Johannesburg Auction Catalogue July 2017

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JOHANNESBURG | 25 & 26 JULY 2017 | JULIET

JOHANNESBURG 25 & 26 JULY 2017 #JULIET

“They always say time changes things, but you actually have to change them yourself."

Andy Warhol

www.stephanwelzandco.co.za

TM

FINE ART & DESIGN AUCTION JOHANNESBURG

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25

&

26

JULY

2017

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JULIET

60 5th St Houghton Estate Johannesburg 2198 TUESDAY | 25 JULY 2017 Session 1 | 10h30 Lots 1 - 210 Books Carpets and Rugs Clocks Furniture Paintings Session 2 | 14h00 Lots 211 - 420 Silver Decorative Arts Paintings FRONT COVER Lionel Smit (South African 1982 - ) MALAY WOMAN Lot 503

INSIDE FRONT COVER Pieter Willem Frederick Wenning (South African 1873 - 1921) STILL LIFE WITH FLOWERS Lot 507

PAGE 2 Maurice Charles Louis van Essche (South African 1906 - 1977) PORTRAIT Lot 502

PAGE 6 Ephraim Mojalefa Ngatane (South African 1938 - 1971) SEATED FIGURE Lot 487

PAGE 16 Alexis Preller (South African 1911 - 1975) OLIVIA MARIA PRELLER (PRELLER’S MOTHER) Lot 504

INSIDE BACK COVER Johannes Petrus Meintjes (South African 1923 - 1980) GIRLS WITH FLORA Lot 495

BACK COVER An Early Victorian Silver Two-Handled Soup Tureen, Paul Storr, London, 1838 Lot 435

2 2

Session 3 | 19h00 Lots 421 - 560 Furniture Decorative Arts Silver Jewellery Paintings WEDNESDAY | 26 JULY 2017 Session 4 | 10h30 Lots 561 - 710 Pocket Watches and Wristwatches Jewellery EXHIBITION | VIEWING 20th - 23rd July | 10h00 - 17h00 24th July | 10h00 - 13h00 Jewellery, Wristwatches & Silver viewing will close at 16h30 each viewing day Buyer’s premium is calculated at: 14% plus VAT at the prevailing rate for items selling over R10 000 17% plus VAT at the prevailing rate for items selling R10 000 or less 10% plus VAT at the prevailing rate for collectable cars 15% plus VAT at the prevailing rate for auto memorabilia SHIPPING COSTS BETWEEN OUR JOHANNESBURG AND CAPE TOWN OFFICES The packing and transport costs will be calculated as follows (one bulk shipment between offices): Invoice value over R100,000 – free Invoice value below R100,000 – minimum of R500 + VAT Insurance is not included.

This catalogue may be referred to as (SA1704) - JULIET

CONTENTS 2

AUCTION DETAILS

6

WHO WE ARE

7

ANTON WELZ

10

HIGHLIGHTS FROM PREVIOUS AUCTION

18 SESSION

1

42 SESSION

2

68 SESSION

3

122 SESSION

4

Africana Memorabilia, Africana Pictures, the South African War Memorabilia, Military Memorabilia, Books, Miscellaneous, Carpets, Rugs and Runners, Clocks, English, Oriental, Cape and Continental Furniture, Paintings

European, English and Oriental Ceramics, Glass, Art Nouveau, Collector's Items, Works of Art, Electroplate, English and Foreign Silver, Paintings

Furniture, Works of Art, Glass, Art Nouveau, Foreign Silver, Jewellery, South African & International Paintings and Works on Paper, South African Sculpture, South African and International Paintings & Works on Paper

Pocket watches and Wristwatches, Antique, Period and Contemporary Jewellery

144

Important Notice to Prospective Buyers

145

Absentee and Telephone Bidders Form

146

Guide for Absentee/Telephone Bidders

151

General Information Johannesburg

151

General Information Cape Town

159

Catalogue Subscription Order Form

160

Important Announcements

161

Payment and Despatch of Purchases

162

Terms & Conditions of Business and Rules of Auction

170

Artists' Index

174

Auction Results

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3

WELCOME TO OUR NEW JOHANNESBURG

PREMISES

WHERE THE GRASS IS A LOT GREENER...

The Killarney Country Club 60 5th Street Houghton Estate

011 880 3125

TM

www.stephanwelzandco.co.za SW2438

KNITTING OUR NATION TOGETHER

With 67 Blankets for Nelson Mandela Day Drop off your handmade blankets or knitted squares at the Stephan Welz & Co.™ and The South African Gold Coin Exchange or any Scoin Shop nationwide to be a part of 67 Blankets for Nelson Mandela Day. To locate your nearest drop-off point visit www.stephanwelzandco.co.za and www.scoinshop.com IT’S IN YOUR HANDS TO MAKE A DIFFERENCE

THE SCOIN SHOP | THE SOUTH AFRICAN GOLD COIN EXCHANGE | STEPHAN WELZ & CO.™ | GOLD FOR LIFE

SW2431

Who We Are Founded in 1968, Stephan Welz & Co. has entrenched itself at the forefront of the South African auction industry for nearly 50 years.

With salerooms in Johannesburg and Cape Town, we offer you the most convenient way to consign and auction your valuables.

We are the most experienced auction house in Africa, making us the premium choice when looking to get the best offers on your valuables.

Specialising in a variety of departments including fine art, jewellery, furniture and classic cars, we have consigned nearly 325,000 items in over 700 auctions. Our wide range of categories also include watches, silver, clocks, carpets, ceramics, books, maps, stamps and gold coins. We have specialists nationwide to consign your items to our auctions.

We continue to uphold our integrity with our clients and assist them through the thrilling world of auctions.

Corporate Collection Stephan Welz & Co. offers clients the opportunity for our specialists to valuate their corporate art collections. We have a team on standby to travel throughout South Africa to help our clients in finding the true value of their collections.

House Sales Our specialists will travel to your house and valuate your items.

Stephan Welz & Co. strives to make every auction experience as enjoyable and hassle free as possible.

Trusts & Estates The loss of a loved one or the end of a marriage can be a traumatic experience. In order to help you get through the unpleasant process of valuating collectables, our team of specialists will valuate any item in the comfort of your home. Stephan Welz & Co. will assist you through this difficult time.

JOHANNESBURG T | +27 (11) 880 3125 F | +27 (11) 880 2656 jhb@stephanwelzandco.co.za 60 5th St Houghton Estate Johannesburg 2198

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CAPE TOWN T | +27 (21) 794 6461 F | +27 (21) 794 6621 ct@stephanwelzandco.co.za The Great Cellar Alphen Estate Alphen Drive Constantia 7806

ANTON WELZ Division Head & Auctioneer

Dear Collector, As we approach the second half of the year (amazing how quickly time seems to pass us by) I am delighted to confirm the worst kept secret at Stephan Welz and Co. After some protracted negotiation our chairman Alan Demby has come to an agreement with the Killarney Country Club. This will be our new home; you asked, we listened. I do hope that the accessibility, parking, ambience and history of what was the Transvaal Automobile Club will encourage you to visit us. We will be doing some renovation to the club entrance and will have access to the function rooms for viewing and auctions, all in all a great improvement offering our clients a better service experience. The move has been a little difficult, with the arrangement of communications etc a challenge, but I thank you for your patience and do believe that we will be able to offer you an improved service in our new home.

As we approach our next sale there are, as always a number of stories to tell regarding some of the items in the sale, but the Paul Storr tureen, the Jules Leleu table as well as the wonderful selection of glass in the evening session should attract a lot of attention.

Our Johannesburg team have put together a wonderful, interesting sale amidst moving offices and should be proud of what they have achieved, none:of which would have been possible without you, our clients who continue to consign and put in your bids.

I thank you for your continued support and look forward to seeing you in our new home.

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PURCHASING AT OUR AUCTIONS MADE EASY

SUBSCRIBE

AT T E N D

TO OUR CATALOGUES

VIEWING

Taking part can be a thrilling and rewarding experience.

With Stephan Welz & Co™ auctions, we make it as easy as possible to buy at one of our auctions.

It is essential to subscribe to one of our catalogues. They provide you with in-depth information about the items on offer, helping you decide which item you would like to own.

Leading up to the day of the sale, we have viewing days where you are able to see the lots you want.

These days are free and open to the public.

Here’s how:

8

DAYS

REGISTER

BID

FOR OUR AUCTION

Please note that you are only able to bid at one of our auctions if you have registered. Entry forms are easily available from our offices. You can also register to bid online or via telephone for any of the auctions, if you are unable to attend on the day.

COLLECT Y O U R

All clients attending our auctions are required to complete a registration form and produce any form of identification, company name (If applicable), contact phone number, VAT registration number (If applicable), address, e-mail, contact phone numbers. Clients will be given a bidder number which must be used to identify bidding on a lot during the auction.

I T E M S

Items successfully purchased can be collected immediately after the auction or delivery can be arranged.

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JOHANNESBURG | 18 & 19 MARCH 2017 | AUCTION HIGHLIGHTS

Lot 419 Willem de Sanderes Hendrikz (South African 1910 - 1959) HEAD OF A PONDO Sold R 115 960

Lot 454 Robert Griffiths Hodgins (South African 1920 - 2010) FIVE HEADS SOLD R 197 132 10

Lot 420 Willem de Sanderes Hendrikz (South African 1910 - 1959) HEAD OF A HOTTENTOT Sold R 115 960

JOHANNESBURG | 18 & 19 MARCH 2017 | AUCTION HIGHLIGHTS

Lot 276 A Chinese Export Silver Tea Service, Wo Shing, circa 1900 SOLD R 255 112

Lot 182 An Assembled Copeland Spode “Italian” Pattern Part Dinner And Tea Service SOLD R 31 309

11

JOHANNESBURG | 18 & 19 MARCH 2017 | AUCTION HIGHLIGHTS

Lot 384 Gregoire Johannes Boonzaier (South African 1909 - 2005) PINK HIBISCUS SOLD R 121 758

Lot 468 Gregoire Johannes Boonzaier (South African 1909 - 2005) BLUE ORCHIDS SOLD R 197 132

Lot 147 A William Iv Mahogany And Inlaid Cylinder Bureau SOLD R 23 192

JOHANNESBURG | 18 & 19 MARCH 2017 | AUCTION HIGHLIGHTS

Lot 453 Robert Griffiths Hodgins (South African 1920 - 2010) THREE MEN WAITING SOLD R 637 780

Lot 281 A Danish Silver Part Tea Service, Model No. 1017, Designed By Henning Koppel For Georg Jensen, Copenhagen, Post 1945 SOLD R 75 374

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Life Imitates Art.

LUCAS TANDOKWAZI SITHOLE MOTHER AND CHILD, 1978 Sold for R640 000

Consign with us, today.

w w w. s t e p h a n w e l z a n d c o . c o . z a

CATALOGUING TERMS & ETIQUETTE JOHANNESBURG | 25 & 26 JULY 2017 | JULIET AUCTION: “Auction” means any private treaty or auction sale at which a lot is offered for sale by the Company.

AUCTIONEER: “Auctioneer” means the representative of the Company conducting an auction.

BIDDER: “Bidder” means any person making, attempting or considering to make a bid or offer to buy a lot at an auction, or private treaty sale.

BUYER: “Buyer” means the bidder who makes the bid or offer for any lot that is finally accepted by the auctioneer (after determination by the auctioneer of any dispute that may exist in respect thereof) at a sale of that lot, and (where the Buyer is an agent acting for a principal), the Buyer and the Buyer’s principal jointly and severally.

BUYER’S PREMIUM: “Buyer’s premium” means the premium payable by the Buyer of a lot to the Company on the sale of that lot, calculated on the hammer price of that lot at the relevant current rates.

CATALOGUE: “Catalogue” means any advertisement, brochure, estimate, pricelist, condition report and other publication (in whatever medium, electronically or otherwise) published by the Company in respect of any auction.

CIRCA: “Circa” is commonly used when the date of events is not known, such as publication dates or when the artist completed his/her work.

HAMMER PRICE: “Hammer price” means the bid or offer made by the Buyer for any lot that is finally accepted by the auctioneer (after determination by the auctioneer of any dispute that may exist in respect thereof) at a sale of that lot, together with VAT thereon (if any).

LOT: “Lot” means any item or items to be offered for sale by the Company at an auction or private treaty sale.

PURCHASE PRICE: “Purchase price” means the hammer price of any lot at a sale thereof, plus the applicable Buyer’s premium for that lot, plus all recoverable expenses for which the Buyer is liable in respect of that lot.

RESERVE: “Reserve” means the confidential minimum hammer price (if any) at which a lot may be sold at an auction as agreed between the Seller of that lot and the Company in writing.

SALE: “Sale” means the sale of any lot at an auction, whether done by private treaty or auction sale, and “sell” and “sold” shall have corresponding meanings.

SELLER: “Seller” means the person named as the Seller of any lot, being the person that offers the lot for sale.

TELEPHONE BIDDER: “Telephone bidder” means any person making, attempting or considering to make a bid or offer to buy a lot at an auction, who is not physically in the auction location at the time of the auction.

VAT: “VAT” means value added tax levied in terms of the Value Added Tax Act, 1991.

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DRAFT 2 - 21/06

SPECIALISTS & SERVICES JOHANNESBURG | CAPE TOWN JOHANNESBURG jhb@stephanwelzandco.co.za +27 (11) 880 3125

Alan Demby

Monique Weston

EXECUTIVE CHAIRMAN alan.demby@stephanwelzandco.co.za

SILVER, CARPETS, FURNITURE & CLOCKS

Chris de Klerk OFFICE MANAGER PAINTINGS, DRAWINGS, PRINTS & SCULPTURE, COLLECTABLE CARS

Paula Schreuder

chris.deklerk@stephanwelzandco.co.za

paula.schreuder@stephanwelzandco.co.za

Christa Swart PAINTINGS, DRAWINGS, PRINTS & SCULPTURE christa.swart@stephanwelzandco.co.za

Luke Crossley

CAPE TOWN ct@stephanwelzandco.co.za +27 (21) 794 6461

monique.weston@stephanwelzandco.co.za SILVER, CARPETS, FURNITURE & CLOCKS

Peter Digby BOOKS, MANUSCRIPTS & MAPS peter.digby@stephanwelzandco.co.za

Sharne Edelson

PAINTINGS, DRAWINGS, PRINTS & SCULPTURE luke.crossley@stephanwelzandco.co.za

JEWELLERY & WRISTWATCHES sharne.edelson@stephanwelzandco.co.za

Laurie Sher ADMINISTRATION laurie.sher@stephanwelzandco.co.za

DECORATIVE ARTS & VINTAGE FASHION tanya.demby@stephanwelzandco.co.za

Mandy Ndesi

Zake Nakedi

Tanya Demby

CUSTOMER CONSULTANT mandy.ndesi@stephanwelzandco.co.za

PAINTINGS & LOGISTICS zake.nakedi@stephanwelzandco.co.za

Anton Welz

Linda Patterson

DIVISION HEAD & AUCTIONEER FURNITURE, COLLECTABLE CARS, CLOCKS & AFRICAN ART anton.welz@stephanwelzandco.co.za

CARPET ADMINISTRATOR & RECEPTION linda.patterson@stephanwelzandco.co.za

Carol Kaufmann PAINTINGS, DRAWINGS, PRINTS & SCULPTURE carol.kaufmann@stephanwelzandco.co.za

Kayleen Wrigley PAINTINGS, DRAWINGS, PRINTS & SCULPTURE kayleen.wrigley@stephanwelzandco.co.za

Rayda Becker PAINTINGS, DRAWINGS, PRINTS & SCULPTURE, AFRICAN ART rayda.becker@stephanwelzandco.co.za

Caitlin Snethlage PAINTINGS, WATERCOLOURS, DRAWINGS, PRINTS & SCULPTURE caitlin.snethlage@stephanwelzandco.co.za

Justin Heim

Monique Kleynhans FURNITURE, CLOCKS & COLLECTORS’ ITEMS & DECORATIVE ARTS

monique.kleynhans@stephanwelzandco.co.za

Sophie-Louise Fröhlich OFFICE MANAGER & AUCTIONEER FURNITURE, PHOTOGRAPHY, CLOCKS & COLLECTORS’ ITEMS

sophie-louise.frohlich@stephanwelzandco.co.za

Susie McRae ADMINISTRATION & SHIPPING susie.mcrae@stephanwelzandco.co.za

Lani Roux BOOKS lani.roux@stephanwelzandco.co.za

Kerry Hawkins JEWELLERY, WRISTWATCHES, SILVER & METALWARE kerry.hawkins@stephanwelzandco.co.za

PAINTINGS, WATERCOLOURS, DRAWINGS, PRINTS & SCULPTURE justin.heim@stephanwelzandco.co.za 17

S|1

AFRICANA MEMORABILIA | SOUTH AFRICAN WAR AND MILITARY MEMORABILIA | BOOKS | CARPETS, RUGS AND RUNNERS | FURNITURE | PAINTINGS

TUESDAY | 25 JULY 2017 | 10H30 | LOTS 1 - 210

S| 1

BOOKS

PART LOT 1

AFRICANA MEMORABILIA

AFRICANA PICTURES

1

2

A 1947 ROYAL TOUR BIRTHDAY BOOK

A COLLECTION OF MINTON CROCKERY FROM THE WHITE TRAIN: ROYAL TOUR OF SOUTH AFRICA, 1947

A most rare and unusual souvenir of the Royal Tour to South Africa in 1947 by King George VI and Queen Elizabeth and the two Princesses Elizabeth and Margaret, includes the signatures of the Royal family, King Edward VIII and Lord Roberts Enclosed as part of the lot is the original letter from the King’s private secretary in its original crested envelope.

(2)

comprising; a large tea cup and saucer, soup plate, side plate, large plate and finger bowl, 6 pieces in very fine condition. Each piece edged with fine gold foliated borders with coat of arms of the Union of South Africa and gold circular decoration round centre of plates.

(6)

R 2 000 - R 4 000

PART ILLUSTRATED

R 4 000 - R 6 000

THE FULL TEXT AND CONDITION REPORTS OF EVERY ITEM OF BOOKS CAN BE FOUND ON OUR WEBSITE WWW.STEPHANWELZANDCO.CO.ZA

3 Battiss, Walter W.

MR ICARUS I PRESUME AND BIRD FLIGHT Two silkscreens produced side by side, printed in colour, each signed by Battiss and numbered 103/125.

R 8 000 - R 12 000 4 Various

A COLLECTION OF STEREOSCOPIC SLIDES AND VIEWS comprising; 36 Anglo-Boer War scenes, 50 scenes of the Simmer and Jack Mine underground mining operations, circa 1905? and 57 World War I cards including France, Flanders and East Africa.

(143)

R 3 000 - R 4 000

20

S| 1

SOUTH AFRICAN WAR MEMORABILIA THE SOUTH AFRICAN WAR MEMORABILIA 5 ADL

10 Hackett, R. G. (Compiler)

WOMAN’S ENDURANCE (A CONCENTRATION CAMP DIARY)

SOUTH AFRICAN WAR BOOKS

First edition. (Reserve: R400).

ADL was Chaplain to the Concentration Camp at Bethulie ORC in 1901.

R 1 500 - R 1 800 6

A COLLECTION OF THE SOUTH AFRICAN WAR BRASS MEMORABILIA AND SHELLS, 1900 Three miniature coal-scuttle ornaments with moveable handles made from the shell cases of British Anglo-Boer War Pom Pom shells with feet made from 303 bullets, finely shaped ornamental edges one with legend ‘Pretoria June 1900’ commemorating the British capture of Pretoria in June 1900.

Also two deactivated Boer War Pom-Pom shells with nose caps. The one is British the other used by the Boer Forces.

(4)

London: Privately Printed for P. G. de Lotz, Military Bookseller, 1994 First edition. Only 35 deluxe quarter Morocco bindings of only 1200 copies printed.

Profusely illustrated in b/w.

Quarter leather in slipcase, in fine unread condition, gilt edges. A very handsome book bound by Hartnoll’s Ltd of Bodmin.

R 2 000 - R 4 000 11 Hassall, John

AN ACTIVE ARMY ALPHABET London: Sands & Co., 1899 First edition.

26 full page plates in colour with ornamented text opposite illustrations.

Pictorial paper-covered boards.

R 3 000 - R 4 000

16

A SILVER SOUTH AFRICAN WAR TRINKET BOX Birmingham: 1902 Highly ornamented silver casket with pillared, foliated and tasselled edges. The panelled lid features the scrolled and foliated places where the owner served in the Anglo-Boer War: ‘Elandslaagte’, ‘Kimberley’, ‘Port Elizabeth’, ‘Rensburg’, ‘Colesberg’, with extra detail: South Africa and Soudan and the action of Abu Klea there. The lid is surmounted by Anglo-Irish Ryan family crest: a dolphin Naiant with scroll, the motto ‘Malo Mori Quam Foedari’ (death before dishonor) as a lid handle. The side of the box has the coat of arms of Monmouth School. The two longitudinal sides have the full coat of arms of the Ryan family and also the cap badge of the 19th Hussars, the regiment in which the officer served in the Anglo-Boer War. Very good condition, box is lined with quilted blue satin but additional small scroll missing below crest on top of lid.

R 6 000 - R 8 000

R 1 500 - R 2 000

12 Marw, J. P.

17

7

A SOUTH AFRICAN WAR PHOTOGRAPH ALBUM

A SOUTH AFRICAN WAR SPECTACLE CASE FROM BERMUDA OF BURGHER H. J. VAN NIEKERK, 16.7.1902

A SOUTH AFRICAN WAR PRISONER OF WAR BRASS GARRISON GUN, ST HELENA, 1901 a legend on side of gun carriage engraved in a style similar to many St Helena P.O.W. items “St Helena 1901” and “P.O.W.”

R 3 500 - R 6 000 8

A SOUTH AFRICAN WAR RECRUITING EFFIGY OF GENERAL LORD KITCHENER, 1900 the lifelike fully uniformed figure of Lord Kitchener as he appeared in illustrations and photographs during the Anglo-Boer War (see “After Pretoria The Guerilla War” p445). The uniform and general’s cap are made from Anglo-Boer War period khaki cloth, he wears a miniature. Sam Browne leather belt, brass buttons. Accurate uniform, medal ribbons and gorget patches on the tunic. The head is a very good likeness of Kitchener. Overall condition very fine.

R 7 200 - R 12 000 9

A ST HELENA SOUTH AFRICAN WAR 1902 TRINKET BOX MADE BY P.O.W. C. J. DU TOIT A dovetailed wooden hinged trinket box, one hinge loose and lock missing. Inscribed on front side is the legend ‘1902 Gedachtenis van St Helena, C. J. du Toit, KGV’ (Krygsgevangene).

R 2 000 - R 4 000

n.p.: n.p., circa 1900 First edition. (Reserve: R500).

24 original sepia captioned photographs of Pretoria and surrounding areas during the AngloBoer War. Size of each original print is 8 by 8cm.

All photographs identified and captioned.

R 1 500 - R 2 000 13 Neil, C. Lang (Editor)

SOUTH AFRICA IN PEACE AND WAR, 1900 First edition. (Reserve: R800).

B/w photographs in profusion.

R 1 500 - R 2 000

A well-made spectacle case in two parts that slide open. The obverse and reverse have a finely carved incised triangular and ruled border with extra foliated decoration of extremities with the legend ‘KGV (Krygsgevangene) H. J. van Niekerk’ and the reverse of case ‘Bermuda 16.7.1902’. In very fine pristine condition. Two burghers of that name and initials are listed. One serving in Cmdt Bester’s Commando and the other in the Hoopstad Commando.

Items from Bermuda are scarcer than those from other P.O.W. centres.

R 1 500 - R 2 000 18

14 Norris, Major S. L., Royal Engineers

A SOUTH AFRICAN WAR BRITISH OTHER RANKS KHAKI HELMET 1900

THE SOUTH AFRICAN WAR 1899 - 1900: A MILITARY RETROSPECT UP TO THE RELIEF OF LADYSMITH, 1900

In very fine condition. The interior of the helmet has the owner’s regimental number stencilled inside and “WD” (War Department) and military arrow head with date 1900.

First edition. (Reserve: R650).

R 1 500 - R 2 000

R 7 000 - R 10 000

15 Robert, Earl

19

THE LADYSMITH BOMBSHELL: A SOUVENIR OF THE SIEGE OF LADYSMITH, 1900

A QUEEN’S SOUTH AFRICA MEDAL (NO CLASP)

First edition.

Facsimile very limited reprint. With b/w illustrations by the author.

Officially impressed “Mr G. O. Newton Imp(erial) Mil(itary) Rly(railways)” with Relief of Ladysmith Commemorative ribbon, 28 Feb 1900.

EF condition.

R 1 500 - R 2 000

R 1 500 - R 2 500 21

S| 1 20

27

34

A QUEENS SOUTH AFRICA MEDAL AND CLASP, DEFENCE OF KIMBERLEY

A BRITISH CAVALRY 1899 PATTERN TROOPER’S SWORD

A SCOTTISH BASKET-HILTED BROADSWORD/CLAYMORE

Officially impressed naming to the recipient: “101 CORPL R. P. Jones Diam(ond) (F(ield) A(rtillery)”.

EF condition.

Steel scabbard.

A good example of this Anglo-Boer War period sword.

London: Wilkinson & Son, 1953 With very good basket hilt liner, wig and ribbon in sparkling condition. Very good blade with badge of the King’s Own Scottish Borderers and obverse with Elizabeth R. cypher.

R 4 000 - R 6 000

MILITARY MEMORABILIA 21

A 1796 PATTERN INFANTRY OFFICER’S SWORD Bluing on black extant with gold inlays of trophy of arms, Queen Victoria’s crowned cypher. No scabbard.

R 3 500 - R 5 500 28

PART ILLUSTRATED

A BRITISH INFANTRY OFFICER’S 1857 PATTERN SWORD IN THE STYLE OF THE ROYAL ENGINEERS

R 7 000 - R 8 000

Good etched blade with foliated decorative and trophy of arms and musical instruments.

A ROYAL ARTILLERY PATTERN 1879 SWORD BAYONET

R 3 000 - R 5 000 29

R 2 000 - R 3 000

A BRITISH KING GEORGE V NAVAL OFFICER’S SWORD

22

Portsea: Larcom and Versey, circa 1914 Victorian Crown over fouled anchor. On turndown on hilt the engraved name of E. F. Ellis R N. With scabbard.

A COLLECTION OF CONTINENTAL SMALL SWORDS comprising; a late 1700s small sword, a Spanish Toledo-style replica sword and two small swords.

(4)

R 1 500 - R 3 000 23

A COLLECTION OF LATE 19TH CENTURY SIDE ARMS, CIRCA 1870 comprising; a pair of French bandsmen’s hangers made by de Chatellesault 1834 pattern, a hanger, 48cm in length and a German side arm ‘Gebroweyersbug, Solingen’, 62cm without scabbard.

(4)

R 3 000 - R 5 000 24

A SMALL COLLECTION OF LIGHT WEIGHT SWORDS, CIRCA 1870 comprising; a German infantry sword, a Continental light cavalry sword and aTurkish light cavalry sword, without scabbards (3)

35

Saw back bayonet in good scabbard.

Rare Zulu War pattern.

R 3 000 - R 4 000 36

A BRITISH CAVALRY OFFICER’S 1912 PATTERN SWORD Sheffield: Fenton Brothers, 1912

R 2 500 - R 3 500

with scabbard.

30

R 2 500 - R 3 000

A BRITISH OFFICER’S PATTERN 1827 RIFLE REGIMENT’S SWORD

37

Sword in leather scabbard, crowned stringed bugle horn in cartouche on hand-guard, the blade post 1892.

A SCOTTISH BASKET HILTED BROADSWOOD OF THE MID 1700s WITH GOOD LEATHER SCABBARD

R 2 500 - R 3 000

R 3 000 - R 4 000

31

38

A ROYAL DOULTON CHARACTER JUG OF FIELD MARSHAL J. C. SMUTS, PRIME MINISTER OF SOUTH AFRICA First edition.

Underneath the base of the jug is the legend ‘Field Marshal, The RT Hon J. C. Smuts KC, CH, DTD, Prime Minister of the Union of South Africa and Commander-in-Chief, South African Forces’. and a pair of miniature World War II Medals.

(3)

R 1 500 - R 3 000

ILLUSTRATED ON OPPOSITE PAGE

A VICTORIAN INFANTRY OFFICER’S 1897 PATTERN SWORD London and Dublin: Johnson, 1897 with scabbard

R 1 500 - R 2 500 39

A MOUNTAIN ARTILLERY SIDE ARM London: Wilkinson & Co, circa 1890 In leather scabbard with brass fittings and an Abyssinian tribesman’s sword in original hide scabbard

R 1 500 - R 2 000

32

25

AN EARLY 19TH CENTURY SCOTTISH BASKET-HILTED BROADSWORD

R 2 000 - R 2 200

Circa: 1830 Lacking fish-skin hand-grip, old red liner. Leather scabbard with steel fittings.

40

A BRITISH CAVALRY TROOPER’S SWORD: 1853 PATTERN Steel scabbard age-discoloured. No rust.

R 3 000 - R 5 000

R 2 000 - R 3 000

26

33

A BRITISH CAVALRY 1885 PATTERN TROOPER’S SWORD

A KING GEORGE V BRITISH ARMY INFANTRY OFFICER’S SWORD WITH SCABBARD, FROG AND KNOT

Steel scabbard age-discoloured. With 5L(ancers) stamped on steel scabbard and NSWG (New South Wales Government) on steel hand-guard.

R 3 000 - R 4 000 22

MILITARY MEMORABILIA

Birmingham: J. R. Gaunt and Son, late Edward Thurkle, circa 1915.

R 1 700 - R 2 500

A BRITISH INFANTRY OFFICER’S 1822 PATTERN SWORD London: Henry Wilkinson, 1845 with scabbard, the blade 1845

R 2 500 - R 4 500

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BOOKS BOOKS 41 Alexander, Sir. James E.

AN EXPEDITION OF DISCOVERY INTO THE INTERIOR OF AFRICA THROUGH THE HITHERTO UNDESCRIBED COUNTRIES OF GREAT NAMAQUAS, BOSCHMANS AND HILL DAMARAS, 2 Vols London: Henry Colburn Publisher, 1838 First edition.

Frontis and 14 two-tone illustrations and folding map.

Half leather. A good set.

(2)

R 4 000 - R 6 000 42 Anon

GLEANINGS IN AFRICA: MANNERS AND CUSTOMS OF THE INHABITANTS OF THE CAPE OF GOOD HOPE; REFLECTIONS ON THE STATE OF SLAVERY IN THE SOUTHERN EXTREMITY OF THE AFRICAN CONTINENT London: James Cundee Publisher, 1805 First edition.

Illustrated with engraved fold-outs and illustrations.

Sparkling half leather binding.

R 3 000 - R 6 000 43 Anon

LOVEDALE: MISSIONARY INSTITUTION SOUTH AFRICA Lovedale: Lovedale Mission Press, 1885 First edition.

34 original photographs, 8½ by 12cm, of the interior and exterior of the buildings in the early 1880s and earlier. Textual commentary on each photograph. Photographs by Aldham and Aldham, Grahamstown.

Full leather in firm condition.

Book probably unique.

R 40 000 - R 60 000 44 Anon

PHOTOGRAPHS OF SOUTH AFRICA Cape Town: The South African Photo-Publishing Company, 1894 First edition. (Reserve: R5,000).

Representative views of cities, buildings, statues, mines, railways, ships, farms, scenery, social life etc collected from all the ‘states’ of Southern Africa rated as “the largest and most perfect collection of photographs of S.A. ever published”.

Full padded leather fitted cover.

R 6 000 - R 10 000 34

DETAIL

23

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BOOKS

45

45 Anson, George

47 Baines, Thomas

49 Barrow, John

A VOYAGE ROUND THE WORLD IN THE YEARS MDCCXL, I, II, III, IV

THE GOLD REGIONS OF SOUTH EASTERN AFRICA

AN ACCOUNT OF TRAVELS INTO THE INTERIOR OF SOUTHERN AFRICA, 2 Vols

London: J. and P. Knapton, 1748 First edition.

42 copper plate engravings.

Full calf, marbled endpapers. A very good clean copy.

Anson was Commander-in-Chief of a Squadron of His Majesty’s Ships sent upon an Expedition of the South Seas.

London: Edward Stanford and J. W. C. Mackay of Port Elizabeth, 1877 First edition.

All illustrations, map and laid down photographic frontis of author present.

Pictorial cloth with gold decorations.

London: T. Cadell and W. Davies, 1801 First edition.

Fold-out maps and fold-out frontis.

Full contemporary calf with banded spines.

A clean tight set.

(2)

R 2 200 - R 5 000

R 10 000 - R 12 000

ILLUSTRATED

48 Barrow, James

50 Barrow, Sir John

TRAVELS INTO THE INTERIOR OF SOUTHERN AFRICA IN WHICH ARE DESCRIBED THE CHARACTER AND THE CONDITION OF THE DUTCH COLONISTS OF THE CAPE OF GOOD HOPE, 2 Vols

AN AUTOBIOGRAPHICAL MEMOIR OF SIR JOHN BARROW BART. LATE OF THE ADMIRALTY

R 60 000 - R 100 000 46 Armour, G. D.

PASTIME WITH GOOD COMPANY London: Country Life and George Newnes Ltd, 1914 First edition. (Reserve: R800).

55 tipped in plates complete with tissue protectors.

R 1 500 - R 2 000

London: T. Cadell & W. Davies, 1806 Second edition.

2 Vols. 8 hand-coloured aquatint plates, folded map with coloured outline, 8 fold-out plans and charts. Aquatints by Samuel Daniell, very slight foxing to plate borders.

Full contemporary calf, gold ruled banded spine.

(2)

R 35 000 - R 60 000

24

London: John Murray, 1847 First edition.

Portrait of Barrow as frontis.

Half leather with marbled boards, banded decorated spine.

R 3 500 - R 6 500

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BOOKS 51 Boyce, William B.

56 Colenso, Bishop J. W.

61 Franklin, John

NOTES ON SOUTH AFRICAN AFFAIRS FROM 1834 - 1839 WITH REFERENCE TO THE CIVIL, POLITICAL AND RELIGIOUS OF THE COLONISTS AND ABORIGINES

LANGALIBALELE AND THE AMAHLUBI TRIBE

JOURNEY TO THE SHORES OF THE POLAR SEA IN 1819 - 22 WITH A BRIEF ACCOUNT OF THE SECOND JOURNEY 1825 - 27, 4 Vols

Grahamstown: Aldum and Harvey, 1838 First edition.

Bound-in lower portion of document with the signature of the Cape Governor, Sir Benjamin D’Urban dated 20.10.1836.

Half leather, marbled boards. banded decorated spine.

A very rare book.

R 5 000 - R 10 000 52 Bunbury, Charles J.f.

JOURNAL OF A RESIDENCE AT THE CAPE OF GOOD HOPE WITH EXCURSIONS INTO THE INTERIOR AND NOTES ON THE NATURAL HISTORY AND THE NATIVE TRIBES London: John Murray, 1848 First edition.

R 1 500 - R 3 000 53 Burgers, President

OFFICIAL CORRESPONDENCE: REPLY OF PRESIDENT BURGERS TO DESPATCHES OF SIR HENRY BARKLY OF 12TH AND 14TH MARCH 1874 Cape Town: van der Sandt de Villiers & Co., 1874 First edition.

R 3 000 - R 6 000 54 Chapin, James P.

THE BIRDS OF THE BELGIAN CONGO, 4 Vols New York: The American Museum of Natural History, 1939 - 1954 First edition. (Reserve: R6,500).

Col. & b/w illustrations.

Full leather, decorated spines, in fine unread condition. A magnificent set.

(4)

London: Her Majesty’s Stationery Office, 1875 First edition.

Official record of the trials of the chief and his tribe.

Half leather, original blue book paper covers preserved/bound in.

R 4 000 - R 8 000 57 de la Caille, M. P. Abbe

JOURNAL HISTORIQUE DU VOYAGE FACT AU CAP DE BONNE-ESPERANCE

62 Goldblatt, David

SOME AFRIKANERS PHOTOGRAPHED

R 5 000 - R 10 000

R 8 000 - R 10 000

58 Delegorgue, M. Adulphe

63 Hillier, A. P.

VOYAGE DANS L’AFRIQUE AUSTRALE, 2 Vols

THE ANTIQUITY OF MAN IN SOUTH AFRICA AND EVOLUTION

Paris: A. Rene et Co., 1847 First edition.

Journey Through Natal and the country of the Zulus and Matabele. Numerous b/w plates in bright condition.

Half leather.

(2)

Kimberley: C. H. Hartley & Son, 1890 First edition. (Reserve: R350).

A rare little book.

Inscribed by the author.

R 2 000 - R 4 000 59 Dunston, Lola

YOUNG PRETORIA 1889 - 1913 Pretoria: The Author, 1975 First Deluxe edition limited to 125 copies of which this is No. 56. Signed by the author Lola Dunston, b/w illustrations and photos with signed print of Church Square, Pretoria by Dunston No. 56 of 125.

Full leather in fine unread condition.

R 1 500 - R 1 800 60 Fleming, Rev Francis

55 Chapman, Captain Charles

SOUTHERN AFRICA: A GEOGRAPHY AND NATURAL HISTORY OF THE COUNTRY, COLONIES AND INHABITANTS OF THE CAPE OF GOOD HOPE TO ANGOLA

London: George Berridge & Co., 1872 First edition.

Original titled yellow thick paper covers.

R 2 500 - R 3 500

Paris: Chez Guillyn Libraire, 1763 First edition.

Map of the Cape of Good Hope and other engravings/decorations throughout.

Marbled endpapers, full leather.

R 7 000 - R 10 000

A VOYAGE FROM SOUTHAMPTON TO CAPE TOWN AND BACK IN THE UNION COMPANY’S MAIL STEAMER SYRIA

London: John Murray, 1829 First edition.

With b/w steel engraved plates and fold-out maps.

Full calf binding with banded spines. A good set.

(4)

London: Arthur Hall Virtue, 1856 First edition.

Original blindstamped pictorial cloth.

Cape Town: Murray Crawford, 1975 First edition.

Superb col. & b/w plates.

Cloth in good dustjacket.

R 1 500 - R 2 000 64 Holub, Emile

SIEBEN JAHRE IN SÜD-AFRIKA 1872 - 1879, 2 Vols Vienna: Alfred Hölder, 1881 First edition.

Many b/w illustrations and map.

Highly decorated pictorial cloth in gold, black and green. An unread set in very good condition.

(2)

R 1 500 - R 3 000 65 Horsbrugh, Major Boyd

THE GAME-BIRDS AND WATER-FOWL OF SOUTH AFRICA London: Witherby & Co., 1912 First edition.

65 col. plates by Sergeant C. G. Davies.

Quarter leather with banded spine. Plates clean and bright.

R 3 500 - R 6 000

R 2 500 - R 4 000

R 2 500 - R 5 000

25

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BOOKS

66 Irma Stern

69 Kolb, Peter

72 Leonard, Charles

ZANZIBAR

NIEUWE ALGEMENE BESCHRYVING VAN DE KAAP DE GOEDE HOOP

PAPERS ON THE POLITICAL SITUATION IN SOUTH AFRICA 1885 - 1895

Amsterdam: Petrus Conradi, 1777 First edition.

Profusion of superb engraved folding plates throughout each volume, 25 in all.

Half leather decorated banded spines. Would appear to be the original bindings. One plate in Photostat form.

London: Arthur L. Humphreys, 1903 First edition.

Beautiful old rebind in half leather, banded spine and marbled endpapers.

Pretoria: J. L. van Schaik Ltd, 1948 No. 113 of 150 specially bound copies out of a limited edition of 500 copies, b/w illustrations and tipped in plates.

Quarter raffia and cloth - deluxe edition in fine unread condition. A magnificent copy.

R 14 000 - R 18 000 67 Isaacs, Nathaniel

R 15 000 - R 25 000

TRAVELS AND ADVENTURES IN EASTERN AFRICA DESCRIPTIVE OF THE ZOOLUS, THE MANNERS AND CUSTOMS

70 Kolben, Peter

Cape Town: C. Struik, 1970 Reprint: Limited edition deluxe. No. 2 of 100, a further 1,400 were ordinary editions.

Full pictorial leather. Marbled endpapers.

R 1 500 - R 2 500 68 Keith, Sir G. M.

A VOYAGE TO SOUTH AMERICA AND THE CAPE OF GOOD HOPE IN HIS MAJESTY’S BRIG THE PROTECTOR, COMMANDED

BY LIEUT SIR G. M. KEITH, BART London: Richard Phillips, 1810 First edition.

Full leather with banded, decorated spine, bookplate.

A very rare book.

R 1 500 - R 3 000

THE PRESENT STATE OF THE CAPE OF GOOD HOPE, 2 Vols London: W. Innys, 1731 First English edition.

Fold-out maps with copper plates.

Full leather. A handsome set.

Alternately titled ‘A Particular Account of the Several Nations of the Hottentots.

(2)

R 8 000 - R 15 000 71 Le Vaillant

NEW TRAVELS INTO PARTS OF AFRICA BY THE WAY OF THE CAPE OF GOOD HOPE IN THE YEARS 1783, 84 AND 85, 3 Vols London: C. G. and J. Robinson, 1796 Second edition.

22 copper plates and map.

Rebound in half leather.

Viewing of this lot recommended.

(3)

R 8 000 - R 15 000

26

R 1 500 - R 2 000 73 Livingstone, David

MISSIONARY TRAVELS AND RESEARCHES IN SOUTH AFRICA London: John Murray, 1857 First edition.

Col. & b/w illustrations in clean bright condition.

Full leather: on new binding

R 2 800 - R 5 000 74 Lovett, Richard

THE HISTORY OF THE LONDON MISSIONARY SOCIETY 1795 - 1895, 2 Vols London: Oxford University Press, 1899 First edition. Large paper edition of 250 copies of which this is No. 77. Signed by the author in Vol. 1.

B/w portraits and fold-out coloured maps.

(2)

R 7 000 - R 12 000

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BOOKS

75 Marshall, Georg

78 Methuen, Henry H.

81 Nevill, Ralph

EPISTLES IN VERSE BETWEEN CYNTHIO AND LEONORA DESCRIPTIVE OF A VOYAGE TO AND FROM THE EAST INDIES

LIFE IN THE WILDERNESS OR WANDERINGS IN SOUTH AFRICA

BRITISH MILITARY PRINTS

Newcastle: Preston and Heaton, 1812 First edition.

B/w engraved illustrations with tissue protectors.

The frontispiece is of ‘The Hottentot Family’.

Half leather with marbled boards, binding in sparkling condition.

R 2 000 - R 4 000 76 Mckay, James

REMINISCENCES OF THE LAST KAFIR WAR Grahamstown: Richards, Glenville & Co., 1871 First edition.

McKay served as a sergeant in the 74th Highlanders and died in King William’s Town on 3rd January 1874.

Original cloth. A good copy.

Excessively scarce original edition.

London: Richard Bentley, 1846 First edition.

Original faded cloth.

Classic work on South African travel and exploration.

R 3 000 - R 5 000 79 Moffat, Robert

MISSIONARY LABOURS AND SCENES IN SOUTHERN AFRICA London: John Snow, 1842 First edition.

Col. frontis, b/w illustrations.

Half leather, marbled boards and endpapers, a bright clean binding.

R 2 300 - R 5 000

R 10 000 - R 20 000

80 Moodie, Lieut. J. W. D.

77 McLeod, Lyons

TEN YEARS IN SOUTH AFRICA INCLUDING A PARTICULAR DESCRIPTION OF THE WILD SPORTS OF THAT COUNTRY

TRAVELS IN EASTERN AFRICA WITH THE NARRATIVE OF A RESIDENCE IN MOZAMBIQUE, 2 Vols London: Hurst and Blackett Publishers, 1860 First edition.

Fold-out map and portrait of author as frontis to Vol. 1 and lithograph. View of Mozambique as frontis to Vol. 2.

Blindstamped brown cloth.

(2)

R 6 000 - R 8 000

London: Richard Bentley, 1835 First edition.

Frontis to both vols.

Half leather with marbled boards and banded.

Very good set.

R 3 000 - R 7 000

London: The Connoisseur Publishing Company, 1909 First edition. (Reserve: R1,200).

Col. & b/w illustrations in profusion.

Half leather, banded decorated spine with crest on front cover board, marbled endpapers.

Original pictorial card covers bound in. A beautiful book.

R 1 600 - R 2 500 82 Ogilvie, Grania

THE DICTIONARY OF SOUTH AFRICAN PAINTERS AND SCULPTORS Johannesburg: Everard Read, 1988 First de luxe Collectors’ edition. No. 59 of 250.

Signed by the publisher and Grania Ogilvie and her assistant Carol Graff.

Col. & b/w illustrations.

Full pictorial leather with marbled endpapers in fine unread condition.

R 5 000 - R 7 000 83 O’Haire, Rev James

RECOLLECTIONS OF TWELVE YEARS’ RESIDENCE 1863 - 75 IN THE WESTERN DISTRICT OF THE CAPE OF GOOD HOPE, SOUTH AFRICA Dublin: M. H. Gill & Son, 1877 First edition.

Half red leather with banded decorated spine, a very good copy.

R 1 500 - R 3 000

27

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BOOKS

84 Pager, Harald

88 Playne, Somerset (Compiler and Editor)

93 Truter, Christi

NDEDEMA: A DOCUMENTATION OF THE ROCK PAINTINGS OF THE NDEDEMA GORGE

CAPE COLONY: ITS HISTORY, COMMERCE, INDUSTRIES AND RESOURCES

ALEXIS PRELLER WITH NOTES

Austria: Akademische Druck, 1971 First edition.

Col. & b/w illustrations in profusion.

Decorated pictorial cloth in very good dustjacket.

R 2 500 - R 3 500 85 Park, Mungo

TRAVELS IN THE INTERIOR DISTRICTS OF AFRICA IN THE YEARS 1795, 1796 AND 1797 London: Bulmer & Co., 1799 First edition.

Frontis, 5 plates, 2 folding maps and folding chart, two leaves of music.

Full contemporary calf binding with banded decorated spine cover board. A very good copy.

R 18 000 - R 25 000 86 Philip, The Rev John

RESEARCHES IN SOUTH AFRICA: JOURNALS OF THE AUTHOR’S TRAVELS IN THE INTERIOR, 2 Vols London: James Duncan, 1828 First edition.

Civil, oral and religious conditions of Native Tribes.

Half leather.

(2)

R 6 500 - R 10 000 87 Pike, Nicholas

SUB-TROPICAL RAMBLES IN THE LAND OF THE APHANAPTERYX: PERSONAL EXPERIENCES ETC IN AND AROUND THE ISLAND OF MAURITIUS London: Sampson Low, Marston, Low & Searle, 1873 First edition.

4 folding maps and 14 b/w plates, text illustrations.

Blindstamped and pictorially embellished spine and front cover board. A very good copy.

R 2 500 - R 5 000

London: Foreign and Colonial Compiling and Publishing Co., 1910 - 11 First edition.

Profusely illustrated with b/w photographs.

Very fine copy in full dark morocco, gold ruled and pictorially decorated front cover board, spine decorated and gold ruled, marbled endpapers.

R 2 500 - R 4 500 89 Robert, Earl

THE RAND OF HOPE AND GLORY UNDER MARTIAL LAW, JANUARY 1914 Johannesburg: n.p., 1914 First edition. (Reserve: R1,000).

A book of political cartoons.

R 2 000 - R 3 000 90 Rose, Cowper

FOUR YEARS IN SOUTHERN AFRICA London: Henry Colburn and Richard Bentley, 1829 First edition.

Sparkling half leather binding with marbled cover boards, new endpapers.

R 1 500 - R 2 000 91 Smith, Sir Andrew

ILLUSTRATIONS OF THE ZOOLOGY OF SOUTH AFRICA, 3 Vols; VOL. 1: MAMMALS; VOL. 2: BIRDS; VOL. 3: REPTILES, FISH & INVERTEBRATES Johannesburg: Winchester Press, 1977 Reprint, limited edition. No. 2 of 350 numbered sets.

Col. & b/w plates.

Simulated full leather with banded, decorated spine in unread condition. A very fine set.

R 5 000 - R 8 000 92 Thompson, George

TRAVELS AND ADVENTURES IN SOUTHERN AFRICA London: Henry Colburn, 1827 Second edition.

Profusely illustrated.

R 15 000 - R 26 000

Pretoria: Maroola Press (Pty) Ltd, 1947 First edition.

Col. tipped in frontis and b/w illustrations.

Soft back in unread condition. Signed by Preller and the author with very good dustjacket.

R 3 000 - R 6 000 94 Valentyn, Francois

BESCHRYVING VAN T’NEDERLANDSCH COMPTOIR OP DE KUFT VAN MALABAR EN VAN ONZE HANDEL IN JAPAN MITSGADERS EEN BESCHRYVING VAN KAAP DER GOEDE HOOPE EN T’EYLAND MAURITIUS Amsterdam/Dordrecht: Joannes van Braam and Gerard Onder de Linden, 1726 First edition, Vol. 5 - part 2.

All folding plates, full page plates and plates within the text are present. The Cape of Good Hope occupies 170 pages.

Quarter leather. Interior in clean bright condition.

A fine copy.

ILLUSTRATED ON OPPOSITE PAGE

R 50 000 - R 90 000 95 Various

AFRICANA COLLECTAENA SERIES, 48 Vols Cape Town: C. Struik, 1969 - 74 First Deluxe edition, all numbered.

Col. & b/w illustrations and maps.

Note: Numbers 6 and 25 are lacking from the set.

Quarter leather in remarkably good condition as invariably the leather used in binding this set, scuffs with age. and 6 other deluxe volumes in half leather Anglo Boer War Reprint Series Africana Reprints Travel & Exploration and Pioneer Head. All copies numbered.

(56)

R 5 000 - R 8 000 96 Various

AUTHENTIC COPIES OF A CORRESPONDENCE WHICH TOOK PLACE IN CONSEQUENCE OF A STATEMENT MADE AT THE AGM OF THE SOCIETY FOR THE RELIEF OF DISTRESSED SETTLERS IN CAPE TOWN, AUGUST 18, 1824 REFLECTING THE CONDUCT OF THE LANDDROST OF ALBANY Cape Town: W. Bridekirk, Jun. 1824 First edition.

Half leather.

With ‘glued in’ receipt signed by the publisher Bridekirk.

A publication of highest rarity.

R 2 000 - R 6 000 28

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BOOKS

94

97 Voight, J.C.

98 Wagner, P. A.

99 Williams, Alpheus F.

FIFTY YEARS OF THE HISTORY OF THE REPUBLIC IN SOUTH AFRICA 1795 - 1845, 2 Vols

DIAMOND FIELDS OF SOUTHERN AFRICA

THE GENESIS OF THE DIAMOND, 2 Vols

Cape Town: C. Struik (Pty) Limited, 1971 Reprint. This edition was limited to 5 copies of which this is No. 2. Signed by publisher.

With maps and illustrations.

Full leather with banded spine.

London: Ernest Benn Ltd, 1932 First edition.

Col. plates, b/w plates.

Blue cloth, a very fine set in unread condition.

The book also includes a short account of diamond mining and recovery as practiced by De Beers Consolidated Mines.

(2)

London: T. Fisher Unwin, 1899 First edition.

Full navy new calf binding, new endpapers, foliated highly decorated spine.

(2)

R 1 500 - R 2 000

R 1 500 - R 2 500

R 2 500 - R 4 000 NO LOTS 100 – 110 29

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RUGS, CARPETS AND RUNNERS

CARPETS, RUGS AND RUNNERS 111

115

119

A YAMUT TURKOMAN DOOR RUG, “EUGSI”,

AN INDO-PERSIAN CARPET, MODERN

A PERSIAN QUM SILK RUG, MODERN

TURKMENISTAN, CIRCA 1880

condition: good 231 by 191cm

condition: good 158 by 106cm

R 8 000 - R 12 000

R 6 000 - R 9 000

condition: good 185 by 123cm

R 8 000 - R 12 000

116

120

112

AN INDO-PERSIAN RUNNER, MODERN

A HEREKE SILK RUG, TURKEY, MODERN

A SOUMAK FLATWEAVE CARPET, EAST

condition: good 398 by 73cm

condition: good 150 by 101,5cm

condition: good 191 by 141cm

R 2 500 - R 3 500

R 12 000 - R 16 000

R 8 000 - R 12000

117

121

AN AFGHAN RUNNER, MODERN

A HEREKE SILK AND METAL RUG, TURKEY,

condition: fair 371 by 86cm

MODERN

CAUCASUS, CIRCA 1900

113 A KAZAK RUG, SOUTH CAUCASIA, CIRCA 1920

condition: wear, repair 295 by 143cm

R 3 000 - R 4 000

R 4 000 - R 6 000

118

R 12 000 - R 16 000

A PERSIAN QUM SILK RUG, MODERN

122

condition: good 203 by 135cm

A CHINESE SILK RUG, MODERN

A TEXTILE AND LEATHER TUAREG CARPET, EARLY 20TH CENTURY

PART ILLUSTRATED ON OPPOSITE PAGE

condition: good 358,5 by 183,5cm

R 20 000 - R 30 000

114

R 12 000 - R 15 000

30

condition: good 145 by 98cm

condition: good 132 by 87cm

R 6 000 - R 9 000 NO LOTS 123 - 130

RUGS, CARPETS AND RUNNERS

118 DETAIL

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31

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RUGS, CARPETS CLOCKS AND RUNNERS

CLOCKS BUYERS ARE ADVISED THAT A SERVICE IS RECOMMENDED FOR ALL CLOCKS PURCHASED. 131 A MAHOGANY LONGCASE CLOCK, ELLIOTS OF CROYDON FOR GARRADS, LONDON, CIRCA 1950-1970

the 14,5cm brass dial with a silvered chapter ring with Roman hour numerals and Arabic minutes numerals, spandrels to the corners, an engraved cartouche in the arch, three train eight-day movement, the quarter hour strike on rod gongs, Westminster and Whittington chimes, the arched hood above a glazed door, flanked by columns, on a panelled plinth base, on bracket feet, no pendulum 150cm high ILLUSTRATED

R 8 000 - R 15 000

131

32

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FURNITURE ENGLISH FURNITURE 132 A GEORGE III MAHOGANY CORNER CUPBOARD

the outswept moulded cornice above a plain frieze, a panelled door below, on a plinth base, on turned feet 157cm high, 78cm wide, 48cm deep

R 5 000 - R 7 000 133 A GEORGE III MAHOGANY HANGING CORNER CUPBOARD

the outswept moulded cornice above a dentil frieze, an astragal glazed door below enclosing three shelves, on a moulded plinth base 104cm high, 81cm wide, 45cm deep

R 2 000 - R 4 000 134 A GEORGE III MAHOGANY DEMI-LUNE TABLE

the rounded top above a plain frieze, on square-section tapering legs 72,5cm high, 129cm wide, 63cm deep

R 3 000 - R 5 000 135 A GEORGE III MAHOGANY AND INLAID BOWFRONTED SIDEBOARD

the bowfronted top above a plain frieze, a pair of graduating drawers below flanked by a pair of doors, each enclosing a compartment, on square-section tapering legs, on spade feet, stringing throughout 92cm high, 152,5cm wide, 57cm deep

R 3 000 - R 5 000 136 136

A GEORGE III WALNUT BOWFRONTED CHEST-ON-CHEST

in two parts,the outswept cornice above three crossbanded graduating drawers, the lower section comprising three crossbanded graduating drawers, shaped apron, on outswept feet, distress, restorations 124cm high, 49cm wide, 36cm deep ILLUSTRATED

R 12 000 - R 18 000 137 A WILLIAM IV ROSEWOOD CARD TABLE

the hinged rounded rectangular top enclosing a baize-lined playing surface, plain frieze on a turned tapering support, quadripartite base on lion-paw feet on castors, distress 71cm high, 86,5cm wide, 88,5cm deep

R 3 000 - R 5 000 138 A WALNUT CONCERTINA GAMES TABLE, 19TH CENTURY

the rectangular shaped hinged top enclosing a woven floral playing surface, shaped frieze centred by a cockbeaded frieze drawer, on carved restrained cabriole legs terminating in pad feet 74cm high, 101cm wide, 101cm fully extended ILLUSTRATED

R 5 000 - R 8 000

138

33

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FURNITURE

148

149

151

150

152

Legal bookcases were primarily designed for the purpose of travelling. They date back to a “circuit court” originated in London under King Henry’s reign, where Judges would often voyage with their court to assist citizens outside of their vicinity on a yearly basis. This required a practical approach to transporting their books. A legal bookcase typically comprises of a number of compartments - anywhere between two and seven - stacked atop one another. When dismantled, each compartment becomes a convenient carrying case.

Globe-Wernicke, a furniture company founded in 1899, revolutionised the legal bookcase design. Otherwise known as the “elastic” or modular bookcase in either oak or mahogany, the bookcase was characterised by its glazed lift-doors. What initially began as a functional piece of office furniture has now become a decidedly collectable item, featuring in lawyers’ offices worldwide.

34

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FURNITURE

139

144

149

A VICTORIAN WALNUT SETTEE

A VICTORIAN MAHOGANY CHEST OF DRAWERS

AN OAK LEGAL BOOKCASE, MANUFACTURED

the curved top rail centred by a scrolled and foliate carved cresting, padded button back, padded arms, stuff-over seat, on foliate-carved cabriole legs on castors 170cm long

the outswept top above six ogee drawers, on four turned bun feet, mother-of-pearl keyholes, distress 149cm high, 106cm wide, 53cm deep

BY GLOBE WERNICKE LTD LONDON,

R 3 000 - R 5 000 140 A VICTORIAN ROSEWOOD LOO TABLE

the rectangular shaped moulded top above a plain frieze, on a turned carved support, drum socle on hipped outswept legs, on outswept scrolled feet, on castors, distress 75cm high, 138cm wide, 99cm deep

R 8 000 - R 12 000 141 A LATE VICTORIAN WALNUT LOO TABLE

the oval quarter-veneered top above a plain frieze, on a carved and turned support, drum socle, on foliate-carved hipped outswept legs, on foliate carved scrolling feet, on castors, distress 74cm high, 140 cm wide, 111cm deep

R 5 000 - R 7 000 142 A FRUITWOOD MONKS BENCH, 19TH CENTURY

the reeded top rail above four foliate-carved panels between shaped supports, hinged hard seat enclosing a compartment, above two foliate-carved panels, on shaped feet 120cm long

R 2 000 - R 3 000 143 A SET OF SIX VICTORIAN MAHOGANY BUSTLE BACK CHAIRS

each top rail above a carved and moulded mid-rail, serpentine stuff over seat, on turned tapering legs, distress (6)

R 3 000 - R 5 000

R 7 000 – R 10 000 145

20TH CENTURY

the rectangular top above a plain frieze, comprising three compartments in sizes, each compartment with glazed hinged sliding doors, on a plinth base, manufacturer’s plaque 120,5cm high, 86,5cm wide, 26,5cm deep

A VICTORIAN MAHOGANY DINING TABLE

ILLUSTRATED ON OPPOSITE PAGE

the rectangular shaped top above a plain frieze terminating in fluted legs on castors, two leaf insertions and winder 75cm high, 108cm wide, 299cm long fully extended

150

R 15 000 – R 20 000 146 A FLAME MAHOGANY BREAKFRONT BOOKCASE, 19TH CENTURY

in two parts, the outswept cornice above four cottage pane glazed doors enclosing shelves, in sizes, four panelled doors below enclosing compartments, on a plinth base, distress 243cm high, 209cm wide, 58cm deep

R 20 000 - R 30 000 147

R 6 000 - R 8 000

AN OAK LEGAL BOOKCASE, 20TH CENTURY

the rectangular top above a dentil frieze, surmounted by a shaped three-quarter gallery, comprising five compartments in sizes, each compartment with glazed hinged sliding doors, on a plinth base 191cm high, 88cm wide, 36cm deep PART ILLUSTRATED ON OPPOSITE PAGE

R 8 000 - R 10 000

AMERICAN FURNITURE 151 AN AMERICAN OAK LEGAL BOOKCASE, EARLY 20TH CENTURY, MANUFACTURED BY

A MAHOGANY CABINET, 20TH CENTURY

THE GUNN FURNITURE COMPANY

the breakfront cornice above a dentil frieze, a pair of arched glazed doors below enclosing two shelves, flanked by fluted columns, a long drawer below, on a plinth base, on flat bun feet 200cm high, 127cm wide, 36cm deep

the rectangular outswept top above a plain frieze, comprising five compartments in sizes, each compartment with a glazed hinged sliding door, on a plinth base, manufacturer’s label 184,5cm high, 89cm wide, 36cm deep

R 8 000 - R 10 000

ILLUSTRATED ON OPPOSITE PAGE

148

R 8 000 - R 10 000

A MAHOGANY LEGAL BOOKCASE,

152

20TH CENTURY

AN AMERICAN OAK LEGAL BOOKCASE,

the rectangular outswept top above a plain frieze, comprising six compartments in sizes, on turned feet, distress 200,5cm high, 89cm wide, 28,5cm deep

EARLY 20TH CENTURY, MANUFACTURED BY

PART ILLUSTRATED ON OPPOSITE PAGE

R 8 000 - R 10 000

THE GUNN FURNITURE COMPANY

the rectangular outswept top above a plain frieze, comprising five compartments in sizes, three with glazed hinged sliding doors, two doors lacking, on shaped square section feet, manufacturer’s label, distress 171cm high, 86,5cm wide, 35,5cm deep PART ILLUSTRATED ON OPPOSITE PAGE

R 6 000 - R 8 000

35

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FURNITURE

154

ORIENTAL FURNITURE

CAPE FURNITURE

153

154

155

A CHINESE HARDWOOD YOKEBACK ARMCHAIR

A CAPE STINKWOOD AND YELLOWWOOD

A HARLEQUIN SET OF TWELVE CAPE

the curved top rail above turned supports centred by a carved splat, curved arms on shaped supports, panelled hard seat, on rounded legs joined by a box-stretcher

JONKMANSKAS, 19TH CENTURY

STINKWOOD REGENCY SIDE CHAIRS

the rectangular top above a pair of short drawers, two panelled doors below, enclosing two shelves, on turned tapering feet 143cm high, 118cm wide, 49,5cm deep

comprising: four chairs with riempie seats and eight with caned seats, each curved top rail above a curved mid-rail, on turned tapering legs (12)

ILLUSTRATED

R 7 000 - R 9 000

R 4 000 - R 6 000

R 12 000 - R 18 000

36

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FURNITURE

156

157

CONTINENTAL FURNITURE 156

157

A BIEDERMEIER WARDROBE, 19TH CENTURY

A DUTCH WALNUT DISPLAY CABINET

the outswept cornice above a plain frieze, a pair of panelled doors below enclosing two shelves, on turned feet 169,5cm high, 106cm wide, 50,5cm deep

in two parts, the moulded gabled top centred by a leaf cresting above a cottage-pane glazed door and sides, enclosing two shaped shelves, the lower section comprising three bombé graduating drawers, shaped and carved apron, on claw-and-ball feet 182,5cm high, 101cm wide, 40cm deep

ILLUSTRATED

R 8 000 - R 12 000

ILLUSTRATED

R 18 000 - R 20 000 NO LOTS 158 - 160 37

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PAINTINGS

PAINTINGS 161 Continental School ( 17TH/18TH CENTURY - )

167 Hendrik van Leeuwen (DUTCH 1825 - 1915)

173 David Botha (SOUTH AFRICAN 1921 - 1995)

JANISSARIES CAVALRY

COTTAGE WITH CHICKENS

CAPE DUTCH HOMESTEAD BUILT IN 1787

oil on canvas 95,5 by 128,5cm

signed oil on canvas 38,5 by 29cm

linocut, signed and numbered 97/100 in pencil in the margin sheet size: 15 by 12cm

R 4 000 - R 6 000

R 3 000 - R 5 000

168 Hendrik van Leeuwen (DUTCH 1825 - 1915)

174 Erich (Ernst Karl) Mayer (SOUTH AFRICAN 1876 - 1960)

WINDMILL

FIGURE STUDIES

signed oil on canvas 39,5 by 59,5cm

signed pencil on paper sheet size: 24 by 18,5cm, unframed

R 5 000 - R 7 000

R 7 000 - R 10 000

169 John Frederick Cornelis Scherrewitz (DUTCH 1868 - 1951)

175 Erich (Ernst Karl) Mayer (SOUTH AFRICAN 1876 - 1960)

HORSE AND CART IN THE SURF

BOERVROU AND CART HORSE STUDY

signed oil on board 31 by 43,5cm

signed and dated 1923 pencil on paper sheet size: 22 by 15cm, unframed

R 8 000 - R 15 000

R 8 000 - R 12 000

170 William Hardie Hay (SCOTTISH 1858 - 1934)

176 Pippa Ann Skotnes (SOUTH AFRICAN 1957 - )

BOATS ON A BEACH

COTTAGE ON THE BEACH

signed oil on canvas 19,5 by 30cm

etching, signed, dated 1980 and numbered 7/8 in pencil in the margin sheet size: 38 by 30cm

R 7 000 - R 10 000

R 5 000 - R 7 000

171 Paul Sibisi (SOUTH AFRICAN 1948 - )

177 Walter Gilbert Wiles (SOUTH AFRICAN 1875 - 1966)

CLASSROOM WRANGLE III

BEACH SCENE

linocut, signed, dated ‘89 and inscribed with the title and AP3 in pencil in the margin sheet size: 50 by 39cm

signed pastel on paper 26 by 36cm

R 3 000 - R 5 000

R 5 000 - R 8 000

172 David Botha (SOUTH AFRICAN 1921 - 1995)

178 Walter Gilbert Wiles (SOUTH AFRICAN 1875 - 1966)

CAPE DUTCH HOUSE IN WINTER

FARM SCENE

linocut, signed in pencil in the margin sheet size: 22 by 17cm

signed pastel on paper 26 by 36cm

R 20 000 - R 40 000 162 Frederick W Watts (ENGLISH 1800 - 1870)

ENGLISH LANDSCAPE oil on canvas 49 by 59cm

R 15 000 - R 25 000 163 Harry Fidler (BRITISH 1856 - 1935)

FARM SCENE signed with the artist’s initials oil on canvas 20,5 by 26,5cm

R 5 000 - R 8 000 164 Rudolf Hellwag (GERMAN 1867 - 1942)

COTTAGE ON A RIVERBANK oil on canvas laid down on board 36 by 57cm

R 5 000 - R 8 000 165 Continental School ( 17TH/18TH CENTURY - )

STILL LIFE oil on canvas 66,5 by 48,5cm

R 4 000 - R 7 000 166 Hendrik van Leeuwen (DUTCH 1825 - 1915)

COTTAGE WITH A WOMAN, A GOAT AND A PEACH BLOSSOM TREE signed oil on canvas 38,5 by 29cm

R 4 000 - R 6 000

R 3 000 - R 5 000

38

R 5 000 - R 8 000

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PAINTINGS

186

187

179 Sydney Carter (SOUTH AFRICAN 1874 - 1945)

183 Dezso Koenig (SOUTH AFRICAN 1902 - 1972)

187 Don (Donald James) Madge (SOUTH AFRICAN 1920 - 1997)

CHILDREN FLYING A KITE

HARVESTING GRASS

STREET SCENE

signed oil on canvas 59 by 43cm

signed oil on board 39 by 51,5cm

signed oil on canvas laid down on board 45 by 59cm

R 6 000 - R 9 000

R 5 000 - R 8 000

ILLUSTRATED

180 Anthony Strickland (SOUTH AFRICAN 1920 - 2000)

184 Dino Paravano (SOUTH AFRICAN 1935 - )

THE TREE - INCHANGA

WOMAN WALKING DOWN A FOREST PATH

signed and inscribed with the title on the reverse oil on board 50 by 35cm

signed oil on board 35 by 45cm

R 4 000 - R 6 000

R 6 000 - R 9 000

181 Christopher Tugwell (SOUTH AFRICAN 1938 - )

185 Alfred Frederic Krenz (SOUTH AFRICAN 1899 - 1980)

BLUEGUM TREES

FINESTRAT

signed oil on board 50 by 35cm

signed and dated 1973 watercolour on paper 31 by 48cm

R 5 000 - R 8 000

R 4 000 - R 6 000

182 Conrad Nagel Doman Theys (SOUTH AFRICAN 1940 - )

186 Don (Donald James) Madge (SOUTH AFRICAN 1920 - 1997)

LANDSCAPE

HOUSES ON A COUNTRY ROAD

signed and dated 72 oil on board 15,5 by 27,5cm

signed oil on board 44,5 by 59,5cm

R 12 000 - R 18 000

ILLUSTRATED

R 6 000 - R 9 000 188 Don (Donald James) Madge (SOUTH AFRICAN 1920 - 1997)

BUILDINGS signed, inscribed “No 36 ‘Buildings’ 509ns Don Madge (sic)” on the reverse oil on board 54 by 77cm

R 10 000 - R 15 000 189 Durant Basi Sihlali (SOUTH AFRICAN 1935 - 2004)

RURAL SETTLEMENT signed and dated ‘76 watercolour on paper 29 by 74cm

R 12 000 - R 18 000

R 6 000 - R 9 000 39

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190

PAINTINGS 190 Francois Koch (SOUTH AFRICAN 1944 - )

196 Piet Kannemeyer (SOUTH AFRICAN 1927 - 1995)

BUSHVELD IN THE WINTER

HOUSES IN A LANDSCAPE

signed and dated ‘69 oil on canvas laid down on board 60 by 90cm

signed oil on board 38,5 by 49cm

ILLUSTRATED

ILLUSTRATED ON OPPOSITE PAGE

R 15 000 - R 25 000

R 10 000 - R 15 000

191 Gabriel Cornelis de Jongh (SOUTH AFRICAN 1913 - 2004)

197 Gino Fasciotti (SOUTH AFRICAN 1883 - 1961)

CAPE LANDSCAPE

STILL LIFE

signed watercolour over pencil on paper 21,5 by 33cm

signed oil on canvas 63 by 94cm

ILLUSTRATED

R 5 000 - R 10 000

R 7 000 - R 10 000

191

192 Gabriel Cornelis de Jongh (SOUTH AFRICAN 1913 - 2004)

LANDSCAPE signed oil on canvas 59 by 89,5cm

198 Hendrik Christiaan Niemann (SOUTH AFRICAN 1941 - )

CLOWN signed and dated 16 oil on handmade paper 29 by 20cm

R 7 000 - R 10 000

ILLUSTRATED

R 10 000 - R 20 000 193 Gabriel Cornelis de Jongh (SOUTH AFRICAN 1913 - 2004) 192

DRAKENSBERG MOUNTAINS signed oil on canvas 68 by 101cm ILLUSTRATED

R 15 000 - R 20 000 194 Nils Severin Andersen (SOUTH AFRICAN 1897 - 1972)

GOLDEN OAK, SIMONSBERG 193

signed oil on board 60 by 90cm

R 10 000 - R 15 000 195 Piet Kannemeyer (SOUTH AFRICAN 1927 - 1995)

TOWN BENEATH MOUNTAINS

195

40

199 Izidro Duarte (SOUTH AFRICAN 1942 - )

AFRICAN VILLAGE SCENE WITH FIGURES ON BOATS signed oil on canvas 70 by 90,5cm

R 15 000 - R 20 000 200 Enslin Hercules du Plessis (SOUTH AFRICAN 1894 - 1978)

GARDEN SCENE signed and dated 71 watercolour and pencil on canvas laid down on board 44 by 57cm

R 8 000 - R 12 000 201 Lukas van Vuuren (SOUTH AFRICAN 1939 - 2003)

BOX FRAMED LANDSCAPE

signed oil on canvas laid down on board 44 by 59,5cm

signed and dated 85, inscribed with the title in the margin ink on UHI plastic 123 by 111cm

ILLUSTRATED

R 6 000 - R 10 000

R 12 000 - R 18 000

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PAINTINGS

196

202 Sydney Alex Kumalo (SOUTH AFRICAN 1935 - 1988)

205 Loayo Loubna Ayouche (MOROCCAN 1967 - )

208 Gino Fasciotti (SOUTH AFRICAN 1883 - 1961)

ABSTRACT FIGURES

TRAIN OF LIFE

CARNATIONS

signed and dated 82 watercolour and ink on paper laid down on card 51 by 42,5cm, unframed

signed with the artist’s monogram oil on canvas 100 by 200cm, unframed

signed oil on board 60 by 42,5cm

R 8 000 - R 12 000

ILLUSTRATED

R 4 000 - R 6 000

R 6 000 - R 9 000

203 Mickey Korzennik (SOUTH AFRICAN 1930 - )

206 Sidney Goldblatt (SOUTH AFRICAN 1919 - 1979)

ABSTRACT lithograph, signed, inscribed ‘For Brett Cohen’ and numbered 48/250 in pencil in the margin sheet size: 60 by 74,5cm

R 5 000 - R 8 000

VILLAGE SCENE WITH CHANNEL signed oil on board 53,5 by 86,5cm

R 12 000 - R 18 000

204 Malangatana Ngwenya (MOZAMBICAN 1936 - 2011)

207 Gregoire Johannes Boonzaier (SOUTH AFRICAN 1909 - 2005)

FIGURES signed and dated 97 ink and acrylic on board 66 by 51cm

FLORAL STILL LIFE signed and dated 1997 pastel on paper 60 by 39cm

R 25 000 - R 35 000

209 Gino Fasciotti (SOUTH AFRICAN 1883 - 1961)

PINK GLADIOLI signed oil on board 60 by 42,5cm

R 4 000 - R 6 000 210 Marie Vermeulen Breedt (SOUTH AFRICAN 1954 - )

FLORAL STILL LIFE signed and dated 79 oil on canvas laid down on board 60 by 29,5cm

R 10 000 - R 15 000

R 12 000 - R 18 000

205

41

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DECORATIVE ARTS | SILVER | PAINTINGS

TUESDAY | 25 JUNE 2017 | 14H00 | LOTS 211 - 420

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DECORATIVE ARTS 214 A ROYAL DOULTON ‘OLD COLONY’ PATTERN PART DINNER SERVICE, 1959 – 1988

each with blue flowers and brown leaves against a white ground, comprising: 12 dinner plates, 11 fish plates, 8 dessert bowls, 6 cereal bowls, 3 oval platters, 2 serving bowls with lids, 2 gravy boats and an underplate, 6 teacups, 8 saucers, 7 demitasse cups, 10 saucers, 9 cake plates, a teapot with lid, a coffee pot with lid, a milk jug, a sugar bowl and a handled cake plate, overall wear, scratches and loss to paint the largest platter 40 cm wide (89)

R 6 000 - R 9 000

EUROPEAN AND ENGLISH CERAMICS

215

211

FIGURE, DESIGNED BY LESLIE HARRADIN

A ROYAL ALBERT ‘ROYALTY’ PATTERN PART

modelled seated wearing a spotted and striped bathing suit, holding a parasol, chip to umbrella, printed and painted marks H.N. 1344 13cm high

TEA SERVICE, 1927 – 1935

220 DETAIL

each with orange flowers, blue borders and gilding against a white ground, comprising: 6 teacups, 6 saucers, 6 square cake plates, a milk jug, a sugar bowl and a square handled cake plate the cake plate 25cm over handles (21)

R 1 500 - R 2 500 212 A ROYAL ALBERT ‘GOLDEN ROSE’ PATTERN

PROVENANCE Stephan Welz and Co, Johannesburg 22 & 23 May 2000, lot 648

R 30 000 - R 40 000 216 A COPELAND SPODE ‘CHINESE ROSE’ PATTERN PART DINNER SERVICE, 1952 – 2006

213

each with floral design against a crème ground with green edging, comprising: 12 dinner plates, 12 fish plates, 12 side plates, 12 soup bowls, 12 dessert bowls, 12 egg cups, 2 gravy boats and saucers, 4 vegetable dishes with covers, 4 serving platters in sizes, a round salad bowl, 12 tea cups, 12 saucers, 12 demitasse cups, 12 saucers, 12 cake plates, a coffee pot, a teapot, 2 milk jugs, a cream jug, a sugar bowl, a slop bowl and 2 square cake plates the largest platter 36,5 cm wide (152)

A FOLEY ‘CENTURY ROSE’ PATTERN PART

R 10 000 - R 12 000

PART TEA SERVICE, 20TH CENTURY

each with gold roses and scalloped gilt rim against a white ground, comprising: 10 teacups, 10 saucers, a milk jug, a sugar bowl and a teapot with lid the teapot 23,5 cm high (23)

R 2 500 - R 3 500

TEA SERVICE, 20TH CENTURY

each with pink roses, green leaves and scalloped gilt rim against a white ground, comprising: 4 teacups, 4 saucers, 4 cake plates, 6 demitasse cups, 6 saucers, a teapot, a coffee pot, a milk jug, a sugar bowl and a handled cake plate the cake plate 25cm over handles (30)

R 3 500 - R 5 500

44

A ROYAL DOULTON ‘SUNSHINE GIRL’ PORCELAIN

217 A ROYAL ALBERT ‘OLD COUNTRY ROSES’ PATTERN PART DINNER AND TEA SERVICE, 1962

each with pink and yellow roses with green foliage against a white ground, gilded edges, comprising: 9 dinner plates, 8 side plates, 8 soup bowls, 2 tureens with covers, two oval dishes. A round vegetable bowl, an oval platter, a gravy boat with underplate, 8 teacups, 8 saucers, 8 cake plates, a teapot, 8 mugs, 7 demitasse cups, 8 saucers, a coffee pot, a milk jug, a slop bowl, a sugar bowl, a handled cake plate, a butter dish, a cookie jar, a platter, a rose bowl, two flower vases, 2 bud vases and an anniversary wall plate the oval platter 34,5cm wide (93)

R 9 000 - R 12 000

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DECORATIVE ARTS

230 225

227 226

218

221

224

A MINTON ‘BUCKINGHAM’ PATTERN

A DELFT STYLE BLUE AND WHITE URN,

A CHINESE BLUE AND WHITE BOWL,

PART DINNER SERVICE, 1926-2009

POSSIBLY VISTA ALEGRE

KANGXI, 1662 – 1722

each with crème band and decorative gilt rim against a white ground, comprising: 17 dinner plates, 17 side plates, 6 fish plates, 17 consommé cups, 15 saucers, 3 platters in sizes, 3 tureens with covers, 2 gravy boats with under plates, 2 sets of salt and pepper, 12 teacups and 12 saucers (106)

the bulbous ribbed body with everted rim, with sinuous moulded lizard encircling the neck, painted with alternating panels depicting figures at various pursuits and floral crests, amongst dense foliage, repair to neck, loss to enamel throughout 36cm high

the rim painted with floral motif, the exterior with blossoms and birds, the sides mounted with two later Dutch silver flowerhead brackets, the arched handle chased with flowerheads and foliage, 19th Century, .833 standard, significant repairs, hairline cracks, pitting, Kangxi mark 15,5cm wide

R 3 000 - R 4 000

R 4 000 - R 6 000

ORIENTAL CERAMICS

225

R 9 000 - R 12 000 219 NO LOT 220 A PAIR OF DUTCH DELFT BLUE AND WHITE LANDSCAPE PLAQUES, LATE 19TH CENTURY

the shaped border in relief, depicting forests flanked by rivers, inscribed ‘naar F. J. du Chattel’ 56cm high (2) ILLUSTRATED

R 10 000 - R 15 000

222 A CHINESE BLUE AND WHITE BOTTLE VASE, QIANLONG, 1736 - 1795

painted with alternating panels of peony blossoms, with underglaze-blue double ring mark 33,5cm high

R 3 000 - R 5 000

A PAIR OF CHINESE BLUE AND WHITE URNS

each tapering ovoid body painted throughout depicting Fu-Dog and ball, below a band of brush strokes, loose cross-hatching, pitting throughout 40cm high (2) ILLUSTRATED

R 10 000 - R 15 000

223

226

A CHINESE BLUE AND WHITE PLATE,

A PAIR OF CHINESE BLUE AND WHITE VASES,

KANGXI, 1662 – 1722

painted with a blossoming tree before a pavilion enclosed within panels of flowers with cross hatched borders, the sides mounted with two later Dutch silver pierced floriform brackets, the arched handle pierced and chased with scrolling foliage, stamped 1863, underside double-ring mark 25cm wide

R 6 000 - R 8 000

19TH CENTURY

each of slightly tapering cylindrical form, painted overall with figures at various pursuits amongst rockwork and pavilions, the neck with Greek-key border and scrolling foliate, double circle mark 42,5cm high (2) ILLUSTRATED

R 12 000 - R 18 000 45

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DECORATIVE ARTS

227

233

239

A PAIR OF CHINESE BLUE AND WHITE MEIPING

A CHINESE CELADON CHARGER

A CHINESE BLUE AND WHITE ‘KRAAK’ DISH

VASES, YUAN DYNASTY

circular, the interior moulded with floral decoration, covered overall in a pale celadon glaze 41,5cm diameter

the central rondel depicting a figure amongst rockwork and foliage, the rim with radiating panels enclosing flowers and precious emblems, repairs, wear 31cm diameter

each of baluster form with short neck and narrow opening, painted overall with figures at various pursuits amongst rockwork and foliage, between lappet bands, scrolling foliage and symbols 50,5cm high (2) ILLUSTRATED ON PREVIOUS PAGE

R 12 000 - R 18 000 228 A CHINESE VASE, REPUBLIC PERIOD, 1912 – 1949

the tapering ovoid body on flared base, painted with panels depicting flower heads and blossoms enclosed within a scalloped border between diamond bands amongst scrolls and lotus against a blue ground, applied masks, chip to base 30cm high

R 2 000 - R 3 000 229 A CHINESE SCHOLARS OBJECT, QIANLONG STYLE, 19TH CENTURY

of flat rectangular form, with reticulated central cartouche, aperture to bottom right hand corner, painted overall with rockwork, foliage, clouds, bats and cranes in flight, recessed seal on the base, Qianlong stamp 30cm wide

R 5 000 - R 8 000

R 4 000 - R 6 000 234 A CHINESE SANG-DE-BOUEF GARLIC-NECK

A CHINESE BLUE AND WHITE ‘DOUBLE

A CHINESE COPPER-RED UNDERGLAZE VASE

glazed overall with a deep red glaze, fritting to base, crazing 36,5cm high

the octagonal tapering cylindrical shaped vase, painted with phoenix amongst clouds between bands of flowerheads and lappets 21cm high

R 5 000 - R 8 000 235 A CHINESE SANG-DE BOUEF DOUBLE GOURD VASE

glazed overall with a deep red glaze, r epair, crazing 21cm high PROVENANCE Property of a Lord

R 8 000 - R 12 000

46

R 8 000 - R 12 000

1736 – 1795

PROVENANCE

R 10 000 - R 15 000

HORSES

each naturalistically modeled horse standing foursquare on a rectangular base, applied with copper green glaze 42cm high (2)

R 6 000 - R 9 000 238

with everted rim on a cylindrical foot 11,5cm diameter

A CHINESE BLUE AND WHITE ‘KRAAK’ DISH

232

the central rondel depicting figures at various pursuits, within a radiating band paneled with figures and symbols, scalloped edge 32cm diameter

A CHINESE CELADON PEDESTAL RICE BOWL

R 5 000 - R 7 000

R 2 000 - R 3 000

painted with alternating shaped panels enclosing figures at various pursuits, reserved against a ground of butterflies, leaves, flowers and fruit between lappet bands, stamped Qianlong mark 43cm high

A LARGE FAMILLE VERTE VASE, QIANLONG,

A CHINESE CELADON PEDESTAL CUP

circular, on a cylindrical foot 14cm diameter

VASE, QIANLONG, 1736 – 1795

the globular body with short neck and flared rim, glazed overall with a deep red glaze thinning to the rim, repair, crazing 29,5cm high

A PAIR OF SANCAI-GLAZED TANG-STYLE

R 2 000 - R 3 000

A CHINESE FAMILLE VERTE DOUBLE-GOURD

242

237

231

241

A CHINESE SANG-DE-BOUEF VASE

the baluster body painted with four symbols against a dense lotus flowerhead and scrolling foliate ground below a band of Greek-key border, the cover similarly decorated 59cm high

R 8 000 - R 12 000

R 5 000 - R 7 000

236

HAPPINESS’ JAR AND COVER, 19TH CENTURY

ILLUSTRATED ON PREVIOUS PAGE

240

BOTTLE VASE, 18TH CENTURY

Property of a Lord 230

R 5 000 - R 7 000

the tapering ovoid body with everted rim, painted throughout with maidens at various pursuits, within a garden with rockwork and flowerheads, possible restoration to paintwork, stamped Qianlong mark 58cm high

R 6 000 - R 9 000 243 A CHINESE FAMILLE VERTE VASE

the baluster body with elongated everted neck, painted with warriors on horseback and rockwork between bands of lappet and triangular borders, in shades of green, yellow, orange and pink, the interior painted in celadon green, stamped pseudo mark 47cm high

R 4 000 - R 6 000 244 A PAIR OF FAMILLE ROSE URNS WITH COVERS, JIAQING, 1796 – 1820

the tapering ovoid body, painted with alternating panels depicting figures at various pursuits, birds, butterflies, fruit and flowers, amongst dense scrolling foliage and symbols, the cover similarly decorated, painted Jiaqing mark 30,5cm high including cover (2)

R 10 000 - R 15 000

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DECORATIVE ARTS

245 A CHINESE FAMILLE ROSE CHARGER

the central rondel depicting maidens amongst rockwork and flowers, enclosed within a border of alternating panels of pagodas and flowers against a pink ground with butterflies and scrolling foliage 30cm diameter

R 1 500 - R 1 800 246 A CHINESE FAMILLE ROSE JARDINIERE

the tapering ovoid body painted overall with butterflies and scrolling foliage in shades of blue, green and red with pink peonies against a white ground, silver edging to rim, drainage hole 35,5cm high

R 5 000 - R 7 000 247 A CHINESE FAMILLE ROSE JARDINIERE

the tapering ovoid body painted overall with butterflies and scrolling foliage in green, red and yellows and pink peonies against a cobalt blue ground, silver edging to rim, drainage hole, with drip tray 25cm high (2)

R 4 000 - R 6 000 248 A CHINESE FAMILLE ROSE JARDINIERE

the tapering cylindrical body painted overall with butterflies and scrolling foliage in shades of green, red and yellow with pink peonies against a cobalt blue ground, everted rim, drainage hole, with drip tray 32cm high (2)

R 4 000 - R 6 000 249 A PAIR OF CHINESE YELLOW GROUND URNS WITH COVERS

each globular body painted with scalloped panels depicting birds and flowerheads, against a ground of grapes, vines and flowerheads, between bands of pink foliage and lappet bands, applied with two masks on either side, the interior painted with goldfish and seaweed, the associated cover similarly decorated with bands of Greek-key border and bats with Fu-Dog finial, Tongzhi mark to base 27cm high including cover (2)

R 7 000 - R 10 000 254

47

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255

A CHINESE BRONZE TRIPOD CENSER AND

A JAPANESE SATSUMA FLUTED VASE

STAND, MING DYNASTY, 1368 - 1644

of squat globular form, painted with stylised dragon and symbols, the collar with Greek-key border, cast mark to base, foliate shaped stand 13cm high including stand

painted with alternating panels enclosing geisha at various pursuits, reserved against a dark blue ground with gilt highlights, loss to gilding throughout 18cm high

R 10 000 - R 15 000

R 1 500 - R 2 000

251

256

A CHINESE EXPORT BLACK AND GILT-

A PAIR OF BRONZE KOROS, 20TH CENTURY

LAQUERED TEA CADDY AND COVER,

modelled as a bird with pronounced tail and wings, below a band of lappet borders, supporting a globular koro, the associated cover with finial, the sides applied with masks and rings, on a circular domed base, covered overall with incised decoration, oxidisation throughout 46,5cm high (2)

19TH CENTURY

of canted rectangular form raised on four dragon-shaped feet, decorated overall in gold against a black ground with typical figural panels within foliate borders, the hinged cover opening to reveal two pewter tea canisters with carved ivory floriate knops, losses to wood, a loose hinge, key lacking 21cm wide

R 8 000 - R 10 000 252 A CHINESE CARVED IVORY FIGURE OF CONFUCIUS

NOT SUITABLE FOR EXPORT standing, wearing a ceremonial robe and head dress, his hands raised before his chest holding a ‘Hu’ tablet 29cm high including stand

R 2 500 - R 3 500

R 6 000 - R 10 000 257

254 A JAPANESE SHIBAYAMA INLAID AND SILVER MOUNTED IVORY TUSK, MEIJI, 1868 – 1912

NOT SUITABLE FOR EXPORT inlaid with mother-of-pearl and stained ivory, depicting a rooster in a hanging basket with tassels, amongst chrysanthemums, blossoms and symbols, the reverse with fauna and butterflies, silver chased mount to base, mounted on a wooden stand, minor loss 31,5cm high including stand ILLUSTRATED ON PREVIOUS PAGE

R 40 000 - R 60 000

AFRICAN CERAMIC WARES, 20TH CENTURY

in various sizes and colours, artists include: Hyme Rabinowitz, Lindsay Scott and David Schlapobersky (10)

R 2 000 - R 3 000 261 AN ASSORTED COLELCTION OF SOUTH AFRICAN CERAMIC WARES, 20TH CENTURY

in various sizes and colours, artists include: Hyme Rabinowitz, Lindsay Scott and Barry Dibb (7)

R 2 000 - R 3 000 262 AN ASSORTED COLELCTION OF SOUTH

in various sizes and colours, artists include: Hyme Rabinowitz, Christo Giles and Catherine Brennan (7)

scalloped edge, the outside painted with alternating panels enclosing figures at various pursuits and birds amongst flowers and butterflies, losses to enamel 24.5cm wide

R 1 500 - R 2 500 258 A PAIR OF CHINESE UMBRELLA STANDS,

each of cylindrical form, painted overall with figures at various pursuits, chrysanthemums, dragons and Chinese text, in shades of russet against a red ground 62cm high (2)

R 12 000 - R 18 000

AN ASSORTED COLLECTION OF SOUTH

AFRICAN CERAMIC WARES, 20TH CENTURY

A JAPANESE CARVED OKIMONO OF

the elderly figure seated on a basket, wearing typical attire, attends to his fishing net suspended on a tree 36cm high

260

20TH CENTURY

20TH CENTURY

NOT SUITABLE FOR EXPORT

SOUTH AFRICAN CERAMICS

A CHINESE CANTON FAMILLE ROSE BOWL,

253 A FISHERMAN, MEIJI, 1896 – 1912

48

DECORATIVE ARTS

R 7 000 - R 10 000 259 A PAIR OF CHINESE GARDEN SEATS

each of barrel shape, painted throughout with flowerheads, fauna and grapes in shades of pink, yellow and greens with raised bosses, centred on either side with pierced shapes, the top similarly decorated 39cm high (2)

R 6 000 - R 10 000

R 1 500 - R 2 500 263 AN ASSORTED COLLECTION OF SOUTH AFRICAN CERAMIC WARES, 20TH CENTURY

in various sizes and colours, artists include: Hyme Rabinowitz and John Willhem (8)

R 1 500 - R 2 000 264 TIM MORRIS (1941 – 1990): GROUP LOT

comprising: a large jar with cover, a charger and a large handled jug, all painted with abstract floral motif, repair and chip to charger the jug 55,5cm high (3)

R 7 000 - R 10 000 265 A LARGE INTU-ART ‘SAFARI’ VASE, MODERN

of cylindrical form with inverted rim, the vase covered in moulded in animals in high relief, including leopard, zebra, giraffe, elephant, warthog, guinie fowl, hornbills amongst others, with painted rhino and butterly, amongst their natural habitat, painted mark to base ‘Hand Painted by E. Kawina in South Africa for Intu-Art The Adorn Collection’ 59cm high

R 15 000 - R 22 000

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DECORATIVE ARTS 266

270

273

A LARGE INTU-ART ‘SAFARI’ VASE, MODERN

A CRYSTAL CUT DECANTER AND STOPPER,

AN ART DECO GLASS AND ENAMELLED

of tapering ovoid form, the vase covered in moulded animals in high relief, including cheetah, zebra, giraffe, elephant, rhino, guinie fowl, hornbills, porcupine with painted heron and porcupine, painted mark to base ‘Hand Painted by E. Kawina in South Africa for Intu-Art The Adorn Collection, incised ’Innocent’ 60cm high

20TH CENTURY

DECANTER SET, 1930’S CZECH

of canted square-section form with star cut base 23,5cm high

271

the decanter of pyramid form decorated with alternating panels, frosted and geometric shapes, comprising: a decanter and stopper and 6 glasses the decanter 25cm high (7)

A TIFFANY FAVRILE GLASS BOWL, 1892 – 1902

R 3 000 - R 5 000

the circular bowl with shaped flared rim, overall iridescent glaze, the base etched L.C. Tiffany Favrile 16,5cm diameter

274

R 15 000 - R 22 000 267 NO LOT

GLASS 268 DAVID READE: (1960-): A LARGE BLUE GLASS BOWL

of tapering ovoid shape, with orange spiralled inclusions, signed and dated 2008 29,5cm wide

R 4 000 - R 6 000 269

R 1 000 - R 1 500

AN ART DECO CHROME PLATED TANTALUS

R 7 000 - R 10 000

WITH BACCARAT GLASS DECANTERS,

272

designed by Jacques Adnet, the metal frame with mirrored base and stopper latch, glass with etched baccarat marks, crack to mirrored glass 33cm wide

CIRCA 1930

A MOSER ’ROWLAND WARD SAFARI’ PATTERN PART SUITE OF GLASSWARE, 20TH CENTURY

each engraved with safari animals amongst trees, comprising: 6 wine glasses, 6 tumblers and a water jug the jug 23cm high (13)

ILLUSTRATED

R 40 000 - R 60 000

R 6 000 - R 8 000

DAVID READE: (1960-): A LARGE ORANGE GLASS BOWL

of tapering cylindrical shape, with blue spiralled inclusions, signed and dated 2008 29,5cm wide ILUSTRATED

R 4 000 - R 6 000

274

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DECORATIVE ARTS

278

279

276

282

281

277

280 275

50

283

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DECORATIVE ARTS 275

278

281

A ŠKRDLOVICÉ GLASSWORKS ‘RAINBOW

A ŠKRDLOVICÉ GLASSWORKS VASE DESIGNED

A GLASSWORKS VASE MADE BY ALEŠ VALNER,

SNOW’ VASE DESIGNED BY PETR HORA, 1979

BY PROF LADISLAV OLIVA, 1979

DESIGN ATTRIBUTED TO FRANTIŠEK VÍZNER

the layered clear glass with bubble inclusions pattern number 7911 24cm high

ribbed design in emerald green and cobalt blue pattern number 7919 24cm high

of transparent glass with a shortened pink core and controlled bubble inclusions, signed 23cm high

Petr Hora replaced Jaroslav Svoboda after 1987 as leading designer and director of the Škrdlovice glass factory. This design is one of the first contributions made by Hora to Škrdlovice. The ‘rainbow snow’ effect became a hallmark feature of Hora’s designs at the end of the 1970s. The combination of the two elements of casing and the use of bicarbonate of soda appears to be unique to this company at the time.

Professor Ladislav Oliva (1933-) was already a well-known designer by the time he started working at Škrdlovice.

His designs have been displayed in many international distinguished expositions, including The International Exhibition of Decorative Art in Milan, Glass 59, New Glass at The Corning Museum of Glass in New York as well as The World’s Fair Expo in Montreal and Osaka. His numerous international awards include gold medals at the XI. Triennale Milan and at the International Fair in Stuttgart

Aleš Valner studied art glassmaking at the Graphic Art College in Prague and has exhibited widely.

Valner is one of a handful of glass designers who also blow glass, which allows him to understand the material and its potential to its fullest extent. After leaving Beránek Glass, he founded his own glass studio in Přibyslav not far from Škrdlovice.

LITERATURE

LITERATURE

Bevan-Jones, Robert and Pařik, Jindřich (authors); Hill, Mark (general editor). Škrdlovice & Beránek: Legends of Czech Glass, London, 2014, 128pp (example of this design published on p.80)

Bevan-Jones, Robert and Pařik, Jindřich (authors); Hill, Mark (general editor). Škrdlovice & Beránek: Legends of Czech Glass, London, 2014, 128pp (example of vase from this range is published on p.74)

ILLUSTRATED ON OPPOSITE PAGE

ILLUSTRATED ON OPPOSITE PAGE

R 5 000 - R 8 000

R 5 000 - R 8 000

Hill, Mark. Czech Glass Design from the 1950s-70s, London, 2017, 223pp

276

279

ILLUSTRATED ON OPPOSITE PAGE

A ŠKRDLOVICÉ ARTGLASS VASE DESIGNED

A ŠKRDLOVICÉ GLASSWORKS ‘WHIRLPOOL’ VASE

BY PROF JAROSLAV SVOBODA, 1974

DESIGNED BY FRANTIŠEK VÍZNER, 1968

the pink core suspended in a transparent glass casing with controlled air bubbles pattern number 7425 23cm high

of cylindrical shape with pale green core pattern number 6860 24cm high

Jaroslav Svoboda (1938-) was a passionate enthusiast for the production of artistic glass, and a prolific and talented designer himself, Svoboda was in charge as director and designer for 17 years.

Arguably, the factory saw its ‘golden age’ during this period in terms of sales, variety and quality of design.

Hill, Mark. Hi Sklo Lo Sklo: Post War Czech Glass Design from Masterpiece to Mass-produced, London, 2008, 148pp (examples of this design reproduced on p.64)

LITERATURE Bevan-Jones, Robert and Pařik, Jindřich (authors); Hill, Mark (general editor). Škrdlovice & Beránek: Legends of Czech Glass, London, 2014, 128pp

ILLUSTRATED ON OPPOSITE PAGE

R 5 000 - R 8 000 277 A ŠKRDLOVICE GLASSWORKS ‘STELA’ SCULPTURE DESIGNED BY FRANTIŠEK VÍZNER, 1990

a smoky transparent veined column pattern number 9021 26cm high LITERATURE Hill, Mark. Hi Sklo Lo Sklo: Post War Czech Glass Design from Masterpiece to Mass-produced, London, 2008, 148pp Bevan-Jones, Robert and Pařik, Jindřich (authors); Hill, Mark

ILLUSTRATED ON OPPOSITE PAGE

R 12 000 - R 18 000

LITERATURE

Bevan-Jones, Robert and Pařik, Jindřich (authors); Hill, Mark (general editor). Škrdlovice & Beránek: Legends of Czech Glass, London, 2014, 128pp (examples of this design reproduced on p.87 and the back cover of the book) Hill, Mark. Czech Glass Design from the 1950s-70s, London, 2017, 223pp (examples of this design reproduced on p.92)

ILLUSTRATED ON OPPOSITE PAGE

R 6 000 - R 10 000 280 A BERÁNEK GLASSWORKS VASE, CIRCA 1999

the cylindrical transparent and cobalt blue vase with controlled red flames and bubble inclusions 29cm high Beránek Glass was nationalised during communist rule in 1948 and became Škrdlovice Glassworks. Ownership was returned to Beránek in 1992 when it became Beránek Glass again. The factory closed in 2008 and no longer exists. This design is in line with their innovative new range of designs at the turn of the century.

LITERATURE Hill, Mark. Hi Sklo Lo Sklo: Post War Czech Glass Design from Masterpiece to Mass-produced, London, 2008, 148pp Bevan-Jones, Robert and Pařik, Jindřich (authors); Hill, Mark (general editor). Škrdlovice & Beránek: Legends of Czech Glass, London, 2014, 128pp

R 8 000 - R 12 000 282 A CZECH AMBER & YELLOW VASE, DESIGNED

BY PAVEL HAVELKA

signed 26cm high Pavel Havelka (1969-) worked as a glassmaker at the Škrdlovice factory from 1987-94. His creativity lays in finishing the surface of art glass – cutting, polishing, grinding, and other, mostly forgotten, techniques that enhance the interplay of form and decorative detailing of glass surface, inspired by nature.

LITERATURE Bevan-Jones, Robert and Pařik, Jindřich (authors); Hill, Mark (general editor). Škrdlovice & Beránek: Legends of Czech Glass, London, 2014, 128pp

ILLUSTRATED ON OPPOSITE PAGE

R 12 000 - R 18 000 283 A GLASS SCULPTURE DESIGNED BY ALEŠ VALNER, 20TH CENTURY

transparent with a blue inclusion 17cm high LITERATURE Bevan-Jones, Robert and Pařik, Jindřich (authors); Hill, Mark (general editor). Škrdlovice & Beránek: Legends of Czech Glass, London, 2014, 128pp.

LITERATURE

ILLUSTRATED ON OPPOSITE PAGE

Bevan-Jones, Robert and Pařik, Jindřich (authors); Hill, Mark (general editor). Škrdlovice & Beránek: Legends of Czech Glass, London, 2014, 128pp

R 8 000 - R 12 000

Hill, Mark. Czech Glass Design from the 1950s-70s, London, 2017, 223pp

ILLUSTRATED ON OPPOSITE PAGE

R 6 000 - R 10 000

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DECORATIVE ARTS

290 292

289

291 287

288

The Art Nouveau movement emerged after the growing discontent with the frivolous and extravagant decorative art designs and traditional hierarchy of the Victorian era. The contemporary academic system, reinforced the widespread belief that media such as painting and sculpture were superior to crafts such as furniture design and ironwork. Art Nouveau artists sought to overturn that belief, making every element work harmoniously within a related visual vocabulary.

The movement was largely influenced by the Arts and Crafts movement, but more pertinently it employed key stylistic elements of Japanese woodblock prints of the time, characterised by controlled floral arrangements, vine tendrils, insect wings, and other delicate natural objects. Lines are elegant and graceful with powerfully rhythmic whiplash curves.

A crucial tenant of the decorative arts was to revive good workmanship and create truly unique designs as opposed to meagre mass-produced imitations of previous movements brought on by industrialisation. WMF metal work particularly flourished during the Art Nouveau movement and was popularised by the sinuous and organic forms.

The style went out of fashion long before the First World War, paving the way for the development of Art Deco in the 1920s. It experienced a popular revival in the 1960s, where artists recalled the imaginative, ephemeral and free flowing aesthetic. It is now considered an important predecessor, if not an integral factor, of modernism, helping to narrow the gap between the fine arts and the applied arts.

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DECORATIVE ARTS

ART NOUVEAU 284

288

AN EDWARDIAN ART NOUVEAU PICTURE

AN ART NOUVEAU WMF (WURTTEMBERGISCHE

FRAME, MAKERS MARK J & R, CHESTER, 1906

METALLWARENFABRIK) ELECTROPLATE AND

the wooden easel back mounted with a shaped rectangular frame, chased with chrysanthemums, buds and scrolling foliage, some distress to wooden frame 33cm high

GLASS LINED ICE BUCKET, CIRCA 1900

R 3 500 - R 4 500

cylindrical, the body pierced and moulded with leaf and berry decoration, the sides applied with conforming open work handles, raised on four bun feet, detachable cover with leaf and berry finial, green glass liner 19,5cm high

285

LITERATURE

AN EDWARDIAN ART NOUVEAU PICTURE

c. WMF 1904 Catalogue

FRAME, WILLIAM AND NEALE & SON LTD,

ILLUSTRATED ON OPPOSITE PAGE

CHESTER

R 7 000 - R 10 000

the wooden blue velvet covered easel back mounted with a shaped rectangular frame, moulded and chased with curvilinear organic decoration against a beaten ground, soldering repair 33cm high

R 3 500 - R 4 500 286 AN EDWARDIAN ART NOUVEAU SILVER MOUNTED PICTURE FRAME, J AITKIN AND SON, BIRMINGHAM, 1906

the wooden easel back mounted with a shaped oval silver frame, chased with flower-heads, foliage and butterflies, some distress to wooden frame 31cm high

R 4 000 - R 6 000 287 A GERMAN ART NOUVEAU SILVERED PEWTER FLOWER BOWL AND LINER, ORIVIT, CIRCA 1900

of diamond shape, moulded with four large irises, the base of each iris forming a foot, amethyst glass liner 28,5cm long, 10 cm high ILLUSTRATED ON OPPOSITE PAGE

R 2 500 - R 3 500

291 AN ART NOUVEAU WMF (WURTTEMBERGISCHE METALLWARENFABRIK) BRITTANIA METAL AND GLASS FIGURAL FRUIT STAND, CIRCA 1900

modelled as a maiden striking a pose atop a tripartite openwork base with flowerhead and curvilinear decoration, surmounted by further flowerheads and a foliate bracket supporting a hand engraved shaped circular glass bowl with stylised foliage 38cm high PROVENANCE Burr and Muir, Cape Town LITERATURE c. WMF 1904 Catalogue page 63, model 202

289

ILLUSTRATED ON OPPOSITE PAGE

A WMF (WURTTEMBERGISCHE

R 20 000 - R 30 000

METALLWARENFABRIK) ELECTROPLATE AND GREEN GLASS CLARET JUG, 20TH CENTURY

292

the tapering cylindrical body moulded with bacchanalian dancing maidens, below a pierced band of grape and vine leaf border, below a band of Greek Key border, the inverted loped collar below a band of lappet decoration, leaf capped hinged spout, the side applied with a loop handle moulded with acanthus leaves and a female mask, raised on a circular spreading lobed and leaf decorated footrim, repair 42cm high

AN ART NOUVEAU WMF (WURTTEMBERGISCHE

ILLUSTRATED ON OPPOSITE PAGE

R 30 000 - R 45 000 290 A PAIR OF ART NOUVEAU WMF (WURTTEMBERGISCHE METALLWARENFABRIK) ELECTROPLATE FLOWER VASES, GERMANY, 1906

METALLWARENFABRIK) BRITTANIA METAL FRUIT AND FLOWER TWO-TIER EPERGNE, CIRCA 1900

modelled with a figure of a maiden leaning forward and peering below her, upon a curving stem and diamond-form base with sinuous openwork floral motifs, with a glass trumpet form vase and tazza, etched with floral motif, numbered 124, repair 49cm high PROVENANCE Burr and Muir, Cape Town LITERATURE c. WMF 1904 Catalogue page 76, model 124/1

ILLUSTRATED ON OPPOSITE PAGE

R 25 000 - R 35 000

shaped oval with curvilinear foliate decoration ending in four bracket-shaped feet, the side handles moulded with open work thistles and berries, each clear glass liner of tapering ovoid form cut and frosted with conforming thistle, leaf and berry decoration, repairs 40,5cm high (2) LITERATURE c. Art Nouveau Domestic Metalwork from Wurttembergische Metallwaren Fabrik 1906, Page 375

ILLUSTRATED ON OPPOSITE PAGE

R 25 000 - R 35 000

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DECORATIVE VINTAGE FASHION ARTS

308

305

309

313 311

COLLECTORS’ ITEMS 293

295

297

AN ENGLISH COPPER TEA KETTLE,

A GROUP OF SEVEN COPPER SAUCEPANS

A VICTORIAN BIRDS EYE MAPLE HUMIDOR,

19TH CENTURY

applied with a swan-neck spout, fixed brass handle and copper grip, the detachable cover with an acorn finial, distress, and A Brass Jam Boiler, circular with rolled rim applied with a fixed iron handle the kettle 30cm high (2)

in sizes, each with brass carrying handles, distress the largest 4,5cm high (7)

R 2 500 - R 3 500 296

R 1 200 - R 1 600

A PAIR OF WHITE AND SONS ARTS AND

294

of tapering cylindrical form, applied with angular handles, the body moulded with a band of stylised foliate and geometric decoration with a conforming smaller band to the neck, paper labels 30,5cm high (2)

A GROUP OF THREE COPPER SAUCEPANS

in sizes, each with iron carrying handles, distress the largest 7cm high (3)

R 2 500 - R 3 500

CRAFTS COPPER VASES, CIRCA 1900

R 1 500 - R 2 000

19TH CENTURY

of rectangular form with canted corners, the hinged cover centred by a vacant brass cartouche, enclosing one long drawer below for drawers housing 48 cigars, raised on four wooden bun feet, key and lock, lock mechanism damaged, some areas of distress 18,5cm high, 28,5cm wide, 21cm deep

R 5 000 - R 7 000 298 A VICTORIAN BRASS LETTERBOX, LATE 19TH CENTURY

rectangular with sloping hinged cover, the base and cover with gadroon decoration enclosing initials, fabric lined interior compartments, with push mechanism, wear to base 10cm high

R 1 800 - R 2 400 54

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DECORATIVE ARTS

WORKS OF ART 299

303

307

A PAIR OF BRONZED METAL SCULPTURES

A FRENCH PATINATED BRONZE AND MARBLE

HANS F. G. RIEDER (1914 - ):

BY HENRI TREMO, 19TH CENTURY

CLOCK, CIRCA 1930

PATINATED BRONZE SCULPTURE

depicting celestial maidens draped in robes atop a rocky outcrop, the one with a moulded crescent moon holding aloft a bird, the other with a moulded star holding a bow and arrow, affixed to a stepped, painted wood plinth, signed H Tremo with foundry stamp, crack to one wooden base 48cm high

modelled as an eagle standing on a rocky outcrop with spread wings, supporting the clock, encased in a globular glass casing, the clock with winding mechanism, supported on a green veined marble circular spread foot above a moulded bronze band of leaves and berries atop a square green veined marble plinth, crack to back of glass, wear, fitted for electricity 49cm high

the scantily clad nude on circular marble base, signed F. RIEDER 26cm high including base

R 10 000 - R 15 000

BRONZE FIGURE

R 6 000 - R 10 000 300 A PAIR OF VICTORIAN INFANTRY OFFICERS PATTERN SWORDS CONVERTED

304 A GILT METAL FIGURAL SCULPTURE OF

TO CANDLESTICKS, 19TH CENTURY

NAPOLEON BONAPARTE

handguard displaying Queen Victoria’s monogram enclosed within cartouche, sharkskin grips attached to tripartite base, candle holder with petal edge pans, wear and loss to sharkskin, some metal out of shape, both engraved with Rd No 278788 31cm high (2)

standing with arms crossed, raised on a stepped square russet marble base 31cm high

R 1 500 - R 2 500

DIANE DE POITIERS, 19TH CENTURY

301 AFTER CLAUDE MICHEL CLODION (1738 – 1814): A TERRACOTTA FIGURAL GROUP

depicting a satyr and two putti amongst grapes and vine leaves, signed CLODION, small losses 49cm high

R 5 000 - R 11 000

R 2 000 - R 3 000 305 A FRENCH SILVERED BRONZE BUST OF

based on the sculpture Diane de Potiers in the Louvre, Paris, France, on a stepped circular base, stamped 25084 to back, wear to plating, shallow scratches 28cm high ILLUSTRATED ON OPPOSITE PAGE

R 3 000 - R 5 000 306

302

OTTO HOFFMANN (1885 – 1915):

FRANZ HAGENAUER (1906 – 1986):

PATINATED BRONZE SCULPTURE

A BRONZE FEMALE FIGURINE, AUSTRIAN

the nude dancer on a circular stepped marble base, signed Otto Hoffmann, oxidisation throughout 47cm high including base

modelled standing on a tapering squared base, impressed marks 26cm high

R 10 000 - R 15 000

R 4 000 - R 8 000 308 EUGENE-LOUIS LEQUESNE (1815 – 1887): FAUNE DANSANT (DANCING FAUN)

verdigris patina, signed E LEQESNE with ‘Suisse Freres’ foundry seal, flute lacking 28,5cm high A variant after his 1851 sculpture at the Jardin du Luxembourg, Paris

ILLUSTRATED ON OPPOSITE PAGE

R 5 000 - R 8 000 309 AN ART DECO COLD PAINTED BRONZE FIGURE OF AN ORIENTAL DANCER, CIRCA 1920

the semi-nude figure leaning back whilst playing with her hair, raised on a stepped rectangular marble base 31cm high including base ILLUSTRATED ON OPPOSITE PAGE

R 15 000 - R 22 000 310 AFTER JEAN JACQUES PRADIER (JAMES PRADIER) (1790 – 1852): PATINATED BRONZE SCULPTURE

the child playing with a dog, on a circular marble base, signed PRADIER 25cm high including base

R 4 000 - R 8 000

R 14 000 - R 18 000

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DECORATIVE ARTS

311

311

312

313

JULES LEON BUTENSKY (1871 – 1947):

EDUARD WEBER (1865 – 1940):

A PATINATED BRONZE FIGURAL SCULPTURE

HOMME ATTAQUE PAR UN AIGLE (MAN

AN ART DECO PATINATED BRONZE SCULPTURE,

OF NAPOLEON BONAPARTE

ATTACKED BY AN EAGLE) A PAIR OF

CIRCA 1930, BERLIN

PATINATED BRONZE SCULPTURES

each depicting a man fending off an eagle with a dagger on a rocky outcrop, both signed J. Butensky each 33cm high (2)

the nude maiden kneels down with hand outstretched holding the tortoise, modelled in a dark brown patina, on an oval green marble base, signed Ed. Weber with foundry mark H. NOACK 20cm high

seated with arms crossed, probably part of an inkwell, possibly after E Carlier’s Vielle de Bataille (Eve of Battle) 17,5cm high

ILLUSTRATED

ILLUSTRATED ON PAGE 54

R 20 000 - R 30 000

56

R 15 000 - R 22 000

ILLUSTRATED ON PAGE 54

R 3 600 - R 5 600

DECORATIVE ARTS

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314 EDOUARD DROUOT (1859 – 1945): LUTTE POUR LA VIE (FIGHT FOR LIFE) PATINATED BRONZE SCULPTURE

depicting a man wrestling a tiger, signed Drouot with foundry mark Syndicat des Fabricants de Bronzes, UNIS, FRANCE 64cm high ILLUSTRATED

R 20 000 - R 30 000

314

NO LOTS 315 - 330

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SILVER

341 DETAIL

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SILVER ELECTROPLATE 331

336

340

A 19TH CENTURY GERMAN ELECTROPLATE

A PAIR OF GEORGE IV SCOTTISH SILVER

AN EDWARDIAN SILVER CASED DRESSING

‘FIDDLE PATTERN’ LADLES, GLASGOW, 1820

TABLE AND MANICURE SET, LEVI & SALAMAN,

the urn-shaped body applied with a ribbon-andflower oval cartouche enclosing an engraved date “1860” and a crowned crest, the rim with a band of flowerhead and scrolling foliate decoration, the sides applied with conforming handles, openwork spigot, on a quatrefoil base with reed-and-ribbon decoration, raised on leaf-capped bracket feet, some areas of wear to plating, 55cm high

the terminal engraved with initial ‘U’, 16cm long, 70g; A Silver Sauceboat, Mappin & Webb, Birmingham, 1936, oval with floriform rim and applied with side loop handle, raised on four leaf-capped pad feet, 120g, 8cm high, And a Cased Set of Twelve French Christofle Plated Teaspoons, Paris, early 20th Century, plain with reeded terminal, in original fitted case (15)

BIRMINGHAM, 1902

R 3 000 - R 4 000

R 3 500 - R 4 500

ENGLISH SILVER

337

SAMOVAR, CIRCA 1860

332 A GEORGE II SILVER STUFFING SPOON, SAMUEL HITCHCOCK, LONDON, 1729

rat tail bowl, back of terminal engraved with initials “BB”, 169g, 34,5cm long Property of Estate Late Mrs Liselotte Hardebeck

R 10 000 - R 15 000 333 A GEORGE III SILVER ‘OLD ENGLISH’ PATTERN SAUCE LADLE, MAKER’S MARK INDISTINCT, LONDON, 1771

36g, 16,5m long Property of Estate Late Mrs Liselotte Hardebeck

R 1 800 - R 2 400 334 AN ASSEMBLED SET OF ‘OLD ENGLISH’ PATTERN SILVER CUTLERY, VARIOUS MAKERS AND DATES, MOSTLY GEORGE III TO EARLY VICTORIAN, 1777-1839

comprising: 12 soup spoons, 12 dinner forks, 12 dessert spoons, 12 dessert forks, 12 teaspoons, 2593g, And A Set of later Matching 12 Dinner Knives and 12 Dessert Knives, Sheffield, 1967, in a later fitted wooden case (Comprehensive list of makers and dates available upon condition report request) (84)

R 25 000 - R 35 000 335 A GEORGE III SEVEN-BAR SILVER TOAST RACK, REBECCA EMES & EDWARD BARNARD, LONDON, 1815

the rectangular frame with gadroon border and a leaf-chased central carrying handle engraved with a boar crest and initial “S”, raised on four shell-and-leaf bracket feet, soldering repairs to base, 253g, 15,5cm long

R 3 500 - R 4 500

A SET OF SIX CASED VICTORIAN SILVER APOSTLE SPOONS, HENRY JOHN LIAS & JAMES

comprising: two globular cut-glass bottles, two cylindrical cut-glass bottles, a nail buffer, nail beautifier, nail file and button hook, chased with scrolling foliage enclosing a cartouche engraved with initials, tallest bottle 7,5cm high (8)

R 1 200 - R 1 500 341 AN EDWARDIAN SILVER ‘KING’S PATTERN’ FISH KNIFE AND FORK SET, WILLIAM HUTTON & SONS LTD, LONDON, 1904

gilded bowls, 389g (6)

comprising: 12 fish knives and 12 fish forks, the knife blades engraved with flowerhead and scrolling foliate decoration, 1002g (24)

R 1 500 - R 2 000

ILLUSTRATED ON OPPOSITE PAGE

WAKELY, LONDON, 1880

338 A VICTORIAN SILVER ‘ZODIAC PATTERN’ BACHELOR’S TEA SERVICE, JOSEPH SAVORY, ALBERT SAVORY, HORACE SAVORY & ETHELBERT SAVORY, LONDON, 1883

comprising: teapot, hot water pot, milk jug and sugar basin, of circular form, the body engraved with a band of zodiac signs enclosed by bands of scrolling foliage, the hinged covers with conforming decoration, base stamped ‘GOLDSMITHS ALLIANCE, LIMITED, CORNHILL, LONDON’, copper rivet repairs to handle of teapot, cased, 911g, coffee pot 14cm high, And a Pair of Victorian Silver-gilt Teaspoons and Sugar Nips, Francis Higgins, London, 1881, of ‘Old English’ Pattern, chased with scrolling foliate decoration, 62g (7)

R 12 000 - R 15 000

R 6 000 - R 8 000 342 A MISCELLANEOUS GROUP OF SILVER ITEMS, VARIOUS MAKERS AND DATES

comprising: two pairs of salt cellars, two napkin rings, two pairs of salt spoons, a dessert spoon and a pair of preserve spoons, 328g excluding blue glass liners (13)

R 2 000 - R 3 000

FOREIGN SILVER 343 A SET OF GERMAN SILVER CUTLERY, HOSSAUER, BERLIN, .750 STANDARD, MID 19TH CENTURY

SPOON AND BASTING SPOON, ELKINGTON &

comprising: 12 soup spoons, 12 dinner knives and 12 dinner forks, reeded with foliate terminal and engraved “P”, stamped “12 Loth”, 1863g excluding knives (36)

CO. LTD, BIRMINGHAM, 1895

R 10 000 - R 15 000

terminal engraved with a dragon crest, 554g (2)

344

339 A LATE VICTORIAN SILVER ‘RICH BEAD’ SOUP

R 5 000 - R 7 000

AN INDIAN SILVER CARD CASE, APPARENTLY UNMARKED, 19TH CENTURY

rectangular, the front and reverse stamped with hunting scenes within flower and scrolled foliate borders, 155g, 10cm long

R 2 000 - R 3 000

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SILVER

345

346

348

A SET OF GERMAN SILVER ‘KING’S PATTERN’

A GERMAN SILVER THREE-PIECE SILVER TEA

A CONTINENTAL SILVER TEAPOT, MARKS

CUTLERY, MAKER’S MARK “RANGE”, LATE

SERVICE, RANGE CASSELL .800 STANDARD,

RUBBED AND INDISTINCT, LATE 19TH CENTURY

19TH CENTURY

LATE 19TH CENTURY

comprising: 15 soup spoons, 18 fish forks, 18 fish knives, 24 dinner forks, 24 dinner knives, 15 dessert spoons, 15 dessert forks, 15 dessert knives, 12 pastry forks, 18 fruit knives, 15 teaspoons, 21 mocha spoons, 24 ice cream spoons, a carving knife and fork, a pastry slice, 2 pairs of salad servers, a pair of ice cream servers, a pair of serving spoons, a pair of cake slices, 2 pairs of fish servers, a soup ladle, an asparagus server, 4 pickle forks, a pair of sauce ladles, a butter knife, a pate knife, a pair of sugar tongs, 10 mustard spoons, silver gilt bowls to most serving pieces, ice cream spoons, fruit knives and mocha spoons, terminal engraved with a crowned crest, pieces stamped ‘RANGE’ except for knives, 11575 g excluding steel blade knives, And A Set of Four German Silver Salt Spoons, late 19th Century, similar with gilt bowls, engraved with initials ‘AK’ and a crown crest, 18g Property of Estate Late Mrs Liselotte Hardebeck (281)

cylindrical, the lower half of lobed form below a band of anthemion decoration, leaf-capped handle and lobed cover, the sugar bowl and cover with gilt interior, based stamped “RANGE CASSELL”, 973g all inclusive Property of Estate Late Mrs Liselotte Hardebeck (3)

the oval form with half-lobed body and a band of acanthus-leaf decoration below a dentil rim, the side applied with a wooden leaf-capped handle and swan-neck spout, conforming lobed cover, raised on an oval lobed spreading footrim, repair to base, 491g all inclusive Property of Estate Late Mrs Liselotte Hardebeck

ILLUSTRATED

R 80 000 - R 100 000

R 6 000 - R 8 000

R 3 000 - R 4 000 349

347

A GERMAN SILVER PLATTER, OTTO SCHNEIDER,

A GERMAN SILVER TEA STRAINER, STUTTGART,

BERLIN, .800 STANDARD, CIRCA 1900

19TH CENTURY

shaped circular with scalloped reeded rim, the side engraved with an armorial, 928g, 36,5cm diameter Property of Estate Late Mrs Liselotte Hardebeck

the pierced oval bowl with foliate terminal, 56g; Another, .800 standard, Martin Mayer, Mainz, the circular star-pierced bowl with foliate rim engraved with initials “ME” below a crown, 50g; A German SIlver Mounted Cut-glass Trinket Box, .835 standard, the circular, faceted body cut with a star base, with plain silver cover, 7,5cm high; A Swedish Silver Jewellery Box, C.G. Hallbergs, Stockhholm, 1935, .830 standard, rounded rectangular, the hinged cover engraved with a crest, “DEINE PATIN”, “Ida Mary”, “5 APRIL 1936”, green velvet-lined, 13cm wide, And A Pair of German Silver Serving Spoons, Muller, Frankfurt, 18th Century, the terminal engraved with a crest, 163g Property of Estate Late Mrs Liselotte Hardebeck (6)

R 5 500 - R 6 500

R 3 000 - R 4 000

345

60

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SILVER 350

353

356

A GERMAN SILVER PLATTER, OTTO SCHNEIDER,

A GERMAN SILVER FRUIT BOWL, J. WAGNER &

A DUTCH SILVER CIGAR BRAZIER, 1901,

BERLIN, CIRCA 1900

SOHN, BERLIN, .800 STANDARD, CIRCA 1900

WITH 18TH CENTURY PSEUDO MARKS FOR

oval, with scalloped reeded border, the side engraved with an armorial, 1451g, 55,5cm wide Property of Estate Late Mrs Liselotte Hardebeck

shaped oval, the rim and body moulded with scrolls and flowerheads, the sides applied with conforming handles, raised on four scroll and pierced latticework feet, gilt interior, 990g, 33cm wide over handles Property of Estate Late Mrs Liselotte Hardebeck

AMSTERDAM

R 12 000 - R 15 000 351 A GERMAN SILVER PLATTER, .830 STANDARD, CIRCA 1900

shaped oval with reeded rim, 2300g, 60cm wide Property of Estate Late Mrs Liselotte Hardebeck

R 12 000 - R 15 000 352 A GERMAN SILVER DISH, OTTO SCHNEIDER, BERLIN, .800 STANDARD, CIRCA 1900

shaped circular with flared, reeded rim, the side applied with an armorial, 289g, 4,5cm high, 8,5cm diameter; A Pair of German Silver Nut Dishes, early 20th Century, .800 standard, shaped circular with reeded rim, one with engraved name and date on the base, 233g, 15cm diameter, And A German SIlver Christening Cup, .800 standard, cylindrical with rolled rim, the side engraved with a putti, butterfly and scroll cartouche, enclosing the name “Hans”, gilt interior, 41g Property of Estate Late Mrs Liselotte Hardebeck (4)

R 3 000 - R 4 000

R 5 500 - R 6 500 354

circular, the beaded and pierced rim applied with four lion-masks, the sides applied with two bovine and ring masks, raised on four mask-andpaw feet, wooden turned side handle, 7cm high, 21cm wide over handle Property of Estate Late Mrs Liselotte Hardebeck

R 2 500 - R 3 500

A GERMAN SILVER SAUCEBOAT ON STAND,

357

OTTO SCHNEIDER, BERLIN, .800 STANDARD,

A SET OF GERMAN SILVER CUTLERY,

CIRCA 1900

AUERHAHN, .800 STANDARD, POST 1951

oval with reeded border and leaf-capped scroll handle, the side engraved with an armorial, mounted on a shaped oval stand, gilt interior, 585g, 14cm high, 25cm wide over stand Property of Estate Late Mrs Liselotte Hardebeck

comprising: 6 soup spoons, 6 dinner knives, 6 dinner forks, 6 dessert knives, 6 dessert spoons, 6 dessert forks and 6 teaspoons, the terminals decorated with foliate and shell decoration, in a later fitted box canteen, 1639g excluding knives (42)

R 4 500 - R 5 500 355 A GERMAN SILVER TWO-HANDLED SAUCEBOAT

R 12 000 - R 16 000 NO LOTS 358 - 360

ON STAND, .800 STANDARD, CIRCA 1900

shaped oval with reeded rim, the side applied with two leaf-capped loop handles, mounted on a conforming oval stand engraved with an armorial, 605g, 12cm high, 25cm wide over stand Property of Estate Late Mrs Liselotte Hardebeck

R 4 500 - R 5 500

345

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PAINTINGS PAINTINGS 361 Sydney Harpley (BRITISH 1927 - 1992)

FEMALE FIGURE bronze height: 13cm

R 10 000 - R 15 000 362 David Goldblatt (SOUTH AFRICAN 1930 - )

THE SPORTSFIELD AT HONDEKLIPBAAI digital print on archival paper, signed, dated 14/9/03 and numbered 39/60 in pencil in the margin sheet size: 42,5 by 53cm, unframed

R 10 000 - R 15 000

366

363 Gordon Frank Vorster (SOUTH AFRICAN 1924 - 1988)

ZEBRAS AND GEMSBOK signed watercolour on paper 78 by 96cm

R 8 000 - R 12 000 364 Ernest Ullmann (SOUTH AFRICAN 1900 - 1975)

TWO GRECIAN FIGURES signed watercolour on paper 42 by 38cm

R 3 000 - R 5 000 365 Ernest Ullmann (SOUTH AFRICAN 1900 - 1975)

GREEK FIGURES oil on board 45 by 30cm 368

R 10 000 - R 15 000 366 Errol Stephen Boyley (SOUTH AFRICAN 1918 - 2007)

FLORAL STILL LIFE signed oil on paper laid down on board 68 by 46,5cm ILLUSTRATED

R 15 000 - R 20 000

62

369

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PAINTINGS

373

375

367 Marie Vermeulen Breedt (SOUTH AFRICAN 1954 - )

371 Carl Adolph Büchner (SOUTH AFRICAN 1921 - 2003)

375 Pieter van der Westhuizen (SOUTH AFRICAN 1931 - 2008)

KITCHEN INTERIOR

ABSTRACT LANDSCAPE

YELLOW FIELD AND ROW OF TREES

signed and dated 1998 watercolour and ink on paper 53 by 77cm

signed oil on board 40,5 by 58cm

signed and dated ‘95 pastel on paper 37,5 by 39,5cm

R 8 000 - R 12 000

R 20 000 - R 30 000

ILLUSTRATED

368 Marie Vermeulen Breedt (SOUTH AFRICAN 1954 - )

372 Christopher Tugwell (SOUTH AFRICAN 1938 - )

MIRROR

LANDSCAPE WITH CATTLE GRAZING

signed oil on canvas 90 by 60cm

signed oil on board 49,5 by 75cm

ILLUSTRATED ON OPPOSITE PAGE

R 12 000 - R 18 000

R 30 000 - R 40 000 369 Hendrik Christiaan Niemann (SOUTH AFRICAN 1941 - )

WOMAN READING signed and dated 16 oil on board 59,5 by 68,5cm ILLUSTRATED ON OPPOSITE PAGE

R 18 000 - R 24 000 370 Carl Adolph Büchner (SOUTH AFRICAN 1921 - 2003)

373 Francois Koch (SOUTH AFRICAN 1944 - )

376 Simon Rhys Jones (SOUTH AFRICAN 1951 - )

WOMAN WITH FLOWERS signed and dated ‘88 acrylic on board 102 by 76cm ILLUSTRATED

R 15 000 - R 20 000

BUSHVELD SCENE WITH ROLLING CLOUDS signed and dated 70 oil on canvas laid down on board 59 by 98,5cm ILLUSTRATED

R 20 000 - R 30 000 374 Leon Paul de Bliquy (SOUTH AFRICAN 1943 - )

DUNE, SARDINIA BAY

signed oil on board 35,5 by 21cm

a label from Everard Read Gallery affixed to the reverse bears the artist’s name and the artwork title oil on canvas 90 by 136cm

R 20 000 - R 30 000

PROVENANCE

HARLEQUIN

R 15 000 - R 20 000

Everard Read Gallery

R 8 000 - R 12 000

376

63

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383 Walter Whall Battiss (SOUTH AFRICAN 1906 - 1982)

389 Cecil Edwin Frans Skotnes (SOUTH AFRICAN 1926 - 2009)

MARIONETTE WITH WINDS AND TIDES

FOOK ISLAND I (HELIOS)

ABSTRACT FIGURES II

signed and inscribed with the title in pencil pencil and ink on paper 70 by 99cm

screenprint, signed and numbered 5/50 in pencil sheet size: 20,5 by 17cm

lithograph, signed in the plate, signed and numbered 79/100 in pencil sheet size: 44,5 by 57cm

R 10 000 - R 15 000

Siebrits, W., Walter Battiss: I Invented Myself, The Ampersand Foundation, 2016, Johannesburg, p. 156

378 Peter Clarke (SOUTH AFRICAN 1929 - 2014)

R 7 000 - R 10 000

LADY WITH THE BLUES linocut, signed, inscribed with the title, A/P, and “To Paul Sibisi with best wishes from Peter Clarke, Jan 1989” in pencil in the margin sheet size: 21 by 15cm

R 7 000 - R 10 000 379 Peter Clarke (SOUTH AFRICAN 1929 - 2014)

THEY’VE ALWAYS GOT SOMETHING TO TALK ABOUT linocut, signed, inscribed with the title, A/P, and “To Paul Sibisi with best wishes from Peter Clarke, Jan 1989” in pencil in the margin sheet size: 21 by 15cm

R 7 000 - R 10 000 380 Walter Whall Battiss (SOUTH AFRICAN 1906 - 1982)

BIRD FLIGHT AND MR ICARUS, I PRESUME screenprint, each signed and numbered 10/125 in pencil in the margin sheet size: 30 by 42cm, unframed

R 8 000 - R 12 000 381 Walter Whall Battiss (SOUTH AFRICAN 1906 - 1982)

DANCING FOOK NATIVE etching, signed, indistinctly dated and inscribed with the title in pencil in the margin, bears a customs stamp on reverse sheet size: 31,5 by 24,5cm, unframed

R 7 000 - R 10 000 382 Walter Whall Battiss (SOUTH AFRICAN 1906 - 1982)

FOOK BOOK I (STICKS AND STONES)

LITERATURE

384 Norman Clive Catherine (SOUTH AFRICAN 1949 - )

FOOK BIRD photolithograph, signed and numbered 41/100 in pencil in the margin sheet size: 48,5 by 70cm, unframed

R 5 000 - R 8 000 385 Norman Clive Catherine (SOUTH AFRICAN 1949 - )

LUMINOUS FOOK TERRIER photolithograph, signed and numbered 41/100 in pencil in the margin sheet size: 48,5 by 70cm, unframed

R 5 000 - R 8 000 386 Lucky Madlo Sibiya (SOUTH AFRICAN 1942 - 1999)

ABSTRACT FIGURE woodcut, signed, dated 73 and numbered 27/95 in pencil in the margin sheet size: 51,5 by 67cm

R 6 000 - R 9 000 387 Bettie Cilliers-Barnard (SOUTH AFRICAN 1914 - 2010)

PARIS, 1981 lithograph laid down on board, signed, dated 1981, numbered 33/50 and inscribed ‘Paris 1981’ in pencil in the margin sheet size: 63 by 47cm

R 5 000 - R 8 000 388 Cecil Edwin Frans Skotnes (SOUTH AFRICAN 1926 - 2009)

ABSTRACT FIGURES I

screenprint, signed and numbed 5/50 in pencil sheet size: 20,5 by 17cm

lithograph, signed in the plate, signed and numbered 78/100 in pencil sheet size: 57 by 44,5cm

LITERATURE

R 4 000 - R 7 000

Siebrits, W., Walter Battiss: I Invented Myself, The Ampersand Foundation, 2016, Johannesburg, p. 156

64

PAINTINGS

R 7 000 - R 10 000

R 4 000 - R 7 000 390 Vusi Khumalo (SOUTH AFRICAN 1951 - )

HOMESTEAD IN NCARA collagraph with chine colle, signed, inscribed with the title and B.A.T in pencil in the margin, impressed with the Tim Foulds and Fine Line Press chopmark sheet size: 32 by 100cm, unframed

R 8 000 - R 12 000 391 Vusi Khumalo (SOUTH AFRICAN 1951 - ) SISONKE

collagraph, signed and inscirbed with the title and B.A.T in pencil in the margin. stamped with the TF and Fine Line chopmarks. sheet size: 100 by 70cm, unframed

R 8 000 - R 12 000 392 Senzeni Marasela (SOUTH AFRICAN 1977 - )

THE WAITING linocut, signed, dated ‘05, numbered 1/1 and inscribed with the title and B.A.T. in pencil in the margin, impressed with the Tim Foulds and Artist Press Studio chopmarks sheet size: 100 by 70cm, unframed

R 5 000 - R 8 000 393 Senzeni Marasela (SOUTH AFRICAN 1977 - )

SAARTJIE BAARTMAN SET a set of seven linocuts, each signed, dated ‘05 and numbered WP 1/1, impressed with the Tim Foulds chopmark sheet size each: 21 by 39cm, unframed (7)

R 7 000 - R 10 000 394 Mary Wafer (SOUTH AFRICAN 1975 - )

BEREA ROAD etching and aquatint, signed, dated 2005, inscribed Printer’s Proof I/II in pencil in the margin, impressed with David Krut Print Workshop and Tim Foulds chopmark sheet size: 66 by 84,5cm, unframed

R 7 000 - R 10 000

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PAINTINGS

401

402

403

395 Jabulane Sam Nhlengethwa (SOUTH AFRICAN 1955 - )

398 Jabulane Sam Nhlengethwa (SOUTH AFRICAN 1955 - )

401 Colbert Mashile (SOUTH AFRICAN 1972 - )

AT A SHEBEEN

PAUL CHAMBERS

KA MASA

chine collé digital print, signed, dated ‘14, titled and inscribed P/P II/II and bears the MK and Artist chopmark sheet size: 43 by 43cm

etching, signed, titled, dated ‘10, inscribed A/P 2/5 and impressed with the Sguzu William Humphries Art Gallery chopmark sheet size: 38,5 by 29cm

R 10 000 - R 15 000

R 8 000 - R 12 000

drypoint, spitbite and aquatint, signed, dated 04, inscribed with the title and numbered Printer’s Proof 1/3 in pencil in the margin, impressed with the David Krut Print Workshop and Tim Foulds chopmark sheet size: 66,5 by 54cm, unframed

396 Jabulane Sam Nhlengethwa (SOUTH AFRICAN 1955 - )

399 Jabulane Sam Nhlengethwa (SOUTH AFRICAN 1955 - )

ILLUSTRATED

THE MOURNERS

PERFORMANCE II

chine collé digital print, signed, dated ‘14, titled and inscribed P/P II/II and bears the MK and Artist chopmark sheet size: 43 by 43cm

etching, signed, titled, dated ‘10, inscribed A/P 2/5 and impressed with the Sguzu William Humphries Art Gallery chopmark sheet size: 38,5 by 29cm

402 Colbert Mashile (SOUTH AFRICAN 1972 - )

R 10 000 - R 15 000

R 8 000 - R 12 000

397 Jabulane Sam Nhlengethwa (SOUTH AFRICAN 1955 - )

400 Jabulane Sam Nhlengethwa (SOUTH AFRICAN 1955 - )

DISCUSSIVE

THAT’S IT

R 10 000 - R 15 000

etching, signed, titled, dated ‘10, inscribed A/P 2/5 and impressed with the Sguzu William Humphries Art Gallery chopmark sheet size: 38,5 by 29cm

etching, signed, titled, dated ‘10, inscribed A/P 2/5 and impressed with the Sguzu William Humphries Art Gallery chopmark sheet size: 38,5 by 29cm

403 Colbert Mashile (SOUTH AFRICAN 1972 - )

R 8 000 - R 12 000

R 8 000 - R 12 000

SATANI TSHABA TSELENG

R 10 000 - R 15 000

KGOMO TSE NNE drypoint, spitbite and aquatint, signed, dated 04, inscribed with the title and Printer’s Proof 1/2, impressed with the David Krut Print Workshop and Tim Foulds chopmarks sheet size: 66 by 53,5cm, unframed ILLUSTRATED

drypoint, signed, dated 08, inscribed with the title and ‘Printer’s Proof I/II’ in pencil in the margin and impressed with the David Krut Print Workshop chop mark sheet size: 77 by 55,5cm ILLUSTRATED

R 12 000 - R 18 000 65

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PAINTINGS

404 Carl Adolph Büchner (SOUTH AFRICAN 1921 - 2003)

SHIPYARD monotype, signed and inscribed ‘Monotype’ in pencil in the margin sheet size: 25 by 34cm

R 3 000 - R 5 000 405 Claire Alison Gavronsky (SOUTH AFRICAN 1957 - )

UNTITLED drypoint and aquatint, signed, dated 2005, inscribed Printer’s Proof 1/2, impressed with the David Krut Print Workshop and Tim Foulds chopmarks sheet size: 79 by 107,5cm, unframed

R 5 000 - R 8 000 406 Claire Alison Gavronsky (SOUTH AFRICAN 1957 - )

RUN WITH THE HARE AND HUNT WITH THE HOUNDS softground etching, signed, dated 2011, inscribed with the title and numbered Workshop Proof II/II in pencil in the margin, impressed with the Tim’s Print Studio chopmark sheet size: 46,5 by 61,5cm, unframed

R 5 000 - R 8 000 407 Nigel Mullins (SOUTH AFRICAN 1969 - )

HOPEFUL MONSTER 12

412

monotype, signed, dated 2001 and inscribed with the title and B.A.T in pencil in the margin, impressed with the Tim Foulds and Fine Line Press chopmarks sheet size: 80 by 107,5cm, unframed

409 Kagiso Patrick Mautloa (SOUTH AFRICAN 1973 - )

411 Bronwen Findlay (SOUTH AFRICAN 1953 - )

R 6 000 - R 9 000

VERSION OF GREEN

LUCKY BEANS AND LACE CURTAIN XI

collograph, signed, dated 09 and numbered 1/1, impressed with the Tim’s Print Studio chopmark 50 by 39cm

monotype, signed, dated 2007, numbered 1/1 and inscribed with the title in pencil in the margin, impressed with the Tim Foulds and Artist Proof Studio chopmark sheet size: 78,5 by 106,5cm, unframed

408 Nigel Mullins (SOUTH AFRICAN 1969 - )

HOPEFUL MONSTER 15

R 5 000 - R 8 000

monotype, signed, dated 2001, inscribed with the title and B.A.T in pencil in the margin, impressed with the Tim Foulds and Fine Line Press chopmarks sheet size: 80 by 108cm, unframed

410 Bronwen Findlay (SOUTH AFRICAN 1953 - )

R 6 000 - R 9 000

etching and monotype, signed, dated 2007 and inscribed with the title and B.A.T. in pencil in the margin sheet size: 78,5 by 107,5, unframed

LUCKY BEANS AND LACE CURTAIN I

R 8 000 - R 12 000

R 8 000 - R 12 000 412 Benjamin Chee Chee (CANADIAN 1944 - 1977)

FRIENDS lithograph laid down on board, signed and dated in the plate sheet size: 60 by 47cm, unframed ILLUSTRATED

R 10 000 - R 15 000 66

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PAINTINGS

420

413 Louis Icart (FRENCH 1888 - 1950)

416 Angel Haro (SPANISH 1958 - )

419 Angel Haro (SPANISH 1958 - )

SOUS DES TOIT

THE CONTORTIONIST I

THE CONTORTIONIST IV

etching and aquatint, signed and inscribed ‘Sous des toit’ in pencil in the margin sheet size: 48,5 by 57,5cm

signed with the artist’s initials and dated 14 pencil, ink, coffee and collage on paper 27,5 by 34cm

signed with the artist’s initials and dated 14 pencil, ink, coffee and collage on paper 27,5 by 33cm

R 5 000 - R 8 000

R 7 000 - R 10 000

R 7 000 - R 10 000

414 Kozo Inoue (JAPANESE 1937 - )

FLEUR DU NUIT PORTFOLIO a signed portfolio of nine screenprints published by the artist’s studio, numbered 78/135 on the title page, each print signed and numbered 78/135 in pencil in the margin 39 by 29,5cm

R 5 000 - R 8 000 415 Angel Haro (SPANISH 1958 - )

FELIZ NAVIDAD screenprint, signed and dated 11 in pencil in the margin sheet size: 19 by 28cm

R 5 000 - R 8 000

417 Angel Haro (SPANISH 1958 - )

THE CONTORTIONIST II signed with the artist’s initials and dated 14 pencil, ink, coffee and collage on paper 34,5 by 27cm

420 Gail Catlin (SOUTH AFRICAN 1948 - )

NUDE signed and dated 99 oil on board 110 by 150cm

R 30 000 - R 40 000

R 7 000 - R 10 000 418 Angel Haro (SPANISH 1958 - )

THE CONTORTIONIST III signed with the artist’s initials and dated 14 pencil, ink, coffee and collage on paper 29 by 31cm

R 7 000 - R 10 000

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FURNITURE | DECORATIVE ARTS | SILVER JEWELLERY | PAINTINGS TUESDAY | 25 JULY 2017 | 19H00 | LOTS 421 - 560

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FURNITURE

421

421 A PARQUETRY AND MOTHER-OF-PEARL AND EBONY INLAID COFFEE TABLE, EARLY 20TH

Jules Leleu (1883 –1961) was a French furniture designer born in Bologne-Sur-Mer, France. Leleu studied decorative painting and at the age of 26 succeeded his father in the family painting business.

CENTURY, BY JULES LELEU (1883-1961)

the rectangular top decorated with diamond parquetry and inlaid in Mother-of-Pearl with floral sprays, on faceted tapering legs, terminating in brass 46cm high, 86cm wide, 45cm deep PROVENANCE Purchased from Artemis Decorative Arts Ltd, Kensington Church Street, London

R 100 000 - R 120 000

70

After World War I, Leleu specialised in furniture making. He opened a Paris gallery, Maison Leleu in 1924 and exhibited at the 1925 Exposition Industrielle et Arts Decoratifs, winning a grand prize at the exposition. He designed the Grand Salon of the Ambassadors at the Society of Nations in Geneva and the French Embassies of several nations as well as the ocean liners SS Ile de France and SS Normandie.

Leleu’s chairs, tables and cabinets emphasized simple shapes, exotic wood, marquetry and inlaid ivory with other embellishments. Leleu adored tradition and was an ultimate craftsman who became famous for tempering Modernism with classical lines. He is considered one of the fathers of French Art Deco design.

FURNITURE

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421

CERTIFICATE OF AUTHENTICITY

71

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DECORATIVE ARTS

422

423

422

423

A GOLDSCHEIDER WIEN POLYCHROME ‘LADY WITH SHAWL’

A GOLDSCHEIDER WIEN POLYCHROME ‘EGYPTIAN DANCER’

BY JOSEF LORENZL, CIRCA 1930

BY JOSEF LORENZL, CIRCA 1930

the figure draped in a tasselled shawl, painted with pink and yellow flowers against a black ground, on a domed base, printed makers mark and incised number 5822 577 11 44,5cm high

or ‘Odalisque’, printed makers mark and incised number 5281 675 10 46,5cm high

ILLUSTRATED

R 40 000 - R 50 000

PROVENANCE Artemis Decorative Arts, Church Street Kensington, London

ILLUSTRATED

R 60 000 - R 70 000

The Goldscheider Manufactory was a major participant in the Historicism and Art Nouveau movements. However it was their contribution to the Art Deco movement that truly shaped the identity of the company. Renowned ceramists and sculptors such as Josef Lorenzl, Ida Meisinger and Demètre Chiparus were invaluable contributors to the company, whose innovation in design elevated the company to international success.

The Goldscheider Porcelain Manufactory and Majolica Factory were founded by Friedrich Goldscheider in Vienna in 1885. Within a short period of time Goldscheider earned wide international acclaim and established itself as a leading ceramic company, winning notable awards at numerous world fairs, exhibitions and trade shows.

With international branches opening in Paris, Leipzig, Berlin and Florence, Friedrich’s sons Walter and Marcell were able to further expand the business in the 1920s and 30s, producing a staggering volume of over 10,000 models.

Only the rise of Hitler and Fascism could have halted the unique artistic and business achievements of the Viennese family, and so the family fled Austria seeking refuge in England and the U.S. The progressive ceramic maker Walter Bosse, attempted to save the firm and run it under his name, however the Nazi regime appointed its protégé Josef Schuster from Munich who lead the company into a decline. After 25 years of stagnation, Friedrich’s grandson, Peter Goldscheider manufactured a limited amount of figurines, offering collectors a final opportunity to purchase items under the Goldscheider name.

72

DECORATIVE ARTS

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424

424 A DAUM GLASS CASTING ‘LE CHEVAL’ THE HORSE DESIGNED

BY GUY PETIFILS, CIRCA 1970

of circular asymmetrical form, the horse moulded in high relief, of amethyst colour, moulded signature DAUM, edition 30/150 FRANCE 43cm wide ILLUSTRATED

R 50 000 - R 70 000

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DECORATIVE ARTS

425 THEODORE RIVIERE (1857 – 1912): CARTHAGE, PATINATED GILT BRONZE SCULPTURE

depicting Mathô, the chief of the Barbarian soldiers, dying at the feet of Salammbô, signed THEODORE RIVIERE, CARTHAGE, inscribed Susse Fres Edtr with stamp Susse Freres Editeurs Paris 41cm high ILLUSTRATED

R 70 000 - R 100 000 Théodore Rivière was one of the leading Orientalist sculptors. He not only drew on literary texts but travelled extensively in North Africa, the Far East and South America.

The subject of this work was taken from Gustave Flaubert’s novel, Salammbô, published in 1862. The story takes place between 241–238 BC, during the revolt of Carthage. The Libyan chief Mâthô, fell in love with the priestess Salammbô, the daughter of his Carthaginian enemy Hamilcar Barca.

Rivière has chosen the moment when, mortally wounded by the people, Mâthô dies at the feet of Salammbô claiming “I love you! I love you!”

The figure of Salammbô, the femme fatale swathed in jewels, inspired many other Symbolist artists.

The statuette created a sensation at the Salon of 1895. A bronze and ivory version is housed in the Musée d’Orsay, Paris.

425

74

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DECORATIVE ARTS

426 CLEMENT LEOPOLD STEINER (1853 – 1899): GUERRIER ARABE (ARAB WARRIOR) PATINATED BRONZE SCULPTURE

depicting a young moor holding his sword, dressed in traditional garb, atop a circular stylised foliated chased base, signed ‘’Steiner’’ to base 72cm high ILLUSTRATED

R 40 000 - R 60 000

426

75

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DECORATIVE ARTS

427 BRUNO ZACH (1891 – 1945): A GOLD PATINATED BRONZE FIGURE ‘THE RIDING CROP’

the scantily clad female, holding a riding crop behind her back, mounted on a stepped circular marble column, signed Zach 33,5cm high PROVENANCE Artemis Decorative Arts, Church Street Kensington London c. Bryan Catley p.305

ILLUSTRATED

R 120 000 - R 150 000 In a time of rapid change, Art Nouveau flourished, benefiting from the emergence of new media such as film and photography which promoted alternative ways of seeing the world. The moral landscape of Europe and America had begun to shift, and artists and designers used the erotic to broaden the boundaries of established convention and taste.

The risqué, and often explicit content is one of the most striking features of the style. Seen in small-scale sculptural and functional decorative arts objects such as ink-wells, carafes, centerpieces, candelabras, lamps and figurines, where designers manipulated and objectified the female form, creating frivolous and alluring symbolic narratives.

These items captured the attention of not only the aristocratic collectors, but also the working class, offering a means of bringing modernity into their homes.

Designers not only aimed to sell the promise of sexual fulfillment to a male audience, but significantly, they were selling the idea of a sophisticated and glamorous identity to women who had emerged as the dominant consumers of culture.

Although the exploration of sexuality had deliberately been pushed to the periphery of art and design debates, it could not be entirely eradicated.

The resurgence of the erotic within the realms of surrealism, and further movements, demonstrated the power of the erotic to explore the relation between body and mind, high and low culture and the enduring fascination with the human form.

427

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DECORATIVE ARTS

431

428

429

430

428

430

‘’BUTTERFLIES AND ROSES’’: A PAIRPOINT PUFFY BOUDOIR LAMP,

‘LONGCHAMPS’: A LALIQUE FROSTED GLASS CAR MASCOT, CIRCA 1929

EARLY 20TH CENTURY

modelled as the head of a stallion with single mane, mounted with a plated collar on a rectangular black glass base, moulded signature ‘R. LALIQUE’ ‘FRANCE’, chips to glass base 15cm high including base

the moulded domed frosted art glass with reverse-painted roses and butterflies, raised atop a patinated metal baluster-form stem over a circular foot, on four foliate-moulded paw feet, impressed mark to lamp base PAIRPOINT 3047/ 1/2/ 81/2 , wear to silver-plated finish, soldering repair to light socket 40,5cm high PROVENANCE Christies South Kensington, 10 December 1999, Lot 181

ILLUSTRATED

LITERATURE c. Felix Marcilhac page. 385 PROVENANCE Raoul Arantes, Camden Passage, London

ILLUSTRATED

R 70 000 - R 90 000

R 100 000 - R 120 000

GLASS

431 ‘INSEPERABLES’: A LALIQUE CLEAR AND OPALESCENT TABLE CLOCK,

429

CIRCA 1926

‘PIRIAC’: A LALIQUE FROSTED AND OPALESCENT GLASS UPLIGHTER,

moulded with two birds on either side of the round face, perched on flowering foliage, moulded R. Lalique 11cm wide

CIRCA 1930

of wide trumpet form with a band of stylised water under a high relief band of blue-stained fish, on a circular stepped bronze base, fitted for electricity, etched signature R. LALIQUE FRANCE 23cm high including base LITERATURE

LITERATURE c. Felix Marcilhac Page: 377 Model 765 – 3 September 1926 PROVENANCE

c. Felix Marcilhac page. 447

Christies South Kensington 24 November 1997, Lot 41a

PROVENANCE

ILLUSTRATED

Burr and Muir, Cape Town

R 50 000 - R 60 000

ILLUSTRATED

R 30 000 - R 40 000

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SILVER

432

432 AN ART NOUVEAU WMF (WURTTEMBERGISCHE METALLWARENFABRIK) MASSIVE ELECTROPLATE CHAMPAGNE COOLER, CIRCA 1900, PROBABLY PRIVATELY COMMISSIONED

of hollow form, the circular base moulded with a broad band of dancing putti amongst garlands and swags, rising up into a tapering cylindrical column mounted with bacchanalian figures of a male on one side and a female on the other, each holding aloft large bunch of grapes with vine leaves, the column with curvilinear motifs, a detachable fitted liner, signature under each figures feet 68cm high ILLUSTRATED

R 120 000 - R 150 000 Wurttembergische Metallwarenfabrik (WMF) initially began as a metal repair workshop operating under the name Metallwarenfabrik Straub & Schweizer in 1853, located in Geislingen, Germany. This workshop contributed to the construction of the Geislingen railway and won an award at the World Exhibition in London in 1862. In 1880 the company was officially renamed Wurttembergische Metallwarenfabrik after merging with a German company called Ritter & Co. By 1890 they had became the largest manufacturer of household metalware worldwide, subsequently patenting the silver plating technique we know today.

In 1925 the company appealed to a new market, largely due to the Art Nouveau influence, establishing a viable market in contemporary art and design. The demand for elaborate and intricate designs prompted the development of handfinishing techniques, as opposed to factory production, giving each piece a unique appearance.

432 DETAIL

WMF preferred to create its own designs under the direction of sculptor and designer Albert Mayer. From 1894 Mayer specialised in designs which depicted organic forms and sinuous shapes including beautiful maidens and nymphs with flowing hair and graceful postures.

78

SILVER

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433

SILVER 433 A GEORGE II SILVER BREAD BASKET, JOHN HUGH LE SAGE, LONDON, 1748

oval, the rim moulded and chased with masks, flowerheads, shells and scrolling foliage, the sides pierced with foliate and geometric decoration and the swing handle applied with dragon masks, raised on four mask and foliate scroll feet, marked under base 2282g

The silversmith John Hugh Le Sage, like Paul de Lamerie, was a second-generation Huguenot supplier of plate and was apprenticed to Louis Cuney. In addition, he held the position of Subordinate Goldsmith to King George II. He is known for the quality of his work and a number of rare silver toys have been attributed to him, many of which are housed in museums today, including the Henry Ford Museum and the Victoria & Albert Museum, London.

Pierced silver bread baskets such as the example on offer, tended to be in the larger range of baskets and were made in England from the late 16th Century. These baskets became popular during the Georgian period and continued to flourish in the Victorian and Edwardian era, as they made excellent decorative centrepieces and were a way of displaying wealth and taste.

ILLUSTRATED

R 90 000 - R 120 000

434 A GEORGE III SILVER SIX-EGG CUP AND SPOON CRUET, REBECCA EMES AND EDWARD BARNARD I, LONDON, 1818

the rectangular open-work frame with shell-and-gadroon rim, the centre surmounted by a salt cellar with swing handle, the six detachable egg cups with conforming decoration, raised on four mask-capped lion-paw feet, salt and egg cups with gilt interior, salt engraved with a stag crest above a latin inscription “UT AMERIS AMA”, two egg cups dated 1820, frame slightly bent, 999g, And Six later Victorian Silver “Fiddle Pattern” Teaspoons, Charles Boyton, London, 1867, 107g (13) ILLUSTRATED

R 15 000 - R 20 000

434

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SILVER

435

435 AN EARLY VICTORIAN SILVER TWO-HANDLED SOUP TUREEN, PAUL STORR, LONDON, 1838

lobed oval with shell-and-leaf rim, the sides applied with twisted acanthus-leaf handles, each side engraved with an armorial, the conforming cover engraved with crests and surmounted by a leaf-and-artichoke detachable finial, raised on four acanthus-leaf capped scroll feet, base stamped “STORR & MORTIMER” 4240g PROVENANCE Property of Estate Late Mrs Liselotte Hardebeck

ILLUSTRATED

R 400 000 - R 600 000

80

Paul Storr (1771 – 1844) was one of the finest 19th century silversmiths and this can clearly be seen in the overall quality of his pieces. Storr’s works range from simple tableware to magnificent sculptural pieces made for royalty. His reputation rests on his mastery of the grandiose neo-Classical style developed in the Regency period. His early pieces up to about 1800 show restrained taste, although by 1797 he had produced the remarkable gold font for the Duke of Portland. In 1796 Paul Storr installed his business in St. James, Piccadilly, where he remained for eleven years, but the height of his career was his partnership with the retailer Rundell, Bridge & Rundell between 1807 and 1819. It was here that he made a name for himself as one of London’s leading manufacturing silversmiths. Here, he received orders from the great noble houses of England for cups, vases, kettles, wine coolers, dishes and plates.

SILVER

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435 DETAIL

81

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SILVER

436

436 AN AUSTRO-HUNGARIAN SILVER SEAFOOD FIGURAL CENTREPIECE, .800 STANDARD, 19TH CENTURY

of shaped rectangular form, the base engraved with a band of shell-and-scale decoration, the central circular stem mounted on each side with a realistically modelled shell and a seated cherub holding a leaf, surmounted by a figure of a long-haired woman standing atop a shell, scantily clad in robes and flowers, holding aloft a posy of flowers in one hand and a dish with a bird in the other, raised on four bracket feet, each surmounted by a putti enclosed by wave-form scrolls, engraved with a name “May Kuhne Drucker” and an inscription “Zur Erinnerung an die mit, May 01, 1896-97 gemachten Versuche” 45cm high, 3100g PROVENANCE From the Estate Late Dr Marie Luttig, Bernardi Auctioneers, Johannesburg, 18th November 1998

ILLUSTRATED

R 60 000 - R 70 000

82

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SILVER

437

438

437 A PAIR OF SILVER FIVE-LIGHT CORINTHIAN COLUMN CANDELABRA, ELKINGTON & CO, BIRMINGHAM, VARIOUS DATES 1906, 1920 & 1921

the square base moulded with swags and urns between gadroon borders, leaf-capped detachable scroll branches and nozzles, loaded 52cm high (2) ILLUSTRATED

R 90 000 - R 120 000

Corinthian Greek column candelabra are based on a classical, architectural style originally popularised in the Stuart era and in particular during the time of King George III. The Corinthian order is the last developed of the three principal classical orders of ancient Greek and Roman architecture. The Corinthian, with its offshoot, the Composite, is the most ornate of the orders and is characterised by the slender, fluted columns and elaborate capitals decorated with acanthus leaves and scrolls.

Candelabra were used for decoration in larger, wealthier homes and specifically on dining tables for formal occasions. The height and grandeur of the candelabra were practical for creating more light than a single candlestick, but they were designed primarily for aesthetic purposes and the desire to create a lavish item of silverware that would double as a centrepiece on a table.

A PORTUGUESE FOUR-PIECE SILVER TEA SET, OPORTO MARKS, 1886 - 1938, .833 STANDARD

comprising: a teapot, coffee pot, sugar basin and milk jug, of tapering ovoid form, the body chased with a central band of chrysanthemums and the rim with a broad band of curvilinear decoration, the lobed upper half applied with angular handles and ivory fillets, conforming hinged covers, milk jug with gilt interior 3211g, coffee pot 26,5cm high (4)

R 25 000 - R 35 000

83

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JEWELLERY SILVER

439

439 AN ART DECO FRENCH SILVER AND MACASSAR WOOD TEA AND COFFEE SET, HENRI LAPPARRA, PARIS, .950 STANDARD, CIRCA 1930

of square form with canted corners, the rims with ribbed decoration and conforming wooden handles, tapering octagonal spout, teapot and coffee pot with hinged covers, silver-gilt interiors, tray apparently unmarked except for maker’s mark - acid tested for silver 4280g all inclusive (5)

Henri Lappara, a much sought after Parisian silversmith, produced high quality work and is particularly renowned for his Art Deco tea services. The Henri Lappara firm was founded in 1893 and specialized in the production of flatware in classic styles, but after 1920 more of these objects became modern and geometrical of form. The firm cooperated with well known and established decorative arts designer, Paul Follot (1877-1841) and took part in various Paris exhibitions, of which the most important was Decor de la Table exhibition at Musée Galliera in 1930, where Henri Lapparra work was shown next to the work of Jean Puiforcat, Henin et Cie, Tetard Freres and Maison Cardeilhac. c. Krekel-Aalberse A., Art Nouveau and Art Deco Silver, New York 1989, p. 66, 69-70, 256. c. Markezana, Y., Les poinçons français d or, d argent, de platine de 1275 à nos jours, Turin 2005, p. 102.

R 70 000 - R 90 000

440 AN ART DECO FRENCH SILVER FOUR-PIECE CHOCOLATE SET, EMILE PUIFORCAT (1897 - 1945), PARIS, EARLY 20TH CENTURY, .950 STANDARD

comprising: 2 chocolate pots, a milk pot and a covered sugar bowl, of tapering cylindrical form with reeded rims, the body, spout and cover with curvilinear decoration, turned wooden side handles 1670g all inclusive, milk pot 14,5cm high PROVENANCE Property of Estate Late Mrs Liselotte Hardebeck

(4) ILLUSTRATED 440

84

R 14 000 - R 16000

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JEWELLERY

HARRY WINSTON 441 A PAIR OF DIAMOND EAR STUDS, HARRY WINSTON

each centred with a round brilliant-cut diamond weighing 0.70cts and 0.72cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 0.42cts in total, impressed with maker’s mark and PT950, butterflies impressed PT950, approximately 8mm in width, accompanied by a Harry Winston box (2) The central diamonds accompanied by a Diamond Report from GIA, the 0.70ct by number. 5146321038 and the 0.72ct by number. 1149415701, stating they are D colour, VVS2 clarity and excellent cut grade.

ILLUSTRATED

R 150 000 - R 200 000

85

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PAINTINGS

445

442 William Mitcheson Timlin (SOUTH AFRICAN 1893 - 1943)

444 Maud Frances Eyston Sumner (SOUTH AFRICAN 1902 - 1985)

445 Various Artists (SOUTH AFRICAN 20TH CENTURY - )

THE SERENADE

POND AND TREES

KAWRAL: GOREE INSTITUTE PORTFOLIO

signed, dated 1917 and inscribed with the title watercolour and ink on paper 26 by 18cm

signed watercolour on paper 35 by 55cm

R 12 000 - R 16 000

R 15 000 - R 20 000

A portfolio of prints by Breyten Breytenbach (South Africa), Melvyn Edwards (United Kingdom) and Souleymane Keita (Senegal), 2000, with title page, introductory poem by Jayne Cortez, edition limited to 60 sets, this set Printer’s Proof I/II, each print signed and numbered by the artists, encased in individual handmade box measuring 67,5 by 51,5 by 3cm, printed by Tim Foulds, Jan Jordaan and Amadou Kan-Si sheet size: 65 by 50cm

443 Henri de Toulouse-Lautrec (FRENCH 1864 - 1901)

DANCERS AND GENTLEMAN etching, signed in pencil and with the artist’s monogram in the plate sheet size: 17 by 24cm

R 15 000 - R 20 000

86

ILLUSTRATED

R 50 000 - R 80 000

PAINTINGS

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446

446 Various Artists (SOUTH AFRICAN 20TH CENTURY - )

WITS HISTORY OF ART PORTFOLIO I A portfolio of prints by Joni Brenner, David Koloane, Dorothee Kreutzfeldt, Serge-Alain Nitegeka and Walter Oltmann, published by Wits History of Art 2013, with title page, this set Printer’s Proof I/II, each print signed and numbered P.P I/II, encased in handmade wooden box measuring 66 by 51 by 4,5cm, printed by Niall Bingham and Talya Lubinsky sheet size: 42,5 by 60cm ILLUSTRATED

R 100 000 - R 150 000

87

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PAINTINGS

447 Adriaan Hendrik Boshoff (SOUTH AFRICAN 1935 - 2007)

452 Marjorie Wallace (SOUTH AFRICAN 1925 - 2005)

457 James Vicary Thackwray (SOUTH AFRICAN 1919 - 1994)

CLEANING THE CATCH

OLD LADY

DISTRICT SIX

signed charcoal on paper 85,5 by 134cm

signed acrylic on paper 60 by 40cm

signed with label affixed to the reverse oil on board 42 by 56cm

R 35 000 - R 50 000

R 8 000 - R 12 000

R 15 000 - R 20 000

448 Adriaan Hendrik Boshoff (SOUTH AFRICAN 1935 - 2007)

453 Christiaan St Patrick Nice (SOUTH AFRICAN 1939 - )

458 George Enslin (SOUTH AFRICAN 1919 - 1972)

THE DRESS SHOP

DONKEY CART

URBAN LANDSCAPE

signed charcoal on paper 96 by 127,5cm

signed oil on canvas board 29,5 by 45cm

signed and dated 1960 oil on board 48 by 65cm

R 35 000 - R 50 000

R 12 000 - R 18 000

R 20 000 - R 30 000

449 Erich (Ernst Karl) Mayer (SOUTH AFRICAN 1876 - 1960)

454 Christiaan St Patrick Nice (SOUTH AFRICAN 1939 - )

GEREFORMDE CHURCH IN RUSTENBERG

DONKEY CART WITH SMALL HOUSES IN THE BACKGROUND

signed and dated 1926-42 oil on board 23 by 30cm

R 20 000 - R 30 000 450 Erich (Ernst Karl) Mayer (SOUTH AFRICAN 1876 - 1960)

WAGON AND TREES signed and dated 1912 (1912) oil on canvas laid down on board 31 by 48cm

R 20 000 - R 30 000 451 Marjorie Wallace (SOUTH AFRICAN 1925 - 2005)

WOMAN WITH TEA CUP signed acrylic on paper 60 by 40cm

R 8 000 - R 12 000

signed oil on board 44,5cm by 59,5cm

R 20 000 - R 30 000

COTTAGES signed and dated 2007 pastel on paper 25,5 by 30,5cm

R 30 000 - R 50 000

455 Christiaan St Patrick Nice (SOUTH AFRICAN 1939 - )

460 Alexander Rose-Innes (SOUTH AFRICAN 1915 - 1996)

STREET SCENE, DISTRICT SIX WITH LION’S HEAD IN THE BACKGROUND

CITY STREET IN BLUES

signed oil on board 44,5 by 59,5cm

R 25 000 - R 35 000 456 Christiaan St Patrick Nice (SOUTH AFRICAN 1939 - )

VERANDA WITH GRAPEVINES signed and dated ‘78 oil on board 50,5 by 34,5cm

R 20 000 - R 30 000

88

459 Conrad Nagel Doman Theys (SOUTH AFRICAN 1940 - )

signed and dated 1961 oil on board 51 by 55cm

R 35 000 - R 45 000 461 Amos Langdown (SOUTH AFRICAN 1930 - 2006)

FISHERMEN ON A BEACH signed oil on canvas laid down on board 44 by 59cm

R 20 000 - R 30 000

PAINTINGS

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462

462 Terence John McCaw (SOUTH AFRICAN 1913 - 1978)

MY HOUSE, ‘PETIT PAVILLON’, HOUT BAY signed, dated 70 and inscribed with the title on the reverse oil on board 70 by 98cm ILLUSTRATED

R 60 000 - R 90 000

89

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463

463 David Botha (SOUTH AFRICAN 1921 - 1995)

FISHERMEN’S HUTS signed and dated 63 oil on canvas 83 by 59,5cm ILLUSTRATED

R 80 000 - R 120 000

90

PAINTINGS

PAINTINGS

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464

464 Walter Whall Battiss (SOUTH AFRICAN 1906 - 1982)

ARID LANDSCAPE signed watercolour on card laid down on board 14 by 24,5cm ILLUSTRATED

R 30 000 - R 40 000

91

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PAINTINGS

465

465 Walter Whall Battiss (SOUTH AFRICAN 1906 - 1982)

466 Walter Whall Battiss (SOUTH AFRICAN 1906 - 1982)

467 Edward Wolfe (SOUTH AFRICAN 1897 - 1982)

LANDSCAPE

FOOK ISLAND FIRST DAY COVER #001, 20.9.75

NAMAQUALAND VISTA

signed watercolour on card laid down on board 15 by 24cm ILLUSTRATED

R 30 000 - R 40 000

signed lithographic envelope with individualised watercolour stamp 4 by 4cm affixed 16,5 by 23cm LITERATURE Similar examples can be seen in Siebrits, W. Walter Battiss: I Invented Myself, The Ampersand Foundation, 2016, Johannesburg, p. 153

R 5 000 - R 8 000

92

signed oil on board 35 by 44cm

R 30 000 - R 50 000

PAINTINGS

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468

468 Walter Oltmann (SOUTH AFRICAN 1960 - ) EX-SITU (CHILD SKULL)

etching, signed and numbered ‘P.P I/I’ in pencil in the margin sheet size: 54 by 70cm

R 20 000 - R 40 000

93

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PAINTINGS

469

469 Diane Victor (SOUTH AFRICAN 1964 - )

470 Deborah Margaret Bell (SOUTH AFRICAN 1957 - )

472 William Joseph Kentridge (SOUTH AFRICAN 1955 - )

AFTER EDEN

MEMORY OF WATER: IRON

MIRROR

aquatint, hardground, softground, signed, titled and inscribed with the title and ‘Printer’s Proof I/ II’ in pencil in the margin and impressed with the David Krut Print Workshop chop mark sheet size: 56 by 70cm

drypoint, spitbite and aquatint, signed, dated ‘06, inscribed with the title and numbered Printer’s Proof 1/2, impressed with the David Krut Print Workshop and Tim Foulds chopmark sheet size: 112 by 77,5cm, unframed

drypoint, burnishing, spitbite aquatint and sugarlift aquatint, signed and inscribed Printer’s Proof III/III in pencil in the margin, impressed with the David Krut Projects chopmark sheet size: 35 by 40cm

ILLUSTRATED

R 35 000 - R 45 000

R 35 000 - R 50 000

R 25 000 - R 45 000

471 Deborah Margaret Bell (SOUTH AFRICAN 1957 - )

ODYSSEY THREE drypoint, spitbite and aquatint, signed, dated 2004, inscribed with the title and numbered Printer’s Proof 1/4, impressed with the Tim Foulds chopmark sheet size: 113 by 78cm, unframed

94

R 35 000 - R 45 000

PAINTINGS

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473

473 William Joseph Kentridge (SOUTH AFRICAN 1955 - )

NOSE V etching, sugarlift, aquatint and drypoint, signed, inscribed Printers Proof II/II in pencil in the margin and impressed with the David Krut Print Workshop chopmark sheet size: 40 by 35cm ILLUSTRATED

R 40 000 - R 60 000 95

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474

474 William Kentridge, Rose Shakinovsky, Claire Gavronsky ( -)

HISTORY OF ART drypoint and aquatint, signed by each artist, inscribed Printer’s Proof 1/1, impressed with the David Krut Print Workshop and Tim Foulds chopmark sheet size: 78,5 by 107cm, unframed ILLUSTRATED

R 40 000 - R 60 000

96

PAINTINGS

PAINTINGS

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475

475 William Kentridge, Rose Shakinovsky, Claire Gavronsky ( -)

LESHEBA drypoint, signed by each artist, inscribed Printer’s Proof 1/2, impressed with the David Krut Print Workshop and Tim Foulds chopmark sheet size: 79 by 107cm, unframed ILLUSTRATED

R 40 000 - R 60 000

97

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PAINTINGS

476

476 Jabulane Sam Nhlengethwa (SOUTH AFRICAN 1955 - )

SCENES FROM JOHANNESBURG, ten chine collé lithographs, each signed and dated 2001 in pencil in the margin, nine prints inscribed A/P, one print inscribed Workshop Proof in pencil in the margin, each impressed with the Artist’s Press chop mark each sheet size: 38 by 44,5cm (10)

R 35 000 - R 50 000

98

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PAINTINGS

477

477 Robert Griffiths Hodgins (SOUTH AFRICAN 1920 - 2010)

478 Norman Clive Catherine (SOUTH AFRICAN 1949 - )

480 Christo Coetzee (SOUTH AFRICAN 1929 - 2000)

THE THIRD HOUR

IDENTIKIT

RAINBOW QUARTZ 1

triptych of etchings, each signed, dated ‘05, stamped with the respective titles: “King of the Jews”, “The good thief”, “The bad thief”, each inscribed Workshop Proof I/II in pencil in the margin sheet sizes each: 75,5 by 48cm, unframed (3)

screenprint, signed, dated 83, numbered 10/40 and inscribed with the title in pencil in the margin sheet size: 55 by 62cm

signed, inscribed with the title and ‘No 8, Tulbagh, Cape, SA’ in pencil oil on paper 52 by 67cm

R 8 000 - R 12 000

R 30 000 - R 45 000

479 Norman Clive Catherine (SOUTH AFRICAN 1949 - )

481 Christo Coetzee (SOUTH AFRICAN 1929 - 2000)

SLEEPWALK

SINGULARITY

lithograph, signed, numbered 12/30 and inscribed with the title in pencil in the margin sheet size: 43,5 by 58cm

signed, inscribed with the title and 80-65 Tulbagh Cape SA oil, perspex and mixed media on paper 32 by 51cm, unframed

ILLUSTRATED

R 80 000 - R 120 000

R 8 000 - R 12 000

R 20 000 - R 30 000

99

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PAINTINGS

483

482 Gordon Frank Vorster (SOUTH AFRICAN 1924 - 1988)

484 Gerard Sekoto (SOUTH AFRICAN 1913 - 1993)

486 Ephraim Mojalefa Ngatane (SOUTH AFRICAN 1938 - 1971)

ZEBRAS

MEN AROUND A FIRE

signed oil on board 45 by 80cm

signed watercolour on paper 20 by 28cm

CONSTRUCTION SHELTER (ORLANDO WEST)

R 18 000 - R 24 000

R 80 000 - R 120 000

483 Pranas Domsaitis (SOUTH AFRICAN 1880 - 1965)

485 Ephraim Mojalefa Ngatane (SOUTH AFRICAN 1938 - 1971)

HOUSES IN A LANDSCAPE

MAN OUTSIDE A SHEBEEN

signed oil on board 43 by 65cm

signed, dated 68 and inscribed 1946 on the reverse watercolour and pencil on card 40 by 50cm, unframed

ILLUSTRATED

R 40 000 - R 60 000

100

R 20 000 - R 30 000

signed and dated 64, inscribed with the title on the reverse watercolour and pastel on paper 53 by 75cm, unframed

R 25 000 - R 40 000

PAINTINGS

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487

487 Ephraim Mojalefa Ngatane (SOUTH AFRICAN 1938 - 1971)

SEATED FIGURE signed oil on board 76 by 60cm ILLUSTRATED

Ephraim Ngatane was born in Maseru, Lesotho in 1938. During the 1950s Ngatane joined the Polly Street Art Centre in Johannesburg where he studied under Cecil Skotnes and Durant Sihlali. According to Bester (2009:6 – 7) there were two primary stylistic directions that artists from the Polly Street usually explored, the one being ‘neo-African’ style and the other ‘township’ style. Ngatane’s work follows a range of approaches that can be identified with the ‘township’ style as Bester describes it; his scenes are often descriptive of township locations, featuring people taking part in everyday activities. Ngatane later went on to teach at the Jubilee Art Centre where his teachings were influential to the development of the careers of Louis Maqhubela and Ben Macala.

Bester, R. 2009. Ephraim Ngatane, a Setting Apart. Published by Blank Books, Johannesburg.

R 120 000 - R 180 000

101

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488 Welcome Mandla Koboka (SOUTH AFRICAN 1941 - 1997)

490 Nicholas Mukomberanwa (ZIMBABWEAN 1940 - 2000)

492 Michael Alan Costello (SOUTH AFRICAN 1948 - )

RURAL VILLAGE SCENE

CARVED HEAD

RECLINING NUDE FIGURE AMONG BIRDS

signed and dated ‘75 oil on board 49,5 by 60cm

stone height: 22cm

signed and dated 78-84 oil on canvas 68,5 by 114,5cm

R 30 000 - R 50 000 489 Michael Gagashe Zondi (SOUTH AFRICAN 1926 - 2008)

HEAD OF A MAN signed with the artist’s initials and dated 72 wood height: 43,5cm

R 6 000 - R 9 000

102

PAINTINGS

R 15 000 - R 20 000 491 Ruhan Janse van Vuuren (SOUTH AFRICAN 1981 - )

EPITAPH, two bronze and cement height: 140cm (excluding base) (2)

R 30 000 - R 50 000

R 10 000 - R 15 000 493 Michael Alan Costello (SOUTH AFRICAN 1948 - )

TROPICAL RIVER WITH FISH AND BIRDS signed and dated 89 oil on canvas 120,5 by 90cm

R 10 000 - R 15 000

PAINTINGS

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494

494 Frans Martin Claerhout (SOUTH AFRICAN 1919 - 2006)

FIGURES AND COWS signed oil on board 76 by 90cm ILLUSTRATED

R 60 000 - R 90 000

103

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495

495 Johannes Petrus Meintjes (SOUTH AFRICAN 1923 - 1980)

GIRLS WITH FLORA signed and dated 1960 oil on board 29,5 by 49,5cm LITERATURE This painting appears as entry no. 702 in Johannes Meintjes Painting Catalogue

ILLUSTRATED

R 40 000 - R 60 000

104

PAINTINGS

PAINTINGS

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496

496 Johannes Petrus Meintjes (SOUTH AFRICAN 1923 - 1980)

GRASS signed and dated 1959 oil on board 33,5 by 29cm LITERATURE This painting appears as entry no. 666 in Johannes Meintjes Painting Catalogue

ILLUSTRATED

R 40 000 - R 60 000

105

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PAINTINGS

497

497 Johannes Petrus Meintjes (SOUTH AFRICAN 1923 - 1980)

498 Michael Francis Pettit (SOUTH AFRICAN 1950 - )

PLANT FORM

INTERIOR IN GREENS

signed and dated 1959 oil on board 44 by 59,5cm

signed on the reverse oil on board 50 by 59,5cm

LITERATURE

PROVENANCE

This painting appears as entry no. 652 in Johannes Meintjes Painting Catalogue

Gifted by the artist in 1985

ILLUSTRATED

R 50 000 - R 70 000

106

R 25 000 - R 35 000

PAINTINGS

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499 Lucky Madlo Sibiya (SOUTH AFRICAN 1942 - 1999)

MOVING TO THE CITY signed carved and incised railway sleeper with red pigment 63,5 by 25,5cm, unframed PROVENANCE Gifted from the artist to the current owner’s father. Thence by descent.

ILLUSTRATED

R 40 000 - R 60 000

499

107

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PAINTINGS

500

500 Maud Frances Eyston Sumner (SOUTH AFRICAN 1902 - 1985)

VIEW FROM A SUN ROOM signed oil on canvas 50 by 64,5cm PROVENANCE Acquired directly from the artist by current owner

ILLUSTRATED

R 80 000 - R 120 000

108

Throughout Sumner’s artistic career she remained aware of the rich artistic heritage, culture and history that Europe had to offer, however as the artist matured and her style developed she became more introspective.

It is not surprising then that towards the end of her lifetime her paintings took on a theme of the metaphysical, where she treated spaces as a mode of transporting the viewer into a place of contemplation. Sumner’s spiritual and discreet approach to landscape painting could be regarded as a vital demonstration of the artist’s prowess.

The garden scene as framed through the view of an open door leading onto a veranda, depicted here, demonstrates the inescapable unity of surface structures painted by the artist; the complexity of style with which she executed this scene sets a captivating mood that invites the viewer to contemplate the calm and mystical nature of the garden scene through the artist’s perspective.

Harmsen, F; Werth, A & Beeton, R. Maud Sumner, Painter and Poet. 1992. Published by J. L. van Schaik (Pty) Ltd.

PAINTINGS

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501

501 Maud Frances Eyston Sumner (SOUTH AFRICAN 1902 - 1985)

PORTRAIT OF MRS SCHACKLETON signed and dated 1928 oil on canvas 75,5 by 57cm ILLUSTRATED

R 100 000 - R 150 000 109

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PAINTINGS

502 Maurice Charles Louis van Essche (SOUTH AFRICAN 1906 - 1977)

PORTRAIT signed oil on canvas 60 by 45cm PROVENANCE Purchased from Gallery 101 (inscribed on the reverse) by the owner’s father. Thence by decent.

ILLUSTRATED

R 250 000 - R 350 000 Maurice van Essche embarked on his studies in 1924 where he studied at the Brussels Academy of Fine Art under the tutelage of James Ensor.

Although he was forced to interrupt his studies at the Academy in order to earn a living, he continued to paint. In 1930 he became a member of the group: La Jeune Peinture Belge (Young Belgian Painters) and it was not long after this in 1933 that he continued his art studies in France under Henri Matisse.

Van Essche arrived in Cape Town in 1940 at the age of 34, it was here that he chose to interpret the African people and the landscape from a personal perspective which he expressed in extensive abstract terms with an aesthetic awareness and poetic simplicity.

Van Essche noted that his approach was based on the premise that “painting is an intimate dialogue between the painter and life” (Büchner, 1967).

Carl Büchner further writes that van Essche’s arrival in South Africa marked a change in his career: it was both the beginning of a new period for the artist as well as alchemy of sorts where he combined his knowledge of Impressionist styles with a new simplified technique that he developed during his time in the Congo.

Van Essche’s compassion for humanity and the endlessness of his landscapes are expressed in his paintings of Cape fisher folk, portraits of noble Malay women such as this one and working class people living on the plains of the Karoo. The sentiment and atmosphere of his paintings are enhanced by his trademark palette of deep reds and blues, earthy pinks, ochre’s and greys, often set off by vibrant blacks and whites. Büchner notes, “The artist’s preoccupation with solitude, with mysterious planes and vertiginous voids, has brought a strange detached serenity to his paintings. Yet, from beyond their seclusion they continue to communicate their human message”.

Berman, E, 1996, Art and Artists of South Africa.

Southern Book Publishers: Western Cape.

Büchner, C, 1967, Van Essche (Monograph), Tafelberg: Cape Town.

Ogilvie, G, 1988, The Dictionary of South African Painters and Sculptors. Everard Read: Johannesburg. http://www.johansborman.co.za/artist-biographies/ van-essche-maurice/ [O] Accessed on the 21/06/2017

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PAINTINGS

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503

503 Lionel Smit (SOUTH AFRICAN 1982 - )

MALAY WOMAN signed and dated 09 oil on canvas 300 by 165,5cm ILLUSTRATED

R 300 000 - R 400 000

Lionel Smit was born in Pretoria, South Africa in 1982. His first solo exhibition titled Residue and held at The Gallery at Grande Provence in Franschhoek, Cape Town in April 2009 was well received by the public. Smit’s paintings are primarily concerned with the deconstruction of the portrait on a monumental scale.

Smit has been featured on the cover of Christie’s F.A.C.E.T Catalogue 2009 in London. In recent years, he has been honoured with a Ministerial Award from the South African Department of Culture for Visual Art. Over the past 10 years he has established a substantial international following with collectors ranging from the Standard Chartered Bank to Laurence Graff Art Collection at Delaire Graff Wine Estate. http://www.lionelsmit.co.za/exhibitions/residue/ [O] Accessed on the 20/06/2017

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PAINTINGS

504

504 Alexis Preller (SOUTH AFRICAN 1911 - 1975)

OLIVIA MARIA PRELLER (PRELLER’S MOTHER) signed oil on canvas 34,5 by 29,5cm LITERATURE Berman, E. and Nel, K. Alexis Preller: Africa, the Sun and Shadows, Shelf Publishing, Johannesburg, 2009, illustrated on p. 23

ILLUSTRATED

R 500 000 - R 700 000

112

Alexis Preller’s interest in the visual arts only really emerged after he left school and a friend introduced him to the Post-Impressionists of Europe; most notably Van Gogh and Gauguin. He was enthralled by their lives and work but frustrated with the lack of information available to him in the archives of his home town of Pretoria. It was around this time that two of South Africa’s most notable artists; Irma Stern and Maggie Laubser, who had both spent time in Europe, exhibited in Pretoria. He attended both exhibitions and finally found that he was able to understand the writings about Van Gogh and Gauguin.

In the portrait of Preller’s mother, one of only two portraits Preller painted of his mother during his lifetime, he displays his great skill and clear understanding of European styles of painting. Preller was very close to his mother and his older sister Wilhelmina (Minnie). Throughout Preller’s life both his mother and sister fully supported him in his choice to pursue a career in the arts. After spending some time in London, Preller returned to South Africa and began to arrange his first exhibition held in the upstairs section of Glen’s Music Salon in Pretoria where this painting of his mother was exhibited and sold for the sum of 5 pounds.

E. Berman and K. Nel, 2009, A Visual Biography: Alexis Preller, Africa, The Sun and Shadows. Johannesburg, Shelf Publishing

PAINTINGS

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505

505 Pieter Willem Frederick Wenning (SOUTH AFRICAN 1873 - 1921)

STILL LIFE WITH ANEMONE oil on board 19,5 by 27cm ILLUSTRATED

R 70 000 - R 100 000

113

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506

506 Pieter Willem Frederick Wenning (SOUTH AFRICAN 1873 - 1921)

STILL LIFE WITH APPLES signed oil on canvas 29,5 by 39,5cm ILLUSTRATED

R 120 000 - R 180 000

114

PAINTINGS

PAINTINGS

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507

507 Pieter Willem Frederick Wenning (SOUTH AFRICAN 1873 - 1921)

STILL LIFE WITH FLOWERS signed oil on canvas 49 by 40cm ILLUSTRATED

R 150 000 - R 250 000

By the time Pieter Wenning moved from Amsterdam to Pretoria in 1905 to work at De Bussy’s Bookshop, he was already well acquainted with the Dutch Impressionists. He joined ‘The Individualists’ art club, along with J.H. Pierneef, in Pretoria and regularly exhibited with the group throughout 1911. During a brief visit to Cape Town in 1913 he met the political cartoonist and diarist, D.C. Boonzaier, who became one of Wenning’s most devoted supporters and critics. Boonzaier later organised funds for Wenning to spend three months painting in Cape Town in 1916, and encouraged him to become a full-time artist, moving from Pretoria to Cape Town. Wenning went on to spend much of his working life in Cape Town with brief visits to Pretoria, Lourenço Marques, Durban, and Port Elizabeth.

Boonzaier’s diaries and Wenning’s letters to him give critical insight into an artist; plagued with ill-health and obsessed with working under any conditions, utterly absorbed in his subjects, not caring about selling and often destroying and over painting his work. Wenning’s rough style of brushwork, patches of colour - often revealing the support underneath – with sketchy lines, and a distinct approach to his subject matter; gained him wide acclaim amongst the followers of the style of Cape Impressionism. He excelled at depicting calm landscapes and floral still lives alike; the freshness and delicate atmospheric qualities of his best works were often achieved through hard work and in depth studies of his subject matter. This is evident in the large amount of studies and sketches the artist produced during his lifetime.

This still life with flowers by Pieter Wenning is certainly a very good example of the artist’s still life works. Vivid colour in yellow, green and pink is applied in broad impasto strokes on top of the darkly primed canvas’ surface. His use of dark under painting and the unfinished composition clearly demonstrates Wenning’s passionate nature. http://www.oxfordartonline.com/public/page/Benezit_free_Wenning [O] Accessed on the 20/06/2017 Boonzaier, G. & Lipshitz, I.L, 1949, Wenning. Printed by Unie-Volkspers beperk, Cape Town

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508 Terence John McCaw (SOUTH AFRICAN 1913 - 1978)

511 Tinus (Marthinus Johannes) de Jongh (SOUTH AFRICAN 1885 - 1942)

514 Titta Fasciotti (SOUTH AFRICAN 1927 - 1993)

LANDSCAPE

HOUSE IN THE MOUNTAINS

SUNSET OVER LANDSCAPE

signed and dated 76 watercolour on paper 57 by 78cm

signed oil on canvas 30,5 by 46cm

signed and dated 92 oil on canvas board 24 by 34,5cm

R 6 000 - R 9 000

R 30 000 - R 40 000

R 8 000 - R 12 000

509 Terence John McCaw (SOUTH AFRICAN 1913 - 1978)

512 Piet van Heerden (SOUTH AFRICAN 1917 - 1991)

515 Edward Roworth (SOUTH AFRICAN 1880 - 1964)

HOUSE AND TREES

FARMHOUSE

TREES AT THE EDGE OF A FIELD

signed oil on canvas laid down on board 50 by 59,5cm

signed pastel on paper

signed and dated 1948 oil on board 70 by 90cm

R 30 000 - R 50 000 510 Tinus (Marthinus Johannes) de Jongh (SOUTH AFRICAN 1885 - 1942)

OLD NATIVE HOUSES KIRSTENBOSCH CP signed and inscribed with the title on the reverse oil on canvas 23,5 by 30cm

R 18 000 - R 24 000

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PAINTINGS

R 6 000 - R 8 000 513 Nelson Makamo (SOUTH AFRICAN 1982 - )

THREE FACES monotype and pastel, signed sheet size: 45 by 60cm

R 50 000 - R 70 000

R 12 000 - R 18 000 516 Johannes Antonie Smith (SOUTH AFRICAN 1886 - 1954)

CAPE HOMESTEAD IN A LANDSCAPE signed and dated 31 oil on canvas 39,5 by 44,5cm

R 18 000 - R 24 000

PAINTINGS

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517

517 David Botha (SOUTH AFRICAN 1921 - 1995)

HOUSES BENEATH MOUNTAINS signed and dated ‘55 oil on canvas 49,5 by 39,5cm ILLUSTRATED

R 40 000 - R 60 000

117

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518

518 David Botha (SOUTH AFRICAN 1921 - 1995)

NAMAQUALAND signed and dated 77 oil on canvas laid down on board 39,5 by 49,5cm ILLUSTRATED

R 40 000 - R 60 000

118

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PAINTINGS

519

519 Frans David Oerder (SOUTH AFRICAN 1867 - 1944)

520 Abraham de Smidt (SOUTH AFRICAN 1829 - 1908)

521 Jan Ernst Abraham Volschenk (SOUTH AFRICAN 1853 - 1936)

VIEW OVER A VALLEY

FOLIAGE - VIEW FROM ABOVE “HIGHSTEAD” RONDEBOSCH 1887

VELD SCENE

signed oil on canvas 33 by 49cm ILLUSTRATED

R 40 000 - R 60 000

unsigned oil on canvas 59 by 38cm PROVENANCE Painting passed down in the family of the artist

signed and dated 1907; signed and inscribed ‘”Veld Scene” painted by J.E.A. Volschenk, Riversdale, 1907’ on the reverse oil on canvas 17,5 by 32,5cm

R 30 000 - R 50 000

LITERATURE Bull, M. ABRAHAM DE SMIDT 1829 - 1908 Artist and Surveyor - General of the Cape Colony, Printpak (Cape) Ltd., 1981, Dacres Ave., Epping, Cape, p. 137

R 60 000 - R 90 000

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PAINTINGS

522

522 Jan Ernst Abraham Volschenk (SOUTH AFRICAN 1853 - 1936)

A TURN ON GARCIAS PASS CAPE PROVINCE signed and dated 1909, inscribed with the title on the reverse oil on canvas 39,5 by 29cm ILLUSTRATED

R 35 000 - R 45 000 120

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PAINTINGS

523

523 Pieter Hugo Naudé (SOUTH AFRICAN 1868 - 1941)

524 Maud Frances Eyston Sumner (SOUTH AFRICAN 1902 - 1985)

526 Titta Fasciotti (SOUTH AFRICAN 1927 - 1993)

RIVER SCENE

WOMAN IN PROFILE

XHOSA WOMAN

signed oil on canvas 29,5 by 39,5cm

signed acrylic on paper 50 by 30cm

ILLUSTRATED

R 15 000 - R 20 000

signed and dated 48; signed and inscribed ‘To my good doctor’ and signed in pencil watercolour and pastel on paper 80 by 57,5cm

R 40 000 - R 80 000

525 Titta Fasciotti (SOUTH AFRICAN 1927 - 1993)

R 20 000 - R 30 000 NO LOTS 527 - 560

XHOSA WOMAN signed and dated 84 watercolour on paper 73 by 54cm

R 20 000 - R 30 000

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POCKET WATCHES AND WRISTWATCHES JEWELLERY TUESDAY | 26 JULY 2017 | 10H30 | LOTS 561 - 710

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POCKET WATCHES AND WRISTWATCHES

562

566

568

570

569

564

561

563

124

565

POCKET WATCHES AND WRISTWATCHES

POCKET WATCHES AND WRISTWATCHES 561 A GENTLEMAN’S STAINLESS STEEL WRISTWATCH, CORUM

reference number: 82.180.20, automatic, the circular white bubble dial, applied with black Arabic numerals and luminescent dot hour markers, date aperture at 6 o’clock, outer seconds track, on an integrated black rubber strap with folding clasp, diameter of bezel approximately 45mm, accompanied by a warranty card, instruction manual, Corum box and outer card box ILLUSTRATED ON THE OPPOSITE PAGE

R 20 000 - R 30 000 562 A LADY’S STAINLESS STEEL WRISTWATCH, CHARRIOL ROTONDE

reference: RT30, quartz, the circular black dial with Roman numeral hour markers, on an integrated stainless steel strap with folding clasp, diameter of bezel approximately 32mm

564

568

A LADY’S 9CT GOLD AND DIAMOND

A LADY’S 18CT GOLD WRISTWATCH,

WRISTWATCH, GIRARD-PERREGAUX

OMEGA LADYMATIC

the squared gilt dial, applied with baton hour markers, within a conforming surround of twenty-eight round brilliant-cut diamonds, on an integrated fine mesh strap, later clasp, possibly gold filled, acid tested as 9ct, width of bezel approximately 20mm, not in working order

the circular gilt dial applied with dot hour markers and a diamond hour marker at 12 o’clock and 6 o‘clock, on an integrated flexible strap, impressed 750, diameter of bezel approximately 20mm, accompanied by a guarantee booklet and Omega box

ILLUSTRATED ON THE OPPOSITE PAGE

ILLUSTRATED ON THE OPPOSITE PAGE

R 4 500 - R 6 500

R 6 600 - R 10 000

565

569

A TRAVEL ALARM CLOCK, JAEGER-LECOULTRE

A GENTLEMAN’S 18CT GOLD WRISTWATCH,

manual, the circular silvered dial applied with Roman Numeral hour markers and date aperture at 3 o’clock, the case and hinged cover with black enamel detailing, dial approximately 32mm in diameter, distress

OMEGA SEAMASTER DE VILLE

ILLUSTRATED ON THE OPPOSITE PAGE

ILLUSTRATED ON THE OPPOSITE PAGE

R 3 000 - R 5 000

570 A GENTLEMAN’S STAINLESS STEEL

R 4 000 - R 6 000

manual, the beige rectangular dial with gilt Arabic hour markers, subsidiary dial at 6 o’clock for seconds, on a later leather strap, acid tested as 14ct gold, width of bezel approximately 23mm

DESIGNED BY VIVIANNA TORUN BÜLOW-HÜBE FOR GEORG JENSEN

manual, the circular silvered dial, on an integral stainless steel asymmetrical cuff bangle, impressed Georg Jensen, Stainless Steel, Denmark and Torun and numbered 336, diameter of bezel 33mm, accompanied by Georg Jensen box ILLUSTRATED ON THE OPPOSITE PAGE

R 4 000 - R 6 000

R 40 000 - R 60 000

A GENTLEMAN’S 14CT GOLD WRISTWATCH, LONGINES

A LADY’S STAINLESS STEEL WRISTWATCH,

automatic, the circular black dial applied with baton hour markers, on an 18ct gold mesh strap with folding clasp, impressed 750, diameter of bezel approximately 32mm

566

ILLUSTRATED ON THE OPPOSITE PAGE

563

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ILLUSTRATED ON THE OPPOSITE PAGE

R 10 000 - R 12 000 567 A LADY’S 9CT GOLD WRISTWATCH, NIVADA

WRISTWATCH, TAG HEUER AQUARACER

reference: CAF11100, quartz, the circular black dial applied with luminescent baton hour markers, date aperture between 4 o’clock and 5 o’clock, subsidiary dials for seconds, minutes and hours, on a black rubber Tag Heuer strap, diameter of bezel approximately 45mm

R 11 000 - R 18 000 NO LOTS 571 - 580

automatic, the round gilt dial applied with baton hour markers, within a matte hexagonal surround, the strap composed of matte, textured hexagonal links, with fold-over clasp and safety chain, acid tested as 9ct, diameter of bezel approximately 18mm

R 3 000 - R 6 000

125

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584

JEWELLERY 583

594

586

582

588

589

592

599

581

590 593

126

591

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JEWELLERY JEWELLERY 581 AN ART NOUVEAU PENDANT/BROOCH, ATTRIBUTED TO LOUIS AUCOC

the gold enamel female head, highlighted above and below with enamelled floral detail, embellished with old-cut diamonds and pearls, on a rolo-link necklace, with brooch attachment, approximately 43.5cm in length, accompanied by fitted case.

Louis Aucoc (1877 - 1932) was a renowned nineteenth-century French jeweller and goldsmith.

Though not particularly innovative, his jewellery was carefully made with the finest of materials and kept directly in step with French fashion. One of Aucoc’s claims to fame is that he taught Art Nouveau revolutionary René Lalique how to work with gold.

ILLUSTRATED ON OPPOSITE PAGE

R 40 000 - R 50 000 582 A PAIR OF RUBY AND DIMAOND PENDANT EARRINGS

each bale set with an emerald-cut ruby, flanked above and below with an old-cut diamonds, suspending a cluster of old-cut diamonds weighing approximately 0.53cts in total for the pair, within a surround of baguette-cut rubies, metal test inconclusive, with lever backs, approximately 3.7cm in length (2) ILLUSTRATED ON OPPOSITE PAGE

586

593

A DIAMOND RING

A THREE STRAND PEARL NECKLACE

centred with a round brilliant-cut diamond weighing approximately 0.65cts, the shoulders with openwork filigree detail, impressed 18ct, size N

composed of pink cultured pearls, approximately 7.1mm to 8.5mm in diameter, the mother of pearl clasp in the form of a flower, shortest strand approximately 39cm in length

ILLUSTRATED ON OPPOSITE PAGE

ILLUSTRATED ON OPPOSITE PAGE

R 35 000 - R 45 000

R 2 000 - R 4 000

587

594

A TANZANITE RING

A 9CT GOLD RING

centred with a circular mixed-cut tanzanite weighing approximately 1.04cts, within a stylised square surround, partially impressed 18ct, size R½

the broad ring, centred with open work scrolls and foliage, highlighted with six bezel-set cubic zirconia’s, further highlighted with single-cut diamonds weighing approximately 0.15cts in total, the inside inscribe Anthony -30-06-12 E215, acid tested as 9ct gold, size L

R 6 800 - R 10 000 588 A 9CT GOLD AND PERIDOT PENDANT

the bale set with a circular mixed-cut peridot suspending an openwork stylised heart-shaped design, highlighted with circular mixed-cut peridot and seed pearls, suspending a pear shaped peridot, impressed 9ct, approximately 6cm in length ILLUSTRATED ON OPPOSITE PAGE

R 2 500 - R 4 000 589 A 9CT GOLD RING

R 10 000 - R 20 000

the two tone band composed of two plain bands centred with a band highlighted with openwork designs, impressed 9ct, size O

583

ILLUSTRATED ON OPPOSITE PAGE

ILLUSTRATED ON OPPOSITE PAGE

R 3 000 - R 5 000 595 AN OPAL AND DIAMOND PENDANT

bezel-set to the centre with an oval cabochon opal, the conforming surround set on either side with five round brilliant-cut diamonds weighing approximately 0.52cts in total, the bale pave-set with round brilliant-cut diamonds weighing approximately 0.30cts in total, impressed 18ct, approximately 3.2cm in length

R 18 000 - R 22 000 596 AN OPAL AND DIAMOND PENDANT

ILLUSTRATED ON OPPOSITE PAGE

UNMOUNTED OVAL MIXED-CUT AMETHYSTS

R 10 000 - R 15 000

weighing approximately 117cts in total

the oval cabochon opal within a conforming surround of round brilliant-cut diamond, suspended on a fine curb-link chain, impressed 9K, approximately 45cm in length; and A Pair Of Opal And Diamond Ear Studs, each composed of an oval cabochon opal within a conforming surround of round brilliant-cut diamonds, acid tested a 9ct, butterflies impressed 9K (3)

ILLUSTRATED ON OPPOSITE PAGE

R 3 000 - R 5 000

A RUBY BROOCH

the thin bar with engraved detail centred with an oval mixed-cut ruby weighing approximately 1ct, impressed 18ct, approximately 5.5cm in length

584 A WHITE SAPPHIRE AND OLD-CUT DIAMOND

R 1 000 - R 2 000 590 A MISCELLANEOUS COLLECTION OF

R 4 000 - R 6 000

597

PENDANT

591

A PAIR OF SMOKY QUARTZ AND CITRINE

in the form of a cross, highlighted with raised gold detail, embellished with circular white sapphires and old-cut diamonds, acid tested as 9ct gold, approximately 6.5cm in length

A MISCELLANEOUS COLLECTION OF

PENDANT EARRINGS

UNMOUNTED CIRCULAR MIXED-CUT CITRINE

each designed as an openwork rectangle, highlighted with circular mixed-cut citrine, suspending a cushion-cut smoky quartz, acid tested as 18ct gold, butterflies impressed 750 (2)

ILLUSTRATED ON OPPOSITE PAGE

R 4 000 - R 6 000 585 A DIAMOND RING

centred with an old-cut diamond within a squareshaped surround, acid tested as 9ct gold, size H½

R 2500 - R 4000

weighing approximately 82ct in total ILLUSTRATED ON OPPOSITE PAGE

R 3 000 - R 5 000 592

R 7 000 - R 12 000

AN ORANGE SAPPHIRE TENNIS BRACELET

598

claw-set with fifty-one circular sapphires weighing approximately 7.65cts in total, impressed 585, approximately 185mm in length

A SMOKY QUARTZ RING

ILLUSTRATED ON OPPOSITE PAGE

centred with a square-shaped smoky quartz, the gallery and shoulders embellished open work hearts and scrolls, acid tested as 9ct gold

R 17 000 - R 20 000

R 2 000 - R 3 000

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JEWELLERY 618 613

612

617

610

616

614

615

128

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JEWELLERY 599

607

613

AN UNMOUNTED STAR RUBY

A DIAMOND RING

A DIAMOND RING

of oval cabochon form, weighing approximately 26.44cts

the broad band, centred with three rows of claw-set round brilliant-cut diamonds, within an Art Deco style surround, embellished with round brilliant-cut diamonds weighing approximately 2.36cts in total, impressed 18ct

centred with a round brilliant-cut diamond weighing 1.22cts, the stylised flower surround and open work band embellished with round brilliant-cut diamonds, impressed 750, size L.

ILLUSTRATED ON PAGE 126

R 10 000 - R 15 000 600 A SAPPHIRE AND DIAMOND RING

centred with a bezel-set circular mixed-cut sapphire, flanked on either side by diamond embellished detail, impressed 750

R 3 000 - R 5 000 601 A SAPPHIRE AND DIAMOND RING

channel-set to the centre with carré-cut sapphires, flanked on either side by a cluster of round brilliant-cut diamonds weighing approximately 0.12cts in total, impressed 750

R 3 000 - R 5 000 602 A RUBY AND DIAMOND RING

set to the centre with three cabochon-cut rubies, interspersed with diamond-set clusters weighing approximately 0.10cts in total, impressed 750

R 2 500 - R 4 000 603 AN 18CT GOLD AND IVORY RING

of abstract design, centred with a an ivory bar connecting the bifurcated shank, highlighted with brown detailing, possibly resin, impressed 750

R 2 500 - R 3 500 604 AN ENAMEL AND DIAMOND RING

the tapered domed band, centred with a plaque of round brilliant-cut diamonds, flanked on either side by golden brown coloured enamel, impressed 750

R 4 000 - R 6 000 605 A RUBY BRACELET

designed as bar and rolo-link chain, interspersed with circular ruby beads, acid tested as 18ct gold

R 2 000 - R 4 000 606 A RUBY BEAD NECKLACE

composed of three strands of graduated faceted ruby beads, with an adjustable gold and red cord clasp

R 21 000 - R 30 000

The centre diamond accompanied by a Diamond Report from DIA, no. 12110546, stating it to be Q ECG colour and SI2 clarity.

608

ILLUSTRATED ON OPPOSITE PAGE

A SET OF INTERLOCKING RUBY, SAPPHIRE AND

R 20 000 - R 30 000

EMERALD RINGS

each designed as a ‘zig zag’ claw-set with circular mixed-cut rubies, emerald and sapphires, acid tested as 18ct gold (3)

R 5 000 - R 6 000 609 A PAIR OF 18CT AND RUBY EARRINGS

each designed as a hollow hoop with hammered texture, the surmount set with a carved ruby bead, acid tested as 18ct gold, butterflies impressed 750 (2)

R 3 000 - R 4 000 610 A DIAMOND BROOCH

designed as an openwork fan with ribbon detail, set throughout with round brilliant-, baguette- and old mine-cut diamonds weighing approximately 6.34cts in total, acid tested as platinum, approximately 5cm in width ILLUSTRATED ON OPPOSITE PAGE

R 80 000 - R 90 000 611 A SILVER OPEN HEART PENDANT, ELSA PERETTI FOR TIFFANY & CO.

the large open heart pendant suspended from a silver mesh chain, impressed 925, TIFFANY & CO and Peretti, approximately 67cm in length

R 4 000 - R 8 000 612 A DIAMOND NECKLACE

composed of plain and diamond-set marquiseshaped links, centred with a stylised flower made from openwork marquise-shaped links, suspending and articulated line of the same links, some links embellished with round brilliant-cut diamonds weighing approximately 4.48cts in total, impressed 750, approximately 41cm in length ILLUSTRATED ON OPPOSITE PAGE

R 25 000 - R 35 000

614 A DIAMOND NECKLACE, BVLGARI

reference number: CL188202-333023, the cablelink chain, suspending a circular pendant centred with pavé-set round brilliant-cut diamonds, the conforming metal surround with engraved detailing, impressed BVLGARI and 750, accompanied by a Bvlgari authenticity certificate, approximately 50cm in length ILLUSTRATED ON OPPOSITE PAGE

R 30 000 - R 50 000 615 A DIAMOND NECKLACE

composed of flexible rectangular links, centred with a branch and twig style design, highlighted throughout with round brilliant-cut diamonds weighing approximately 1.48cts in total, acid tested as 18ct gold, approximately 39cm in length ILLUSTRATED ON OPPOSITE PAGE

R 45 000 - R 50 000 616 A PAIR OF SAPPHIRE AND DIAMOND EARRINGS

each designed as an open fan with filigree detail, claw-set with an oval mixed-cut sapphire weighing approximately 1.50cts for the pair, highlighted throughout with round brilliantcut diamonds weighing approximately 0.50cts in total, acid tested as 18ct gold, with clip-on backs, approximately 2cm in length (2) ILLUSTRATED ON OPPOSITE PAGE

R 45 000 - R 50 000 617 A PAIR OF DIAMOND EARRINGS

each surmount composed of two curved lines, suspending a flexible curved bar, highlighted with round brilliant-cut diamonds, acid tested as 18ct gold, butterflies impressed 750, approximately, 4.5cm in length (2) ILLUSTRATED ON OPPOSITE PAGE

R 7 000 - R 10 000

R 4 000 - R 6 000 129

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JEWELLERY 624 626

622

625

643

627

620

628 623

629

130

DRAFT 2 - 20/06

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JEWELLERY 618

623

627

A DIAMOND PENDANT

A GREEN TOURMALINE, MANDARIN GARNET

A PAIR OF DIAMOND AND AMETHYST

in the form of an openwork heart, set to the point with a round brilliant-cut diamond weighing approximately 0.02cts, impressed 9ct, approximately 2cm in length, suspended on a box-link chain, impressed 9ct, approximately 45cm in length

AND DIAMOND RING

PENDANT EARRINGS

centred with an emerald-cut green tourmaline weighing approximately 3.68cts, within a conforming surround of champagne coloured round brilliant-cut diamonds weighing approximately 0.38cts, flanked on either side by a trillion-cut mandarin garnet, impressed 18ct, size M

each surmount claw-set with a round brilliantcut diamond weighing approximately 0.65cts in total, suspending an articulated line of round brilliant- and tapered baguette-cut diamonds weighing approximately 0.33cts in total and 0.67cts in total respectively, terminating in a pear-shaped amethyst weighing approximately 9.51cts in total for the pair, acid tested as 18ct gold, butterflies impressed 375, approximately 6cm in length (2)

ILLUSTRATED ON PAGE 128

R 1 200 - R 1 500 619 A SOLITAIRE DIAMOND RING, BROWNS

claw-set with a round brilliant-cut diamond weighing 0.427cts, impressed BROWNS and PLAT, size L½.

The diamond accompanied by a Diamond Report from IDL, no. M17065237, stating it to be I colour and VVS2 clarity.

R 12 000 - R 18 000 620 A PADPARADSCHA SAPPHIRE AND DIAMOND RING

centred with an oval mixed-cut Padparadscha sapphire weighing 2.146cts, the conforming surround and shoulders embellished with round brilliant-cut diamonds weighing approximately 0.87cts in total, impressed 18ct, size M. The sapphire accompanied by a Coloured Gemstone Report from The Gem Lab, no.CS17052321, stating it to be Reddish Pinkish Orange colour with Very Good colour grade, Medium Dark tone, Eye Clean clarity, Good brilliance and Good finish.

ILLUSTRATED ON OPPOSITE PAGE

R 32 000 - R 40 000 621 A GREEN TOURMALINE, PINK SAPPHIRE AND DIAMOND RING

centred with a claw-set cushion-cut green tourmaline weighing approximately 2.21cts, within a conforming surround of round brilliantcut diamonds weighing approximately 0.60cts in total, further surrounded by circular mixed-cut pink sapphires weighing approximately 1.23cts in total, acid tested as 18ct gold, size L½

R 14 000 - R 18 000 622 A DIAMOND RING

centred with a claw-set oval-cut diamond weighing approximately 0.40cts, the conforming surround and shoulders embellished with round brilliant-cut diamonds weighing approximately 0.50cts I total, impressed 18ct, size M ILLUSTRATED ON OPPOSITE PAGE

ILLUSTRATED ON OPPOSITE PAGE

R 16 000 - R 20 000 624 A DIAMOND RING

centred with millgrain-set a radiant-cut diamond weighing 0.552cts, flanked on either side by a cluster of three round brilliant-cut diamonds weighing approximately 0.38cts in total, impressed 18ct, size O The centre diamond accompanied by a Diamond Report from E.G.L., no. 161120473/204974, stating it to be H colour and VS2 clarity.

ILLUSTRATED ON OPPOSITE PAGE

R 18 000 - R 22 000 625 A SAPPHIRE AND DIAMOND RING

centred with a circular mixed-cut sapphire weighing 1.207cts, the conforming surround and shoulders embellished with round brilliant-cut diamonds weighing approximately 0.58cts in total, impressed 18ct, size L½.

ILLUSTRATED ON OPPOSITE PAGE

R 18 000 - R 22 000 628 A GREEN TOURMALINE AND DIAMOND RING

centred with a claw-set emerald-cut green tourmaline weighing approximately 4.61cts, the shoulders channel-set with baguette-cut diamonds weighing approximately 0.37cts in total, acid tested as 18ct gold, size M ILLUSTRATED ON OPPOSITE PAGE

R 14 000 - R 18 000 629 A DIAMOND, PINK AND GREEN TOURMALINE RING

The sapphire accompanied by a Coloured Gemstone Report from The Gem Lab, no.

CS17052319, stating it to be Very Good colour grade with lightly Included clarity.

centred with an oval mixed-cut pink tourmaline weighing approximately 5.30cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 0.34cts in total, flanked on either side with a pear-shaped green tourmaline weighing approximately 1.40cts in total, impressed 18ct, size N

ILLUSTRATED ON OPPOSITE PAGE

ILLUSTRATED ON OPPOSITE PAGE

R 18 000 - R 22 000 626 AN AQUAMARINE AND DIAMOND PENDANT

centred with a pear-shaped aquamarine weighing approximately 0.86cts, within a double conforming surround of round brilliant-cut diamonds weighing approximately 0.60cts in total, suspended form a round brilliant-cut diamond weighing approximately 0.25cts, acid tested as 18ct gold, approximately 2.6cm in length; and A 9ct Gold Necklace, composed of wheat-link chain, impressed 375, approximately 44cm in length ILLUSTRATED ON OPPOSITE PAGE

R 8 000 - R 10 000

R 24 000 - R 28 000 630 AN EMERALD AND DIAMOND PENDANT NECKLACE

centred with an oval mixed-cut emerald weighing 1.68cts, within a conforming surround of millegrain-set round brilliant-cut diamonds weighing approximately 0.28cts in total, suspended from a row of bezel-set round brilliant-cut diamonds with millegrain detail weighing approximately 0.38cts in total, acid tested as 18ct, approximately 2,5cm in length, on an integral 18ct gold chain, impressed 750, approximately 40cm in length.

The emerald accompanied by a Gemstone Identification Certificate from The Gem Lab, no.

JR16084242 stating it to be Slightly Bluish Green in colour.

R 16 000 - R 20 000

R 12 000 - R 26 000 131

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631

634

637

A PAIR OF TOURMALINE, PINK SAPPHIRE AND

A PAIR OF SOUTH SEA BAROQUE PEARL,

A SINGLE-STRAND PEARL NECKLACE WITH A

DIAMOND PENDANT EARRINGS

EMERALD AND DIAMOND PENDANT EARRINGS

TANZANITE, CITRINE AND DIAMOND PENDANT

each surmounted claw-set with a round mixedcut green tourmaline weighing approximately 1.34cts in total, suspending a round brilliantcut diamond weighing approximately 0.37cts in total, terminating in a floral design, centred with an oval mixed-cut green tourmaline weighing approximately 2.86cts in total, within a conforming surround of claw-set round mixed-cut pink sapphires and round brilliant-cut diamonds weighing approximately 2.95cts in total and 1.30cts in total respectively, acid tested as 18ct gold, with butterflies impressed 375, approximately 3cm in length.

(2)

each surmount claw-set with a pear-shaped emerald weighing approximately 1.68cts for the pair, suspending a round brilliant-cut diamond weighing approximately 0.36cts, terminating in a greenish silver baroque South Sea pearl, acid tested as 18ct gold, butterflies impressed 375, approximately 3cm in length (2)

composed of golden cream Japanese marine pearls, measuring 8,5mm to 8,8mm diameter, suspending a bezel-set trillion-cut tanzanite weighing approximately 0.96cts, further suspending a cushion-cut citrine weighing approximately 25.61cts, the conforming surround and bale embellished with round brilliant-cut diamonds weighing approximately 2.17cts in total, acid tested as 18ct gold, with a 9ct gold ball clasp, impressed 9ct, approximately 49cm in length

The pink sapphires accompanied by a Gemstone Identification Report form The Gem Lab, stating they are Violet Pink colour.

each centred with a cream coloured mabé pearl, within a conforming surround of round brilliantcut cognac-coloured diamonds, weighing approximately 1.68cts in total, acid tested as 18ct gold, butterflies impressed 375, approximately 2cm in width (2)

R 20 000 - R 30 000 632 A DIAMOND HALF-ETERNITY RING

claw-set to the centre with eight cognaccoloured round brilliant-cut diamonds weighing approximately 1.56cts in total, interspersed with eight round brilliant-cut diamonds weighing approximately 0.30cts in total, in 18ct gold, impressed 18ct, size L

R 8 000 - R 12 000 633 A PAIR OF DIAMOND, PINK AND YELLOW SAPPHIRE PENDANT EARRINGS

each designed as an articulated line, composed of clusters of circular-cut pink and yellow sapphires weighing 1.70cts and 1.73cts respectively, interspersed with champagnecoloured round brilliant-cut diamonds weighing approximately 1.38cts in total, terminating in a cluster of champagne round brilliant-cut diamonds weighing approximately 0.92cts in total, acid tested as 18ct gold, butterflies impressed 375, approximately 6cm in length (2) The sapphires accompanied by a Gemstone Identification Report from The Gem Lab, no.

JR16094396, stating the sapphires have Very Good colour.

R 18 000 - R 22 000

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R 10 000 - R 15 000 635 A PAIR OF MABÉ PEARL AND DIAMOND EAR STUDS

R 14 000 - R 18 000 636 A PAIR OF DIAMOND AND SOUTH SEA PEARL PENDANT EARRINGS

each designed as a graduated line of round brilliant-cut diamonds weighing approximately 1.38cts for the pair, terminating in a silvery grey South Sea pearl, acid tested as 18ct gold, butterflies acid tested as 9ct, approximately 3cm in length (2)

R 16 000 - R 20 000

R 20 000 - R 30 000 638 A RUBELLITE TOURMALINE, DIAMOND AND SOUTH SEA PEARL PENDANT

claw-set with a pear-shaped rubellite tourmaline weighing approximately 1.78cts, suspending two clusters of three round brilliant-cut diamonds weighing approximately 0.48cts in total, separated by a baguette-cut diamond weighing approximately 0.28cts, terminating in a white South Sea Pearl, acid tested as 18ct gold, approximately 5cm in length; and an 18ct Gold Chain, composed of wheat-links, approximately 42cm in length

R 15 000 - R 20 000 639 A PAIR OF TANZANITE AND DIAMOND PENDANT EARRINGS

each surmount highlighted by a trio of round brilliant-cut diamonds weighing approximately 0.86cts in total, suspending a pear-shaped tanzanite weighing approximately 5.12cts for the pair, acid tested as 18ct white gold, approximately 2cm length (2) The tanzanite’s accompanied by a Gemstone Identification Report from The Gem Lab, no.

ID17044303, stating they are Violet Blue colour.

R 12 000 - R 18 000

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JEWELLERY

640

643

646

A TANZANITE AND DIAMOND RING

A PAIR OF PINK TOURMALINE, TSAVORITE AND

A TANZANITE RING, BROWNS

centred with a pear-shaped mixed-cut tanzanite weighing 2.631cts, the conforming surround and band millegrain-set with round brilliant-cut diamonds weighing approximately 0.98cts in total, impressed 18ct, size L

DIAMOND PENDANT EARRINGS

the stylised band suspending a circular mixedcut tanzanite weighing approximately 1.40cts, impressed Browns and 18ct, size P

R 14 000 - R 18 000

each surmount claw-set with a circular mixedcut pink tourmaline weighing approximately 1.38cts for the pair, suspending an articulated line of oval mixed-cut tsavorites and round brilliant-cut diamonds weighing approximately 1.20cts in total and 0.38cts in total respectively, suspending a pear-cut pink tourmaline weighing approximately 4.50cts in total for the pair, acid tested as 18ct gold, butterflies impressed 375, approximately 4.3cm in length

641

ILLUSTRATED ON PAGE 130

The tanzanite accompanied by a Gemstone Identification report from The Gem Lab, no.

ID16062463M, stating the tanzanite to be Violet Blue colour, Very Good (AAA) saturation and Very Lightly Included clarity.

A TANZANITE, RUBELLITE TOURMALINE AND DIAMOND PENDANT

claw-set with a trillion-cut tanzanite weighing approximately 0.80cts, suspending a round brilliant-cut diamond weighing approximately 0.31cts, terminating in a pear-shaped rubellite tourmaline weighing approximately 1.86cts, acid tested as 18ct gold; and A 9ct Gold Necklace, composed of anchor-links, approximately 45cm in length (2)

R 10 000 - R 15 000 642 A PAIR OF MANDARIN GARNET, TANZANITE AND DIAMOND PENDANT EARRINGS

each designed as an articulated line of oval mixed-cut mandarin garnets weighing approximately 6.77cts in total for the pair, separated by a cushion-cut tanzanite weighing approximately 1.83cts in total, flanked on either side by a round brilliant-cut diamond weighing approximately 0.49cts in total, acid tested as 18ct gold, butterflies impressed 375, approximately 3cm in length (2)

R 12 000 - R 18 000

(2) R 16 000 - R 20 000 644 AN EMERALD AND DIAMOND RING

centred with a square emerald-cut emerald weighing approximately 1.56cts, the octagonal conforming surround embellished with round brilliant-cut diamonds weighing approximately 1.38cts in total, flanked on either side by a pearshaped diamond weighing approximately 44cts in total, acid tested as 18ct gold, size M The emerald accompanied by a gemstone identification certificate from The Gem Lab. no.

ID16062459M, stating it to be Natural and Slightly Bluish Green in colour.

R 22 000 - R 28 000 645 A PAIR OF EMERALD AND DIAMOND EAR STUDS

each centred with an oval mixed-cut emerald, weighing approximately 2.35cts in total, within a conforming surround of claw-set round brilliantcut diamonds, weighing approximately 0.62cts in total, acid tested as 18ct, butterflies impressed 375 (2)

R 10 000 - R 15 000 647 A PAIR OF RUBY AND DIAMOND EAR STUDS

each of oval form, centred with an oval mixedcut ruby weighing approximately 0.40cts in total, highlighted by round brilliant-cut diamonds, impressed 750, butterflies impressed 9K, approximately 1cm in length (2)

R 5 500 - R 10 000 648 A TOURMALINE AND DIAMOND RING

centred with a peach pink princess-cut tourmaline weighing approximately 3.40cts, flanked on either side by a round brilliant-cut diamond weighing approximately 0.50cts in total, acid tested as 18ct gold, size M

R 12 000 - R 18 000 649 A RUBY AND DIAMOND PENDANT

centred with an oval mixed-cut ruby weighing approximately 0.75cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 0.40cts in total, acid tested as 18ct gold, approximately 1.5cm in length; and An 18ct gold Necklace, composed of rolo-link chain, impressed 750, approximately 40cm in length (2)

R 17 000 - R 20 000

The emeralds accompanied by a Gemstone Identification Certificate from The Gem Lab, no.

ID16123400 stating them to be natural and slightly Bluish Green in colour.

R 12 000 - R 16 000

133

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651

652

657

660

650

654

658

659

134

655

656

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JEWELLERY

650

655

659

A COIN PENDANT

A RUBY AND DIAMOND BRACELET

A MALACHITE AND CARNELIAN NECKLACE

set with a 1981 1oz Kruger Rand coin, in a 9ct gold surmount, impressed 9ct, approximately 5.6cm in length; and A 9ct Gold Necklace, composed of curb-link chain, impressed 395, approximately 60cm in length (2)

composed of eight strands of herringbone-link chain, plaited and crossed in the centre to form a rigid stylised diamond-shape, embellished with clusters of round brilliant-cut diamonds and circular mixed-cut rubies weighing approximately 0.24cts in total and 0.20cts in total respectively, with open-box push clasp and safety catch, impressed 750, approximately 18.5cm in length

the double strand chain composed of rololink chain, centred with a rectangular-shaped malachite, within crossed gold chain detailing, highlighted either side with a carnelian bead within gold cups with scalloped detailing, acid tested as 9ct gold, approximately 45cm in length

ILLUSTRATED ON OPPOSITE PAGE

R 14 000 - R 20 000 651 AN EMERALD AND DIAMOND RING

the stylised tapered band, set to the side with a crescent shape set with circular-cut emeralds and a round brilliant-cut diamond weighing approximately 0.15cts, impressed 18ct, size J ILLUSTRATED ON OPPOSITE PAGE

R 2 500 - R 5 000 652 A PERIDOT AND BLUE TOPAZ RING

ILLUSTRATED ON OPPOSITE PAGE

R 5 000 - R 10 000

R 14 000 - R 18 000

660

656 AN 18CT GOLD AND DIAMOND NECKLACE

composed of stylised H-shaped links alternating with a stylised flower link, eighteen of the latter links centred with a round brilliant-cut diamond weighing approximately 1.5cts in total, impressed 750, approximately 40cm in length; and A Pair Of 18ct Gold And Diamond Earrings, of matching design, acid tested as 18ct gold, butterflies impressed 18K, approximately 2.5cm in length

channel-set to the centre with a princess-cut blue topaz, flanked on with side by a princess-cut peridot, impressed 9ct, size N

(3)

ILLUSTRATED ON OPPOSITE PAGE

R 25 000 - R 35 000

R 2 200 - R 4 000 653 A DIAMOND CLUSTER RING

centred with a round brilliant-cut diamond weighing approximately 0.28cts, within a conforming surround of round brilliant-cut diamonds weighing approximately 0.60cts in total, impressed 9K, size N

ILLUSTRATED ON OPPOSITE PAGE

ILLUSTRATED ON OPPOSITE PAGE

657 AN 18CT GOLD CHAIN

composed of bar-link chain, impressed 18ct, approximately 36cm in length, suspending a 9ct gold, pencil, pocket knife and pick, various dates and makers, impressed .375 (4) ILLUSTRATED ON OPPOSITE PAGE

R 2 600 - R 5 000

R 3 000 - R 5 000

654

658

A PEARL, RUBY AND SAPPHIRE BRACELET

A 9CT GOLD AND ENAMEL BRACELET

composed of fourteen flexible, stylised flower links, each of matte finish with rope surround, centred with a cultured pearl, within a threequarter u-shaped surround set with circular mixed-cut rubies and sapphires, with open box clasp and safety catch, partially impressed 750 and acid tested as 18ct gold, one ruby missing, approximately 18cm in length

composed of flexible interlocking stylised figure eight links, each highlighted with enamel flowers and scrolls, centred with a stylised hollow form, further embellished with enamel work, acid tested as 9ct gold, distress

A 9CT GOLD CHARM BRACELET

composed of curb-link chain, suspending various charms including a 9ct gold stein, a 9ct wishbone and a 9ct gold thimble, impressed 9ct, approximately 18.5cm in length ILLUSTRATED ON OPPOSITE PAGE

R 8 500 - R 12 000 661 A 20CT GOLD CHARM

in the form of a dragon, acid tested as 20ct; and A 20ct Gold Charm, of circular form suspending a bell in the centre, acid tested as 20ct gold (2)

R 2 200 - R 4 000 662 AN 18CT GOLD WEDDING BAND

of plain form, acid tested as 18ct, size P

R 1 700 - R 2 500 663 AN 18CT GOLD CHOKER

the converted fob chain, composed of circular and elongated links, acid tested as 18ct gold, approximately 32cm in length

R 1 500 - R 3 000

ILLUSTRATED ON OPPOSITE PAGE

R 5 000 - R 10 000

ILLUSTRATED ON OPPOSITE PAGE

R 16 000 - R 20 000

135

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JEWELLERY

668

665

672

664

666

667

673

669

136

670

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JEWELLERY

664

668

673

A TANZANITE AND DIAMOND PENDANT

A PAIR OF HESSONITE GARNET AND DIAMOND

AN ART DECO STYLE RUBY AND DIAMOND

designed as a flower head centred with a cushion-cut tanzanite weighing 5.804cts, embellished with brilliant- and baguette-cut diamonds weighing approximately 3cts in total, acid tested as 18ct gold, approximately 4cm in length.

EAR STUDS

RING

each centred with a circular mixed-cut hessonite garnet weighing approximately 2.0cts for the pair, the surround in the form of a flower, embellished with round brilliant-cut diamonds weighing approximately 0.54cts in total, acid tested as 18ct gold, butterflies impressed 18ct, approximately 1cm in width (2)

centred with a claw-set oval mixed-cut ruby weighing approximately 0.77cts, within a square-shaped surround composed of baguetteand round brilliant-cut diamonds weighing approximately 1.50cts in total, impressed 18ct, size M

The tanzanite accompanied by a Tanzanite Report from E.G.L., no. 150511347/103176, stating it to be blue Violet colour, vivid (AAA) saturation and Eye Clean clarity.

ILLUSTRATED ON OPPOSITE PAGE

ILLUSTRATED ON OPPOSITE PAGE

R 20 000 - R 30 000

R 5 000 - R 80 00

674

669

A SAPPHIRE AND DIAMOND RING

665

A PINK SAPPHIE AND DIAMOND PENDANT

AN AMETHYST AND DIAMOND PENDANT

centred with a trilliant-cut pink sapphire weighing approximately 1.03cts, the conforming surround and bale embellished with round brilliant-cut diamonds weighing approximately 0.25cts in total, acid tested as 18ct gold, approximately 1.7cm in length

the trifurcate band highlighted with round brilliant-cut diamonds, centred with an oval mixed-cut sapphire weighing approximately 0.45cts, impressed 18ct, size K

ILLUSTRATED ON OPPOSITE PAGE

R 55 000 - R 65 000

claw-set with a circular mixed-cut amethyst weighing approximately 2.47cts, the bale highlighted with baguette-cut diamonds, acid tested as 18ct gold, approximately 1.5cm in length ILLUSTRATED ON OPPOSITE PAGE

R 12 000 - R 15 000

R 5 000 - R 8 000

670

666

A DIAMOND RING

AN EMERALD, RUBY AND DIAMOND RING

the broad tapered band, pave-set to the centre with fancy yellow round brilliant-cut diamonds weighing approximately 1.20cts in total, acid tested as 18ct gold, size N

centred with an oval modified brilliant-cut emerald weighing 1.744cts, flanked on either side by two marquise-cut rubies and three round brilliant-cut diamonds weighing approximately 0.40cts in total and 0.30cts respectively, impressed 750, size M.

ILLUSTRATED ON OPPOSITE PAGE

R 23 000 - R 30 000

R 17 000 - R 20 000 675 RUBY AND DIAMOND EARRINGS

Each surmount designed as a bow highlighted with round brilliant-cut diamonds, suspending three articulated lines of cabochon rubies, acid tested as 18ct gold, butterflies impressed 750 (2)

R 8 000 - R 12 000 676 A RUBY AND DIAMOND RING

Centred with an oval mixed-cut ruby weighing approximately 1.50cts, flanked on either side by a round brilliant-cut diamond weighing approximately 0.46cts in total, impressed 18ct

The emerald accompanied by an Identification Certificate from AGL, no. C01408000406, stating the emerald has routine enhancement.

671

ILLUSTRATED ON OPPOSITE PAGE

centred with an emerald-cut emerald weighing approximately 1.10cts, the octagonal surround and shoulders embellished with round brilliantcut diamonds weighing approximately 1ct in total, acid tested as 18ct gold, size N

R 15 000 - R 20 000

R 17 000 - R 20 000

Each designed as a knot, with post and Omega clip backs, acid tested as 18ct gold

672

R 5 000 - R 10 000

R 30 000 - R 40 000 667 A PAIR OF TANZANITE AND DIAMOND PENDANT EARRINGS

each of hinged hoop design, highlighted with round brilliant-cut diamonds, suspending a circular mixed-cut tanzanite weighing approximately 0.82cts in total for the pair, further suspending an oval mixed-cut tanzanite weighing approximately 1.80cts in total for the pair, each within a conforming surround of round brilliant-cut diamonds, acid tested as 18ct gold, approximately 4cm in length (2) ILLUSTRATED ON OPPOSITE PAGE

AN EMERALD AND DIAMOND RING

A LEMON QUARTZ AND DIAMOND RING

centred with an oval faceted lemon quartz, the claws embellished with round brilliant-cut diamonds weighing approximately 0.48cts in total, impressed 375, size M ILLUSTRATED ON OPPOSITE PAGE

R 9 000 - R 15 000

677 A PAIR OF 18CT GOLD EARRINGS

678 A RUBY AND DIAMOND RING

centred with an oval mixed-cut ruby weighing approximately 0.80cts, the band pave-set to the centre with round brilliant-cut diamonds weighing approximately 0.62cts in total, impressed 750, size O

R 15 000 - R 20 000

R 15 000 - R 20 000

137

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JEWELLERY

691 683

690

693

684 688

686

687 682

694 689 692

138

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JEWELLERY

679

685

691

A TANZANITE AND DIAMOND RING

A DIAMOND HALF-ETERNITY RING

A DIAMOND ETERNITY RING

centred with a cushion-cut tanzanite weighing approximately 1.08cts. the conforming rose gold surround embellished with round brilliant-cut diamonds, impressed 9ct, size M

channel-set to the centre with eleven round brilliant-cut diamonds weighing approximately 0.22cts in total, impressed 9ct, size O

claw set throughout with round brilliant-cut diamonds weighing approximately 1.56cts in total, acid tested as 18ct gold, size O

R 1 000 - R 1 500

ILLUSTRATED ON OPPOSITE PAGE

R 6 500 - R 10 000 680 A SAPPHIRE AND DIAMOND RING

of stylised design, centred with channel-set baguette-cut sapphires, within a conforming surround of pave-set round brilliant-cut diamonds, impressed 750, size M

R 15 000 - R 20 000 681 A RUBY AND DIAMOND RING

set with alternating baguette-cut rubies and pavé-set brilliant-cut diamond cubes, weighing approximately 0.30cts and 1.08cts respectively, impressed 750, size O

R 5 000 - R 8 000 682 A DIAMOND LEOPARD RING

the band terminating in a tail and leopard head with marquise-cut emerald eyes, the full band pave-set with 500 round brilliant-cut diamonds weighing approximately 8.0cts in total, acid tested as 18ct gold, size O

686

R 12 000 - R 15 000

A DIAMOND TENNIS BRACELET

692

claw-set with sixty-eight brilliant-cut diamonds weighing approximately 3.4cts in total, acid tested as 18ct white gold, approximately 180mm in length

A DIAMOND RING

ILLUSTRATED ON OPPOSITE PAGE

R 20 000 - R 30 000

designed as a double band centred with a marquise-cut diamond weighing approximately 0.15ct, the double conforming surround embellished with brilliant-cut diamonds weighing approximately 2.5cts in total, acid tested as 18ct gold, size R

687

ILLUSTRATED ON OPPOSITE PAGE

A DIAMOND TENNIS BRACELET

R 12 000 - R 18 000

designed as a series of four claw links each set with a round brilliant-cut diamond weighing approximately 9.36cts in total, impressed 750, approximately 17cm in length ILLUSTRATED ON OPPOSITE PAGE

R 70 000 - R 80 000 688 A DIAMOND TENNIS BRACELET

693 A DIAMOND PENDANT

in the form of a stylised cross, set throughout with baguette- and round brilliant-cut diamonds weighing approximately 1.70cts in total, impressed 18K and 750, approximately 5.2cm in length; and A 9ct Gold Necklace, composed of wheat-link chain, impressed 375, approximately 44cm in length (2)

ILLUSTRATED ON OPPOSITE PAGE

designed as a series of four claw links each set with a round brilliant-cut diamond weighing approximately 6.7cts in total, impressed 750, approximately 18cm in length

R 60 000 - R 80 000

R 45 000 - R 50 000

683

689

A DIAMOND RING

A DIAMOND PENDANT

A BLACK AND WHITE DIAMOND TENNIS

in the form of a ‘circle of life’, set with round brilliant-cut diamonds weighing approximately 0.52cts in total, acid tested as 18ct gold, approximately 2.5cm in length; and An 18ct Gold Necklace, composed of box-link chain, impressed 750, approximately 44cm in length (2)

designed as a line of claw-set circular black diamonds weighing approximately 1.9cts in total, interspersed with round brilliant-cut diamonds weighing approximately 0.30cts in total, impressed 750, approximately 17.5cm in length

the broad raised band channel-set to the centre with baguette-cut diamonds flanked above and below with round brilliant-cut diamonds weighing approximately 1.55cts in total, the gallery embellished with heart-shaped cut outs, impressed 18K, size M

ILLUSTRATED ON OPPOSITE PAGE

R 10 000 - R 15 000 684 A DIAMOND HALF-ETERNITY RING

BRACELET

ILLUSTRATED ON OPPOSITE PAGE

R 30 000 - R 35 000 690 A DIAMOND TENNIS BRACELET

claw-set with six brilliant-cut diamonds weighing approximately 1.47cts in total, acid tested as 9ct white gold, size M

designed as a line of claw-set round brilliant-cut diamonds weighing approximately 2.9cts in total, acid tested as 18ct gold, approximately 18cm in length

ILLUSTRATED ON OPPOSITE PAGE

ILLUSTRATED ON OPPOSITE PAGE

R 8 500 - R 12 000

R 23 000 - R 30 000

ILLUSTRATED ON OPPOSITE PAGE

R 30 000 - R 50 000 694

ILLUSTRATED ON OPPOSITE PAGE

R 23 000 - R 30 000 695 A DIAMOND RING

centred with a bezel-set round brilliant-cut diamond, within a square-shaped surround of round brilliant-cut diamonds weighing approximately 1.30cts in total, acid tested as 18ct gold, size L

R 15 000 - R 20 000

139

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JEWELLERY

696

698

700

A DIAMOND RING

A GEMSTONE RING

A DIAMOND RING

set to the centre with three old-cut diamonds, impressed 18ct and PLAT, size L

of undulating form, channel-set with various tapered baguette-cut gemstones, including amethyst, aquamarine and tourmaline, impressed 750, size L

pave-set to the centre and either side with round brilliant-cut diamonds weighing approximately 1.20cts in total, impressed 18ct, size L

R 1 500 - R 2 000 697 A DIAMOND PENDANT

in the form of a cross, channel-set to the centre with ten baguette-cut diamonds weighing approximately 2.2cts in total, impressed 750, approximately 3.3cm in length

R 22 000 - R 30 000

R 10 000 - R 15 000 699 A DIAMOND RING

bezel-set to the side with a round brilliant-cut diamond weighing approximately 0.53cts, highlighted with two baguette-cut and six round brilliant-cut diamonds weighing approximately 0.30cts in total, impressed 18K, size L

R 10 000 - R 15 000

140

R 15 000 - R 20 000 701 A DIAMOND AND PEARL RING

The tapered band pave-set to the centre with round brilliant-cut diamonds weighing approximately 1.32cts in total, centred with a Silver grey South Sea pearl, impressed 18ct

R 10 000 - R 15 000

S|4

JEWELLERY

702

704

706

AN OPAL AND PINK SAPPHIRE RING

AN AGATE AND DIAMOND PENDANT

A DIAMOND RING

Centred with an oval cabochon opal, within a conforming surround of circular mixed-cut pink sapphires weighing approximately 1.96cts in total, impressed 9ct

Of stylised form, with two semi-circles of agate separated by a round brilliant-cut diamond, impressed 18ct

the fluted band highlighted with two hearts pave-set with round brilliant-cut diamonds, impressed 750

R 4 000 - R 6 000

R 3 000 - R 5 000

R 8 000 - R 10 000 703 A CITRINE AND DIAMOND PENDANT

the surmount comprised of a cluster of three round brilliant-cut diamonds weighing approximately 0.27cts in total, suspending a pear-shaped mixed-cut citrine, acid tested as 18ct gold; and An 18ct Gold Necklace, comprised of snake-chain links, impressed 750

705 AN UNMOUNTED TRILLION-CUT AQUAMARINE

NO LOTS 707 - 710

weighing approximately 14.50cts

R 18 000 - R 20 000

R 8 000 - R 12 000

141

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FROM THE CONTINENT ARTAFRICA

ART M A R C H 2 017 I S S U E 0 7

A LUTA CONTINUA

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A LUTA CONTINUA GUEST EDITED BY KENDELL GEERS

2017/02/16 1:32 PM

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IMPORTANT NOTICE TO PROSPECTIVE BUYERS Stephan Welz & Co., a division of Scoin Trading (Pty) Limited (“The Company”)

GLOSSARY OF CATALOGUING TERMS The following are examples of the terminology used in this catalogue. Please note that any statement made in this catalogue as to authorship, attribution, period, date, age, culture, source, provenance, condition or origin for any property are qualified statements, not to be taken as a statement of fact, and are made subject to the provisions of the Conditions of Business and Terms of Sale by Auction printed in this catalogue. We reserve the right in forming our opinion, to consult and rely upon any expert or authority considered by us to be reliable.

CERAMICS Fine Meissen Cup and Saucer; circa 1735 This title states three things: the cup and saucer are in excellent condition, both pieces were made at the Meissen factory, and they were made around the year 1735. The adjective ‘fine’ is the only adjective used in a title to describe condition of important lots.

Meissen Cup and a Saucer, circa 1735 This states that the cup and saucer were made at the Meissen factory around 1735, but it also indicates that the cup and saucer may not have been ‘born’ together.

Meissen Cup and Saucer, 1730-50 This states that the cup and saucer were made at the Meissen factory some time between 1730 and 1750.

Meissen Cup and Saucer, dated 1735 This states that the cup and saucer were made at the Meissen factory and that the date 1735 appears within the decoration, although it may not be the actual year of manufacture. Only in the case of factories such as Sêvres, Frankenthal and Vienna, which incorporated date letters or numbers into their marks, does the term ‘dated’ mean the actual year of manufacture.

Meissen Cup and Saucer, 19th Century This states that the cup and saucer are of Meissen type, and although of the date specified, not necessarily made at the Meissen factory.

Meissen Cup and Saucer This title without a date simply states that the pieces were made at the Meissen factory, but does not specify when, implying that their age is questionable.

WORKS OF ART 1 Thomas Baines In our opinion, a work by the artist. When the artist’s forename(s) is not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not, indicates that in our opinion the work is by the artist named.

2 A ttributed to Thomas Baines In our opinion, probably a work by the artist, but less certainty as to authorship is expressed than in the preceding category.

3 Studio of Thomas Baines In our opinion, a work by an unknown hand in the studio of the artist which may or may not have been executed under the artist’s direction.

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4 Circle of Thomas Baines In our opinion, a work by an as yet unidentified but distinct hand, closely associated with the named artist, but not necessarily his pupil.

5 Style of ...: Follower of Thomas Baines In our opinion, this is a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil.

6 Manner of Thomas Baines In our opinion, a work in the style of the artist and of a later date.

7 After Thomas Baines In our opinion, a copy of a known work of the artist.

8 The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are from the hand of the artist.

9 The term bears a signature and/or date and/or inscription means that in our opinion the signature and/or date and/or inscription have been added by another hand.

10 Dimensions are given height before width.

11 Pictures are executed in oil on canvas and framed unless otherwise stated.

SCULPTURE Casts in bronze, terracotta and other material are catalogued with the full name and dates of the artist who created the original model.

In most cases, however, this does not mean that the cast is by the hand of the artist of that precise date, but rather cast after the model by that artist.

UPHOLSTERED FURNITURE Whilst every care is taken in cataloguing these items, no guarantee can be given to the originality of the timber covered by upholstery or fabric.

CONDITION OF LOTS OFFERED FOR SALE We are pleased to give a condition report on request. Nevertheless, prospective buyers are reminded that all lots are sold as shown and their attention is drawn to Clause B.5 of the Conditions of Business. The absence of reference to condition of the lot in the catalogue description does not imply that the lot is free from faults or imperfections.

OVERSEAS BIDDERS Overseas bidders are advised that courier companies such as RAM, Fedex and DHL do not insure jewellery being sent between South Africa and overseas countries. Insurance will therefore become the responsibility of the buyer.

Stephan Welz & Co., a division of Scoin Trading (Pty) Limited (“The Company”) Registration number 2006/028395/07

Bidder Number

(for office use only)

Sale: Fine Art & Design – Johannesburg Sale Name: JULIET Sale No.: SA1704 Sale Date: 25 & 26 July 2017

ABSENTEE BIDDER

TELEPHONE BIDDER

Please see the important information regarding absentee/telephone bidding on the reverse of this form. Forms should be completed in ink and emailed or faxed to the Bid Department. Fax: +27 11 880 2656 Email: bids@stephanwelzandco.co.za Buyer’s Premium: 14% plus VAT for items selling over R 10 000 | 17% plus VAT for items selling for R 10 000 or less | 10% plus VAT for Collectable Cars Title: First name:

Surname:

Identity number (Passport number for overseas bidders): Company Name:

VAT No.

(if the invoice must be in a Company’s name)

Address: Postal code: Telephone (home):

(work):

Cell:

Fax:

Email: In the case of a telephone bid, please call me at either 1)

or 2)

Please fax or email my invoice to: Bids should be submitted in SA Rands by close of business on Monday, 25 July 2017 First time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and the back of a valid credit card. A sum of R5 000 may be reserved prior to the auction.

Lot Number

Title/Description

R Bid Price (excluding premium and VAT) R R R R R R R

PLEASE COMPLETE

I will collect my purchases in person from the JHB office Kindly have my purchases sent to your CT office for collection (The buyer to pay 100% of the shipping costs - one bulk shipment between offices) SHIPPING COSTS BETWEEN OUR JOHANNESBURG & CAPE TOWN OFFICES The packing and transport costs will be calculated as follows (one bulk shipment between offices): Invoice value over R100,000 (excluding buyer’s premium) – free Invoice value below R100,000 (excluding buyer’s premium) – minimum of R500 + VAT. Insurance is not included.

I will settle my account via

credit card EFT

Please forward the shipping document together with my invoice. The transport and insurance costs are for my account.

Kindly provide me with a quotation for the delivery of my purchases to the following alternative address

_________________________________________________________________ See Payment and Despatch of Purchases which is published in the catalogue.

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GUIDE FOR ABSENTEE / TELEPHONE BIDDERS Stephan Welz & Co., a division of Scoin Trading (Pty) Limited (“The Company”)

If you are unable to attend an auction in person, you may give the Company’s Bid Department instructions to bid on your behalf by completing the Absentee/Telephone Bidders form. This service is confidential and available at no additional cost.

BEFORE THE AUCTION Buyers are solely responsible to satisfy themselves prior to the auction as to the condition of each lot and should exercise and rely on their own judgement as to whether the lot accords with the description or not.

The Buyer, before buying, must read the Rules of Auction.

Please request condition reports from the respective department prior to finalising your absentee/telephone bids.

The Company takes no responsibility for any incorrect, inaccurate or defective description of the goods listed for auction in the catalogue or in any condition report as per the terms and conditions of business.

Please place your bids as early as possible, as in the event of identical absentee bids the earliest received will take precedence.

Bids must be submitted at least 24 hours before the auction.

CITES PERMITS, IMPORT, EXPORT, COPYRIGHT RESTRICTIONS & LICENCES TheThCompany suggests that buyers check with their own government regarding wildlife import requirements prior to placing a bid. It is the Buyer’s sole responsibility to identify and obtain any necessary export, import, endangered species or other permit for the lot.

COMPLETING THE FORM The Absentee/Telephone Bidders form should be used for one sale only. Please tick the appropriate box – Absentee Bidder or Telephone Bidder. Please record accurately the lot numbers, descriptions and the maximum hammer price you are willing to pay for each lot. Instructions to “buy” or unlimited bids will not be accepted.

Bids must be numbered in the same order as the lots appear in the catalogue.

Alternate bids for items can be made by placing the word “OR” between lot numbers. This means if your bid on an early lot is successful, we will not continue to bid on subsequent lots for you.

Or, if your early bids are unsuccessful, we will continue to execute bids for the remaining lots listed on your absentee bid form.

If you are arranging a telephone bid, please clearly specify the telephone numbers on which you can be reached at the time of the sale, including the country code. We will call you from the sale room shortly before the relevant lot is offered.

We will try and purchase the lot(s) of your choice for the lowest price possible (dependent on the reserve price and other bids) and never for more than the maximum bid amount you indicate. Where appropriate, your bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Telephone Bids – we suggest you leave a maximum bid which we will execute on your behalf in the event that we are unable to reach you by telephone. Because this method cannot be entirely free from risk of communication breakdown, the Company cannot be held responsible for losses arising from missed bids. The Company reserves the right to record telephone bidding and all bidders consent to such recording.

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CLIENT INFORMATION Anyone that intends to bid at the auction as an absentee or telephone bidder must register on the Absentee/Telephone Bidders form prior to the commencement of the auction and such registration must meet the requirements of FICA (Financial Intelligence Centre Act, 2001) in respect of the establishment and verification of identity of the person and the person must sign the registration entry and in particular must include the following information: Your full names; identity/passport number; physical address; postal address; contact numbers; fax number; email address; copy of your identity document, as per requirement of the Consumer Protection Act 68 of 2008.

First-time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and back of a valid credit card. A sum of R5,000 may be reserved prior to the auction.

Any person who intends to bid on behalf of another person (i.e. on behalf of a company) must produce a letter of authority that expressly authorises him or her to bid on behalf of that person and that person and the person bidding on his or her behalf must meet the requirements set out above. Where a person is bidding on behalf of a company the letter of authority must appear on the letterhead of the company and must be accompanied by a certified copy of the resolution authorising him or her to bid on behalf of the company.

CONDITIONS OF ABSENTEE AND TELEPHONE BIDDING Such bids are executed at the bidder’s risk and undertaken subject to the Company’s other commitments at the time of the auction. The Company therefore cannot accept liability for any error or failure to place such bids.

All bids are subject to the Conditions of Business applicable to the sale printed in the sale catalogue. Buyer’s premium, at the stated current rates will be added to the hammer price, plus VAT and any other applicable expenses.

All bidders are deemed to have read the Rules of Auction prior to any bidding.

AFTER THE AUCTION AND PAYMENT In the event that you are successful, payment is due immediately after the sale unless otherwise agreed in advance. Successful absentee/ telephone bidders will receive an invoice detailing their purchases together with the Company’s banking details for payment.

A shipping document will accompany the invoice. This document is to be completed and returned to the shipping department.

Payment is due immediately after the auction and may be made by the following methods: Electronic Funds Transfer – only bank transfers or electronic funds transfer will be accepted. No cheque or cash payments will be accepted.

Wire Transfer Credit Cards – we accept all major credit cards.

I ALWAYS GET WHAT I WANT

Register today for our Absentee Bidder Form service and be able to say “I always get what I want” - no matter where.

You can find our form online or in this catalogue. the-saleroom.com

TM

Online bidding managed

by ATG Media SA through www.the-saleroom.com Europe’s leading portal for live art and antiques auctions.

www.stephanwelzandco.co.za 147 SWSW2431

EXCELLENCE LASTS

TM

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Stephan Welz & Co.™ has entrenched itself at the forefront of the South African auction industry since 1968.

Trust us to unlock the true worth of your collectables.

www.stephanwelzandco.co.za

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CAPE TOWN OFFICE The Great Cellar | Alphen Estate | Alphen Drive | Constantia | 7806 | Cape Town 150

GENERAL INFORMATION JOHANNESBURG Stephan Welz & Co. a division of Scoin Trading (Pty) Limited (“The Company”) Registration Number Street Address

2006/028395/07

Killarney Country Club 60 5th Street

Houghton Estate 2198

Johannesburg Postal Address P O Box 52431, Saxonwold, 2132 Telephone 011 880 3125 Fax 011 880 2656

Email jhb@stephanwelzandco.co.za Website www.stephanwelzandco.co.za Executive Chairman

Mr Alan Demby Director (British) B. Com (Hons)

Catalogue Credits Photography Design Printing

Lukas Nel Gina Lodewijks Paarl Media

Please note that all lots are sold subject to our Terms and Conditions of Business and Rules of Auction on pages 162 -166

ABSENTEE & TELEPHONE BID REQUESTS Bids should be submitted in SA Rands by close of business on Monday, 25 July 2017 bids@stephanwelzandco.co.za PAYMENTS accounts@stephanwelzandco.co.za Laurie Sher 011 880 3125 SHIPMENTS Please email/fax shipping instructions by midday on Monday, 31 July 2017 to: Zake Nakedi email: zake.nakedi@stephanwelzandco.co.za fax: +27 (0)86 537 7227 The company will arrange competitive quotations for your perusal and approval. Buyers preferring to make use of their own shipping arrangements should advise us accordingly.

SHIPPING COSTS BETWEEN OUR JOHANNESBURG & CAPE TOWN OFFICES The packing and transport costs will be calculated as follows (one bulk shipment between offices): Invoice value over R100,000 – free Invoice value below R100,000 – minimum of R500 + VAT. Insurance is not included.

GENERAL INFORMATION CAPE TOWN

Stephan Welz & Co. a division of Scoin Trading (Pty) Limited (“The Company”)

Registration Number 2006/028395/07 Street Address The Great Cellar • Alphen Estate Postal Address PO Box 818 • Constantia 7848 Telephone 021 794 6461 Fax 021 794 6621 Email ct@stephanwelzandco.co.za Website www.stephanwelzandco.co.za

•

Alphen Drive

•

Constantia 7806

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With notes of old world charm and more than a hint of history, Muratie is a destination for real wine lovers to savour.

Our deliciously inviting Farm Kitchen, inspiring Art Gallery, world-class MTB Cycle Trails and our history-laden Cellar Tours & Tastings promise memories that will linger long after you’ve left.

Tasting Room: 7 days a week / 10.00 to 17.00 Farm Kitchen: Wed to Sun / 12.00 to 15.00 (Booking advised) www.muratie.co.za | tel: 021 865 2330 | email: info@muratie.co.za

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A. HOW TO GET STARTED ON THE-SALEROOM.COM 1.

Create an account on www.the-saleroom.com

2.

You can do this by clicking on the ‘Create Account’ link on the site.

lease enter all your details, including your email address and a 3. P password. Please remember to fill in all your address correctly.

4.

he next screen will advise you that an email has been sent T to your chosen email address – once you check this email you can complete the registration process and can log into the Saleroom site using your details.

5. Once you are back on the site, click on the ‘Auctions’ link on the top left of the page.

6. You will see a list of all ‘Live’, ‘Timed’ and ‘Catalogue’ Auctions available on the site.

7. Option 1: You will see a ‘Country’ link on the left of your page – if you click on ‘South Africa’ you can see a list of upcoming South African auctions. The Stephan Welz & Co. auction listed will be listed here.

Option 2: You will see a smaller list of auctions on the left hand side of the page – these are listed in alphabetical order. Select Stephan Welz & Co. near the bottom of this list.

13. First time buyers must provide Stephan Welz and Co. with a copy of their identity document or passport and a photocopy of the front and back of a valid credit card.

Email the above to bids@stephanwelzandco.co.za.

A sum of R5 000 may be reserved prior to the auction.

C. BIDDING ‘LIVE’ DURING THE AUCTION 1. Once you have entered the live auction bidding page (by following the afore-mentioned instructions) you will be able to view a list of the lots on the right hand side of the small bidders screen.

2. On the left panel of the bidding screen you can see the Lot number, Lot picture, Estimate and Description.

3. Once the auction starts you will see the words ‘New Lot’ appear on this screen.

4. Once an ‘Asking’ price has been entered you will see a blue ‘Bid’ button appear on your screen.

5. This button will be blue in colour and will have the word ‘Bid’ in white lettering with the next Auctioneer’s Increment/Asking amount visible.

B. SIGNING UP TO BID AT THE AUCTION

6. If you want to bid the amount being asked on your blue bid

1. C lick into the catalogue of the auction you wish to sign up to bid for.

7. Once you click on this button you will hear the auctioneer

2. Click on the green ‘Sign Up To Bid’ button in this catalogue.

button, you need to click on this button.

acknowledging your bid, your ‘Bid’ button will disappear and you will see red lettering advising ‘You are in the lead’.

3. Y ou will be prompted to ‘Add Card’ – you need to select and add a card which is accepted by the auction house.

8. However, if someone at the venue or someone else on the

4. O nce you ‘Complete’ the registration process, you will be returned to the original page.

if you wish to bid at the next increment amount. If you wish to

5. I f you are approved to bid by the auctioneer you should now have a green ‘Bid Live’ button.

6. Click on the green ‘Bid Live’ button.

internet bids against you, your ‘Bid’ button will reappear asking bid at the next amount you will need to click on this button again.

9. If you bid the same amount at the same time as a person at the venue, the ‘Room’ will get priority over any internet bid.

7. A smaller page will open which gives you the option to ‘Bid Live’ or ‘View Live’.

10. When this happens you will see your bid button reappear

8. P lease click on ‘Bid Live’ – you will be prompted to enter a password, which will be the password you have set for your new account.

You will again be given the opportunity to bid at the ‘Asking’

9. You will now enter the live auction bidding page.

10. Please note if you click ‘Watch Live’ or ‘View Live’ you will only be able to view as a guest and will not be able to bid.

11. I f your screen shows a grey ‘Bid Live’ button it means you are pending approval to bid from the auctioneer.

and will see a message saying ‘Sorry the bid is in the room’. amount if you wish.

11. If you are the winning bidder on the Lot, you will see a red message advising ‘You have won this lot’ once the Auctioneer’s hammer goes down and the lot is closed.

12. Please try to bid early and often to ensure the Auctioneer is aware of your interest in the lot.

13. If you have any technical issues or problems logging in to

12. You simply need to contact the auction house via telephone to request approval to bid at their auction.

bid, please contact our support team on 0044 207 420 6671 or support@atgmedia.com. We can assist you with any issue that you might be experiencing.

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Get WORTH

INSPIRED

withWORTH

The Wits Art Museum Lecture ProgrammeORTH Stephan Welz & Co. will be partnering with the Wits Art Museum (WAM) to support their lecture programme. As leaders in the South African Art industry, we believe it is essential to inspire and elevate the appreciation of art in the country.

WAM curates 6 exhibitions on an annual basis. Each exhibition has a six-week lecture programme, one lecture per week, which focusses on the topic of the exhibition.

These lectures will afford you fascinating insight and undoubtedly a greater appreciation of the world of Art. Send your name and contact details to info@stephanwelzandco.co.za if you are interested in attending any of the lectures.

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South Africa Rest of World DISCOVER A DISCOVER A NEW NEW WORLD WORLD R750 R1 050 SUBSCRIBE TODAY DISCOVER A NEW SUBSCRIBE TODAYWORLD SUBSCRIBE TODAY R750 R1 050

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PLEASE WRITE IN BLOCK LETTERS PLEASE WRITE IN BLOCK LETTERS EFT – Electronic Transfer Please debit my credit withtransfer the full amount due. Please tick: VISA MASTERCARD DINERS AMEX PLEASE INdo BLOCK LETTERS It is alsoWRITE possible ancard electronic Please debit my to credit card with the full amount due. Please tick: VISA MASTERCARD DINERS AMEX to our account. Please email your proof of payment Name Card:………………………............................................................................................................................................................……………………………

Pleaseon debit my credit card with the full amount due. Please tick: VISA MASTERCARD DINERS AMEX to uson at: Card:………………………............................................................................................................................................................…………………………… subs@stephanwelzandco.co.za Name ID no. of ..........................................................................................................

Name oncardholder: Card:………………………............................................................................................................................................................……………………………

Stephan Welz & Co. Banking Details: ID no. of cardholder: ..........................................................................................................

STEPHAN WELZ & COMPANY Nationality and Passport no. of cardholder (Foreign buyers only): ………………………….................................................…………………………

ID no. of cardholder: ..........................................................................................................

STANDARDand BANK OF SA LIMITED Nationality Passport no. of cardholder (Foreign buyers only): ………………………….................................................…………………………

BRANCH: JOHANNESBURG EFT – Electronic Transfer ................ Card No.: ROSEBANK, Nationality and Passport no. of cardholder (Foreign buyers only): ………………………….................................................…………………………

EFT – Electronic Transfer Card No.: BRANCH CODE: 004305 It is also possible to do an electronic transfer It is also possible Transfer to do an electronic transfer Expiry Date: EFT Electronic Card No.: ACCOUNT NUMBER: 402-328-213 to our– account.

Please email your proof of payment Expiry Date: to our account.

Please your proof of payment It is also possible to doemail an electronic transfer SWIFT CODE: SBZAZAJJ to us at: subs@stephanwelzandco.co.za 3Expiry or 4 digit code on reverse: Date: to us at: subs@stephanwelzandco.co.za to our account.

Please email your proof of payment Reference name surname 3 or 4 digit your code on and reverse: Stephan Welz & Co. Banking Details: 3 or 4 digit code on reverse: Signature: ….........…………........….……..............…………

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Signature: ….........…………........….……..............………… Date: ………………………….................

Please forward your completed catalogue subscription form to: Please forward your completed catalogue subscription form to: subs@stephanwelzandco.co.za or Fax: +27 (0)11 880 2656 subs@stephanwelzandco.co.za Fax: +27subscription (0)11 880 2656 Please forward your completed or catalogue form to: subs@stephanwelzandco.co.za or Fax: +27 (0)11 880 2656 SW CATALOGUE ORDER FORM / AD.indd 1 SW CATALOGUE ORDER FORM / AD.indd 1

to us at: subs@stephanwelzandco.co.za Stephan Welz & Co. Banking Details: STEPHAN WELZ & COMPANY STEPHAN WELZ & COMPANY Stephan Welz & Co. Details: STANDARD BANK OFBanking SA LIMITED STANDARD BANK&OF SA LIMITED STEPHAN WELZ COMPANY BRANCH: ROSEBANK, JOHANNESBURG BRANCH: ROSEBANK, JOHANNESBURG STANDARD BANK OF SA LIMITED BRANCH CODE: 004305 BRANCH CODE: 004305 BRANCH: ROSEBANK, JOHANNESBURG ACCOUNT NUMBER: 402-328-213 ACCOUNT NUMBER: 402-328-213 BRANCH CODE: 004305 SWIFT CODE: SBZAZAJJ SWIFT CODE: SBZAZAJJ ACCOUNT NUMBER: 402-328-213 Reference your name and surname Reference yourSBZAZAJJ name and surname SWIFT CODE: Reference your name and surname

159 2016/09/08 4:05 PM 2016/09/08 4:05 PM

IMPORTANT ANNOUNCEMENTS

1.

All business undertaken at the sale of the auction is subject to the terms and conditions of business which are published in the catalogue, and the Rule of Auction as required by the CPA Act, which are published at the entrance of the auction room.

2. The purpose of the auction, as required by the CPA Act,

is a general purpose auction of the clients’ goods.

The buyer by bidding for any goods at the auction, 3. irrespective of whether or not the buyer has signed the buyer’s card, is deemed to have understood, agreed and consented to the terms and conditions of the business.

4. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller.

5. The auctioneer may further bid on behalf of the seller up to

the amount of the reserve, by placing responsive bids for a

lot.

6.

7.

Buyer’s Premium: 14% plus VAT for items selling over R 10 000 17% plus VAT for items selling for R 10 000 or less 10% plus VAT for Collectable Cars 15% plus vat at the prevailing rate for Auto Memorabilia Overseas bidders Overseas bidders are advised that courier companies such as RAM, Fedex and DHL do not insure jewellery being sent between South Africa and overseas countries. Insurance will therefore become the responsibility of the buyer 8. Shipping Costs Between Our Johannesburg & Cape Town Offices The packing and transport costs will be calculated as follows (one bulk shipment between offices): Invoice value over R100,000 – free Invoice value below R100,000 – minimum of R500 + VAT. Insurance is not included.

PAYMENTS

Value Added Tax (“VAT”) The Company acts as agent on behalf of the Seller and should the Seller be registered as a South African VAT vendor and has informed the Company that his lots must be charged with VAT, then such lots will be indicated in the catalogue with the symbol “†” and VAT at the prescribed rate will be charged on the hammer price and will be payable by the Buyer.

Payment is due immediately after the sale in order to meet our commitments timeously with the seller and may be made by the following methods:

2. Wire transfer 3.

We accept all major credit cards

4.

First-Time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and back of a valid credit card. A sum of R5,000 may be reserved prior to the auction.

5. Post-Auction shipping between JHB and CT offices will be

for the buyer’s account.

1. The Company no longer accepts cash and cheque payments from 1 August 2016.

THE COMPANY MAKES NO REPRESENTATIONS

Stephan Welz & Co., a division of Scoin Trading (Pty) Limited, makes no representations or warrantees to whether any lot is subject to import, export, copyright and licence restrictions including permission from SAHRA.

required by law, including licences requires under the Convention of the International Trade in Endangered Species (CITES).

The permit application costs R800.

Endangered Species - any item made of or incorporating animal material such as bone, etc irrespective of value, will require a specific permit from the Department of Nature Conservation prior to exportation.

It is the buyer’s sole responsibility to obtain any copyright clearances or any necessary import, export or other licence

160

The refusal of an export permit shall not permit the recission of a sale.

Customs have placed a ban on the importation of ivory worldwide. Lots which include ivory are therefore not suitable for export.

PAYMENT & DESPATCH OF PURCHASES Stephan Welz & Co., a division of Scoin Trading (Pty) Limited (“The Company”)

METHODS OF PAYMENT Payment is due immediately after the sale and may be made by the following methods: Wire Transfer and accepted Credit Cards.

1. Electronic Funds Transfer Only bank transfers or electronic funds transfer will be accepted.

No cheque or cash payment will be accepted.

First-time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and back of a valid credit card. A sum of R5,000 may be reserved prior to the auction.

2. Bank transfers in South African Rands These should be transferred to: Stephan Welz & Company STANDARD BANK OF SOUTH AFRICA LIMITED Branch: Rosebank, Johannesburg Branch code: 00 4305 Current account: 402 328 213 Swift code: SBZAZAJJ Please include your name and invoice number as a reference with your instructions to your bank. Purchases will not be released until payment has been cleared by the bank.

3. Credit Cards We accept all major credit cards.

DESPATCH OF PURCHASES All purchases must be removed by 12 noon on the day following the sale, after which all purchased lots will be placed in storage and will be subject to removal, handling and storage charges.

Purchases will be despatched as soon as possible upon receipt of the buyer’s written despatch instructions, full payment for the lots bought, and any export licences that may be required. Despatch costs will be at the buyer’s expense. Estimates and advice on all methods of despatch can be provided upon request and enquiries should be marked for the attention of our Shipping Department.

Insurance cover must be arranged by the buyer and will be at the buyer’s expense. Lots will be released to the buyer or his/her authorised representative, herein duly authorised under deed of power of authority, only if full payment has been received by us together with settlement of any removal, handling and storage charges due.

1. Methods of despatch for overseas and neighbouring countries Buyers After an auction, only limited assistance with packing and/or loading of purchases is available from the staff of Stephan Welz & Co. Where such assistance is rendered, no liability will devolve on Stephan Welz & Co. or its staff for any damage that may arise, from whatever cause, during such packing and/or loading.

Customs have placed a ban on the importation of ivory worldwide. Lots which include ivory are therefore not suitable for export.

Overseas bidders Overseas bidders are advised that courier companies such as RAM, Fedex and DHL do not insure jewellery being sent between South Africa and overseas countries. Insurance will therefore become the responsibility of the buyer.

Airmail Despatch via this method will depend upon the size and weight stipulated by the postal authorities. Quotations for packing and postage are available upon request.

Surface mail Despatch is as for airmail but at a cheaper rate. Purchases take considerably longer to arrive at their destinations. Quotations for packing and postage are available upon request.

Airfreight This is suitable for all items, worldwide. Unless otherwise specified, despatch is arranged by our nominated agent. Quotations for packing and despatch are available upon request.

Seafreight This is often more economical for larger consignments, such as furniture. Unless otherwise specified, despatch is arranged by our nominated agent at your risk. Quotations for packing and despatch are available upon request.

2. Methods of despatch for local buyers After an auction, only limited assistance with packing and/or loading of purchases is available from the staff of Stephan Welz & Co. Where such assistance is rendered, no liability will devolve on Stephan Welz & Co. or its staff for any damage that may arise, from whatever cause, during such packing and/or loading.

Air and surface mail Despatch via this method will depend upon the size and weight stipulated by the postal authorities. Quotations for packing and postage are available upon request.

Road This is suitable for all items too large or fragile for despatch by mail. Unless otherwise specified, despatch is arranged by our nominated agent at your risk. Quotations for packing and despatch are available upon request.

Applications for export permits The Buyer shall be responsible for obtaining any export licence that may be required.

Endangered species Any item made of or incorporating animal material such as ivory, irrespective of value, will require a specific permit from the Department of Nature Conservation prior to exportation. The Buyer shall be responsible for obtaining the CITES certificates.

161

TERMS & CONDITIONS OF BUSINESS AND RULES OF AUCTION Stephan Welz & Co., a division of Scoin Trading (Pty) Limited (“The Company”)

The Company carries on its business as auctioneers in accordance with these Terms and Conditions of Business and Rules of Auction.

A. DEFINITIONS In these conditions of business, headnotes are for convenience only and shall not be used in their interpretation, any expression which denotes any gender shall include the other genders, any expression which denotes the singular shall include the plural (and vice versa), any expression which denotes a natural person shall include a juristic person (and vice versa) and the following terms shall have the following meanings: 1. “auction” means any private treaty or auction sale at which a lot is

offered for sale by the Company; 2. “auctioneer” means the representative of the Company conducting

an auction; 3. “bidder” means any person making, attempting or considering to

make a bid or offer to buy a lot at an auction, or private treaty sale; 4. “Buyer” means the bidder who makes the bid or offer for any lot

that is finally accepted by the auctioneer (after determination by

the auctioneer of any dispute that may exist in respect thereof) at a

sale of that lot, and (where the Buyer is an agent acting for a

principal), the Buyer and the Buyer’s principal jointly and severally; 5. “Buyer’s premium” means the premium payable by the Buyer of

a lot to the Company on the sale of that lot, calculated on the

hammer price of that lot at the relevant current rates; 6. “catalogue” means any advertisement, brochure, estimate,

pricelist, condition report and other publication (in whatever

medium, electronically or otherwise) published by the Company in

respect of any auction; 7. “current rates” means the Company’s current rates of commission,

premiums and other amounts payable to the Company for the

time being, together with VAT thereon (if any), all as published

by the Company (whether in a catalogue or otherwise) or as agreed

between a prospective Buyer or Seller (as the case may be) and the Company; 8. a “deliberate forgery” means an imitation made with the intention

of deceiving as to authorship, origin, date, age, period, culture or

source, which is not shown to be such in the description in the

catalogue and which at the date of the sale had a value materially

less than it would have had if it had been in accordance with that

description and includes any misrepresentation made with

intention of deceiving as to authorship, origin, date, age, period,

culture or source; 9. “hammer price” means the bid or offer made by the Buyer for any

lot that is finally accepted by the auctioneer (after determination by

the auctioneer of any dispute that may exist in respect thereof) at a

sale of that lot, together with VAT thereon (if any); 10. “lot” means any item or items to be offered for sale by the Company

at an auction or private treaty sale; 11. “prime rate” means the publicly quoted base rate of Interest

(percent, per annum compounded monthly in arrears and

calculated on a 365 day year, irrespective of whether or not the year

is a leap year) from time to time published by RMB Private Bank, or

its successor-in-title, as being its prime overdraft rate, as certified

by any manager of such bank, whose appointment, authority and

designation need not be proved; 12. “private treaty” means the sale of any lot other than by auction sale

at a price privately agreed on by the Buyer and Seller; 13. “purchase price” means the hammer price of any lot at a sale

thereof, plus the applicable Buyer’s premium for that lot, plus all

recoverable expenses for which the Buyer is liable in respect of that lot; 14. “recoverable expenses” includes all fees, taxes (including VAT),

charges and expenses incurred by the Company in relation to any

lot that the Company is entitled to recover from a Buyer or Seller; 162

15. “reserve” means the confidential minimum hammer price (if any) at

which a lot may be sold at an auction as agreed between the Seller

of that lot and the Company in writing; 16. “sale proceeds” means the amount due by the Company to the

Seller of a lot in respect of the sale of that lot, made up of the

hammer price of the lot, less the applicable Seller’s commission

for that lot, less all recoverable expenses for which the Seller is

liable in respect of that lot and any other amounts due to the

Company by the Seller in whatever capacity and howsoever arising.

17. “sale” means the sale of any lot at an auction, whether done

by private treaty or auction sale, and “sell” and “sold” shall have

corresponding meanings; 18. “Seller” means the person named as the Seller of any lot, being the

person that offers the lot for sale; 19. “Seller’s commission” means the commission payable by the Seller

to the Company on the sale of a lot that is calculated on the hammer

price of that lot at the relevant current rate; 20. “VAT” means value added tax levied in terms of the Value Added

Tax Act, 1991.

B. GENERAL TERMS AND RULES OF AUCTION Every auction and/or sale shall be governed by these terms, section 45 of the Consumer Protection Act 68 of 2008 (“the Act”) and the rules of auction and in accordance with the laws of South Africa.

The provisions of section 45 reads as follows: 1. Auctions 1.1 In this section, “auction” includes a sale in execution of or pursuant to a court order, to the extent that the order contemplates that the sale is to be conducted by an auction.

1.2 When goods are put up for sale by auction in lots, each lot is, unless there is evidence to the contrary, regarded to be the subject of a separate transaction.

1.3 A sale by auction is complete when the auctioneer announces its completion by the fall of the hammer, or in any other customary manner, and until that announcement is made, a bid may be retracted.

1.4 Notice must be given in advance that a sale by auction is subject to – (a) A reserved or upset price; or (b) A right to bid by or on behalf of the owner, in which case the owner or auctioneer, or any one person on behalf of the owner or auctioneer, as the case may be, may bid at the auction.

1.5 Unless notice is given in advance that a sale by auction is subject to a right to bid by or on behalf of the owner or auctioneer: (a) The owner or auctioneer must not bid or employ any person to bid at the sale; (b) The auctioneer must not knowingly accept any bid from a person contemplated in paragraph B.1.5 (a); and (c) The consumer may approach a court to declare the transaction fraudulent, if this subsection has been violated.

1.6 The Minister may prescribe requirements to be complied with by an auctioneer, or different categories of auctioneer, in respect of: (a) The conduct of an auction; (b) The records to be maintained with respect to property placed for auction; and (c) The sale of any such property by auction.

2. The rules of the auction are those promulgated in terms of the

Regulations promulgated by the Minister of Trade and Industry

dated 23 November 2010 under Government Gazette No. 33818

on 1 April 2011 and any subsequent amendment and/or variation

to the rules and these terms.

3. In the event of there being a discrepancy between the rules and

TERMS & CONDITIONS OF BUSINESS AND RULES OF AUCTION The Company carries on its business as auctioneers in accordance with these Terms and Conditions of Business and Rules of Auction.

4.

5.

the terms herein, the rules shall be operative and overriding.

Every bid constitutes an offer, open for acceptance by the Auctioneer and such acceptance shall be signified by the fall of the hammer, or by the acceptance of the offer by the Company in the event of a private sale.

Buyers are solely responsible to satisfy themselves prior to auction/ private treaty sale as to the condition of each lot and should exercise and rely on their own judgement as to whether the lot accords with the description or not.

5.1 Neither the Company, its servants, its employees, its agents and/or the Auctioneer shall be responsible whether directly or indirectly for any errors, omissions, acts of negligence, incorrect and/or inadequate descriptions or defects or lack of authenticity and/or inadequate descriptions or defects or lack of authenticity or lack of ownership or genuineness in any goods auctioned and sold. The Company shall not be held responsible for any incorrect, inaccurate or defective description of the goods listed for sale in the catalogue or in any condition report, publication, letter, or electronic transmission or to the attribution, origin, date, age, provenance, condition and description of the goods sold, and shall not be responsible for any loss, damage, consequential damages and/or patrimonial loss of any kind or nature whatsoever and howsoever arising thereout.

5.2 No warranty, whether express, implied or tacit is given by the Company, its servants, its agents, or its employees, or the Auctioneer or the Seller or the Buyer of any lot shall be binding or legally enforceable.

5.3 Any lot which proves to be a ‘deliberate forgery’ (which will only be the case if an expert appointed by the Company for such purposes confirms same in writing) may be returned by the Buyer (as his sole remedy hereunder or at law) to the Company within 21 days of the date of auction in the same condition in which it was at the time of the auction, accompanied by a statement of defects, the number of the lot, and the date of the auction at which it was purchased. If the Company is satisfied that the item is a ‘deliberate forgery’ and that the Buyer has and is able to transfer a good and marketable title to the lot, free from any third-party claims, the sale will be set aside and any amount paid in respect of the lot will be refunded, subject to the express condition that the Buyer will have no rights or claims against the Company if: 5.3.1 the description in the catalogue at the date of

the sale was in accordance with the then generally

accepted opinion of scholars and experts or fairly indicated that there was conflict of such opinion; or 5.3.2 the only method of establishing at the date of

publication of the catalogue that the lot was a ‘deliberate forgery’ was by means of a scientific

process not generally accepted for use until after

publication of the catalogue, or by a process which

was unreasonably expensive or impractical.

5.4 Buyer’s claiming under this condition will be limited to any amount paid in respect of the lot and will not extend to any loss or damage of whatsoever nature suffered, or expense incurred by him/her.

5.5 The benefit of this condition will not be assignable and will rest solely and exclusively in the Buyer who, for the purpose of this condition, will be and only be the person to whom the original invoice is made out by the Company in respect of the lot sold.

6. The Company will have the sole, exclusive and absolute right, at

its discretion, to refuse admission to any person to its premises or

any other premises at which such auction is to be conducted.

7. The Company has the sole and absolute discretion without having

to give any reasons therefore, to refuse any bid, withdraw or reoffer

8.

lots for auction (including after the fall of the hammer), cancel any sale if the Auctioneer and/or the Company believes that there may be an error or dispute of any nature whatsoever, and shall have the rights, as it deems fit, to divide any lot; to combine any two or more lots, or to put up any lot for auction again.

Any notice required to be given in connection with this agreement: 8.1 if given by the Company, shall be delivered by hand, or sent by registered post; or by telefax or by email, provided such address is given in which event such address shall constitute the domicilium citandi et executandi of the person to whom notice must be given.

Notice shall be deemed to have been received by the person who is required to receive such notice, whether given personally or to a third party or any other manner as envisaged by this clause: 8.1.1 on the date of delivery if delivered by hand or

telefax or email; 8.1.2 on the fourth (4th) day from the date of posting,

including the date of posting if posted by prepaid

registered post from within the Republic of South

Africa, which postage shall be deemed to have been sent on receipt of the post office of proof of

posting.

8.2 if required by the Company, such written notification must be given to the Company at its telefax number and/or email address as published in the brochure, alternatively the Company’s published address and/or fax number.

9. The Seller submits to the non-exclusive jurisdiction of the South

African courts.

10. The Buyer and/or Seller, as the case may be, hereby pledges the

goods either sold and/or bought as security to the Company for all

amounts which are owing to it.

11. No variation, alteration, consensual termination, representation,

condition, term or warranty, relaxation or waiver or release by the

Company, or estoppel against the Company, or the suspension by

the Company, in respect of these terms and conditions of business,

or any part thereof, shall be of any force or effect unless reduced to

writing and signed by the Company and the Buyer.

12. The Buyer shall be responsible for the payment of the Company’s

legal costs, calculated on the scale as between attorney and client

incurred by the Company in enforcing any of its rights of its principal

whether such rights are exercised by way of legal proceedings or not.

13. Notwithstanding the nature or amount of the claim by the

Company, the Company and the Buyer hereby consent to the

jurisdiction of the Magistrate’s Court otherwise having jurisdiction;

this consent is without prejudice to the right of the Company to

institute proceedings and to obtain judgment or any order in the

High Court of competent jurisdiction, the Company nevertheless

still being entitled to claim on the High Court scale of costs and

expenses, all as set out in this agreement.

C. TERMS RELATING TO BUYERS OF GOODS AT AN AUCTION OR

BY PRIVATE TREATY 1. Buyer’s Registration 1.1 Buyer bidders must prior to the commencement of an auction register his/her identity on the Company’s Buyer’s card and such registration must with the necessary changes meet the requirements of Chapter 1 of the regulations in terms of the Financial Intelligence Centre Act, 2011, published in Notice No. R. 1595 in Gazette No. 24176 of 20 December 2002, in respect of establishment and verification of identity, and sign that entry.

First time buyers must provide the Company with a copy of their identity document or passport and a photocopy of the front and back of a valid credit card. A sum of R5,000 may be 163

TERMS & CONDITIONS OF BUSINESS AND RULES OF AUCTION The Company carries on its business as auctioneers in accordance with these Terms and Conditions of Business and Rules of Auction.

reserved prior to the auction.

1.2 A Buyer who intends to bid on behalf of another Buyer must produce a letter of authority expressly authorising him/her to bid on behalf of that Buyer.

1.3 If a Buyer will be bidding on behalf of a company, a letter of authority must appear on the letterhead of the Buyer company and must be accompanied by a certified copy of the resolution authorising him/her to do so.

2. Auction Bids 2.1 The goods (lots) sold shall be to the highest bidder whether the sum bid be equivalent to the real value or not. Where the sale is announced to be with reserve, the goods shall be sold to the highest bidder, either on or in excess of the reserve price.

2.2 No person shall, at any bid, advance less than the amount fixed for that purpose by the Auctioneer. Bids can be retracted before the fall of the hammer but the Auctioneer may refuse any bid.

2.3 Should there be a dispute as to the highest bid, even after the fall of the hammer, the auctioneer shall in his sole and absolute discretion, determine which bid shall be accepted and the Company and/or the Auctioneer shall be absolved of any liability of any nature whatsoever in regard thereto. In the event of a dispute the Auctioneer may determine the dispute in his absolute discretion, or the property may, at the Auctioneer’s option, either be put up again at the last undisputed bid, or be withdrawn.

3.

Minimum Bid The auctioneer shall have the sole and absolute discretion and right to refuse any bid which does not exceed the previous bid by at least 5% (five percent) or such other percentage as the Auctioneer, in his/her discretion deems acceptable.

4.

Buyer’s Premium A Buyer’s premium, calculated at the applicable current rate of the hammer price, shall be payable by the Buyer to the Company in respect of the sale of each lot. The Buyer acknowledges that the Company, when acting as agent for the Seller of any lot, may also receive a Seller’s commission and/or other fees for or in respect of that lot. VAT at the prevailing rate is applicable on such Buyer’s premium.

5.

Value Added Tax (“VAT”) The Company acts as agent on behalf of the Seller and should the Seller be registered as a South African VAT vendor and has informed the Company that his lots must be charged with VAT, then such lots will be indicated in the catalogue with the symbol “†” and VAT at the prescribed rate will be charged on the hammer price and will be payable by the Buyer.

6. Absentee Bids 6.1 Upon request, the Company shall execute absentee bids on behalf of intending Buyers. Absentee bids are a service provided by the Company for the Buyers’ benefit and the Company cannot be held responsible for errors or omissions with respect to the bidding process. Lots will be bought as cheaply as is allowed by other bids placed and the Seller’s reserves. In the event of identical bids, the earliest will take precedence. When absentee bids are placed by telephone they are accepted at the Buyer’s risk, and must be confirmed prior to the sale by letter or facsimile.

6.2 All absentee bids shall be registered with the Company in accordance with the Company’s procedures and requirements not less than twenty-four (24) hours before the auction and/or the private treaty sale. The Company reserves its rights, at its 164

6.3

sole and absolute discretion, to receive and/or reject such absentee bids and/or to receive and/or reject absentee bids if given less than twenty-four hours before the auction and/or private sale.

Absentee bidders must register his/her identity as per clause C.1 above.

7. Telephone Bids 7.1 Subject to a Buyer arranging with the Company at least twenty-four hours before the published time of the auction and subject to a Buyer completing such documentation as the Company may require it to do, whether it be by fax or by electronic transmission, or any other form of transmission a Buyer, on making such telephone call, is deemed to accept these Terms and Conditions and to be bound thereby and shall be permitted to bid by means of a telecommunication.

The right of a Buyer to bid is subject to a telecommunication line being available, fully functional and operative. The person who makes the bid on the telephone shall be deemed to be the Buyer and shall be deemed to be personally liable for the payment of the purchase price and other amounts as are required to be paid. In executing bids on the telephone, the Buyer waives and abandons any claim howsoever or whatsoever arising against the Company and/or the Auctioneer, including any act or omission and/or act of negligence and/or any act on the part of the Company and the Auctioneer, or in failing to have regard or failing to take cognisance of such bid.

7.2 The Company reserves its rights, at its sole and absolute discretion, to receive and/or reject such telephone bids and/ or to receive and/or reject telephone bids if given less than twenty-four hours before the auction and/or private treaty sales.

7.3 The Company reserves the right to record telephone bidding and the telephone bidder consents to such recording.

8. Payment

8.1 The hammer price as defined in clause A.9 above, including further amounts payable in terms hereof such as Value Added Tax and the Buyer’s premium, shall forthwith become due, owing and payable to the Company in full immediately upon the knock down of the hammer and/or acceptance of the offer.

8.2 Any payment by a Buyer to the Company shall be applied by the Company towards any sums owing by the Buyer to the Company on any account whatever without regard to any directions of the Buyer or his/her agent, whether express or implied.

8.3 The purchase price shall be paid in South African rands.

Foreign Buyers are required to make arrangements with their banking houses to transfer forex funds equivalent to the Rand value as stated on the purchase tax invoice. All fees relating to this transfer of funds from the foreign bank to the Company’s RSA account shall be for the account of the Buyer.

8.4 The Company accepts the following methods of payment: 8.4.1 Electronic Funds Transfer

Only bank transfers or electronic funds transfer will be

accepted. No cheque or cash payment will be

accepted.

8.4.2 Bank Transfers in South African Rands

Stephan Welz & Company

STANDARD BANK OF SOUTH AFRICA LIMITED

Branch: Rosebank, Johannesburg

Branch code: 00-4305-17

The 8 digit branch code is required for international

banking.

TERMS & CONDITIONS OF BUSINESS AND RULES OF AUCTION The Company carries on its business as auctioneers in accordance with these Terms and Conditions of Business and Rules of Auction.

The first 6 digit (00-4305) code is required for online

banking.

Swift code: SBZAZAJJ

Current account number: 402-328-213 8.4.3 Credit Cards Payment by all major credit cards will be accepted.

9. Credit terms No credit shall be given to any Buyer unless prior to the auction the Company has in its absolute discretion agreed in writing in response to a request to grant the Buyer credit. The Buyer shall make payment of such amounts of interest and other charges as are permitted in terms of the National Credit Act 34 of 2005.

Ownership of the goods sold shall not vest and/or pass to the Buyer until such time as the full purchase price including VAT thereon and any other amounts have been paid in full.

10. Collection of goods 10.1 Ownership of the goods purchased by a Buyer whether credit or cash sales shall remain vested in the principal (and/ or the Company under circumstances where the Company sells its own goods), until such time as the Buyer has made full payment to the Company which payment includes the payment of the purchase price of the goods, the Company’s commission, Value Added Tax on the sale and any other amounts as provided for herein.

10.2 The Buyer shall, at his/her/its expense, collect the goods (“take delivery”) purchased by it at the auction and/or sale immediately after the auction, unless such goods due to their size and/or weight cannot immediately be removed in which event such goods shall be collected from the auction site by no later than 16h00 on the day following the auction unless such day is a Saturday or a Sunday or a public holiday in which event such goods will be collected by no later than 16h00 on the following business day. The Company shall not render any assistance to the Buyer to pack, remove, transport or store such goods on the Buyer’s behalf. The Buyer will be responsible for all packing, removal, insurance and storage charges. Goods not collected within 30 days of the auction will be dealt with as per clause C.11.

10.3 Should the Company render any assistance at all of any nature whatsoever to a Buyer in removing the goods from the auction site then and in such event the Company’s employees shall be deemed to be the agents and/or servants and/or employees of the Buyer and the Company is exempt from any liability or any culpability in respect of the Company’s employees and/or servants executing such work.

11. Uncollected Goods

The Buyer will be responsible for the collection of all goods

purchased on auction or private treaty and such collection of

goods must be made within 30 days of the auction or private

treaty sale. Goods not collected will be dealt with as follows:

The Company will notify the Buyer that the goods must be

collected within 30 days of such notice. The notice required to be

given shall be in terms of clause B.8.1.

11.1 Should the Buyer not have collected the goods within 30 days of notification, the Buyer hereby irrevocably transfers ownership of such goods to the Company who shall retain ownership of such goods, whose ownership shall be indisputable. The Company shall then, in its sole and absolute discretion, dispose of such goods at the best price it can obtain from a willing and able Buyer.

11.2 Subject to paragraph C.11.1 above, if the Company is able to sell the lot at an auction and/or private treaty sale, the Company shall dispose of such goods at the best available price and shall deduct from the proceeds of such

sale, all amounts as were expended by the Company in insuring, storing, carrying, transporting, retaining and/or keeping such goods after the deduction of its commission, VAT, and any other expenses it incurred in respect of such goods. Should there be a shortfall, then and in such event the Buyer shall make payment to the Company, on demand, of such shortfall and all costs incurred by the Company in recovering such shortfall, including attorney and client costs shall be for the account of the Buyer.

11.3 The Company reserves the right to charge R25 (twenty five rand) plus VAT per day to store any one item not collected from the Company’s place of business from the time the Buyer has been notified and until such time as the item has

been collected.

12.

The Buyer’s Risk The Buyer shall be solely responsible for any loss of and/or damage to and/or diminution in value of and/or deterioration to any goods (lots) purchased at the auction or at a private treaty sale immediately upon the knock down by the Auctioneer to the Buyer of the hammer price.

13. Import, export, copyright restrictions and licenses and quality in

the goods sold 13.1 The Company makes no representation or warranties whether express, implied or tacit pertaining to the authenticity, quality, genuineness, condition, value, origin, ownership of any goods or whether express, implied or tacit as to whether any Lot is subject to import, export, copyright and licence restrictions including permission from SAHRA. Endangered Species – any item made of or incorporating animal material such as ivory, bone, etc irrespective of value, will require a specific permit from the Department of Nature Conservation prior to exportation.

It is the Buyer’s sole responsibility to obtain any copyright clearances or any necessary import, export or other licence required by law, including licences required under the Convention of the International Trade in Endangered Species (CITES). The refusal of an export permit shall not permit the rescission of a sale.

13.2 The sale of any firearm is subject to the express conditions of the Firearms Control Act 60 of 2000 and any amendments promulgated thereunder. No firearm will be delivered to any Buyer until he/she/it has produced a valid firearm license or a collector’s permit or any other document as required by the said Act. No sale shall be cancelled without proof to the Company’s satisfaction that the Buyer has the authority and license to receive such firearm. The onus to comply with the provisions of the said Act is solely on the Buyer.

14.

Breach by the Buyer 14.1 Should the Buyer breach any of the terms and conditions thereof, alternatively not make payment in full or collect the items bought as provided herein, or should there be any other breach, the Company, agent for the Seller (alternatively the Company in the event of it being the Seller of its own goods) will, and at its absolute and sole discretion, and without prejudice to any other rights it may have in law, be entitled to exercise on or more or all of the following remedies: 14.1.1 to institute proceedings against the Buyer for payment and/or damages for breach of contract; 14.1.2 to cancel the sale of that or any other lots sold to the defaulting Buyer at the same time or at any other auction; 14.1.3 to resell the goods (lot) or cause it to be resold by public auction or private sale;

165

TERMS & CONDITIONS OF BUSINESS AND RULES OF AUCTION The Company carries on its business as auctioneers in accordance with these Terms and Conditions of Business and Rules of Auction.

14.1.4 to remove, store and insure the goods at the sole expense of the defaulting Buyer and if such goods are stored either at the Company’s premises or any other place as the Company may require such goods to be stored at, the Buyer shall be responsible for all charges associated therewith; 14.1.5 to charge interest on such monies as are due, owing and payable in an amount of two percent (2%) above the prime rate granted to a customer by the Company’s bankers; 14.1.6 to retain that or any other lot sold to the same Buyer at the same time, or at any other auction and to allow the Buyer to take delivery of such goods after all amounts due, owing and payable have been paid by the Buyer to the Company in terms of this agreement, including interest, storage charges and any other charges; 14.1.7 to reject any bid made by or on behalf of the defaulting Buyer at any future auction/sale; 14.1.8 to exercise a right of retention over the goods sold and not to release such goods to the Buyer until full payment has been made to the Company in terms of this agreement. For such purpose and in so far as ownership of goods may have passed to the Company, the Buyer hereby pledges such goods to the Company as security for the Company’s claim; 14.1.9 to charge a rental charge of R10 (ten rand) plus VAT per day for each item stored by the Company from the date of auction until the time of collection.

14.2 In the event of the Company reselling the goods at a subsequent auction or by way of private treaty sale and should such goods be sold for a lesser amount than the amount sold, the Buyer shall be liable for any loss (if any) being the difference between the initial sale price and the resale price if lower than the initial price and the Company shall be entitled forthwith to proceed against the Buyer for a claim for damages.

15. Rescission of the sale

If before 21 days after the auction or within 48 hours of a private

treaty sale, the Buyer makes a claim to rescind the sale under the

definition of deliberate forgery or otherwise and the Company

is of the opinion of the claim is justified, the Company reserves

the right in its sole discretion to rescind the sale and refund the

Buyer any amounts paid to the Company in respect of that sale

and the Seller authorises the Company to do so.

16. Treatment and Condition of Gemstones

The Buyer acknowledges that gemstones and precious stones

and/or semi-precious stones have been treated by a variety of

techniques to enhance their colour, appearance and clarity.

These or other techniques, such as dyeing, irradiation, coating

and impregnation, may be used on other gemstones.

Although it is widely believed that heat treatments are permanent,

Buyers should assume that any treatment may not be permanent

and that over time special care of the stone may be required.

Prospective Buyers are reminded that, unless the catalogue

description specifically states that a stone is natural, the Company

have assumed that some form of treatment may have been used

and that such treatment may not be permanent.

To the extent that the Company has laboratory reports containing

specific information on the treatment of a stone, these reports

are made available for review by potential Buyers. Available

reports from internationally recognised gemmological laboratories

will be noted in the description of the item. New forms of treatments and new scientific methods to discern them are 166

constantly being developed. Consequently, there may be a lack of consensus among laboratories as to whether gemstones have been treated, the extent of the treatment or the permanence of the treatment.

References in the catalogue descriptions to certificates or reports issued by gemmological laboratories are included only for the information of Buyers, and the Company accepts no responsibility for the accuracy, terms or information contained in such certificates or reports.

Statements in the catalogue regarding the condition of lots in this sale usually appear in the description. However, the absence of any such reference does not imply that a lot is in perfect condition or completely free from wear or imperfections. The Company will be pleased to offer condition reports on all lots of the sale to potential Buyers.

17. Wristwatches All wristwatches are sold as viewed and cannot be returned on the grounds that repairs have been carried out or parts supplied by anyone other than the named makers.

Watches may not be taken apart whilst on view. Prospective Buyers or their agents wishing to do so should make an appointment with the Watch Department for a private view the week before the sale.

Although condition reports may be given on request, such reports are statements of opinion only and may not specify all mechanical replacements or imperfections in the movement, case and dial. All dimensions are approximate.

The Company offers no guarantees with regard to the working order of wristwatches, and will not be liable for any losses which may be incurred in this respect. As with all items included in the sale, it is the prospective Buyer’s responsibility to conduct a full inspection of the lot prior to the sale. Water-resistant cases may have been opened and no warranty is offered with regard to the water resistance of any watches.

The Company does not guarantee the authenticity of any individual component parts, such as wheels, hands, crowns, crystals, screws, bracelets and leather bands, since subsequent repairs and restoration work may have resulted in the replacement of original parts. Straps made of material derived from endangered or otherwise protected species (i.e. alligator and crocodile) are not sold with the watches and are for display purposes only.

The Company reserve the right to remove these straps prior to shipping. Furthermore, in reference to watch bands, the Company does not guarantee the material of manufacture.

18. Overseas Bidders Overseas bidders are advised that courier companies such as RAM, Fedex and DHL do not insure jewellery being sent between South Africa and overseas countries. Insurance will therefore become the responsibility of the buyer.

167

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SW2426

ARTISTS’ INDEX

A Andersen, N S Ayouche, L L

194 205

B Battiss, W W 380, 381, 382, 383

464, 465, 466 Bell, D M 470, 471 Boonzaier, G J 207 Boshoff, A H 447, 448 Botha, D 172, 173, 463

517, 518 Boyley, E S 366 Büchner, C A 370, 371, 404

C Carter, S 179 Catherine, N C 384, 385, 478, 479 420 Catlin, G Cilliers-Barnard, B 387 Chee Chee, B 412 Clarke, P 378, 379 Coetzee, C 480, 481 161, 165 Continental School Costello, M A 492, 493

D de Bliquy, L P 374 de Jongh, G C 191, 192, 193 de Jongh, T M J 510, 511 520 de Smidt, A 443 Toulouse-Lautrec, H Domsaitis, P 483 du Plessis, E 200 Duarte, I 199

E Enslin, G

F Fasciotti, T Fasciotti, G

Fidler, H Findlay, B E

170

458

514, 525, 526 197, 208, 209 395, 396 163 410, 411

G Gavronsky, C 405, 406, 474, 475 Goldblatt, S 206 Goldblatt, D 362

H Haro, A

Harpley, S Hay, W H Hellwag, R Hodgins, R G

415, 416, 417 418, 419 361 170 164 477

Meintjes, J P 495, 496, 497 Mukomberanwa, N 490 Mullins, N 407, 408

N Naudé, P 523 Ngatane, E M 485, 486, 487 Ngwenya, M 204, 510 Nhlengethwa, J S 395, 396, 397, 398

399, 400, 476 Nice, C P 453, 454

455, 456 Niemann, H C 198, 369

I Icart, L Inoue, K

413 414

O Oerder, F D Oltmann , W

519 468

J Janse van Vuuren, R Jones, S R

491 376

P Paravano, D Pettit, M F Preller, A

184 498 504

R Rose-Innes, A Roworth, E

460 515

S Scherrewitz, J F C Sekoto, G Sibisi, PM Sibiya, L M Sihlali, D Shakinovsky, R Skotnes, P Skotnes, C E F Smit, L Smith, J A Strickland, A Sumner, M F E

169 484 171 386, 499 189 474, 475 176 388, 389 503 516 180 444, 500 501, 524

T TThackwray, J V Theys, C N D Timlin, W M Tugwell, C

457 182, 459 442 181, 372

K Kannemeyer, P Kentridge, W J

Khumalo , V Koboka, W M Koch, F Koenig, D Korzennik, M Krenz, A F Kumalo, S

195, 196 472, 473 474, 475 390, 391 488 190, 373 183 203 185 202

L Langdown, A

461

M Madge, D J

Makamo, N Marasela, S Mashile, C Mason, J Mautloa, K P Mayer, E E K

McCaw, T J

186, 187 188, 363 513 392, 393 401, 402, 403 377 409 174, 175 449, 450 462, 508, 509

U Ullmann, E

364, 365

V van der Westhuizen, P 375 van Essche, M C L 502 van Heerden, P G 512 van Leeuwen, H 166, 167, 168 Various Artists 445, 446 367, 368 Vermuelen-Breedt, M

210 Victor, D V 469 Volschenk, J E A 521, 522 Vorster, G F 363, 482

W Wafer, M Wallace, M Watt, F W Wenning, P W F Wiles, W G Wolfe, E

394 451, 452 162 505, 506, 507 177, 178 467

Z Zondi, M G

489

171

TM

www.stephanwelzandco.co.za 172

MARCO CIANFANELLI

Marco Cianfanelli was born in Johannesburg in 1970 and graduated, with a distinction in Fine Art, from the University of the Witwatersrand in 1992. He has had seven solo exhibitions – the most recent being data: process – and has won numerous awards, including the ABSA L’Atelier and Ampersand Fellowship.

Well-known for his bold public art pieces and large-scale sculptural works, he was a member of the design team for The Freedom Park, South Africa’s national monument to freedom, situated in Pretoria.

And his monumental fragmented portrait sculpture, Release, was inaugurated to symbolically mark the 50th anniversary of Nelson Mandela’s capture at the site in the KwaZulu Natal Midlands. Cianfanelli’s latest public works, of unprecedented scale, have been realized in Abu Dhabi, UAE, Texas and Atlanta, USA and he is currently completing work in Oregon, USA. Cianfanelli’s work embodies a vast variety of media and materials. Marrying the application of data to more expressive gestural acts, he aims to set up a tension or dialogue between the controlled accuracies of the digital realm and the uncontrollable realities of being human.

His artworks can be found in public and private collections in South Africa (Sasol, Absa, Diadata, Bloemfontein Art Museum) Europe and the United States (MOMA NY, Smithsonian National Museum of African Art, Wells Fargo Private Collection).

173 SW2422

AUCTION RESULTS: 18 & 19 MARCH 2017, JOHANNESBURG Prices given are inclusive of Buyer’s Premium and VAT. Unlisted lots were withdrawn, passed or not sold.

174

LOT

RANDS

1 2 3 5 7 14 15 16 17 18 19 20 27 28 30 32 33 37 39 42 43 44 48 50 69 75 77 83 91 102 105 106 110 111 112 120 121 122 123 124 131 132 135 147 148 149 150 151 152 153 160 162 164 165 167 168 171 172 173 174 176 177 178 179 180 182

R 8,357 R 2,280 R 716 R 2,388 R 1,671 R 1,910 R 7,760 R 4,775 R 5,597 R 7,163 R 3,358 R 12,756 R 19,713 R 22,032 R 2,448 R 2,340 R 1,404 R 3,104 R 18,554 R 657 R 1,791 R 4,178 R 836 R 955 R 1,791 R 1,910 R 955 R 4,650 R 11,816 R 10,744 R 3,581 R 3,581 R 8,954 R 4,536 R 5,372 R 8,357 R 10,147 R 26,611 R 15,075 R 20,873 R 30,150 R 63,778 R 2,239 R 23,192 R 23,192 R 4,775 R 2,388 R 23,192 R 11,938 R 6,566 R 3,343 R 30,150 R 34,788 R 15,075 R 8,954 R 19,713 R 2,388 R 1,194 R 7,163 R 8,954 R 7,463 R 9,329 R 10,572 R 1,791 R 2,865 R 31,309

183 184 185 186 187 188 190 194 195 202 203 204 209 210 211 212 213 216 218 219 220 221 223 251 252 253 254 255 256 151 152 153 160 162 164 165 167 168 171 172 173 174 176 177 178 179 180 182 183 184 185 186 187 188 190 194 195 202 203 204 209 210 211 212 213 216

R 57,980 R 57,980 R 5,730 R 4,500 R 1,958 R 6,841 R 1,074 R 8,357 R 1,194 R 57,980 R 19,713 R 17,394 R 4,536 R 2,268 R 9,550 R 2,149 R 836 R 1,671 R 9,000 R 16,234 R 16,934 R 20,873 R 133,354 R 1,368 R 3,104 R 2,388 R 3,343 R 3,980 R 9,950 R 17,394 R 11,938 R 6,566 R 3,343 R 30,150 R 34,788 R 15,075 R 8,954 R 19,713 R 2,388 R 1,194 R 7,163 R 8,954 R 7,463 R 9,329 R 10,572 R 1,791 R 2,865 R 31,309 R 57,980 R 57,980 R 5,730 R 4,500 R 1,958 R 6,841 R 1,074 R 8,357 R 1,194 R 57,980 R 19,713 R 17,394 R 4,536 R 2,268 R 9,550 R 2,149 R 836 R 1,671

218 219 220 221 223 251 252 253 254 255 256 263 264 265 268 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 305 311 315 319 322 323 324 330 331 334 335 336 337 339 341 342 343 348 359 361 362 363 369 371 382 383 384 385 389 391 404 405 406 408 411

R 9,000 R 16,234 R 16,934 R 20,873 R 133,354 R 1,368 R 3,104 R 2,388 R 3,343 R 3,980 R 9,950 R 2,149 R 11,938 R 3,110 R 3,104 R 2,388 R 5,014 R 255,112 R 27,830 R 55,661 R 49,863 R 26,671 R 75,374 R 45,965 R 32,469 R 57,980 R 60,480 R 25,511 R 37,107 R 173,940 R 113,702 R 2,228,000 R 1,194 R 5,140 R 16,234 R 11,938 R 11,938 R 10,744 R 34,788 R 37,107 R 26,171 R 15,075 R 15,075 R 4,775 R 7,163 R 5,372 R 40,586 R 5,372 R 46,384 R 8,357 R 10,147 R 9,550 R 7,760 R 5,372 R 32,469 R 13,915 R 9,550 R 121,758 R 197,132 R 8,707 R 23,192 R 2,985 R 7,760 R 7,163 R 11,938 R 115,960

412 413 414 416 419 420 423 424 426 427 433 437 441 449 450 451 452 453 454 455 456 465 473 474 476 477 478 480 481 483 484 486 492 495 497 499 514 531 533 534 535 538 553 555 556 557 558 562 564 567 570 573 574 575 577 582 584 589 590 595 596 598 602 603 604 605

R 463,840 R 86,970 R 75,004 R 278,304 R 115,960 R 115,960 R 75,374 R 26,000 R 11,938 R 23,192 R 2,149 R 4,851 R 27,821 R 34,788 R 23,192 R 231,920 R 208,728 R 637,780 R 197,132 R 75,374 R 52,182 R 6,841 R 4,975 R 5,969 R 10,572 R 22,982 R 24,192 R 38,267 R 12,756 R 34,788 R 30,150 R 5,372 R 8,707 R 6,219 R 7,163 R 10,744 R 6,566 R 8,954 R 4,680 R 9,550 R 10,147 R 8,357 R 3,820 R 5,969 R 1,910 R 2,626 R 5,969 R 16,234 R 6,566 R 4,536 R 6,566 R 3,343 R 5,372 R 2,029 R 34,788 R 3,110 R 2,985 R 4,775 R 6,924 R 5,969 R 8,357 R 92,768 R 10,744 R 2,626 R 3,820 R 5,014

606 607 608 610 612 620 629 630 631 633 639

R 5,969 R 1,910 R 11,194 R 19,713 R 52,182 R 11,938 R 10,744 R 2,626 R 3,581 R 5,969 R 10,744

NOTES

175

NOTES

176

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