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

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

Newspaper rights: The newspaper reserves the right to reject any material that could be found offensive by its readers.
Published monthly by Global Art Information Editor: Gabriel Clark-Brown News: Opinions and views expressed in the SA Art Times do not necessarily represent the offi cial viewpoint of the editor,
PO Box 15881 Vlaeberg, 8018 Advertising: Eugene Fisher Shows: staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business,
Tel. 021 424 7733 Fax. 021 424 7732 Subscriptions: Bastienne Klein Artwork: product or service. Copyright of the enclosed material in this publication is reserved.
National Ceramic

Grande Provence Gallery

10 October to 27 October
Daily from 10h00 to 18h00

For reservations : T +27 21 876 8600 F +27 21 876 8601

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

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

Durban’s Airport Shaka sculpture possibly to go from Botha’s enviromently caring - to Royal approved tough guy image

Peter Machen which includes academics, historians and As Pietermaritzburg’s Witness pointed out,
members of the Zulu royal house, have not Isaacs’ book was only published 8 years
While the King Shaka airport just outside yet delivered their report but panel member after James King’s death, and the image is
of Durban is running smoothly by all ac- Jabulani Maphalala, a historian, revealed at best a printer’s re-drawn copy of a draw-
counts, King Shaka himself is still notica- last week that the royal house delegation ing of Shaka by King. It is equally possible
ble by his absence. Where Andries Botha’s had brought a drawing of Shaka to the that the drawing bears no resemblance to
statue of the proud king once stood – for a meeting. its subject.
few short weeks - tending his cattle, only
the cattle remain. The statue was removed The drawing, attributed to Lieutenant As for who will create the new sculpture,
when King Goodwill Zwelithini pro- James King, is the only contemporaneous nothing has yet been said, but Botha has
nounced that he was not happy about the image we have of Shaka, and has thus been recused himself from the task. Combin-
way in which Shaka was represented. Ac- frequently used as the template for illustra- ing the work of another artist with Botha’s
cording to the royal family, he looks “more tions and photographic reconstructions. existing cattle might present an artistic
like a herd boy than the fierce hunter-warri- issue in terms of authorship and artistic
or of Zulu folklore”. A decision about how In the drawing, which first appeared in intent, but that is clearly not a priority for
to represent the Zulu King has not yet been Nathanial Isaacs’ Travels and Adventures the Airport Company of South Africa or
made but it seems certain that he will not in Eastern Africa published in 1836, Shaka the appointed panel.
be presented in anything like the pastoral is markedly elongated and carries a spear
mode suggested by Botha’s initial work. and a shield. While the Zulu leader did in Meanwhile Botha’s stone-and-gabion
The drawing, attributed to Lieutenant James King drawn before 1836, fact meet King, it is not known whether the elephants continue to languish in bureau-
is the only contemporaneous image we have of Shaka, and has thus After the statue was taken down, a panel portrait was drawn from memory or a ‘sit- cratic limbo by the side of an eThekwini
been frequently used as the template for illustrations and photographic was appointed to advise on the content ting’ and in fact the veracity of King’s au- freeway, shrouded in shadecloth and the
reconstructions. and nature of the new sculpture. The panel thorship of the drawing is not even certain. limited attention span of the news cycle...

Honours Programme in Visual Studies

One-year programme
The Department of Visual Arts at Stellenbosch University invites applications for admission to
the abovementioned Honours programme.

This course focuses on select critical issues encompassing contemporary and historical visual culture and
students will be exposed to an array of interdisciplinary theories and polemics surrounding visual culture from
a wide variety of historical periods and geographical locations.

Topics covered include critical discourses and practices in photography, models of subjectivity in the visual arts, the politics and poetics of curatorship,
and issues around post-colonial African visual culture. In addition to three tutored modules, students are expected to complete an independent research
project in consultation with a supervisor.

The Honours programme in Visual Studies serves as preparation for a Master’s in Visual Studies. These postgraduate courses equip students
for employment in a variety of fields, including the academia, galleries, heritage sites, arts administration, art dealership, the media industry and


jou kennisvennoot your knowledge partner

Full details and application forms are available from:

Closing date for applications: %FDFNCFS

21972 sa art

some day some how
some place some people

marius lourens
a social landscape (acrylics)
31 August – 17 September 2010
Ron Belling Art Gallery
30 Park Drive, Port Elizabeth

his work is included in several public and private art collections

041 5863973 / 072 2027652, email:

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

Melvyn Minnaar

The Artful Viewer: Tuned to the ethical? position, the ‘high-ground’, as they say. (Wasn’t so-called ‘struggle
art’, in all its propagandistic fervour, the ultimate such endeavour?)
The comical capers of the crooks involved in the real-life killing of
Brett Kebble may have provided some absurdist amusement during Yet, the Kebble art debacle proved exactly otherwise. Or did it?
the testimony in the ongoing murder trial. What it did not hide, was
the real dark, even evil, underworld life of this sometime self-pro- Two Cape exhibitions that end early this month hold up the flame
moting patron of the arts. brightly. They also are remarkable milestones in the artists’ careers
- high points of their individual creativity.
Not that long ago, despite a convenient blur of history, artists were
falling over their feet to get his attention, directly or indirectly. All Throughout his career - a substantial one that we can trace here in
this for their own fame and, especially, the fortune he dished out. the Cape since the 1970s - Manfred Zylla has produced art in the
Curators and administrators bought into the sweet talk. The media great German tradition of satire and shock, of ripping the seams of
- including the few left in the cultural wasteland - fell for it, lock, the fat-cat establishment fabric apart.
stock and barrel. Kebble had scored one of the greatest PR triumphs
in the business of smoke and mirrors, taking art for a ride. Brechtian in its relentless, hard questioning of social morals, his
art is ever enhanced by high technical proficiency and exploration.
The Kebble awards were gloriously welcomed as a gift to the South The latter has provided a constant freshness to his work. As well as
African cultural enterprise. How quickly we forget. Or decide to loaded its challenges.
His current exhibition, closing soon at the Erdmann Contemporary,
Few voices in the art world then questioned the man’s motives. is a mixed bag of small and very large drawings. Often the message
Virtually none were practising artists. It was all too good to be true. is in your face - ‘American Invasion of Obs’, ‘Again and Again and
For a handful observers, like Marilyn Martin, at the time, Iziko Again’ or ‘Reds’. But it is the thrill of the throw-away-ness of the
director, and Martin Welz at Noseweek magazine, the Kebble patron intensely-worked pieces that stay and stay, and claim their moral
performance was all too transparent. profundity.

In hindsight, the dosh that was generously handed over as artists’ Throw-aways feature symbolically in Pieter Hugo’s top-notch show
prizes, at worse, now seems like blood money, at best, takings of at Michael Stevenson. In this case, these are the horrors of fat-cat
shady origin. That spent on the glitzy, good parties were too gener- First World consumer society who sent their First World debris to
ous to even be questioned for source. form a different kind of relentless, heart of darkness in Africa.

If artists sometimes confess that their job is similar to that of the His photographs of the slum of rubbish at Agbogbloshie in Ghana,
oldest profession in man’s world (and tell stories about how mas- where old computer stuff, sent from the West, is dumped, may well
terpieces were created under dubious circumstances and tyrannical, be his best work to date.
egocentric patrons), we’ve always taken it that there is something
positive that drives art. Under the blatantly decorative and entertain- There is no escape from this Goya-esque cruel beauty. An installa-
ing, the DNA of good and great art - so we’ve convinced ourselves tion of video portraits set against a devastated, sometime literally
- always carries a gene tuned to the ethical. burning, landscape, is hypnotising. It mirrors the large prints of the
local individuals (the same kind of hapless men-at-work that Zylla
Even if irony, satire and paradox (which we easily think we can portrays). It is a show that hammers, as it should, a stake through
cope with in the post-structural times) are part and parcel of the con- our pink heart.
temporary artwork and its processes, we trace morality to a positive

Free State CIRCA on Jellicoe

Abe Mathabe, Chenjerai Kadzinga, Edward Selematsela, Mind
Shana, Fungai and Stanley Mawelela.
9 September - 3 October, Mixed media New Works by Gavin Younge. 12-28 September, “The Dulcie Robinson Little Artists exhibition)
Bloemfontein 7 - 31 October, Mixed Media with wood by Enric Pladevall. a charity exhibition of affordable artworks by mostly orphans and
4 November - 16 Dec, Mixed media, bronze sculpture by disadvantaged children from the ages of 8-18.
Oliewenhuis Art Museum Deborah Bell. Opening 12 September 11am for 11:30am.
16 September-31 October, Works by Claire Menck 2 Jellicoe Ave. T. 011 788 4805 Norscot Manor Centre, Penguin Drive. T. 011 465 7934
(In the Main Building)
16 Harry Smith Street, Bloemfontein CO-OP
T. 051 447 9609 Until 04 September, “Greener on the Other Side” by Kudzanai Museum Africa
Chiurai. Kudzanai Chuirai’s third poster series in collaboration with Until 24 Dec 2010, “l’Afrique: A Tribute to Maria Stein-Lessing
Dokter and Misses. The show explores the franchise of democracy. and Leopold Spiegel” co-curated by Nessa Leibhammer and Natalie
Clarens 68 Juta Street, Braamfontein T. 011 023 0336 Knight. 121 Bree Str., Newtown, Johannesburg T. 011 833 5624
Johan Smith Art Gallery
25 September-04 October, Johan Smith presents his 16th Annual David Brown Fine Art
Exhibition in oil depicting typical Eastern Free State Landscapes. Until 04 September, An exhibition of paintings, etchings and glass Resolution Gallery
Preview Friday 24 September 3pm-7pm. Official opening sculpture by Colin Cole, Chonat Getz, Aurelia James, Linda Hess 03 August-23 October 2010, “Public Perception” a poster show
(by Pierre van Pletzen [Oubaas from 7de Laan]) at 11am on Saturday and Lizette Chilvers. by Andy Robertson.142 Jan Smuts Ave., Parkwood, Johannesburg
25 September. Preview again from 09am- 10:45am. During September, Spring Collection, various artists. T. 011 880 4054
Windmill Centre Main Street Clarens 39 Keyes Avenue, off Jellicoe, Rosebank. T. 011 788 4435
T. 058 256 1620 Seippel Gallery
14 August-09 October, Recent Works by Mbongeni Buthelezi.
Blou Donki Art Gallery David Krut Projects Auke de Vries.
Contemporary Art, Steel Sculptures, Functional Art, 12 August-25 September, “Fool’s Gold” by Stephen Hobbs. From 10 October, Water paintings by Jill Trappler.
Photography and Ceramics. 140 Jan Smuts Ave., Parkwood, Johannesburg T. 011 447 0627 Arts on Main, Cnr of Fox and Berea, Johannesburg T. 011 401 1421
Windmill Centre Main Street Clarens
T. 058 256 1757
Everard Read Gallery Jhb Spaza Art Gallery
09 September - 03 October, “Stage” pastel on paper by From 19 September, “Spring Exhibition” various artists including

Gauteng Haneke Benade, “An Accumulation of Change” oil paintings by

Rina Strutzer.
music and poetry.
19 Wilhelmina Street, Troyville. T. 011 614 9354
07 - 31 October, mixed Media on paper often earth or pastel by C. 082 494 3275
Johannesburg Thea Soggot. Leon Vermeulen.
04 - 25 November, Oil on canvas by Paul Augustinus. Standard Bank Gallery
Absa Art Gallery 6 Jellicoe Ave., Rosebank, Johannesburg T. 011 788 4805 03 August-18 September, “A Vigil of Departure” by Louis Maqubela.
08-24 September, “My Shadow and I” by Philip Badenhorst. 12 October-04 December, “People, Prints and Process-Twenty five
Opening 08 September @ 6:15pm. years at Caversham”
Absa Tower North, 161 Main Street, Johannesburg. T. 011 350 5139 Gallery 2 Cnr of Simmonds & Frederick Str.’s, Johannesburg, 2001
11 September-02 October, “Position in Space” by Karin Daymond. T. 011 631 1889
Alliance Française of Johannesburg 140 Jan Smuts Ave, Parkwood. T. 011 447 0155/98
07-18 September, “Réunion Chroniques” a photographic exhibition University of Johannesburg Art Gallery
from Reunion Island. Featuring François-Louis Athenas, Raymond 08-29 September, “Ectopian States” group exhibition. This exhibition,
Barthes, Thierry Fontaine, Yo-Yo Gonthier, Line Leclerc, Edgar Gallery AOP curated by Jacki McInnes, Spier winner of an artist residency in
Marsy, René Paul Savignan and Laurent Zitte. 12 August-02 September, “Dislocated Landscapes” by Kim Berman Brazil in 2010, includes works by some of South Africa’s most promi-
21-25 September, “Body of Work” paintings by Amande Denyer 04-07 September, Judith Mason artist’s book: “Skoelapperheuwel, nent artists working to the theme of the degradation of our
Godden and Mike Newton. Opening on Tues 21, Wed 22, Thurs 23 Skoelappervrou” environment. Exhibiting artists include Willem Boshoff, Kim
Sept 2010 from 6pm- 8:30pm each evening as well as Saturday the 11 September-02 October, “...and to that sea again” by Richard Penn Gurney, Maja Marx, Lee-At Meyerov, Marcus Neustetter and
25th from 10am – 1pm 09-30 October, “Draw links” contemporary drawing Strijdom van der Merwe, with collaborative works from Jacki
17, Lower park Drive, Corner Kerry Road, Parkview 44 Stanley Ave., Braamfontein Werf (Milpark), T. 011 726 2234 McInnes and John Hodgkiss, and Mario Marchisella and Marianne
T. 011 646 1169 Halter. Visit for exhibition updates and details
Gallery MOMO Auckland Park Kingsway, Campus Cnr. Kingsway and Universiteids
Artist Proof Studio 12 August-06 September, “The Young Ones” by Rd., Auckland. T. 011 559 2099/2556
28 August-09 October, “Layer upon Layer” prints by Theresa-Anne Mackintosh.
Bronwen Findlay. In collaboration with Tim’s Print studio and Artists 09-18 September, a group show. Zietsies
Proof Studio. Opening Saturday 28 August @ 12am. 30 September-25 October, “Urban Africa” by David Adjaye 13 August-03 September, “Roadtrip” by Alex Hamilton an exhibition
The Bus Factory, 3 President Street, West Entrance, Newtown 52 7th Avenue, Parktown North, Johannesburg T. 011 327 3247 about memory, adventure, landscape and the car that always broke
Cultural Precinct, Newtown. T. 011 492 1278 down on the side of the road. No 1. Beverley Road, Aucklandpark. T. 021 447 2396
Gertrude Posel Gallery
Artspace –Jhb This gallery has a permanent exhibition of traditional southern,
21 August-04 September, “O”, a print and jewellery exhibition by central and West African art.
University of the Witwatersrand, Senate House, Jorissen Street,
Angela Yeung and Rob Mills.
04 September-23 October, Mentorship Programme Exhibitions
Three different exhibitions of the participants of the Artspace Tel: 011 717 1365
Alette Wessels Kunskamer
Mentorship Programme. Exhibition of Old Masters and selected leading contemporary artists.
27 October-17 November, Solo Exhibition of prints by Goodman Gallery
Maroelana Centre, Maroelana.
Judy Woodborne. 26 August-20 October, “Kind of Blue” by Sam Nhlengethwa
GPS : S25º 46.748 EO28º 15.615
1 Chester Court, 142 Jan Smuts Ave., Parkwood, Johannesburg 163 Jan Smuts Ave., Parkwood, Johannesburg T. 011 788 1113
T. 012 346 0728 C. 084 589 0711
T. 011 880 8802
Artspace Warehouse 16 Halifax
Association of Arts Pretoria
05 September-02 October, “Unnatural Selection” butterfly prints Works by Michael Heyns can now also be viewed by
Early to Mid September, “A Cultural Bridge to India” a group show
by Henning Ludeke. Opening 05 September @ 5:30pm, Opening appointment in Johannesburg at 16 Halifax Street Bryanston.
173 Mackie Street, Nieuw Muckleneuk, Pretoria. T. 012 346-3100
speaker Pieter van Heerden, Director, Association of Arts, Pretoria Dana MacFarlane 082 784 6695
10 October-06 November, “Skins” a group exhibition.
3 Hetty Ave, Fairlands, Jhb. T. 011 880 8802 Henry Taylor Gallery
Brooklyn Theatre in association with Trent Gallery The Henry Taylor Gallery specializes in South African Investment
28 August-15 October, “Collections” featuring Anna Vorster, Ernest
art; hence, it is not uncommon to find Old Master paintings by Errol
Rood, Joel Tsepho Sebothoma and Renier Oosthuizen.
Bailey Seippel Gallery Boyley and J.H. Pienreff, hanging alongside up and coming artists
Greenlyn Village Shopping Centre, Thomas Edison Street,
22 August-22 October, “A Life Behind the Lens” by Ranjith Kally. such as Claire Denaire or Gian. P. Garizio.
Menlo Park. Stuart @ 082 923 2551,,
A Durban Perspective on South Africa 1946-1982. Opening reception Shop No G 7.2 Cnr. Cedar Rd. and Witkoppen Rd. Fourways
on Sunday 22 August @ 12am. Speech by Riason Naidoo from the T. 011 70-53194
Iziko South African National Gallery. www.henrytaylor
Arts on Main, 260 cnr Fox and Berea, CBD Johannesburg. Fried Contemporary
T. +27 71 227 0910 Johannesburg Art Gallery
02 September-03 October, Works by Paula Louw. 09 August-December, “Transformations: woman’s art from the late
Opening 02 September @ 6:30pm. Walkabout by the artist @ 7pm.
19th century to 2010” artists taken from JAG’s Collection.
430 Charles St, Brooklyn, Pretoria. T. 012 346 0158
Brodie/Stevenson 22 June-26 September, “Borders” an exhibition from the 8th Bamako
05 August-18 September, “Furies” Solo exhibition of new paintings Encounters, The African Photographic Biennale.
and a video installation by Penny Siopis. Until 29 August, “Without Masks”
Gallery Michael Heyns
05 August-18 September, “Project 008” by Lunga Kama. 06 June-04 September, “Deep Play” by Harun Farocki
29 August-18 September, “Clay” a long-awaited exhibition of new
373 Jan Smuts Ave., Johannesburg T. 011 326 0034 King George Str., Joubert Park, Johannesburg T. 011 725 3130
plates, tiles and sculptures by the versatile Michael Heyns.
Opening 29 August @ 11am.
351 Lynnwood Road Menlo Park Pretoria
Carol Lee Fine Art Manor Gallery
T.012 460 3698, Cell.082 451 5584
11-19 September, “Source” a group exhibition. 01 August- 05 September, “The 7th annual Black Like US exhibi-
upstairs@bamboo Cnr 9th Street & Rustenburg Road, Melville, Jhb. tion” Guest Artists Sam Maduna, Makiwa and Daniel Novela exhib-
T. 011 486 0526 iting together with other Black Like Us artists including

Swelco’s Johannesburg Auction feedback

By Michael Coulson Just about the only other notable price was R190 400 for George
Pemba’s Get Out! (est R150 000-R200 000).
It’s probably indicative of the lacklustre quality of the work on of-
fer rather than a double dip in the market that Stephan Welz & Co A notable casualty was Gabriel de Jongh, only two of his nine
(Swelco) sold only three of the 12 highest-estimate SA artworks at works finding buyers. Erich Mayer sold only three of eight, Chris
this week’s sale in Johannesburg, as lower down the scale results Tugwell three of seven and Johan Oldert three of six, while Walter
were somewhat better. And none of the top three beat the low Battiss fared best, selling eight of 10. Five of the six Gregoire
estimate, if buyer’s premium and any other charges are deducted. Boonzaaiers went and five of the nine Boshoffs.

A Pierneef landscape fetched R1.232m (estimate R1.2m-R1.6m), An overall gross of just under R7.1m was 64% of the low estimate
a Frans Oerder still life R268 800 (est R300 000-R500 000) and of R11.1m, while 130 lots sold were 54% of the total of 241.
a Francois Krige still life R224 000 (est R200 000-R250 000). The overall average price was R46 100 (est R54 500): R6 400 in
Overall, Tuesday evening’s session of major work grossed R6.6m, the afternoon (est R8 710) and R71 950 in the evening (est R88
63% of the low estimate of R10.5m, with 75 of the 146 lots sold 100). The gross fell well short of the R14.67m (117% of the low
(51%). Returns in the afternoon session of minor work were estimate of R12.57m) of the firm’s recent Cape Town sale, though
a little better: sales of R479 000 were 79% of the low estimate not so far off the 58% of the 324 lots sold then . Average prices in
of R608 000, with 55 of 95 lots sold (58%). Top price in the Cape Town were about R15 180 for the minor sessions, just over
afternoon was just R29 120 for Adriaan Boshoff’s watercolour, R261 000 for the main session, and about R78 600 overall.
Cleaning the Catch (est R12 000-R16 000).
New work by Gavin Younge to be seen at Circa Gallery, Johannesburg

Pandora Art Gallery

03 September-17 October, “Tanti Piccoli Robot” a group exhibition.
Opening 03 September by art critic and journalist Johan Myburg. The
exhibition, complemented by a performance by the Rynier Prins Jazz
Trio. The unusual house which serves as the exhibition venue is slated
for demolition (to offer its spectacular views of Pretoria to newer
developments), but has found an unexpected last gasp as a vibrant
cultural hub.
621 Berea Street, Muckleneuk, Pretoria. C. 084 997 3903

Platform on 18th
19 August-04 September, “Phive” a group exhibition. Paintings,
Drawings and Sculptures by Carl Jeppe, Ariana van Heerden, Johan
Nortje, Sotiris Moldovanos and Dylan T Graham.
09-25 September, “99 Cents” Spring Exhibition, 15 Illustration Art-
232 18th Street Rietondale, Pretoria. T. 084 7644 258 Work by Johann Louw and Karin Daymond

Pretoria Art Museum

15 September-29 October, “Neo-Emergence” a group exhibition,
curated by Nthabiseng Rachel Montshiwa.
Until December, A selection of ceramics, representing the develop-
Painters Who Print
ment of studio ceramics and the work of traditional rural potters of
South Africa over the past thirty years, is on display.
a celebration of work from The Artists Press
A selection of artworks from the permanent collection of the Museum
tells a brief story of South African art from the time of the first San Painters Who Print is an exhibition that celebrates some of the worlds that cameras and lines cannot adequately capture. The com-
artists. artists who have worked at The Artists Press. Over the past twenty bination of texture, subject matter and colour when handled well
North Gallery and Preiss Hall, T.012 344 1807/8 years of pioneering lithography in South Africa, Mark Attwood almost punch one in the stomach, taking ones breath away. has noticed that artists who are primarily painters tend to make the A selection of work that has been done over the years at
most exceptional prints. The Artists’ Press reveals aspects of this alchemy. See landscapes
St Lorient Fashion and Art Gallery This trend was perhaps first noticed nearly 150 years ago with the through the eyes of Kim Berman and Karin Daymond, studies of
31 July-18 September, “Celebrating Pretoria” a group mixed media Impressionist artists who were as revolutionary in their printmak- the human form and its frailties in the work of Johann Louw and
exhibition featuring mostly paintings. ing as they were in their painting. Robert Hodgins. Examine social issues with Penny Siopis and Judith Mason and wonder into the world of archetypes and the
Lithography is an extremely versatile technique and can be occasionally mythical with Deborah Bell and Colbert Mashile.
The Tina Skukan Gallery adapted to suit the work of most artists, however different their Look at women with Pat Mautloa and Andre Naude.
29 August-23 September, “Should I go?” a solo exhibition by Anita visions may be. From the reverse glass painting of Conrad Botes
Bodenstein-Booyens. “Stay”, a group exhibition featuring Adele to the veils of oil paint used by Judith Mason, their proficiency in South African painters who have worked at The Artists’ Press
Adendorff, Audrey Anderson and Belinda Donnelly. paint easily crosses to printmaking. reveal their vision in print form. Monoprints by some of the artists
6 Koedoeberg Rd, Faerie Glen, Pretoria. T. 012 991 1733 will also be exhibited.To see the work go to Drawing and a strong graphic sense are the techniques that most
associate with the world of original prints. Collectors are often The exhibition will be held at the following galleries:
Trent Gallery heard saying, Yes, but is it a real print. Is it an etching? The do- 1) North West University Main Gallery 26 August - 22 September
Until 02 September, “Barbie at 51” a group show. main of authentic prints extends beyond the edge of a copper plate. 2010, Potchefstroom
01-14 September, “Art to Save the Environment”. Original prints are so much more than exacting lines pressed into a 2) Aardklop National Arts Festival, NWU, Potchefstoom, 27
Opening Wednesday 01 September 6:30pm. Curated by Louis and sheet of paper. September - 2 October 2010
Stephen Marcus BFinn. Twenty-five of South Africa’s most promi- In painting it is often the gesture of the mark making, the sizzling 3) Gallery at Grand Provence, Franschhoek, November 2010
nent and exciting contemporary artists will be exhibiting works on the quality of the colours and subtle moods that paint handled by an 4) Association of Arts in Pretoria, April 2011
environment at Trent Gallery from 2 September. Artists include Diane expert can capture. What painting offers one is an insight into
Victor, Gordon Froud, Angus Taylor, Norman Catherine, Andrew
Verster, Kay Potts, Jan van der Merwe, Roger Ballen, Kim Berman
and Henriette Ngako. For every work received, an indigenous tree
will be planted in one of the poorer areas of Pretoria/Tshwane, be this
at a school or in a park.
15-30 September, “Pretoria Re-mastered”
Opening Wednesday 15 September 18:30. Curated by Erica Fraser.
The masters’ works will be exhibited at the same time at the Pretoria
Art Museum.
02-14 October, “Boudiccea Castings Studio Show” featuring Sanna
Swart, Kay Potts and Tiaan Burger.
198 Long Street, Waterkloof, Pretoria. T. 012 460 5497.


White River

The Loop Art Foundry & Sculpture Gallery

Casterbridge Complex Corner R40 and Numbi Roads White River
T. 013 751 2435

Eastern Cape 29 September- 21 October, a solo exhibition by Johan Coetzee, and a Jewel-
lery exhibition by Marlize Meyer, Jolene Kritzinger, Isabel Pfaff, Liz Dunstan-
sourced from a fact finding mission to Europe and the UK. / C. 082 354 1500
Deacon, Nadja Bossmann and Diana Ferreira.
East London The Arts Association of Bellville, The Library centre, Carel van Aswegan
Street, Bellville. T. 021 918 2301
Focus Contemporary
During September, Special winter menu of fine African art including works by Karin Miller, Christian Diedericks and Simon Annand.
Ann Bryant Gallery
28 October-25 November, “Pretending to be Flesh” by
The Main Gallery
Atlantic Art Gallery Christian Diedericks
05 August-12 September, “Diesel & Dust” selected works by Obie Oberholzer.
A permanent display showcasing leading contemporary 26 November-26 December, “Spot” by Helen Sear
The Coach House
South African artists. 67 Long Street, Cape Town. T. 021 419 8888
Until 04 September, “The Peep Show” An exhibition of works in miniature.
25 Wale Street, Cape Town. T. 021 423 5775
13-16 September, East London High Schools Group exhibition of school
students work.
AVA The Framery Art Gallery
21-23 September, The work of adults who make use of the Belgravia Art
23 August-17 September: MINI ME, AVA’s ArtReach Fundraiser. Opening @ Until 04 September, line work and photography by
Centre will be on display.
6pm on Monday 23 August, Closes Friday 17 September @9pm. Established Miche and Armien.
30 September-16 October, a Solo exhibition of oil paintings of Eastern Cape
and emerging Artists have donated miniature works to be sold for a set price 07-17 September, Celebrating 15th birthday with Stock Clearance Sale African
Landscapes by Chanelle Staude.
of R790.00. and South African artwork acquired over last 15 years works by Wiseman
9 St. Marks Rd, Southernwood, East London. T. 043 722 4044
23 August-17 September, “Composed” by Malcolm Dare. Zwane, Xolile Matakatya,Mongezi Gaum,
“Mari Yebepa” by Gerald Machona. Frank Ross to mention a few.
Association for Visual Arts, 35 Church Street, Cape Town. 18 September, Auction from 10am-2pm
T.021 424 7436 23 September-06 November, Patrick Mokhuane and Timothy Zantsi. Opening
Port Elizabeth 23 September @ 7pm.
67g Regent Road, Sea Point. T. 021 4345022
Alliance Française of Port Elizabeth Barnard Gallery
During September, “Extra- Muros: Architecture of Delight” 26 July- 15 September, “Beyond Boundaries” by Rachelle Bomberg. G2 Art
17 Mackay Street, Port Elizabeth. T. 041 585 7889 55 Main Street, Newlands. 01-15 September, “In Search of truth and Beauty” mixed media work by Tanya Bonello. Opening evening Wednesday 1st September 2010. 6pm - 8pm
Blank Projects. 61 Shortmarket Street, Cape Town. T.021 424 7169
Epsac Gallery 29 July-01 September, “High Violet” by Mary Wafer & “Nomadic Structures
23 August – 17 September, “Love This Place – Buy it Take it” a mixed me- Digest” by Kerim Seiler.
dium group exhibition. (Upper Gallery) 09 September-02 October, “The Menippean Uprising” a Galleria Gibello Cape Quarter
30 August – 15 September, “EPSAC Annual – Group Exhibition” Mixed group exhibition curated by Pierre Fouché & Hentie van der Merwe. Until end of September, “Heaven and Earth” by Caroline Gibello
Medium (Lower Gallery) Opening 09 September @ 6pm. Shop 31, Cape Quarter Square, 27 Somerset Road, Green Point.
01-15 September, “Epsac 91st Annual”, multimedia group exhibition. (Lower 113-115 Sir Lowry Rd, Woodstock, Cape Town. T.072 1989 221 info@blank- T. 021 425 0439
17 September-01 October, a solo exhibition by Jennifer Crooks. (Lower Gal- Gallery F
lery) Cape Gallery Contemporary and archival South African Art.
05-15 October, Retrospective solo exhibition by Ninetta Steer. (Lower Gallery) 22 August-02 October, “Borders” the Cape Gallery annual Wildlife Exhibition. 221 Long Str., Cape Town T. 021 422 5246
18-29 October, Print, ceramics and mixed media by Lydia Holmes and Janice Opened by Noel Ashton on Sunday 22 August @ 4:30pm.
Mendelowitz. 60 Church Street, Cape Town. T. 021 423 5309.
36 Bird Street, P.E. T. 041 585 3641 Gill Allderman Gallery
Works by Judy Conway - large abstract acrylic works on canvas and sensitive
Montage Gallery Carmel Art woodcuts by Mark Lumala Williams. Donna McKellar’s Miniatures, plus
During September, Various painters, including Wehrner Lemmer, Nonnie Dealers in Fine art, exclusive distributers of many other artists are showing on the walls of the gallery Dathini Myziya,
Roodt, Alida Bothma, Leonè Spies and Peter Midlane, complemented by Pieter van der Westhuizen etchings. Gionvanna Biallo; Donovan Ward;
ceramics of Zizamele. Until 15 September, Works by Pieter van der Westhuizen will be sale at a 20% Willie van Rensberg
59 Main Road, Walmer, Port Elizabeth. T. 041-5812893 discount. 278 on Main Road, Kenilworth. During September, New Works by Derric van Rensburg or call 083 5562540
Relocation of their Claremont and Constantia galleries
Nelson Mandela Metropolitan Art Museum is now complete visit the new gallery at the Cape Quarter Square – Cape Goodman Gallery, Cape
Permanent exhibition, “Art in Mind” Town’s newest upmarket and trendy shopping mall where Leonard Schneider 02 September-04 October, “All Things being Equal” by
Until 10 October, “Ubuhle bentsimbi: The beauty of beads” and Beila are available to assist you. Hank Willis Thomas.
Until 12 September, “Pleased to meet you: South Africa, Gateway to Africa” Cape Quarter Square,27 Somerset Road Green Point 3rd Floor, Fairweather House, 176 Sir Lowry Rd., Woodstock,
An exhibition of top contemporary South African art from the Nelson Mandela (on the first floor above the Piazza & restaurant level) Cape Town T. 021 462 7573/4
Metropolitan Art Museum’s permanent collections, supplemented by a selec- T. 021 4213333
tion of works by contemporary African
artists. Until 05 September, “Endgame” by Michael MacGarry. Greatmore Studios
1 Park Drive, Port Elizabeth. T. 041 506 2000 Casa Labia Gallery Until o3 September, “The Second Creative Photography Mentorship Exhibi- 14 August-30 September, “White Painting” new works by tion”
Hermann Niebuhr. Opening 14 August @ 2:30pm.
Ron Belling Art Gallery 192 Main Rd, Muizenberg. T. 021 788 6067 47-49 Greatmore Street, Woodstock. T. 021 447 9699
31 August-17 September, “Some day some how some place some people”
acrylic and mixed media by Marius Lourens. Opening 31 August @ 6pm with
guest speaker David Jones. Cedar Tree Gallery iArt Gallery
21 September-08 October, “Face to face: intimate conversations with 25 17 August-30 September, “The Palette and the Palate” A wine-centric exhibi- 01-30 September, Recent monoprints by Colbert Mashile. Presented in Col-
PE(ople)” photography and interview by Sandy Coffey. 30 tion, with works of vineyards, events inspired by wine, perhaps works while laboration with The Artists’Press.
Park drive, Port Elizabeth. T. 041-586 3973 under the influence of wine and works using wine as a medium. 15 October-13 November, “Mad Art Moments” An exhibition in in support of
Rodwell House, Rodwell Road, St James, Cape Town. the Make a Difference Foundation. Featuring Sheena Rose.
T. 021 787 9880 71 Loop Street, Cape Town. T. 021 424 5150

Western Cape

David Porter Antiques
iArt Gallery Wembley
01-25 September, “Blight” by Marlise Keith.
Buyers and sellers of South African art. 29 September-06 November, “Patmos and the war at sea” by
Cape Town T. 021 6830580/083 452 5862 Alistair Whitton. Wembley Square, Gardens, Cape Town T. 021 424 5150
38 Special Art Café and Studio
13 August-10 September, “Catch 2010”, a group exhibition. The Donald Greig Bronze Foundry and Gallery
All work that does not sell will be burned. Burning takes place on Friday 10 Opened on 25th August 2010 at West Quay Road, V & A Waterfront, Cape
September @ 8pm. Town. Donald Greig is a specialized wildlife sculptor and his sculptures rang-
T. 021 462 1348 082.307.7883 ing in size from life-size to paperweights will be on display at the gallery. The foundry will do a bronze pour on most days and the entire ‘Lost Wax Casting
Process’ can be viewed by the public through special glass windows.
Absolut Art Gallery The Nautilus Building, No.14 West Quay Road, V&A Waterfront, Cape Town
Until 05 September, a group exhibition featuring works by T. 021 418 4515
Carla Bosch, Corne Weideman and Wakaba Mutheki.
Shop 43 Willowbridge Life Style Centre, Carl Cronje Drive, Bellville, CT. T.
021 914 2846 Erdmann Contemporary /Photographers Gallery Until 04 September, “Again & Again” a solo exhibition of new drawings and
paintings by Manfred Zylla.
Artvark Gallery 09-25 September, “ORDA” by Kilmany-Jo Liversage.
Until 30 November, Paintings by Lolly Hahn-Page and Opening Wednesday 08 September @ 6pm.
Tammy Griffin. 63 Shortmarket Str., Cape Town T. 021 422 2762
During September, New work of the well-acclaimed Zimbabwean Artist
Wendy Roselli.
48 Main Road Kalk Bay, T. 021 788 5584 Everard Read Gallery
Artvark now also at the Cape Quarter, on the 1st floor Until 31 Jan 2011, “Untamed”, an installation by Dylan Lewis at Kirstenbosch
02-17 September, “Sight”, an exhibition by Arabella Caccia & Deborah da
Alliance Française of Cape Town Silva. “Sight” is the product of a collaboration between Arabella Caccia (a
During September, “Fleshy Wasteland” by Retha Ferguson. painter and a sculptor) and Deborah da Silva
155 Loop Street, Cape Town. (a photographer).
T. 021 423 5699 16 September-15 October, “Bronzes 1980-1990” Percy Konqobe Everard Read, Cape Town and Rose Korber Art, in association with the Dreyer
Foundation, Germany, present an exhibition of major bronze sculptures by
/A Word Of Art noted Gauteng artist and Sangoma,
A WORD OF ART will be closed for the next few months to work towards the Percy Konqobe.
next big group show and on the project 3 Portswood Road, Victoria and Alfred Waterfront, Cape Town.
66 Albert rd, Woodstock Industrial Centre. T. 021 448 7889 T. 021 418 4527 The eagerly awaited Kirstenbosch Biennale 2010 opens on Sat 4 Sept at Kirstenbosch Gardens. Image (detail) Lynda de Wet - Protea cynaroides.
34 Fine Art See for more details
The Arts Association of Bellville 17 August-09 October, “New” a group exhibition celebrating 34FineArt’s
25 August - 15 September, The Vuleka 2010 Competion. new gallery as well as some refreshing new works from the current inventory

Infin Art Gallery

A gallery of work by local artists.
These Four Walls Fine Art
22 September-09 October, “Somebody Suit” by Jane Henderson
Wolfe Street Chelsea Wynberg T. 021 761 2816 and Buitengracht Str. Cape T. 021 447 7393 Cell. 079 302 8073
Artkaroo Gallery
Town T. 021 423 2090
From 05 August, “Woman” by artists from the Klein Karoo region, such as
Janet Dixon, Hannelie Taute, Ramona Van Stavel, Ina Marx, Mariette De Vil-
Irma Stern Gallery Waterkant Gallery
liers, supported by a collection of Francois Tiran’s female nudes.
Until 18 September, Childrens’ Book Illustrations by Fiona Moodie. Artist 29 July-08 September, “Bollywood!” Bollywood! captures the truly unique
26 September-03 October, “Maak Jouself Tuis” an expression of the artistic
walkabout on Friday 3 Sept at 11am spirit of Bollywood past through its iconic and instantly recognisable poster
soul through the medium of the chair; functional & funky art by Karoo artists.
Cecil Rd, Rosebank, Cape Town. T. 021 685 5686 art. Bollywood! revisits the true film greats from the 50s to the 70s through a
Also featuring fine Karoo art in landscapes, figurative and abstract. Exhibition series of original, vintage posters.
opens 26 September @ 4 PM. This exhibition coincides with Klein Karoo
09 September-20 October, “Die Dam and Other New Work” by Cirkine Rous-
Klassique Festival.
Iziko SA National Gallery souw. Opening Thursday 09 September 5-8pm.
107 Baron van Reede Oudtshoorn,
Until 03 October, “1910-2010: From Pierneef to Gugulective” 123 Waterkant Street, Cape Town. T. 021 421 1505
T. 044 2791093
a re-hang of the entire gallery is being curated to showcase the very best of
South African art.
Until October, “US” Wessel Snyman Creative
25 Queen Victoria Street, Cape Town 021 481 3934 23 September-13 October, “Dare to Dream in Silent Moments” An exhibition Paarl
of painting, drawing, installation, performance art and mixed media by Lucy
Iziko Michaelis Collection Skinner, Janet Botes & Roxi Bredenkamp. Performance art on the opening Hout Street Gallery
Until 11 September, “The lie of the land: Representations of the night at 8pm. Also featuring jewelry by Inkheart Design. Opening September 29 July-30 September, “The Winter Gala”
South African landscape” 23 @7pm. 270 Main Street, Paarl. T. 021 872 5030
Iziko Michaelis Collection, Old Town House, Greenmarket Square, Cape 17 Bree Street, Cape Town. T. 021 418 0980.
Town 021 481 3800
What if the World…
Joao Ferreira Gallery 02 September-02 October, “Life is Short” solo exhibition by Stellenbosch
02 August-04 September, “Works on Paper” by Beezy Bailey Peter Eastman.
70 Loop Street, Cape Town. T. 021 423 5403 First floor, 208 Albert Rd, Woodstock, T.021448 1438 Art on 5 Permanent exhibition of paintings and ceramics by Maryna de Witt, Pera
Schillings, and Karen Kieviet.
Kalk Bay Modern Worldart Gallery 7b Andringa Str., Stellenbosch
15 August-31 October, “Point of Focus” photography exhibition. Pinhole 26 August-12 September, “The lion’s Den” by Michael Taylor. T. 021 887 7234
Photography with selected conventional photography. Jenny Altschuler, Glen 18 October–08 November, “Un-mute my tongue” A solo exhibition of new
Green, Nic Bothma, Gavin Foley, Geoff Kirby, Dave Robertson, Leanette paintings by Ayanda Mabulu Glen Carlou Estate
Botha and Kevin Factor are some of the 54 Church Street, Cape Town. T.021 423 3075 On exhibition is The Hess Art Collection, including works by
photographers featured in the exhibition. Deryck Healey, Ouattara Watts and Andy Goldsworthy.
1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. Simondium Rd, Klapmuts T. 021 875 5314
T.021 788 6571 Youngblackman Gallery From 25 August, “Who’s abjet now bitch?”
by Andrew Lamprecht and Jonathan Kope. SMAC Art Gallery
Lindy van Niekerk Art Gallery. 69 Roeland Street, Cape Town. T. 083 383 0656 09 – 25 September, “Index. Leading Works from the Sanlam Art Collection”
10-17 October, The Lindy van Niekerk Art Gallery’s Annual (1st Floor, De Wet Centre, Stellenbosch)
October Art Exhibition. 02 September – 10 October, “Pre-Green” by Barend De Wet at Nirox
31 Kommandeur Road, Welgemoed, Bellville. T. 021 913 7204/5 Foundation Project Space (Arts on Main Cnr Main & Berea Street, Franschhoek Johannesburg.)
30 September – 28 November, “Green” by Barend De Wet. At Smac.
Michael Stevenson Contemporary Galerie L’ Art (1st Floor, De Wet Centre, Stellenbosch) The exhibition will feature a
29 July-04 September, “Permanent Error” photographs by Pieter Hugo; “The A permanent exhibition of old masters. combination of recent and older works; sculpture, painting and performance.
Eclipse Will Not Be Visible to the Naked Eye” video, installation and prints by Shop no 3, The Ivy, Kruger Str., Franschhoek De Wet centre, Church Street, Stellenbosch.
Dineo Seshee Bopape; “Noreturn” a film by Dominique Gonzalez-Foerster as T. 021 876 2497 T. 021 887 3607
part of the Forex Series.
09 September-16 October, Solo exhibition of new paintings, drawings and The Gallery at Grande Provence
photos by Zander Blom. 29 August-06 October,”andWhatnow?” the third part of its trilogy of exhibi- The Studio Gallery
09 September-16 October, DJ Spooky (As part of the FOREX tions opening on Sunday 29, August at 11h00 with Wilma Cruise as the open- Until 15 September, “Personal Playground” Stephen Rautenbach, well known
project series) ing speaker. AVE BRITS will be the first exhibiting artist in The Project Room Stellenbosch sculptor is exhibiting his latest theme work along with surreal-
Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Cape Town. and our two guest artists are ist/ultra realist painter, William Parkin. Small sculptures by emerging sculptor
T. 021 462 1500 Graeme Williams and Andries Botha. Ariella Kuper will auction Letter Maqabuko are an added feature to the exhibition. Lise Hanssen’s “The Baiting Tree” photographic works at 12:00. 44 Church Street, Stellenbosch. 021 682 7005.
Main Road, Franschoek. T. 021 876 8600.
Michaelis Art Gallery
27 July-03 September, “reGeneration 2” Tomorrow’s Photographers Today
University of Cape Town, 31-35 Orange Street, Gardens. Tokara
Cell: 083 367 7168
Hermanus From 15 October, TOKARA winery will launch its fifth annual Wine Made
Art series at the National Art Gallery in Cape Town, featuring works by young
Raw Vision Gallery artists from the Cape – all students from the Fine Arts Division of the Visual
Abalone Gallery
11 Feb-14 Sep 2010, “African Odyssey” 20 Internationally acclaimed photog- Arts Department at the University of Stellenbosch. The public can view the
Until 30 September, El Loko (Togo) In Search of Traces-Woodcuts and
raphers exhibiting. artworks at the winery after the launch where they will be exhibited until the
89 Sir Lowry Rd, Woodstock, end of December 2010
In The Main Gallery: A selection of works by Titia Ballot, Lien Botha, Christo Crest of Helshoogte pass on the R310 between
Coetzee, Hannes Harrs, Elzaby Laubscher, Carl Roberts, Lynette ten Krooden.
Stellenbosch and Franschoek. T. 021 808 5900
2 Harbour Rd, The Courtyard, Hermanus. T.028 313 2935
Rose Korber Art
01-14 September, Continuation of exhibition:
“Celebrating South Africa” US Art Museum
Artists on Route 44 at the Fernkloof Nature Reserve
16 September-15 October, “Bronzes 1980-1990” Percy Konqobe Everard 8– 30 September, Works by Conrad Theys.
08-12 September, The group produces woven articles, paintings in oil, acrylic
Read, Cape Town and Rose Korber Art, in association with the Dreyer Foun- 16 September – 1 October, Le Spectacle de Terroir.
and watercolour, leather art and ceramics.
dation, Germany, present an exhibition of major bronze sculptures by noted Opening 16 September @ 6:30pm.
Knorhoek Wine Estate will be supporting them with a wine tasting which will
Gauteng artist and Sangoma, Percy Konqobe. Venue Everard Read, Cape Cnr of Dorp and Bird Streets, Stellenbosch
take place on Friday 10 September from 5pm and wine orders may be placed
Town, 3 Portswood Road, T. 021 808 3524/3489
at the exhibition throughout the duration.
V & A Waterfront. T.021 418 4527 :
Enquiries 028-271 3236 or
20 October-20 November, “Abstraction and Meaning” by J P Meyer.
48 Sedgemoor Rd, Camps Bay, Cape Town T. 021 438 9152 Email: roskorb@

Rust-en-Vrede Gallery
10 August - 02 September, Works by Heidi Ansley of Piet-my-Vrou Mosaic
studio, Elizabeth Miller-Vermeulen presents a series of works in oil.
In THE CUBE in the Clay Museum well-known potters from the Eastern Cape
exhibit “Wildly Colours”
07-30 September, Cristiaan Diedericks, Judy Woodborne and Ceramics Southern Africa (Western Cape Region) Cordially Invites
Corlie de Kock, in 3 solo exhibitions, exhibit works in mixed media. You to the Opening of the 2010 National Ceramic Exhibition
10 Wellington Rd, Durbanville.T.021 976 4692 Opening : Sunday 10 October 2010 at 11h00 Opening speaker : Jeffrey Oestreich (American Master Potter) Main Road Franschhoek
PO Box 102 Franschhoek 7690
The exhibition will run until 24 October 2010 Western Cape
Salon 91 Preview by appointment | Curator : Johann du Plessis South Africa

04 September-02 October, “Whitespace” a group exhibition of sculpture, T + 27 21 876 8630

F + 27 21 876 8601
drawings, print and mixed media featuring Lee-Ann Boulter, Mareliza Nel,
The Restaurant at Grande Provence
Cara van der Westhuizen, Zelda Weber and Bianca Weingartz. For reservations : T +27 21 876 8600 F +27 21 876 8601

91 Kloof Street, Gardens, Cape Town. T 021 424 6930
Colbert Mashile 2010, monoprints,
South Gallery 56 x 76 cm.
Showcasing creativity from KwaZulu-Natal including
Printed by The Artists’ Press
Ardmore Ceramic Art.
Ground Floor. Fairweather House, 176 Sir Lowry Rd, Woodstock, To be seen at iArt.
T. 021 465 4672

South African Print Gallery

Until 08 September, “Memory, Myth & Ritual” works by Eunice Geustyn.
107 Sir Lowry Rd, Woodstock, Cape Town. T. 021 462 6851
E-mail us your Gallery event and happening details to:

Kwazulu- Natal Elizabeth Gordon Gallery

During August, September, A selection of Black and white signed
Tatham Art Gallery
08 June-26 September, “Jabulisa 2010
limited edition botanical photographs by Lisa-Jane Hamlin. The art and craft of Kwazulu-Natal.”
Durban During September, Works by Nora Newton. Until 26 September, First floor Exhibition Rooms:
120 Florida Rd., Durban. T. 031 303 8133 The Whitwell Collection 1923-1926.
The African Art Centre Until 26 September, Perimeter Gallery: Gallery Permanent
08-23 September, “Celebrating the Living Legends of Collection 1903-1974-works that are part of the Storm in the
KwaZulu Natal” KZNSA Gallery Wheatfield-an anthology of the Gallery history.
94 Florida, Durban. T. 31 312 3804/5 Until 05 September, Masuga’ by Rogan Ward, Deborah van Niekerk Cnr of Chief Albert Luthuli (Commercial) Rd. and Church Str. and Caroline Birch. ‘Urban-Vermin’ by Michelle Silk. ‘Lingua (Opposite City Hall) Pietermaritzburg
Franca’ by Richard Hart. T. 033 342 1804
ArtSPACE Durban 14 September-09 October, all Galleries:
23 August-11 September, “All Shades of Brown” a solo exhibition by MTN new contemporaries award
Sandira Reddy; A Time to Love” by Sibusiso Duma; nominated artists are Donna Kukama, Kemang Wa Luhelere, Stuart
“The Road Less Travelled” by Di van Wyk. Bird and Mohau Modisakeng with appointed curator Nontobeko
13 September – 2 October, “Adornment in Borderland” by Ntombela. Opening 14 September @ 6pm.
Roz Cryer; “Urban Angel” by Caroline Birch 12- 31 October, Works by Conrad Botes
17 – 19 September, Fourth Annual Contemporary Art Sale-ArtWorks main, mezzanine, and park galleries)
Gallery at KwaNyoni in Hilton. C. 0834775599 166 Bulwer Rd., Glenwood. T. 031 2023686
4 – 16 October, Works by Steve Mandy
3 Millar Road, Stamford Hill, Durban. T.031 312 0793
Crouse Art KZN Gallery
Imbizo Gallery
During September, “The Soul of a Woman” by
09 September-30 October, “Spring Splashes” featuring
Helene Wagenaar and Este Mostert.
Matt Donaldson, Natasha Barnes, Leona Sykes and Jenny Meyer.
254 Windermere Road, Morningside, Durban.
Imbizo Gallery, Shop 7a, LifeStyle Centre, Ballito. Next to Beira Alta
T. 031 312 2315
T. 032-9461937
Durban Art Gallery
From 03 September, “Red Eye Jomba” Renowned for its platform of
showcasing performance art, fashion, dance, music and everything in Margate
between, this special JOMBA! edition of RED EYE will dazzle audi-
ences. Featuring almost a hundred performers and based around the Margate Art Museum
notion of “The Body Politic” Museums art collection on display.
15 September-07 November, Standard Bank Young Artist 2010: T.039 312 8392 C.072 316 8094
Michael MacGarry.
Until end September, “The Dreams for Africa Chair” Photographic
journey of the Woza Moya chair. “Conflicting Contexts” Work drawn
from the permanent collection curated by Vaughn Sadie.
2nd Floor City Hall, Anton Lembede St (former Smith St) Durban
The Blue Caterpillar Art Gallery
T. 031 311 2264
01 – 30 September, oil paintings and lithographs by international
Durban University of Technology Art Gallery
Spanish artist- Didier Lorenco.
01-15 September, “Harbouring Histories” Various Artists at Durban
01 -30 October, oil paintings of Midlands farms and rural
University of Technology (DUT) Gallery.
settings by Charmaine Eastment.
The exhibition will be opened by Professor Graham Stewart (Deputy
The Blue Caterpillar art gallery at Butterflies for Africa
Dean, Faculty of Arts and Design, Durban University of Technology)
37 Willowton Road, Pietermaritzburg. T. 033 387 1356
on the 1 September. (Top) Michael Silk, City Loft 1, Mixed media. Richard Hart: So into you, 357 or
Durban University of Technology (DUT) Gallery, Steve Biko magnum cartridges, steel. Both are showing at The KZNSA Gallery, Durban
Campus. T. 031 373 2207

Peter Machen
Janine Zagel is, among other things, the assistant of acclaimed competing histories, that he is little more than a cypher on which as SA Art Times, precisely because art often explores the edges
sculptor Andries Botha. But you wouldn’t necessarily know that we project our own constructions of the world. More than two which make the Board perhaps justifiably uncomfortable. But just
from the scores of Botha-related mails she sends out through the centuries after his death, he belongs to all of us. Suggesting that because their discomfort is justifiable, it doesn’t mean that acting
cybersphere – she never signs or identifies herself as thus. You the Royal Family – or the ANC – or the people of KZN – or the on that discomfort is. It does mean however that the editors of this
might instead conclude that she’s some kind of discipline, imbued Zulu people – own Shaka or his image is ludicrous. The Louvre, paper could go to prison for five years if they publish an image
with the persistence and ubiquity of of a Reuters news feed. for example, might think that they own the Mona Lisa, but they from an artist that is deemed to have gone too far in the eyes of the
surely don’t. Again, we all do. authorities,
Meeting Janine in person, she is indeed something of an acolyte.
You can see it in her eyes. But while her devotion to Botha is And those who think they’re in charge of the Shaka ‘brand’ might All of this is about trying to mould our values and morality
obvious, it’s her dedication to his artistic output that is particularly not enjoy Max de Vreez’s chapter on Shaka in Of Warriors, Lov- (although hopefully not in the image of our leaders). Just like the
intense. A few weeks ago, Zagel sent out one of her many missives ers and Prophets, his compassionate and illuminating collection National Party. Except it didn’t work too well then, and if no-one’s
regarding Botha’s work. This one mentioned that the form of the of local histories, in which he suggests that the mother-complex noticed, the world has changed a little since. Imprison the press
new Shaka which would replace Botha’s previous sculpture at laden Shaka (the one thing we do seem to know with certainty – look, there’s the internet. Cut off specific web sites – look,
King Shaka International Airport had ostensibly been decided – it about him) was possibly homosexual and also concerned with the there’s a proxy ISP or a piece of privacy software. Ban a peer-to-
was to be based on a drawing of the famous Zulu leader rendered relative smallness of his prepubescent penis (it grew to a normal peer network. Oh look, there’s another one. The game is over.
in the early 19th century by Lieutenant James King, one of the first size according to Du Preez, but only late in adolescence).
merchant settlers in what was then called Natal. While these restrictive laws and attitudes are an absolute affront
But those who are offended by what they see as inappropriate im- on the the freedom of speech guaranteed by our Constitution, and
So, it’s kind of funny, given the general concern about ownership aging – and I imagine that there are those whose gut will respond will no doubt be challenged in the Constitutional Court, they’re
of imagery in the towers of power at the moment, that either way, to the idea that Shaka might have been a poofter with the same also pretty much useless in their objective of controlling images of
Shaka’s imaging is defined by a white man, though in this case it’s queasiness that devout evengelical christians experience when sex and violence. While I can’t imagine too many child pornog-
one of the early colonialists rather than the son of an Afrikaans people call their god into disrepute – need to open their minds and raphers going to the Film and Publication Board for permission
railway worker who, like Shaka, has risen to great things from a heart to the notion of multiplicity, to the fact that none of us should to publish, neither can I imagine Gabriel Clark-Brown doing so.
challenging beginning. And I can’t help wondering if anyone on be allowed to have the final word. It is significant that similar dis- Or that matter, Sean O’ Toole, the editor of Art SA . I suspect they
the panel appointed to ponder the matter considered the possibility cussions have been happening around the image of Mandela, with have other things on their mind.
that King might have been expressing his own set of colonial-era talk of ownership being ceded to the state after his death.
prejudices in his drawing of Shaka Zulu – a drawing that is the
only surviving image we have of the Zulu king that was created in It is relevant also that these things are happening at the same
his lifetime, and whose authenticity is suspect. time that the ANC-led government is trying to control the flow (*More specifically: “any material that contains sexual conduct
of information in the press (although they say they aren’t). Then which violates or shows disrespect for the right to human dignity
While it’s troubling that the warring image of Shaka is the only there’s the signing into law at the end of last year of the Films and of any person; degrades a person; constitutes incitement to cause
one that is deemed iconic enough to hold sway, what concerns Publications Amendment Act 3 of 2009 which expects that all harm; advocates propaganda for war; incites violence or advocates
me more is the notion that anyone, even the Zulu Royal Family published matter that might be seen to violate human dignity* be hatred based on any identifiable group characteristic and that
who are presumably descendents of the king, can lay claim to the passed before the Film and Publications Board prior to publica- constitutes incitement to cause harm”.)
ownership of Shaka or any other aspect of our collective history tion, except for those newspapers registered with the Press Om-
and culture. The Zulu leader is so shrouded in myth, legend and budsman. The act has dramatic implications for publications such

The Lie of the Land

Various Artists at Iziko Michaelis Collection, Cape Town. Until 11 September 2010
By Amy Halliday Port of Entry, 11th September 2008 (2008), alluding to contempo-
Having visited institutional and private collections around the rary anxiety over immigration, or that of the railroad scarring the
First published on country, Godby has unearthed some extraordinary images. One undulating landscape of Irma Stern’s Umgababa (1922), reflecting
such is Thomas Bowler’s leading of a group of art students into the ravages of industrialisation wrought on nature and people, to
Dealing with an incredibly complex tradition within the confines the Berg River (From the Centre of the Berg River, Paarl, 1861), the more naturalised order established in the suburban garden. The
of a tight budget, Michael Godby’s ‘Lie of the Land: Representa- intent on inundating them with the beauty of creation. Thomas latter is, in a moment of wonderful curatorial whimsy, demon-
tions of the South African Landscape’ at Iziko’s Old Town House Baines’s Gold and Ivory: Elephants Charging over Quartzose strated through the echoed diagonal between a nude resident
is a tightly-curated exhibition with clear, yet unreductive narrative Country (1874), with its vivid colours and detail which rush intently mowing his lawn in David Goldblatt’s Saturday Afternoon
flow, articulate but unobtrusive wall texts, and a wide range of towards the viewer, reveals that nature, even at its ‘wildest’, had in Sunward Park, April 1979 (1982) and Peter Schütz’s painted
work selected and set in productive dialogue to voice a multitude already been marked and measured according to how it could jelutong sculpture of a Suburban Garden and Home (2000), which
of visual and ideological conversations. Its title, ‘The Lie of the be harnessed. While many of the nineteenth and early twentieth juts out from the wall below it.
Land’, foregrounds the manner in which the contours of Land- century images are seen through colonial eyes, Godby also draws
scape – the conventions through which land is mediated – are attention to how black artists worked within, appropriated, and In the final section of the exhibition, ‘Interrogations’, Godby ques-
never neutral but always attendant on power dynamics. interrogated largely western conventions for depicting Landscape, tions the genre’s problematic formal and ideological history. Many
including works by, among others, Gerard Sekoto, Gerard Bhengu of the works deal with the specific formal techniques and modes of
The lie of the land depends on the point of view from which it is and Moses Tladi. viewing which frame our understanding of the land. For example,
marked, measured and mined for its natural and socio-political Gavin Younge’s In Camera (2010) places the camera itself in front
resources. In the erudite catalogue accompanying the exhibition Situated in the transitional spaces in and around the stairwell are of the objectifying lens, and Keith Dietrich’s Horizons of Babel:
(which includes several significant pieces by scholars of envi- artworks dealing with ‘Contestations’, all of which summon the Hottentotsberg (2005) presents a series of painted fragments ar-
ronmental, political and art history) and used as an educational spectres of dispossession, violence and conflict that haunt South ranged to present the illusion of a photographic panorama – with
resource for the many schools that are visiting the show, Godby Africa’s present in the face of its colonial and apartheid past. God- its attendant truth claims and authoritative viewpoint – that has
traces the establishment of the genre of Landscape painting in by here invokes William Kentridge’s assertion that ‘Landscape been stitched together like a tourist montage.
Europe alongside the European settlement of South Africa, for hides its history... Scenes of battles, great and small, disappear, are
the genre, ‘like mapping, represents a means of taking control of absorbed by the terrain, except in those few places where memori-
space’. als are specifically erected, monuments established, as outposts, as
defences against this process of disremembering and absorption’.
David Goldblatt’s Crosses erected on 16 June 2004, mounted off
the N1 near Polokwane, appear almost as theodolite markings on
the photographic surface (recalling Kentridge’s Colonial Land- Brett Murray
scape series) – but here their geometric regularity is used to appor- Empire 1997, Wrought iron, glass, soil and photograph
tion physical and psychic space to memory, to mark the landscape MTN Art Collection
as a site of violence buried, but not forgotten.

A beleaguered Pierneef bears the brunt of it all; from Avant Car

Guard’s irreverent encounter with the artist’s grave to Wayne
Penny Siopis: Installation view of exhibition entrance, with Penny Siopis’s Barker’s Super Boring, which announces Pierneef’s contemporary
‘Terra Incognita’ (1991) , Oil and collage on board, Painting courtesy of irrelevance (despite the continued commercial success of his work
Johannes Stegmann Art Gallery, University of the Free State within the art market) with neon tubing affixed to an upside-down
and graffiti-defaced caricature of Pierneef’s trademark tree (the
Entering the exhibition, one’s immediate attention is drawn to original of which sold for £14 million on a recent London auc-
Penny Siopis’s vivid Terra Incognita (1991). Here, the exploitation tion). Even Brett Murray’s Empire conjures up Pierneef’s late
of the land is coterminous with the exploitation of its indigenous woodcuts. Installed above the old colonial Town House’s hearth,
peoples – it is literally built, in the painting, on the back of a black the work links the wrought iron contours of the land to ideologi-
female figure – as signalled through the ground of representation: cal edifices. The materiality of South Africa’s soil (in a jar which
layers and layers of cut-out figures and infrastructure from apart- also contains fragments of pottery as a cipher of the breadth of
Cecil Skotnes: Visit to a Battle Site 1974-5, Acrylic on canvas on wood,
heid-era textbooks. The surface terrain of painting is activated time interred by the landscape) is subordinated to the rhetoric
Iziko South African National Gallery
by the partly obscured palimpsest of the past: the South African of its framing in the image alongside the shiny commemorative
Landscape formed through the dynamic strata of history, memory plaque to Empire. The techniques of oil painting, photography and
and representation. Siopis’s work thus strategically locates many Set alongside Cecil Skotnes’s Visit to a Battlesite (1974-5), where print-making – the cultural capital they carry and the command-
of the concerns that will be addressed in the course of the exhibi- the formal distortion and scale of the work makes it impossible ing views they encompass – are particularly implicated in these
tion. to tell whether the figures in the landscape are live agents or interrogations.
buried corpses, and echoed above on the landing by Kim Ber-
The exhibition is organised according to five overlapping themes. man’s dimly-lit Landscape of the Truth Commission (1998) and Given the imbrication of these media with the genre of Landscape,
These speak across and undermine any linear narratives of the Paul Stopforth’s haunting Altarpiece for Thomas Kasire (1983), one thing the exhibition lacks is much beyond these media in the
colonial to the contemporary, and include a remarkably repre- in which the rocks all but hide an ephemeral figure, the curation way of sculpture, video and installation work. While this deci-
sentative sample of the genre as a whole. This is particularly evocatively establishes the link between landscape, violence and sion may have been due to the nature of the exhibition space, one
evident with regard to late nineteenth and early twentieth century traumatic memory. can’t help but wonder whether the small adjoining rooms in which
works (by artists both well-known and relatively neglected by art Reaching the top of the slightly shadowy staircase, the mood Godby explored permutations within specific themes could have
historical enquiry). The visitor begins with ‘Interfaces’, in which shifts as one enters the light-filled upper room of the Old Town been more productively used as spaces for showcasing video and
Godby positions Landscape as the threshold of different systems House. One side examines the various ‘Inventions’ projected onto installation works that ‘think’ Landscape differently. What about
of knowledge, each of which variously cast the land according to South Africa’s land according to shifting sentiment and rhetorical a site-specific sound intervention by James Webb? A topographic
its own terms of reference. Landscape becomes, for example, a strategy, from meditations on nature in harmony to images imbued installation by Sean Slemon? Video works by urban geographer
way of understanding the space that lies between the known and with variously colonial, Afrikaner and black nationalism. Godby Ismael Farouk, one of Dan Halter’s Space Invader pieces, or Berni
the unknown, best figured in paintings and maps depicting barri- sets up a particularly compelling sequence of agricultural images Searle’s recent meditations on the interrelationship of land, history,
ers to passage, behind which lies the familiar and beyond which to demonstrate how labour on, and cultivation of, the land is natu- identity and memory (I’m thinking here of Alibama, which speaks
stretches terra incognita (such as Nils Anderson’s Crossing the ralised as a validation of property rights. The series culminates in to many of the exhibition’s concerns)? These would provide a
Berg, 1939, which serves to commemorate and validate the Great Pieter Hugo’s stark and monumental effigy of waste: Discarded provocative counterpoint to the largely two-dimensional offerings
Trek). Tomatoes and Chillies in the Veld, Messina/Musina (2007). arranged against the museum’s walls, producing both formal and
spatial variety for the visitor to negotiate, as well as a different
The wilderness is also constructed, on the one hand, as fearsomely way of seeing and, in turn, knowing the land.
hostile or awe-inspiringly sublime (seen, for example, in Robert
Hodgin’s Wilderness, 2009, Jo Ratcliffe’s photolithograph Nadir, That said, this is an extremely comprehensive exhibition, which
1988, or Regina Buthelezi’s tapestry Once There Came a Terri- manages to deal with a large and complex tradition in a coherent
ble Beast, 1960s) and, on the other, as Arcadian (such as Samuel and scholarly, yet nonetheless accessible, manner. Following on
Danielle’s early nineteenth century vision of A Kaffer Village, from Godby’s examination of the genre of still life in the 2007-8
in which the amaXhosa have been rendered according to classi- exhibition Is There Still Life?, this exhibition is a milestone in the
cal ideals). Landscapes are also invested with both secular and ongoing examination of South African visual history. In the midst
spiritual resonances, a theme which Sandra Klopper explores in of ongoing land disputes, the rise of racialised nationalism and
her catalogue essay. xenophobia, and the ravages of the land being wrought by climate
change, it is an exhibition which poses durable questions about
the place and power of art: it thus demands – and deserves – our
Various Artists: Installation view of Goldblatt photograph and Schutz
sculpture , Silver gelatin print on paper (photograph), and gelutong and
paint (sculpture),

The other side of the room (leading into several smaller spaces)
reflects on mankind’s myriad ‘Interventions’ into nature. Com-
munication and transport systems, border and boundary lines, are
revealed as integral to the process of owning and controlling the
land. These interventions range from the stark intrusion of barbed
Thomas Baines: Gold and Ivory: Elephants Charging over Quartzose Mikhael Subotzky and Patrick Waterhouse
wire in Robert Watermeyer’s Border Control Fence, Beit Bridge
Country 1874, Oil on canvas, Sanlam Collection Landscape, Ponte City, 2008. C-Print on dibond .

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

Casa Labia, Muizenburg, an abundence of warmth, love and hospitality

All photographs: Jenny Altschuler

Lloyd Pollak visits the recently reopened Casa Labia, home of the Labia family to discover a living warth of love for the arts, a refind cultural delight as well as a buzzing resturant

There are a handful of house museums in Cape Town that project pink, sky blue, vieux rose and buttercup yellow.
visitors into alternative visual universes worlds away from the Venetian taste was shaped by an ambiance of glittering mosaic,
caution and timidity of colonial Anglo-Saxon decor and the stran- brilliant light, shimmering water, reflections, and silk, porcelain
glehold of what John Betjeman described as ‘ghastly good taste’. and lacquer from the Orient, and brilliant colour and a penchant
The Irma Stern Museum, for instance, flies a defiantly foreign flag, for bizarre and exotic fantasy have always stamped Venetian taste.
and its vibrant colours, heavily carved medieval and Renaissance
furniture, bold expressionist paintings and primitive tribal artifacts Although the Casa’s outright sumptuousness may shock devotees
are robust expressions of Irma’s detestation of staid convention. of Sanderson chintz and plain white walls, it is characteristic of
the filigreed opulence of 18th century Venice, for this was the city
The Casa Labia too represents a different culture and a different of elegant decline, the traipsing ground of the grand tourists and
tradition, yet its origins are deeply rooted in early 20th century milordi inglesi who transformed Piazza San Marco into the ‘draw-
South African history. In 1917 Count Natale Labia was ap- ing room of Europe’ and participated with full-blooded gusto in
pointed Italian Consul to Johannesburg, and subsequently became the city’s festivities, Carnivals and legendary masked balls.
Consul general in Cape Town, where he met the lovely heiress,
Ida Robinson, the daughter of the mining magnate and rand-lord, The glory days of the Casa were the high summers of the 1930’s
Sir J.B. Robinson. After a traditional Edwardian courtship, the when the family’s balls, parties and concerts were attended by fin-
Princess Ida Labia by Edward Roworth, the Cape’s leading painter at the
two inamorati wed in 1921, and when the Count was appointed anciers, statesmen and the beau monde of the day, and the ghosts
time graces the stairway to the gallery.
Italy’s first minister plenipotentiary, he and the Countess, decided of yesteryear linger on in the many evocative family portraits
to leave the Robinson residence, Hawthornden, and build a home adorning the staterooms.
of their own.
The undeniably imposing character of the Casa is offset by its In 2008, Count Luccio Labia, the son of Count Natale Labia, and
suave cordiality. The flowing curves of the double return staircase the former’s daughter, Antonia, lovingly restored and re-furbished
sweep one storey upwards, and lead the visitor into the project-
ing loggia with the grace of a liveried footman. The scrolls and
arcs in the tall segmented windows offset rigidity with fluid
curves. Twirling wrought iron lamps, window-bars and gratings,
a little grotto and fountain at the centre of the first landing, and
the tumbling yards of gossamery white voile in the festoon-draped
windows introduce a note of impish fantasy into the ensemble.

The Labia’s, a wealthy clan of ennobled merchants of Hispanic or-

igin, built their Venetian seat, the Palazzo Labia, from the 1700’s.
This grandiose baroque edifice was one of the last great palazzi of
the Serenissima’s golden Age, and it is a non-pareil inasmuch as it
boasts three principal facades, instead of one. The first overlooks
the Grand Canal; the second, the Campo San Geremia, while the
Friends Lionel Davis and Peter Clarke enjoy a conversation before setting last gives onto on a broad, pedestrian thoroughfare. The palaz-
off. Both artists participated in the first show at the Labia Art Gallery. zo’s principal glory is a vast ballroom decorated by Tiepolo with
dazzling illusionistic frescoes depicting the amours of Anthony
and Cleopatra. Antonia Labia in one of the lounges
The Casa Labia fulfilled a dual function: it was both a family
home and a formal, ambassadorial residence that projected an The Casa provides an echo of these distant splendors. The
Italian style and character. The Count had long-standing family interior fittings – furniture, chandeliers, mirrors, ceiling panels and
ties with la Serenissima, and thus it was decided that Casa Labia wall fabrics – were imported from Venice, and, to ensure authen- the Casa as a cultural and artistic centre. The splendid ball-room
should reflect the spirit of 18th century Venice. ticity, they were installed by an imported Venetian decorator. will again be the site of concerts, poetry readings and gala opera
evenings. The first floor now accommodates a bright, spacious
Architecturally the Casa is characterized by a split identity. The The walls of the principal staterooms are hung with formal floral art gallery, given over to exhibitions of contemporary art, and the
interiors are feminine, luxuriously sensual and decisively Vene- brocades in powder blue and gold. Persians envelop the parquet Africanova Boutique which showcases exquisite specimens of art,
tian, but, despite Cisalpine touches – the terracotta tiled roof, floors. Billowing curtains with elaborately draped, fringed pel- craft and design with an indigenous accent.
arches, classical balustrades and fluted columns - the façade and mets and thick tassels adorn the windows. The coffered, com-
exterior are rugged versions of the imperial classicism associated partmented al antica ceilings are elaborately carved and gilded. Last, but not least, an airy, vaulted room, sparkling with light,
with Sir Herbert Baker. Fireplaces are carved from richly figured and coloured marbles. has been converted into an Italian restaurant. The Goddess Flora
Majestically enthroned upon a lofty podium of rusticated stone, Venetian mirrors, sconces, girandoles and chandeliers, with tiers of thrones it on the painted ceiling and smiles down benignly on
the Casa soars above the rocky coastline below. Height lends it cascading crystal lusters, add sparkle and vivacity. Picture frames the diners seated at tables decked with roses and brocade cloths.
consequence and dignity, and opens up sweeping marine vistas are gilded and elaborately carved, and the furniture is predomi- French doors conduct one to an al fresco dining area on the sun-
that extend all the way to the Hottentot’s Holland mountains fifty nantly a playful Venetian Rococo painted in mellow, muted hues basked patio with its tinkling fountain and purple blaze of potted
miles away. with scrolls, floral sprays, leaves and buds picked out in coral bougainvillea.

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

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

Princess Ida Labia by Edward Roworth is a modern pastiche of the

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

Ida married late, and lost her adored husband after a mere decade.
On the death of Natale, the King of Italy’s father, bestowed a
princedom upon him in posthumous recognition for his services,
Work by 16th century Venetian master Paris Bordone, of an unknown sitter whereupon Ida became a Princess. The chatelaine of Casa Labia,
adorns the stairs. (Below) The Casa Labia from the Muizenburg coastline she was her Papa’s favorite, and on his demise it was she who in- the upper right, nibbling at cherries. Further cherries fall out of
herited the bulk of his fortune. The Princess, a passionate animal the basket to her left, and they may be a rebus for her name.
lover, who filled Hawthorden with strays, is fondly remembered
The day I visited this unique Cape Town landmark, it teemed for her kindness and hospitality. Francois Boucher’s tapestry cartoon, a Rousseauist pastoral, trans-
with visitors and the restaurant was packed. I congratulated the ports the viewer into an enchanting, Rococo, never-never land in
charming Antonia on her family’s munificence in so enriching Edward Roworth’s formal, full-length, standing portrait of Count which the adorably chubby cherub leading two delectable maidens
our cultural scene, and bringing the Casa back to life, and, with a Natale Labia seen against tumbling, claret drapery, a column and to an effigy of Cupid, God of Love, are theatrically spot-lit. The
radiant smile of pleasure, she replied: “At last the Casa Labia has a throne-like, gilded chair too is modeled on the status portraits females are nominally shepherdesses. Although barefoot, they
become what my grandfather originally envisioned: a statement of of yore. The Prince, dressed in the richly braided black velvet sport the costliest silk couture, and their be-ribboned, rose-decked
faith in the future of his adopted country, and a celebration of all regalia of a Minister Plenipotentiary and Envoy Extraordinary of and ringletted coiffeurs testify to their patronage of Paris’ most
that is unique and beautiful about Italy and South Africa.” the Republic of Italy, cuts a fine figure. Weighed down by decora- exclusive hair-dressing establishments.
tions, he stands proudly to attention as he clasps his ivory hilted The deity, whose statue they are about to deck with roses, is
The art of Casa Labia ceremonial sword, and ostrich feather trimmed black hat. portrayed en grisaille, in a variation upon the pose of his flesh and
blood counterpart. The statue’s rounded base is dressed with lau-
The paintings at the Casa Labia represent a synthesis of Italian and The count, an extremely genial man of immense warmth, charm rel leaves and roses, and inscribed with the words “L’Amour, c’est
English tastes. The nucleus of the collection was acquired by the and tact, was Italy’s first ambassador to South Africa. He es- le Bonheur” (Love is happiness), and the God’s action of plucking
Count who commissioned the three Roworth family portraits, but tablished trade links between the two counties, helped set up the an arrow from the quiver implies that he is about to fire the fatal
otherwise concentrated on contemporary Italian works in the main. Lloyd Triestino shipping line, and made a major contribution to arrow that will make the damsels’ dreams come true.
Ida and Natale then inherited the well-known Robinson collec- the infrastructure of the Cape wine industry by bringing Italian
tion. This typified the Rand lord’s wish to acquire old master wine-makers to this country and promoting viticultural skills. This amorous vignette is set in a patently artificial confected land-
paintings like those in the country house collections of the English scape. The bosky grove, purling brook, luxuriant trees, creepers
aristocracy. The Casa Labia’s portraits of nobility by Romney, A passionate lover of South Africa, Count Natale traveled to Italy and shrubs are all stage properties, conjured up in singing pastel
one attributed to Rubens, and another of Princess Mary, attributed with his wife and sons before the outbreak of the Second World blues and synthetic greens to create a spectacle more beautiful
to Van Dyck, Gabriel Metsu’s 17th century Dutch genre scene and War. There he attempted to dissuade Mussolini from invading than any nature can provide.
Nicholas Berchem’s ideal Italian landscape, enhanced the status of Abyssinia, as this might pit Italians against South Africans and de-
the baronet, Sir Joseph Benjamin by associating him with connois- stroy the amicable relations he had toiled so hard to forge. Alas,
seurship, the landed gentry and old money. il duce proved deaf to entreaty, and the resultant strain and bitter
disappointment are thought to have contributed to the massive
heart attack that struck the Count down shortly after his return to
Cape Town.

Paris Bordone, a 16th century Venetian artist from Treviso, was

celebrated for his half-length paintings of gorgeous Venetian
courtesans, and this luscious belle with her peaches and cream
complexion and ringlets of Titian hair dressed with pearls, typifies
his refined eroticism. The unknown lady sits in an architectural
niche, and is portrayed en déshabillé with her dark blue dress
parted to expose her marble breasts. A russet velvet cloak covers
her knees, and a double gold chain hangs from her neck. In her
left hand she holds a sprig of buds, while with her right she
(Above) Casa Labia’s Art Gallery (Below) a member of staff gently adjusts
fondles another gold chain attached to her pet squirrel perched in
a marble statue to greet returning restaurant patrons.

Strauss & Co’s next Auction Art Auctions : Cape Town 11 October and 1 November Johannesburg
Pierneef Paintings Attract Wide Interest
Schaik is known to have collected impressive works that include the right. Some of the farms situated in this area were planted with
Irma Stern’s Gladioli, to be auctioned on Strauss & Co’s 11th Octo- wheat and tobacco during the 1950s when wine proved unprofitable.
ber sale at the Vineyard Hotel. The fact that he selected this particu- The success of this painting is due in great measure to Pierneef’s ex-
lar painting is evidence of its importance in Pierneef’s oeuvre. traordinary ability to harness keen observation and sound technical
expertise to a profound knowledge of the South African landscape.
Viewed from the Nelshoogte plateau along the southern part of the His architectonic approach to painting, which ordered composition
Mpumalanga escarpment area west of the town of Barberton, the by foregrounding its underlying structure, was ideally suited to
painting offers a spectacular view of the valley with the river cours- capturing the vastness of the South African landscape that he loved
ing into the distance. The foreground has an astonishing wealth of so dearly. Dutch artist and theorist Willem van Konijnenburg, whose
detail in the vegetation and thorn trees so emblematic of Pierneef’s marked influence on Pierneef resulted in a greater abstraction of na-
landscape paintings. ture, was a great source of inspiration. In a letter to the artist written
in 1929, Van Konijnenburg offered the following encouragement:
The title alerts us to the artist’s thoughts as he traced the contours of Perseverance takes root in the deep love the artist has for nature. It
this remarkable area. Kaapschehoop, a tiny hamlet in the Barberton is indeed this quality that pleases me so much, I feel that this love is
district, was one of the first places in which alluvial gold deposits present in full measure in you, in the painter Pierneef.
were discovered in the 1880s. Prospectors, seeing in the 10 000 Pierneef’s love of farms and homesteads was nurtured in part
square kilometre valley a resemblance to the Cape of Good Hope through his love of working the soil and of building, a skill he had
Pierneef’s Barberton en Nelshoogte Kaapschehoop, coming up at with Table Mountain towering above it, named it De Kaap valley learnt from his father, Gerrit Pierneef, a master builder and contrac-
Strauss & Co’s Johannesburg sale 1 November 2010 and their incorrigible optimism gave rise to the official name of the tor. By 1939 he had acquired a piece of land in the Pretoria district
hamlet. Pierneef’s painting thus becomes a cultural meditation on and begun building his own house, assisted by a local stonemason.
Strauss & Co’s spring auctions, on 11th October at the Vineyard the origins of the gold industry that gave first Barberton and then the Built in the form of a kraal, his home was called Elangeni, the Zulu
Hotel and on 1st November at the Johannesburg Club in Wood- Witwatersrand their raison d’être. word for ‘in the sun’.
mead respectively, are set to showcase some of the most exciting The artist succeeds in achieving both a breadth of vision and a depth A common feature in Pierneef’s landscapes is brilliant light, which
examples of top South African art ever to come to auction. Amongst of perspective by structuring his composition in astute ways. The he employed not only as a means to articulate form but to imbue his
these, are a number of key works by Jacob Hendrik Pierneef that rolling hills and the sloping mountains that are arranged in a series landscapes with radiant light. His devotion to capturing the strong
have been treausured in private collections and not been seen publi- of interlocking diagonals, encourage our eye to travel to the edges local sunlight so unlike that of Europe, contributed in large part to
cally. of the painting and back to its centre, emphasising the width of the the development of his characteristically South African landscapes.
landscape. Linear perspective that leads one’s eye, via the zigzag-
Pierneef’s Barberton en Nelshoogte Kaapschehoop, coming up at ging river to the vanishing point and aerial perspective with warm Pierneef’s stylisation of form was inspired as much by his studies
Strauss & Co’s Johannesburg sale, has an illustrious provenance. colours that advance in the foreground and cool, receding colours in of Bushman rock art as by his knowledge of European modernist
It was acquired from the artist by Johannes Lambertus van Schaik the background, provide the impression of deep space. trends. Rhythmic bands of foreground ochre soil, the middle ground
(1888 – 1965) on 25th November 1949 and inherited by his son Jan The result is a painting that is breathtaking in its scale and ability of wheat fields and the distant blue mountains, arranged in strong
Jacob van Schaik (1917 – 2009). The former came to South Africa to evoke the vastness of the South African landscape. While the horizontal registers, achieve a perfect balance that enhances feelings
from Holland in 1911 and joined the bookseller De Bussy in Johan- artist’s compositional strategies lend complexity to the painting, the of calm and tranquillity.
nesburg. In 1914 he founded the bookselling and publishing house apparently endless variations, lull one into a sense of wonder and The painting exudes an atmosphere of contentment and well-being,
J L van Schaik in Pretoria. The business flourished and on his death satisfaction. which the artist has achieved through his use of subtle, warm tones
his two sons Jan and Hans continued to run the company until 1986 Pierneef’s Koringlande Agter Paarl, on Strauss & Co’s Cape Town in simplified, broad planes. Massing clouds forecast rain that is so
when it was sold to Nasionale Pers. It still continues to trade under sale in October, was painted in 1952 and is a rare example of the essential for agriculture. No sign of human activity disturbs the
the name Van Schaiks. artist’s Cape landscapes. It depicts a Cape Dutch farmhouse nestled peace. It is as if all the labour required for a fully functioning farm is
Acquired from the artist’s studio shortly after it was painted, the amongst sweeping wheat fields at the foot of a dramatic mountain at rest. The result is an idyllic Boland scene.
provenance is evidence of the close and supportive relationship range which includes, from the left, Klapmutskop, Kanonkop and For further information contact Bina Genovese on 021 683 6560 or
between the artist and the bibliophile. As a patron of the arts, Van Simonsberg with the Stellenbosch mountains in the distance on visit

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

The excitement of finding the site/s from were Pierneef chose to paint, makes his work even more dramatic and beautiful
Emma Bedford, Strauss & Co Simonsberg and it was confirmed that a lot of wheat or other cereals Despite a really busy start to their work week the Briers-Louws took
were planted in the 1950s when wine was not profitable. time out to show me around the farm, give me access to their exten-
Researching a work of art can often lead one on unexpected and sive archives and plied me with really good coffee. Christo showed
exciting journeys. When Stephan Welz suggested I research the They suggested it could be Matjieskuil. So I emailed the owners of me the original long cottage, or pioniersgebou, indicating that early
Pierneef’s Koringlande, Agter Paarl to identify the site from which that farm with its impressive and meticulously restored Hawksmoor farmers built these to accommodate all aspects of farming – from
the artist painted, I relished the thought, especially as a painting of a Manor. They were away in France but replied promptly with great the family, to the livestock and the hay.
Boland scene is so rare in the artist’s oeuvre. excitement.
Again I was disappointed but they wondered whether it wasn’t As their fortunes improved they built the Cape Dutch homestead
If one needs to identify historic Boland homes and farms, who Eenzaamheid, a farm owned by the Briers family. They pointed and the pioniersgebou was often abandoned. As a result there are
better to consult than a restoration specialist who knows the area out that all the farms from Muldersvlei to Malmesbury, including very few Boland farms that retain the Cape Dutch homestead and
well? So I called Len Raymond of Dal Josafat Restorations who Matjieskuil, had been owned by various descendants of the Briers pioniersgebou in close proximity to one another as on Eenzaamheid.
very quickly identified the Simonsberg mountains ranging from the family for centuries. They also advised contacting the owners of While their pioniersgebou has retained many original elements
foothills around Klapmuts on the left of the painting towards Stel- Hercules Pillaar, nearby Eenzaamheid. and much of its character, it has been lovingly restored and well
lenbosch on the far right. He speculated that it was painted from an The wine journalist, Tim James, also directed me to Eenzaamheid furnished, to provide wine tastings and overnight accommodation
elevation at Uitkyk above Kanonkop and Nattevallei and that some but I had initial trouble tracking down the owners. In the meantime, for up-market, foreign tourists.
of it could be on present day Warwick. another source directed me to the Muratie Estate which was owned Christo was right – the view of the mountains that Pierneef chose
But he was perplexed about the buildings in the painting, the by the painter, G. P. Canitz in the 1940s and 50s. Believing this to be could not be seen from his farm but as I drove back I took the Her-
absence of the old oaks surrounding the homesteads there and ex- the most plausible theory because the artists might have befriended cules Pillaar turn-off and was exhilarated to see a very similar view
pressed doubt that wheat farms were ever that high up on the slope. one another, I approached the owners with great confidence only to from Hohenfelde.
be let down, swiftly but kindly.
Nevertheless on a cold, rainy winter’s day I drove out along the Much as I would have loved to have found the precise site from
R304 from Stellenbosch to the intersection with the Elsenburg So I returned to Tim’s suggestion and contacted Christo and Karina which Pierneef painted, I had to agree with Christo’s conclusion
Road where we looked over towards Warwick. What we could see Briers-Louw through Charles Back. With absolute conviction, – the painting is a conglomerate. Not only has the artist borrowed
looked similar to some of the mountains in Pierneef’s painting and Christo claimed “Dis my geboue!” My heart surged. I couldn’t buildings from different sites, but he had swiveled them around on
I contacted the owners immediately. A rapid response dashed my believe that I’d at last found the site. “Maar” he said, “dis nie my their axes and relocated them to another site to create a more pictur-
hopes but very helpfully, a Google Earth photo with the view from berge nie!” How was that possible? I thought he must be mistaken. esque painting. And while the painting is an absolutely convincing
Joostenberg was attached to the email. rendition of the character of the area, it nevertheless confirms the
So, with renewed excitement I quickly emailed the owners of So on a crisp and sunny Monday morning in August I drove out to extent to which the artist used his imagination, stylised the moun-
Joostenberg on the other side of the N1. It was pointed out to me Eenzaamheid to shoot photographs of the farm buildings and try to tains, extended the wheat fields and added an impressive sky, in
that the Joostenberg homestead is south facing while the homestead find the site. Taking the R304 to Malmesbury I stopped along the order to create a work of art that would encompass all the things he
in Pierneef’s painting is north facing. Very helpfully, the mountains way to take photos of similar views. I was definitely getting onto the wanted to express about this beautiful and beloved land.
were identified from left to right as Klapmutskop, Kanonkop and right track.

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

Forthcoming Cape Swelco, Spring Decorative and Fine Arts Auction 5th and 6th October 2010
Stephan Welz & Company, will be holding their Spring Decorative contemporary auction environment housed within the 300-year old Stern, William Kentridge, Cecil Skotnes, JH Pierneef, Pieter Hugo
and Fine Arts Auction on the 5th and 6th of October 2010 at their walls of the original wine cellar of the Alphen estate,” says Shona Naudé, Keith Alexander, Edoardo Villa, Conrad Botes, Erik Laub-
newly refurbished auction premises at The Great Cellar housed on Robie, manager of the Cape Town office. scher, Robert Hodgins, Walter Battiss and many others.
the Alphen Hotel grounds in Constantia. Pre-auction public viewing will take place Friday the 1st through
“The opportunity to renovate our current office space into fully op- The inaugural auction is also the perfect foil in which to juxta- to Sunday the 3rd of October. Viewing is free of charge and open
erational auction rooms has been a twelve month project. We have, pose South African Masters and Contemporary stars alongside to the public. For further enquiries and details regarding the cata-
with the assistance of our architects, been able to create a fantastic each other at the forthcoming auction. Well represented are Irma logue please contact 021-794-6461.

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

Results for Stephan Welz & Co’s ized a remarkable R 156 800; a very good result for this fantastic
artist. Furthermore two of the three Frans Oerders up for auction sold
The African section of the sale was very well represented – all five
George Pemba works sold well within estimate with lots 375 “Unem-
annual August sale with lot 259, “Daydreaming young girl” grabbing lots of attention
and attaining R 123 200 on a pre-sale estimate of R 50 000 – 80 000.
ployed” and lot 376 “Get Out !!!” doing the best. Ephraim Ngatane’s
work “ The guitar player” (lot 379) Speelman Mahlangu’s “Primal
The highest price reached for the evening was a beautiful Pierneef Life” (lot 380) and Helene Sebidi’s ALOES (lot 381) all reached good
The 17 and 18 August auction held in the Rosebank sale rooms of
landscape entitle “Landscape with river”, realizing R 1 232 000. Nils prices.
Stephan Welz & Co, was a sale full of highlights and a new world
Andersen also seemed to be popular with both works on offer sell- The sculpture section had an almost 100% selling rate with both At-
record to get Spring off to a good start. Day one was focused on
ing and lot 280, “Farmyard scene”, soaring above its high estimate. tributed to Frederic Remington works (lots 388 & 389) selling and the
Books, maps, Africana and art whilst day two’s focus was on furni-
Although Gregoire Boonzaier’s market seems a bit buoyant, the star of this section, lot 392 Lucas Sithole’s “Standing figure” , attain-
ture, the decorative arts and jewellery.
beautiful cover lot 296, “Still life with apples”, enticed the crowd and ing an astounding R 168 000, three times the high estimate.
realized R 89 600.
The Tuesday afternoon’s paintings section produced some most sat-
Alexis Preller, as usual, did well with lot 299 “Study of a shell”, The session ended with contemporary works of all sorts – Fred Page
isfactory performances across an extremely broad range of artists on
reaching R 145 600. François Krige however, was the star of the was well represented by lots 394 “The frocky horror shoppe” and 395
offer. The artists that stood out however were amongst others, Adriaan
evening with all works by him, selling well and lot 314 “Peach blos- “Chacma on my dresser”, both selling well within estimate. The three
Boshoff’s two colourful watercolour works entitled Dixie land
soms in Vineyard” excelling at R 604 800, a new world record for the William Kentridge works on offer all sold. Lot 397, “The exchange”,
crooner and “Cleaning the catch” (lots 208 and 209) selling for R 22
artist. Lot 317 Bettie Cilliers-Barnard’s “Abstract Still Life” attained did the best out of the lot, soaring over the high estimate of R 50 000
400 and R 29 120 respectively. Ted Hoefsloot was another artist that
R 78 400, thus selling just below the high estimate. Lot 336, the mag- with R 67 200. Lot 399, “Dancing nose”, a charity lot for The South
excelled with all four lots (190 – 193 all at R 5 000 – 7 000) dedicated
nificent Dino Paravano pastel, “Wildebeest herd”, exceeded expecta- African Ballet Theatre, reached a figure of R 31 360. Not only did the
to him selling well. Walter Battiss followed suit with all seven lots
tion by going for R 20 160. Pieter van der Westhuizen and Conrad privileged highest bidder receive a stunning work by William Ken-
selling of which lot 198, HAT, did marvelously well reaching R 22
Theys, two firm favourites, reached R 61 600 (lot 355 “Flowerfield”) tridge, but also received a limited edition of Meerlust 2004 Cabernet
400 (R 10 000 – 15 000).
and R 84 000 (lot 356 “Man with white jersey”) respectively. Hennie Sauvignon which was donated to the SABT by Mr Hannes Myburgh
The specialist painting evening session starting at 18:30 on the same
Niemann Snr ‘s work all sold (4 lots) as did those by Louis van Heer- of Meerlust Wine Estate. The commissioned labelled magnum bottle
day offered up a lot of surprises. In the international section lot 251
den and Marie Vermeulen-Breedt. Hennie Niemann Jnr seems to be was also designed by William Kentridge.
After Rembrandt van Rijn, “Man with a black hat” did brilliantly
the man of the moment with both lots 365 “Yellow scarf” and lot 366 With just under 800 lots offered over four sessions, it was a busy cou-
reaching R 31 360 on a pre-sale estimate of R 15 000 – 20 000.
“Luvale woman”, selling way above high estimates at R 84 000 and ple of days with many highlights and a satisfying percentage of sales
However, it was the range of traditional and contemporary South
R 145 600 respectively. Cecil Skotnes was represented by successful achieved across the broad range of departments covered by Stephan
African paintings and sculptures that produced the evening’s notable
sales of lots 368 ICON XII attaining R 268 800 and the iconic “Shaka Welz & Company. With their next sale being in Cape Town on Octo-
performances. Lot 256 by Cathcart Methven “Umgeni River” real-
Zulu” portfolio (lot 371) excelling at R 67 200. ber 5 & 6, however, there is no time for them to rest on their laurels.
The South African Print Gallery
is proud to present an exciting body of work of lithos, silksreens and etchings by:

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