christo showed me the original long cottage, or pioniersgebou, indicating that early farmers built these to accommodate all aspects of farming – from the family, to the livestock and the hay. As their fortunes improved they built the Cape Dutch homestead and the pioniersgebou was often abandoned. As a result there are very few Boland farms that retain the Cape Dutch homestead and pioniersgebou in close proximity to one another as on Eenzaamheid. While their pioniersgebou has retained many original elements and much of its character, it has been lovingly restored and well furnished, to provide wine tastings and overnight accommodation for up-market, foreign tourists. Christo was right – the view of the mountains that Pierneef chose could not be seen from his farm but as I drove back I took the Hercules Pillaar turn-off and was exhilarated to see a very similar view from Hohenfelde. Much as I would have loved to have found the precise site from which Pierneef painted, I had to agree with Christo’s conclusion – the painting is a conglomerate. Not only has the artist borrowed buildings from different sites, but he had swiveled them around on their axes and relocated them to another site to create a more picturesque painting. And while the painting is an absolutely convincing rendition of the character of the area, it nevertheless confirms the extent to which the artist used his imagination, stylised the mountains, extended the wheat fields and added an impressive sky, in order to create a work of art that would encompass all the things he wanted to express about this beautiful and beloved land.



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Walter Whall Battiss: Prelude to the dance R 600 000 – 800 000 . Conrad Botes: Murder and Mayhem, R 35 000 – 45 000. Cecil Edwin Frans Skotnes: Tribute to Uccello No.2 R 700 000 – 900 000

Forthcoming Cape Swelco, Spring Decorative and Fine Arts Auction 5th and 6th October 2010 Stephan Welz & Company, will be holding their Spring Decorative and Fine Arts Auction on the 5th and 6th of October 2010 at their newly refurbished auction premises at The Great Cellar housed on the Alphen Hotel grounds in Constantia. “The opportunity to renovate our current office space into fully operational auction rooms has been a twelve month project. We have, with the assistance of our architects, been able to create a fantastic

contemporary auction environment housed within the 300-year old walls of the original wine cellar of the Alphen estate,” says Shona Robie, manager of the Cape Town office. The inaugural auction is also the perfect foil in which to juxtapose South African Masters and Contemporary stars alongside each other at the forthcoming auction. Well represented are Irma

Stern, William Kentridge, Cecil Skotnes, JH Pierneef, Pieter Hugo Naudé, Keith Alexander, Edoardo Villa, Conrad Botes, Erik Laubscher, Robert Hodgins, Walter Battiss and many others. Pre-auction public viewing will take place Friday the 1st through to Sunday the 3rd of October. Viewing is free of charge and open to the public. For further enquiries and details regarding the catalogue please contact 021-794-6461.

(Left) François Krige: Peach Blossoms in Vineyard, R 350 000 - 450 000, Sold for R 540 000 (R 604 800). (Right top) Frans David Oerder: Daydreaming young girl, R 50 000 - 80 000, Sold for R 110 000 (R 123 200) (Below middle) Hennie Niemann Jnr.:The yellow scarf, R 35 000 - 50 000, Sold for R 75 000 (R 84 000). (Below) Fred Page The frocky horror shoppe

Results for Stephan Welz & Co’s annual August sale The 17 and 18 August auction held in the Rosebank sale rooms of Stephan Welz & Co, was a sale full of highlights and a new world record to get Spring off to a good start. Day one was focused on Books, maps, Africana and art whilst day two’s focus was on furniture, the decorative arts and jewellery. The Tuesday afternoon’s paintings section produced some most satisfactory performances across an extremely broad range of artists on offer. The artists that stood out however were amongst others, Adriaan Boshoff’s two colourful watercolour works entitled Dixie land crooner and “Cleaning the catch” (lots 208 and 209) selling for R 22 400 and R 29 120 respectively. Ted Hoefsloot was another artist that excelled with all four lots (190 – 193 all at R 5 000 – 7 000) dedicated to him selling well. Walter Battiss followed suit with all seven lots selling of which lot 198, HAT, did marvelously well reaching R 22 400 (R 10 000 – 15 000). The specialist painting evening session starting at 18:30 on the same day offered up a lot of surprises. In the international section lot 251 After Rembrandt van Rijn, “Man with a black hat” did brilliantly reaching R 31 360 on a pre-sale estimate of R 15 000 – 20 000. However, it was the range of traditional and contemporary South African paintings and sculptures that produced the evening’s notable performances. Lot 256 by Cathcart Methven “Umgeni River” real-

ized a remarkable R 156 800; a very good result for this fantastic artist. Furthermore two of the three Frans Oerders up for auction sold with lot 259, “Daydreaming young girl” grabbing lots of attention and attaining R 123 200 on a pre-sale estimate of R 50 000 – 80 000. The highest price reached for the evening was a beautiful Pierneef landscape entitle “Landscape with river”, realizing R 1 232 000. Nils Andersen also seemed to be popular with both works on offer selling and lot 280, “Farmyard scene”, soaring above its high estimate. Although Gregoire Boonzaier’s market seems a bit buoyant, the beautiful cover lot 296, “Still life with apples”, enticed the crowd and realized R 89 600. Alexis Preller, as usual, did well with lot 299 “Study of a shell”, reaching R 145 600. François Krige however, was the star of the evening with all works by him, selling well and lot 314 “Peach blossoms in Vineyard” excelling at R 604 800, a new world record for the artist. Lot 317 Bettie Cilliers-Barnard’s “Abstract Still Life” attained R 78 400, thus selling just below the high estimate. Lot 336, the magnificent Dino Paravano pastel, “Wildebeest herd”, exceeded expectation by going for R 20 160. Pieter van der Westhuizen and Conrad Theys, two firm favourites, reached R 61 600 (lot 355 “Flowerfield”) and R 84 000 (lot 356 “Man with white jersey”) respectively. Hennie Niemann Snr ‘s work all sold (4 lots) as did those by Louis van Heerden and Marie Vermeulen-Breedt. Hennie Niemann Jnr seems to be the man of the moment with both lots 365 “Yellow scarf” and lot 366 “Luvale woman”, selling way above high estimates at R 84 000 and R 145 600 respectively. Cecil Skotnes was represented by successful sales of lots 368 ICON XII attaining R 268 800 and the iconic “Shaka Zulu” portfolio (lot 371) excelling at R 67 200.

The African section of the sale was very well represented – all five George Pemba works sold well within estimate with lots 375 “Unemployed” and lot 376 “Get Out !!!” doing the best. Ephraim Ngatane’s work “ The guitar player” (lot 379) Speelman Mahlangu’s “Primal Life” (lot 380) and Helene Sebidi’s ALOES (lot 381) all reached good prices. The sculpture section had an almost 100% selling rate with both Attributed to Frederic Remington works (lots 388 & 389) selling and the star of this section, lot 392 Lucas Sithole’s “Standing figure” , attaining an astounding R 168 000, three times the high estimate. The session ended with contemporary works of all sorts – Fred Page was well represented by lots 394 “The frocky horror shoppe” and 395 “Chacma on my dresser”, both selling well within estimate. The three William Kentridge works on offer all sold. Lot 397, “The exchange”, did the best out of the lot, soaring over the high estimate of R 50 000 with R 67 200. Lot 399, “Dancing nose”, a charity lot for The South African Ballet Theatre, reached a figure of R 31 360. Not only did the privileged highest bidder receive a stunning work by William Kentridge, but also received a limited edition of Meerlust 2004 Cabernet Sauvignon which was donated to the SABT by Mr Hannes Myburgh of Meerlust Wine Estate. The commissioned labelled magnum bottle was also designed by William Kentridge. With just under 800 lots offered over four sessions, it was a busy couple of days with many highlights and a satisfying percentage of sales achieved across the broad range of departments covered by Stephan Welz & Company. With their next sale being in Cape Town on October 5 & 6, however, there is no time for them to rest on their laurels.

The South African Print Gallery is proud to present an exciting body of work of lithos, silksreens and etchings by:

Eunice Geustyn Memory, Myth & Ritual

Show runs until 08 September, The South African Print Gallery: Dealers with interesting artists and exciting prints. 107 Sir Lowry Road, Woostock, Cape Town.

South African Business Art  

SA Art Business, SA Art

South African Business Art  

SA Art Business, SA Art