THE SOUTH AFRICAN

ARTLIFE
November 2009
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Written by Artists for Artists

Life’s great at The Irma

Liza Grobler starts an unexpected trend of 1 day residencies at The Irma Stern Musem, CT. http://dayresidencies.blogspot.com

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Page 02
Cathy Layzell captures the dreamy lyrical of the Cape
‘Duende’, a solo exhibition of oil paintings by
Cathy Layzell at the UCT Irma Stern Museum.
27th October - 7th November 2009. Cathy
Layzell completed her BA Fine Art Degree at
Rhodes University in 1994, majoring in Paint-
ing. She moved to London in 1995 where
she retrained in book design. At the end of
2001 she moved to the remote North Norfolk
coast. It was here, in the shadow of some
of the giants of English landscape - Seago,
Constable and the Norwich School masters
Cotman and Chrome - that she began
painting full-time. In the summer of 2003
Cathy was an ‘invited resident artist’ at the
Painting School of Montmirail in SW France
(near Toulouse) where she furthered her
study of the great colourists of the Modern
period; Bonnard, Cezanne and Matisse. This
is Cathy’s first solo show in South Africa since
her homecoming in 2008. The exhibition
represents the beginnings of her exploration
of favourite and familiar Cape Town scenes.
She includes still life and flower paintings
that resonate with the legacy of Irma Stern.
Autumn avenue, Elgin
Cathy works in oil on canvas, and has been
dubbed a gifted ‘colourist’. Not afraid of
the subfuse tones - the beautiful in-between
greys - she demonstrates an impressive abil-
ity to orchestrate in a wide range of colour
harmonies. Cathy often paints “alla prima”, a
technique rooted in Impressionism whereby
the painting is completed in one sitting.
The canvases retain a freshness that speaks
of both an obvious pleasure in the sheer
sensuality of paint and a visceral excitement
before a living subject.
The title of the exhibition ‘Duende’ comes
from a rarely-explained concept in Span-
ish art, particularly flamenco, having to do
with emotion, expression and authenticity.
Loosely translated it means having soul. It is
what gives you chills, makes you smile or cry.
Evoking ‘duende’ is an escaping magic and
hard to pin down in any formula. It trans-
forms, through the act of painting, personal
and deeply felt experience. ‘Duende’ is an
exploration of duality; the complimentary
Cathy Layzell
opposite permutations of hard/soft, open/
closed, full/empty, stillness/movement and
the interplay between pain and pleasure,
sadness and joy, darkness and light.
These timeless celebratory paintings achieve
with great subtlety to uplift the spirit.
Cathy has lived, travelled and exhibited in
London, Norfolk, France and Australia. She
currently lives and works in Kalk Bay, Cape
Town.
See more on: www.cathylayzell.com
Biography: Cathy Layzell completed her
BA Fine Art Degree at Rhodes University in
1994, majoring in Painting. She moved to
London in 1995 where she retrained in book
design. At the end of 2001 she moved to the
remote North Norfolk coast. It was here, in
the shadow of some of the giants of English
landscape that she began painting full-
time. In the summer of 2003 Cathy was an
‘invited resident artist’ at the Painting School
of Montmirail in SW France (near Toulouse)
where she furthered her study of the great
Churchhaven
ARTLIFE November 2009
Photo: Clare Louise Thomas
colourists of the Modern period; Bonnard,
Cezanne and Matisse. In 2008, Cathy at-
tended a workshop at Matisse’s former home
and studio ‘Villa La Reve’, Vence, France with
the British abstract artist Gary Wragg.
Cathy works in oil on canvas, and has been
dubbed a gifted ‘colourist’. Not afraid of
the subfuse tones - the beautiful in-between
greys - she demonstrates an impressive abil-
ity to orchestrate in a wide range of colour
harmonies. Often painted “alla prima”, a
technique rooted in Impressionism, the can-
vases retain a freshness that speaks of both
an obvious pleasure in the sheer sensuality
of paint and a visceral excitement before a
living subject.
This is Cathy’s first solo show in South Af-
rica since her homecoming in 2008, and
represents the beginnings of her exploration
of favourite and familiar Cape Town scenes.
She includes still life and flower paintings that
resonate with the legacy of Irma Stern.
Shipwreck at Sandy Bay
ARTLIFE November 2009 Page 03

Moon rise, Kalk Bay

Dusk seashore, Cape Point Between the pines, Boye’s Drive

Kalk Bay harbour view, Boyes drive copy The red tree Dahlias in the dusk The artist’s desk
Page 04 ARTLIFE November 2009

Opening piece “As long as you try”-chant, sung by Monika Voysey, a renowned mezzo soprano, came from a knitted wall piece

VISITOR, visits and collaborations (3-24 Oct 09)

UCT Irma Stern Musem, Cape Town
The now UCT Irma Stern Museum was formerly the house of
artist Irma Stern. In this space she lived, created, and enter-
tained. Visitor by Liza Grobler, responded to her home in a
‘solo’ exhibition with a difference: it acknowledged human
interaction as a core ingredient of artistic output. Apart from
the random and invited viewers who visited to see Grobler’s
work, a number of collaborations were initiated in an at-
tempt to bring the former living space back to life…
The Saturday morning opening celebrated Stern’s birthday
(2 October) with cake, gin and cucumber sandwiches. This
was offset by the “As long as you try”-chant, which came
from an oversized knitted wall piece in which Monika Voy-
sey, a renowned mezzo soprano, was stuck. It pretty much
set the tone for the following days. On Monday 5 October,
the museum was ostensibly closed, but a group of 9 invited
artists, partook in a life drawing session in the library. The
event brought together a selection of artists whom Grobler
specifically respects for their varied approaches to repre-
senting the human figure. Participants were: Johann Louw,
Clare Menck, John Murray, Nomthunzi Mashalaba, Wonder
Marthinus, Norman O’Flynn, Conrad Botes, Marna Hattingh
& Marlise Keith. The event was twofold: it honored Stern’s
lifelong interest in the human figure as subject and the ac-
tive participants became subjects in there own right (they
were documented digitally).
On Wednesday the one-day residency programme com-
menced: What a difference a day makes… Participants
had the opportunity to occupy the central space within
Grobler’s exhibition from 10-5 daily. How each person used
the space, was up to them. Lynette Bester arrived straight
from an overseas residency and communicated only by
writing on pos-its. Lien Botha brought and African Grey par-
rot and stepped out a dado grey scale whilst Barend de
Wet and Adrienne van Eeden Wharton co-knitted a long
rainbow coloured scarf. Francesca Sanchez posted paper
waterfalls from Chili with installation instructions. The organic
process allowed for experimentation, contemplation or
just coffee drinking sessions with whoever visited the show.
Other participants include Katherine Bull, Jaqceus Coetzer,
Michael Taylor, Johan Thom, Seth Harper, Ruben Gutierrez,
Abrie de Swardt, Sonja Rademeyer and Niklas Zimmer. Visit
the blog at www.dayresidencies.blogspot.com .
The Gift - a lace making performance by Grobler and Pierre
Fouché was an appropriate closing event that coincided
with a picnic in Stern’s garden… Life has a knack for weav-
ing random events into a delicate web of human networks.
Photo credits: Adrienne van Eeden-Wharton

Drawing session in Irma Stern’s lounge Drawing session in Irma Stern’s lounge
 ARTLIFE November 2009 Page 05

Works by Liza Grobler

African Grey parrot advises Lien Botha The gift, crocque, with Pierre Fouche and Liza Grobler

Adrienne van Eeden Wharton with Barend de Wet, knitting Post-it with Lynette Bester
Page 06
Reshada Crouse - Portraiture
Self Portrait
By Chris Thurman
The art in portrait painting, Reshada Crouse
reflects, is neither to flatter nor to insult: “I try
to find a synergy between my subjects’ vi-
sions of themselves
and what I see in them”. This perhaps
explains why Crouse’s collection of portraits
is so eclectic – each subject demands a
different approach. A range of materials and
styles (not to mention poses and settings)
is evident in her work, making it difficult to
characterise.
She could be classified as a ‘portraitist’, yet
Crouse resists such categories because they
can limit the way in which an artist is viewed:
“Calling a painting ‘a portrait’ has a favour-
able effect on the way the sitter is perceived
(we have ‘portraits’ of important people,
‘pictures’ of ordinary citizens). But it can de-
mean the artist. Frida Kahlo, Lucien Freud ...
although there are
many renowned painters whose output con-
sists almost entirely of portraits and self-
portraits, you wouldn’t label an exhibition of
their work ‘portraiture’.”
If portrait-painting is a somewhat neglected
genre in contemporary art circles, and if this
is particularly acute in a country like South
Africa, Crouse has attempted to address that
neglect through an exhibition entitled “History
Recorded Through Portraiture”. As curator,
she has elucidated the exhibition’s subtitle
(“Past and Present, Public and Personal”) by
dividing it into three parts.
Firstly, there are works from the Museum
Africa collection – including portraits of
historical figures such as Thomas Pringle, Paul
Kruger and Lord Kitchener, as well as a host
of nineteenth and early-twentieth century
socialites and once-important people who
have since been forgotten.
The selection includes a number of signifi-
cant local artists, but two paintings that stand
out are George Pemba’s self-portrait and
his portrayal of Es’kia Mphahlele. These are
exceptional because, to put it bluntly, their
subjects are black. Crouse acknowledges
that portraiture has typically been seen as a
‘European’ art form, but denies that there is
anything inherently ‘alien’ about it.
In fact, she argues, the acts of commission-
ing, sitting for and creating a portrait can
be seen collectively as a kind of ancestor
worship that resonates with
‘African’ cultural practices. More than just
venerating one’s dead forebears in retro-
spect, portraiture insists on human connec-
tions between the living and anticipates a
future in which ties of kinship and friendship
will be remembered.
Insofar as the first part of the exhibition
is largely in the realm of the “past” and
“public”, Crouse’s own work – which consti-
tutes the second part – straddles “past” and
“present”, “public” and “personal”. Over the
years, she has been commissioned to paint
prominent businesspeople and educators;
she has produced a number of private fam-
ily portraits, including images of her son at
various ages, a striking nude of her mother
and a handful of self-portraits; and she
has painted a number of well-known South
Africans.
Her “Famous People” series dates back to
the 1980s. Crouse had been in the United
Kingdom, studying at St Martin’s School of Art
in London, and was intrigued
by celebrity culture in Britain. “When I came
home I thought, ‘What about our own
icons?’”
Some of the subjects she chose were willing
to sit for her, while others were not; as a result,
the series (as with her oeuvre more generally)
is marked by both a photo-realist style and
the more ephemeral, perhaps even organic,
representation of individuals painted from
life.
One of those who did not want to be
painted was Helen Suzman, so her youthful
image appears as if in a black-and-white
photograph. What seems like a newspaper
clipping (about Queen Elizabeth recognising
Suzman’s contribution – a playful reminder
that Suzman and Elizabeth looked remark-
ably similar as younger women) is
‘taped’ onto the ‘mounted’ picture, but on
closer inspection it’s clear that clipping, tape
and mounting have all been painted.
This tromp l’oeil effect is common in Crouse’s
paintings; it’s her way, she says, of “reminding
the viewer that the painting surface is flat”
and that the skill required to create a three-
dimensional likeness on a two-dimensional
canvas should not be taken for granted.
On the wall opposite Suzman in the current
exhibition is another reluctant subject, former
apartheid Defence Force general and sub-
sequently Freedom Front leader, Constant
Viljoen. He appears in both these guises:
as a younger man in uniform, a rifle that he
designed for South Africa’s ‘bush wars’ in
the foreground; and as a civilian politician,
the gun replaced by a microphone. In the
background is Viljoen’s cattle farm.
Some viewers might see this juxtaposition as
an ironic comment on the part of the por-
traitist; but Crouse (echoing her credo of fair
representation) insists that she is “not in the
business of playing god, of striking out with a
judgement stick”.
This deliberate avoidance of sarcasm or
mockery is sustained in Crouse’s portraits
of fashion designer Marianne Fassler and
beauty queen Anneline Kriel.
Fassler sits regally amidst peacock feathers,
animal skins and other Afro-rococo flourishes
– a setting that some viewers might scorn
– but Crouse is quick to point out that this is
not kitsch because “kitsch implies a lack of
self-awareness”. Likewise, the embroidered
kussingtjie that accompanies Kriel’s sensuous
pose in a scene that mimics Ingre’s “Odal-
isque” (a portrait of a concubine) reminds
the viewer of, but does not poke fun at, the
former Miss World’s Afrikaans background.
The allusion to Ingre represents another com-
mon strain in Crouse’s portraits: the appropri-
ation of paintings by famous precursors into
her own work. Thus, a combined depiction
ARTLIFE November 2009
After Manet
of F.W. and Marike De Klerk sets the former
president and his late wife against one of
Pierneef’s landscapes. A small Ndebele motif
decorates the words “Oranje, Blanje, Blou”;
Crouse explains that, whatever Pierneef’s
politics might have been, the geometries of
his work suggest the influence of ‘indigenous’
art forms (what she doesn’t say, but may be
implying, is that it would be equally simplistic
to dismiss De Klerk as an unredeemed Na-
tionalist who simply facilitated the inevitable).
Sections of Chagall’s “White Crucifixion” are
recreated to provide a symbolic framework
for a portrait of Justice Richard Goldstone.
Similarly, the judge’s tie has been modified
to include the emblem of the United Nations
and the flags of countries such as Rwanda
and Yugoslavia – indicating Goldstone’s role
in the UN’s International War Crimes tribunals.
In later portraits, Crouse moved away from
offering such interpretive frameworks or
commentaries and towards “other ways of
seeing”; her recent subjects are placed in
more neutral settings. But she has always
been dubious about the place of ideology
in painting. Instead, she considers technique
paramount. The skill of representation is often
ignored in conceptual or abstract art; many
artists seek “short cuts”, she notes, whereas
her portraits typically take hundreds of hours.
After studying at three different schools of
fine art (each of them antagonistic to real-
ism), Crouse realised that no-one had actu-
ally taught her how to paint.
She feels that painting as an art form has
been “mystified” and, as a qualified teacher,
wishes to expose this fallacy: “It took me
ten years to get a grip on the techniques of
painting, and portraiture in particular, but that
doesn’t have to be the case for everyone.”
To prove this, the third part of her exhibition is
dedicated to work produced by her students
– none of whom, until a few years ago, had
experience in drawing
or painting. And, given the quality of the work
on show, the idea that ‘art is for everyone’
does not seem too far-fetched.
View online here: http://christhurman.net
This article first appeared in THE WEEKENDER
 ARTLIFE November 2009 Page 07

Gabriel reading

Madonna and Child mourning

Thelma Constance Andrew Sinclair Shepherd Crouse Weideman

Priscilla Ntokozo Dnlovu

Amour triste

Ma
Page 08
The life and times of Helen Anne Petrie: Fact vs.
Petrie’s paintings were not always titled, she painted them on Fish Hoek Art Society outings.
Staff Writer
Who exactly was Helen Anne Petrie? That’s the question
raised by the recent controversy over the sale of three of
the late South African’s works by London auctioneers Bon-
hams for £28,000, as reported by The Times UK in August.
The newspaper also reported that the Queen’s art col-
lection had accepted two of Petrie’s paintings in their
collection.
The problem arose when it began to emerge that the
facts in a glittering internet biography about her life didn’t
add up and had allegedly been fabricated to enhance
the value of the work.
Described as the “true matriarch of South African female
artists”, she was said to have spent time in 1961 with Gil-
lian Ayres, now a Royal Academician, but in The Times
article Ayres denied knowing her. In 1954, she was said
to have met artist Jan Vermeiren. But again, as the Times
pointed out, he would only have been six at the time.
Trying to discover who Helen Anne Petrie (1932 –2006)
was requires a visit to the coastal town of Fish Hoek about
30 kilometres from Cape Town.
It is described in the online listings for Petrie as the equiva-
lent of the exclusive US seaside resort of The Hamptons,
but this is a wild exaggeration.
Petrie’s “Summer House” in Fish Hook hardly the same to “(The “Hamptons”
equivalent in USA)” as quoted in Strutt’s CV
Even in the 1950s, when the first signs of Petrie show up
in Fish Hoek society, it was a commuter town, housing
people that travelled to Cape Town on the train or who
worked in the docks in nearby Simon’s Town.
There were a number of holiday cottages and hotels, but
it was not a resort exclusively for the very rich.
These days it is a sprawling commuter and retirement sub-
urb wedged into a valley fronted by a beautiful beach
and a not-so beautiful strip of shops with their backs
turned to the sea.
This was Petrie’s home from the 1950s through to her
death in 2006. The dramatic coastline of the area pro-
vided inspiration for her seascapes and the people for
her portraits.
It was also where she experienced great sadness and
hardship, according to interviews with former colleagues,
friends and neighbours who collectively knew her over a
period of more than 50 years.
They tell the story of a woman who lived a lonely life in
the shadow of a mentally ill brother whom she was bur-
dened with once their parents, believed to be of Scottish
descent, died.Into the 1980s and for over two subsequent
decades she slipped into isolation to the extent that
friends battled to make contact with her.
“She did not have a very happy life – living with a brother
with that illness was incredibly stressful,” said a friend who
knew Petrie from the 1950s through to her death.
Although her internet biography lists her work in esteemed
private collections and as having been exhibited in Eu-
rope and the US between 1960 and 1994, none of those
interviewed recall Petrie ever having travelled or exhib-
ited internationally during this time, or having spoken of
these achievements.
Petrie first shows up on the Fish Hoek scene in the 1950s.
A friend still living in Fish Hoek said she had met Petrie
when they worked at the Fish Hoek municipality together
between 1956 and 1959.
At that time Petrie was doing secretarial work for the mu-
nicipality, but the friend said she had studied art at the
Johannesburg Technical College before moving to Cape
Town.
“She was a conscientious worker and we became quite
close friends.”
She remembers Petrie as “highly-strung”, but “gentle and
quiet”, a good friend, but one who did not have many
friends.
“We had a lot of fun, in fact she taught me to drive,” she
said.
Another person who worked with Petrie at that time, Ethel
ARTLIFE November 2009
May Gillard, who was a librarian at the Fish Hoek Library
for 36 years, remembers Petrie fondly as a person who
painted a Bertie the Bookworm character for her to use in
story time with children.
The earliest record of her artistic involvement comes from
the Fish Hoek Art society.
Current president Val Parry said from the records of the
society she appeared to have been a founder member
in 1954 and possibly taught weekly art workshops from
1966.
Petrie appears to have painted well into the 1970s. She is
recorded as exhibiting in the first exhibition of the society
in 1960. In 1972, society records hold a report from the
Fish Hoek Echo, the local community newspaper, noting
that “her composition and technique” set her apart.
Again in 1976, another comment from the Fish Hoek Echo
said it was “good to see Anne Petrie was still painting”.
But after this she vanishes from the records of the society.
“I have no record of her after 1976. None at all,” said
Parry. “Clearly she wasn’t a party animal.”
Abstract artist and Fish Hoek resident Betty Salmon, 85,
who counts herself as the longest living member of the
society, remembered Petrie as an “extremely shy” person.
“I always liked her work. I rated her as good,” said Salm-
on, who said she had no knowledge of Petrie exhibiting
outside of Fish Hoek.
Why Petrie never showed up in the records of the Fish
Hoek Art Society after 1976 might have had something to
do with the death of her parents.
It’s not clear from interviews when they died, but by the
time domestic worker Anne Watson, now 76, began work-
ing for the Petrie’s once a week on a Thursday in the late
70s, she said the parents were already dead.
Watson remembers Petrie’s painting because three of
her daughters posed for her and were given the resulting
portraits.
Initially, she remembers friends visiting and although she
cannot remember the year, says Petrie stopped paint-
ing when her brother refused to allow people to come
around to the house.
“She had a very difficult time with her brother,” said
Watson.
Before Watson retired in 1993, she said Petrie had helped
the family buy their council house in Ocean View, a
nearby suburb that arose from forced removals under the
apartheid Group Areas Act.
And when Watson retired in 1993, she said she had been
given R10,000 by Petrie.
“She was a very kind person, a sweet person. She never
rejected people that came to the door looking for food,”
she said.
As the brother’s behaviour became more erratic, he got
ARTLIFE November 2009
rid of their car, then the telephone and other electrical
appliances. A friend said it was nearly impossible to make
contact.
After 1990, neighbours report seeing the brother and
sister walking to the shops to buy groceries, making for a
strange couple.
He would always walk in front of her and she would follow
behind in a subservient manner.
Although everyone agrees that the family had at least
some means, neighbours say they were spendthrift.
“They lived like paupers, as frugally as they could,” said a
neighbour.
By all accounts, Petrie’s own mental state also deteriorat-
ed. Neighbours recall her throwing rocks on their roof and
claiming to have seen Chinese acrobats on her roof.
“In retrospect maybe it was a call for help,” said a neigh-
bour.
Her brother died in 2002 and she continued to live in the
house by herself. It was only when she fell ill in 2003, how-
ever, that neighbours managed to get to know her.
The Christie family had lived next door since 1990 and
had gotten used to their unusual neighbours.
When Petrie fell ill in 2003, Una Christie had visited her in
hospital. It was at this stage that the Christie’s discovered
her artwork.
Her house was being painted in preparation for her
return, and they noticed a few unframed paintings lying
outside. As it was raining, they took them for safekeeping
and kept them in their laundry.
When Petrie returned home, Una took her shopping and
arranged a cellphone and a television for her. The Chris-
ties also installed burglar bars to prevent vagrants from
breaking in.
The Christies believe that during this period, for the few
years up until her death in 2006, Petrie gained a measure
of happiness.
“I wanted to get her painting again,” said Una, “but she
did not get around to it.”
Several of Petrie’s paintings given to the Christie’s are now
hanging in their house, some seascapes hanging on the
wall, others stored behind bookcases.
Art experts have scotched the quality of Petrie’s work and
the whole saga has raised questions about the value of
references versus artistic merit.
But for Glen Christie, the value lies in the fact that they
came to know and like Petrie. “I’ve always thought she
was talented but amateurish,” he said.
In the end, it’s certain that Petrie existed and was an
unknown artist in Fish Hoek. But unlike other artists who
become famous after their deaths once their artistic bril-
liance is recognised, she has gained the limelight for all
the wrong reasons as the subject of an inflated biography
that fooled Bonhams and the Queen’s art collection.
In that sense, she remains a victim in death as she
was in life.
Fiction
The SA Art Times in an ongoing investigation into the behaviour of Greg Strutt whereby Strutt uploads inflated material (such as
the highly inflated CV of Petrie) onto countless social and news websites. Strutt who bought the artists estate through a Mill’s
auction for what appears for peanuts, is trying to sell the individual paintings for hundreds of thousands of Rands based on an
exaggerated life story and CV. We would like to set the record straight and say that yes Helen was an average artist, in terms
of talent and her paintings might have had fetched a few thousand Rands, however, what we would like to point out is that
due to Strutt’s reckless behaviour , the name and art of Helen Anne Petrie has been tarnished by Strutt’s greed.
Google “Helen Anne Petrie” and find the same CV
and Lifestyle scam.
ANNE (HELEN) PETRIE
1933 – 2006
Introduction Biographical Overview
Born to a privileged Kensington, Johannesburg family of Scottish descent, (Helen)
Anne Petrie and her elder brother appeared set to growing up into a very promis-
ing life ahead.
Apart from their main home in Johannesburg, her parents kept their rather
comfortable “Summer House” in Fish Hook (The “Hamptons” equivalent in USA)
and were socialites of the day (the family had made fortune out of gold and dia-
monds mining), regular guests at Admiralty House when in the Cape or attending
luncheons with Count Labia. Simon’s town, the neighbouring village was the Naval
Headquarters for the British Navy and at that time South Africa was a jewel colony
of The British Empire.
In 1938 a relative, who noted the great potential Anne had shown already at a
tender age of 5, cut out an article from the Huisgenoot, a local magazine, dated
18 August, entitled” Hoekom ek skilder” (”Why I Paint”) by the then renowned
artist Maggie Loubser, on a particularly hot summer’s day while on holiday from
Boarding School. This article was translated from Afrikaans into English for Anne by
her multilingual nanny. A diary entry records Anne was truly mesmerised at the
contents, and thus her eventual admiration for Maggie and passion to paint was
unknowingly set.
Anne had a privileged education and completed High School with excellent
results, merits and awards; and went on to study further.
During this tertiary period, Anne made 2 trips to Europe touring the leading galler-
ies. She was so eager to learn about Art, that at the end of her visits she had taken
down some 2,300 pages of handwritten notes. Florence was her favourite city,
then Rome, she noted. Returning to South Africa she began painting her first oils,
and with tuition soon began to lay the foundation of what was to mature into her
own, distinctive.
Anne felt that at the time, the taste of small art-public was extremely backward
and that there were too few discerning collectors and buyers, particularly in South
Africa which was at that point still a British colony.
In 1954 she spent a short period of time sitting in on lectures at the Kunstakedemie
van Mechelen, Sint Niklaas and Antwerp, where she met artist Jan Vermeiren who
assisted her in mastering her least favourite mediums: acrylic and pastels.
During her many foreign (mainly European) travels, especially during the early
years of her life after finishing school; many important people of the day sat for
portraits for which she was well paid. She largely used those funds for further visits
to galleries and the odd art-class at the Byam Shaw Goldsmith’s School of Art
in London and under Sickert’s (Royal Academy School) own school in Camden
Town. Here she struck up a friendship with Cecil Higgs.
At the same time Anne met Mary (May) Ellen Hillhouse, who like Anne had Scottish
heritage (and acquaintance to her parents). Together they consulted on what
they both declared was “soul-destroying commercial work” also resulting in Anne
becoming (like May) an illustrator for various local and foreign companies, excel-
ling in her graphic design for pottery, pattern design for Garlicks and Greatermans
and Butterick Dress patterns, to name just a few of the then very popular high-
street brands.
At the same time she made (thanks to her father’s intervention) occasional visits to
the “Platteland” farm of Maggie Loubser’s father in t Klipheuwel, near Malmesbury.
Anne spent many hours brooding over the vision Maggie had acquired during her
trip to London, so just like Maggie, Anne spent time in Germany where she experi-
enced the works of Marc and Nolde. The bud of interest, observing and consulting
had slowly germinated and soon blossomed, quite spectacularly.
In 1955 upon meeting Marjorie Wallace and husband Jan Rabie, they ended
up in a heated debate on politics and thus was cemented her lifelong interest
in Humanitarian causes in South Africa. Anne could be very opinionated and
outspoken.
In 1960 Anne was infuriated by the countrywide protests, demonstrations and
strikes against the so-called Pass Laws and Police brutality in response to the anti-
Pass Laws campaign (Apartheid period) that she wished to return to Scotland, her
ancestral home indefinitely. This phase eventually passed.
South African Union
In 1961 Anne spent a few weeks in private tuition with Gillian Ayres at the Bath
Academy of Art, Corsham and again at St. Martin’s School of Art in London. In
Anne’s few surviving works of that period, one can clearly note that she did not
look to the raw expressionism of the New York School but to the school of Paris with
its painterly cuisine and basic figuration. A year later, Anne wrote to Gillian indicat-
ing that in her opinion there was still a continent left to explore in the direction of
colour when it came to painting and that “although proportion and balance are
essential aspects to remember, both artist and viewer have to experience it”. For
Anne it appeared that in general amongst her British contemporaries the size of
their canvas was increasing, the paint was fattening and forms were becom-
ing more and more abstract. One often notices however in Anne’s work of this
period, disciplined, serene, contemplative work in hard-edge idioms. Her artistic
experimentation work is very much concerned with balance, harmony, tension,
pleasure, movement, beauty and mental fragility.
In 1965 at Stellenbosch University while attending a lesson on graphic design at
the department of Creative Art, she briefly met Jogen Bergen and took hand-writ-
ten notes where she described him in her diary as a man with “limited talents”.
In 1967 Mr. Albert Wert (Then Curator of the Pretoria Art Museum) together with Mat-
thys Bokhorst (Director of the South African National Gallery) enquired as to whether
Anne would be willing to participate in the SANLAM Art Collection Exhibition, which
at that point contained in excess of 166 works of art. She declined to participate
as the collection “did not possess that degree of inner unity it would have had if
the collection had from the beginning been built up for the purpose of exhibition”.
She further suspected that the main intention of the SANLAM Collection was to
build up a mere collection of attractive South African paintings and sketches to be
left hanging in the offices of directors and staff alike. The public would only have
access to subsequent prints to feature on SANLAM’S calendars. Further diary entries
indicate that she also declined an offer from Rembrandt Van Rijn Art Foundation to
purchase her works privately. Already at this stage, her strong opinions, insecurities,
inability to interact with strangers, deep-rooted distrust of people in general and
her ever more frequent bipolar phases were quite obvious.
Anne did however exhibit in South Africa twice in 1967, the most important exhibi-
tion being from 30th October till 11th November at the South African Association
of Artists Annual Exhibition at 63 Burg Street, Cape Town. A leading Art Critic of the
day, Johan van Rooyen stated her 3 works entitled respectively Indian Girl, Bantu
Boy and Late Afternoon, Kommetjie “should be hailed as proving the standard that
is expected at an exhibition of this calibre”, which included works by fellow artists
Page 09
I.Roworth, S.Butler, V.Volschenk and L. Mears.
In 1971 Anne once again, declined an invitation this time from Gunther van der
Reis to participate in the “1971 Republic Festival Exhibition” which was organised
by the S.A.Association of Artists. She decided to exhibit in Tel-Aviv that year instead.
Anne’s works were exhibited in the late 60’s early 70’s at various galleries in SA,
where she obtained critical acclaim (often relenting and allowing a portrait or
landscape to be exhibited without a credit being published on the Programme).
Yet shy, introvert, emotionally imbalanced and disillusioned at the politics which
clearly favoured predominantly male, Afrikaans artists as opposed to English-
speaking females like herself, she stopped exhibiting at most major galleries and
vehemently declined many invitations to sell her Art after that.
Anne noted in her personal diary in 1972 that 2 major schools of thought were
apparent in the South African art world. One where artists identified with various
aspects of their social, political, geographical and environmental conditions; the
other with very close ties with international trends, often be related to Colonialism
and the Empire. This duality appeared to be the natural result of a “Nation” shap-
ing and divorcing itself from its’ old rural and colonial character.
Anne felt that Nations and Art alike, were becoming more and more involved,
interactive and demanded greater effort from the viewer.
During the 1970’s 80’s and 1990’s Anne never tried to idealise her subjects. She
always strove for the accurate representation of everyday, apparently casual or
overlooked subjects.
Still Nature – Jug, Apples and Eggs
Or the “invisible people of South Africa” as she called them. The many millions of
non-Europeans and vast, underprivileged majority, which in real fact made the
very fabric of the working nation: Bantu Woman Servant
Her devotion to her art, especially during her latter years was so great that she also
infected her fellow artists, resulting in anti-art people being able to view art with
greater respect and admiration.
In the Transvaal and in the Western Cape she discovered the destruction caused
by the introduction of the Group Areas Act that stimulated her imagination. In
Europe; mainly Italy and Scotland she sought the dream-world for which she
deeply yearned.
Finally, there was her own private inner world, to which very few were ever admit-
ted, but, from which derived all her wonderful creative and inspired powers.
Anne felt most at home in the Cape. Not only because she found relief there
for her bodily ills, but in the Autumns and Winters there, she re-discovered her
homeland and thus her identity. At the end of her life, Anne had amongst her clos-
est friends and fellow artists, mainly local Cape Coloured and Malay inhabitants.
These were the people with whom Anne felt she could really be herself: a plain,
genuine woman who seldom made preparatory cause of her impulsive nature.
In her final years, Anne was mentally and emotionally split in many worlds. Her
bipolar condition, combined with the trauma of emotional, physical and sexual
abuse by her brother, the loss of her parents from which she never fully recovered,
meant Anne would have been better off in an institution. She did however not
allow anyone taking her away from her beloved Fish-Hoek “Summer House” and
ended her days alone, with grey, messed up, wiry hair, wandering and talking to
herself, shifting between worlds only she knew, known to the locals as
“The Fish-Hoek Old Witch”.
This was Anne Petrie, the woman, the benefactor, the pacifist, the friend… The TRUE
Matriarch of South African Female Artists
Anne’s works exhibited in the following Solo and Group Exhibitions
Anne Bryant Gallery, East London (1958)
Lidchi Gallery, Durban (1962)
Martin Melck Gallery, Cape Town (1963)
Belgium, Paris and Scotland (1965)
Gallery 21, Johannesburg, (1966)
Belgium and Paris(1969)
Israel (1971)
Athens (1974)
London and Paris (1976)
Frenchmen, West Germany (1978)
Seoul (1984)
Athens (1987)
Norway (1989)
New York (1994)
Private Collectors / Patrons include (d)
Estate Wallace Simpson
Estate P.W. Botha
Estate John F. Kennedy
Estate David Botha
Estate Frank Sinatra
Estate Dr.Christiaan Barnard
Estate Maria Callas
Bill Clinton
Madonna
Mike Myers
David & Victoria Beckham
Mariah Carey
Carmen Elektra
James Brown
Vanessa Redgrave… to name just a few.
Various European Royal Courts owning works by Anne in their Private Collections
Her Majesty Queen Elizabeth II & H.R.H. Phillip, the Prince Consort of The United
Kingdom
H.M. King Juan Carlos I & Queen Sofia of Spain
H.M. Kong Harald & H.M. Dronning Sonja of Norway
H.M. King Carl XVI Gustaf & H.M. Queen Silvia of Sweden
Her Majesty Queen Anne-Marie & H.R.H. Henrik, the Prince Consort of Denmark
Emperor Akihito and Empress Michiko of Japan
Her Majesty Queen Beatrix of The Netherlands
H.R.H King Constantine & H.M. Queen Anne-Marie of Greece
H.R.H Charles, Prince of Wales & Duchess of Cornwall
Represented in the following Public National / International Collections
National Museum of Art, Architecture and Design, Oslo
TATE Modern, London
National Gallery, Denmark
National Museum of Western Art, Tokyo
The Smithsonian Institute, Washington DC
Singapore Art Museum, Singapore
National Gallery, Finland
The Rijksmuseum, Amsterdam
The Guggenheim, Bilbao
The Museum Moderner Kunst Stiftung Ludwig, Vienna
National Portrait Gallery, London
Dr. Shirley Sherwood Collection
Page 10 ARTLIFE November 2009

103rd Annual Exhibition of the SASA at Kirstenbosch

The Annual Exhibition opening is fast becoming one of the
highlights on the local arts social calendar with hundreds
of art enthusiasts taking the opportunity to meet with old
friends, other artists and to view the work on display.

Said Lynn Brown President of SASA: “The place buzzed

with excitement and chatter, and there was no space to
manoeuvre the works being sold as they walked out of the
door. Due to the society’s ongoing efforts to recruit new
members, with a fresh outlook, the recent increase in our
membership has driven the entire group to reassess our
own individual practise and to rise to the challenge of the
‘advancement of art’, the society’s motto. It is truly one of
the best and most varied exhibitions we have ever held,
which accounts for the very positive response we have
received, and our success in sales for the artists this year”.

Over 240 carefully artworks were selected from a total

of 591 works Six experts in their various fields selected Tania Milner , Deer Park Landscape
and scored each work according to the Royal Academy
system of judging, for the society’s recent prestigious
showcase exhibition of the year held in the Sanlam Hall
at the Kirstenbosch Botanical Gardens in Cape Town.The
works on display included mixed media, acrylics, printme-
dia, drawings, scraperboard, sculptures, oils, watercolours,
enamels, pastels, bronzes and collage mixed media.

The exhibition was opened by art journalist Amanda Botha

who purchased a sculpture before she left, and also com-
mented on the very high standard of the work on exhibi-
tion. The six judges were: Ryno Swart, an artist, philosopher
and teacher; Estelle Jacobs, former Gallery Director of
the Association for Visual Arts ( AVA ); Hans Fransen, art
and architectural historian, author, conservationist and
accredited Heritage Consultant; Mary-Ann Border, artist
and teacher, specialising in watercolour; Ashley Ogilvy,
trained in graphic design, artist and visual arts teacher at
Diocesan College (Bishops); and Virginia MacKenny, artist,
writer, curator and Senior Painting Lecturer at the Michaelis
School of Fine Art, UCT

5 Trophies and certificates were awarded to: Best Oil:

Heather Garisch, Best Acrylic: Bill Brown, Best Watercolour:
Ray Potter, Best Pastel: Carol Penny, Best Mixed Media:
Marion Cross. Also 8 certificates “Highly Commended”
works and 23 works were “Commended”.
Guest exhibiting sculptor, Michael Sithato sold several
of his works which were on display. Restone Maambo, a
Roses Di Ackerrman , The Bluegum Tree
previous SASA outreach prize-winner from the Ruth Prowse
School of Art determinedly participated, arms holding
down his works on the roof of a car driven from Somerset
West for selection day.
“The standard for entries was particularly high this year
and the selection committee had a hard time of it decid-
ing who would be able to hang their works for judging”
said society president Lynn Brown

SASA is the oldest art society in South Africa and held its
centenary exhibition in the Cape Town Drill Hall in 2002,
its founding date being September 1902 It was the first or-
ganisation established in South Africa to cater specifically
for the practising artist. It’s Cape based founders were an
active, enthusiastic group of prominent artists and SASA
grew into a significant body, influential in the artistic life of
South Africa at the time.
Eclipse day Clovelly Carol Penny Zewenwacht : Mike Fortender
AIn 1902 and 1903, SASA combined with the S A Drawing
Club to mount its first exhibition in the Drill Hall on Darling
Street. The 1903 exhibition was opened by Sir Walter Hely-
Hutchinson, the then Governor of the Cape Colony, who
processed into the Hall with an entourage on the firing
of the noon gun on Signal Hill.’ The society’s subsequent
exhibitions were highlights on the social calendar, equiva-
lent in local terms to the private viewings at London’s Royal
Academy.

Many well known South African artists such as Tinus de

Jongh, Moses Kottler, Maggie Laubser, Hugo Naude, The Time For Tea
Frans Oerder, Jacob Pierneef, Ethel Ruth Prowse, Ivanonia
Roworth Keet, Irma Stern, Moses Tladi, Anton van Wouw,
Jan Volschenck, Pieter Wenning and Gregoire Boonzaier,
Nerine Desmond, Robert Gwelo Goodman, Ivan Mitford
Barberton, Desiree Picton Seymor, Edward Roworth, Nita
Spilhaus, to name but a few, were members of SASA.

Today, the Society enjoys a membership of 500 members,

mostly professional as well as a few amateur artists. Many
have been members for 20, 30 40 years and longer and
are still painting and exhibiting. SASA’s longest serving
member, Ivanonia Keets, has been a member for 73 years Men at Work Shelly Banfield
and is continuing to paint and sell today. Monthly meet-
ings are held hosting various art-related lectures, demos
and talks, and several competitions are held annually, in
addition to the three exhibitions where all works on display
are for sale, at Kirstenbosch.

See more at www.sasa-artists.co.za Hibiscus Blossoms Ann Mungay

ARTLIFE November 2009 Page 11

Tania Milner Ray Potter - Water Colour award winner, with Amanda Botha

Di Ackerrman Restone Maambo - I Have Been Followed

Helen Estcourt Liz Jones Restone Maambo Commended Prize from Amanda Botha

Ray Potter - Water Colour award winner Geoff Price Marjorie Pienaar
Page 12 ARTLIFE November 2009

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ARTLIFE November 2009 Page 13

Sandra Hanekom,, Alberts window

Sandra Hanekom, playing the feminine

Jan du Toit, - The interior as Self Portrait: The self portrait as Interior, Untitled II (2009) Clare Menck: Woman painting women

Michele Davidson, Sugar coaed reality, Favour

Matthew Hindley: Blackout- Life death, and Giants.

XI - Eleven Solo Exhibitions Colbert Mashile, Waiting for the moon (2009)
Until 4 November XI – Eleven Solo Exhibitions is exactly that: eleven bodies of work by eleven different artists, all shown in one
gallery simultaneously. 71 Loop Street, Cape Town, 8001. www.iart.co.za

Gauteng
Johannesburg
Carol Lee Fine Art
7-15 November, ORIGIN, group
exhibition with works by Guy
du Toit, Eugenie Marais, M.J.
Lourens, Eric Duplan, Jenny Par-
sons, Kobus Walker, Karin Preller,
Wilma Cruise, Ronel Kellerman,
Judy Woodborne, Mary Visser,
Sarah Ballam, Christa Myburgh,
Marili de Weerdt and Rossouw
van der Walt.
Upstairs@Bamboo, cnr 9th
Street & Rustenburg Road,
Melville, Johannesburg T. 011
486 0526
Manor Gallery
6 Nov-7 Dec, annual sale.
Norscot Manor Centre, Penguin
Drive T. 011 465 7934 Email:
gallery@wssa.org.za
www.wssa.org.za
Rabbi Cyril Harris Community
Centre RCHCC
18 Oct-15 Nov, ‘Works by Men’,
with works by Sidney Abramow-
itch, Sidney Goldblatt, Monty
Sack, Pascual Tarazona and
Anton Uys.
Cnr Glenhove Road & 4th
Street, Houghton, East of the
M1 T. 011 728 8088/8378 or T.
011 728 8378, Email: hazelc@
greatpark.co.za/renes@great-
park.co.za
The Art Place, Gallery & Art
Centre
8-28 Nov, CATastrophy, Moira
MacMurray’s 23rd solo exhibi-
tion. Categorically cataloguing
cataclysmic colourful cats to
purrfection.
144 Milner Ave, Roosevelt Park, T
011 888 9120
Wim Rautenbach Showroom
13-15 Nov, Eastern Freestate
landscape paintings by Wim
Rautenbach. Oil on canvas,
visually challenging the art
lover.
220 Surrey Ave, Ferndale, Rand-
burg T. 072 375 5571 Email:
contact@wimrautenbach.
co.za
www.wimrautenbach.co.za
12 Nov, Night of 1000 Draw-
ings, a one-night-only art
exhibition showcasing the vast
and varied creative talents
of the city. Venue yet to be
announced. Get involved by
drawing anything. Every dona-
tion goes on display. For Doodle
sessions and information visit:
www.1000drawings.co.za
Pretoria G2 provides a diverse range of
Cameo Framers and Trent
Gallery
24 Oct-6 Nov, Op Straat; a col-
lection of memories of my daily
walks, photographs by Erica
Fraser. 20-24 Nov, recent works
by Jan-Henri Booyens. 25 Nov-
22 Dec, ‘PRÊT À PORTER: ready
to wear’, a group show with a
variety of interesting artists.
198 Long Street, Pretoria T. 012
460 5497
Michael Heyns Gallery
7 Oct- 15 Nov, works by Michael
Heyns.
351 Lynnwood Road, Menlo
Park, Pretoria T. 082 451 5584
www.michaelheyns.co.za
Tessa Teixeira Fine Art Studio
Until 9 Nov, “Should I go or
should I stay?” an installation
with metal and oil on canvas.
2 Escombe Avenue, Parktown
West, Johannesburg C. 082 339
4848
www.tessateixeira.com Email:
info@tessateixeira.com
Tina Skukan Gallery
11 Oct-5 Nov, Our World Unfil-
tered, works by Angela Banks
and Craig Müller. 8 Nov-5 Dec,
‘Glass, Cement, Clay’, works
by Tineke Meijer and Henriette
Ngako.
Plot 6, Koedoeberg Road,
Faerie Glen T. 012 991 1733
www.tinaskukangallery.co.za
Free State
Clarens
Johan Smith Art Gallery
A fine selection of paintings,
ceramics, glass, bronze and
other works of art.
Windmill Centre Main Street
Clarens T. 058 256 1620
www.johansmith.co.za
Blou Donki Art Gallery
Contemporary Art, Steel Sculp-
tures, Functional Art, Photogra-
phy, Ceramics.
Windmill Centre Main Street
Clarens T. 058 256 1757
www.bloudonki.co.za
Mpumalanga
White River
The Loop Art Foundry & Sculp-
ture Gallery
Casterbridge Complex Corner
R40 and Numbi Roads White
River T. 013 751 2435 www.
tlafoundry.co.za
Western Cape Campaign Charity Art Auction
Cape Town invited to submit work to be
3RD i Gallery
1 Oct-6 Nov, Heart, mixed me-
dia artwork by Tina Nel and Lisa
T von Brandis.
95 Waterkant Street, De Water-
kant. T. 021 425 2266
Carmel Art
Dealers in Fine art, exclusive
distributers of Pieter van der
Westhuizen etchings.
66 Vineyard Road, corner
Cavendish St, Claremont T.021
671 6601
Constantia Village Shopping
Centre, Main Road, Constantia
T. 021 794 6262
David Porter Antiques
Buyers and sellers of South
African art
T. 021 6830580/083 452 5862
david@davidporterantiques.
com
G2 Art
original contemporary art by
South African artists to discern-
ing buyers.
The work includes painting,
sculpture, ceramics, photogra-
phy and mixed media.
Exhibitions are held during
the year and information is
available on the website or the
Facebook Group.
61 Shortmarket St. between
Loop Street and Bree Street T.
021 424 7169 Email: di@g2art.
co.za
www.g2art.co.za
Gill Allderman Gallery
For November, works on paper
by Dathini Mzayiya, Donovan
Ward and various artists.
278 Main Road, Kenilworth,
Cape Town T. 083 556 2540
Email: gallery@new.co.za
www.alldermangallery.co.za
Infin Art Gallery
A gallery of work by local artists.
Wolfe Street Chelsea Wynberg T.
021 761 2816 and Buitengracht
St Cape Town T. 021 423 2090
www.infinart.co.za
Jeannette Unite Studio
20 Sep-3 Nov, Innovative
Women, an exhibition curated
ARTLIFE Page
November 15
2009
by Bongi Bengu featuring 10
Contemporary Black Woman
www.ridley.co.za
Artists; Dineo Bopabe, Zanele
Muholi, Nandipha Mntambo, Hermanus
Ernestine White, Ingrid Masan-
do, Nonobeko Ntombela, Usha The Old Harbour Gallery
Seejarim, Senzeni Marasela and An exhibition of art and sculp-
ture.
Lerato Shadi.
No.4 Warrington Place, Harbour
151 Buitenkant Street, Cape
Town T. 082 925 1834
www.unite.co.za
Road, Hermanus T. 028 313
2751 / 0822595515
www.oldharbourgallery.co.za
Lindy van Niekerk Art Gallery
Exhibition of SA’s leading artists.
31 Kommandeur Road,
Agulhas
Welgemoed, Belville T. 021 913
Red Corridor Gallery
7204/5
Sculpture by Rudi Neuland,
www.artpro.co.za
paintings by Leszek Skurski
and textile objects by Joanna
Raw Vision Gallery
Skurska.
8 Oct-19 Nov, ‘Imago’, Shar-
4 Main Road, L’Agulhas 7287
Matthews new body of work
T. 028 435 7503 Email: info@
explores idealized images of
capeagulhas-arthouse.com
a person, but usually a parent,
www.capeagulhas-arthouse.
formed in childhood that can
com www.redcorridor-RSA.com
often persist unconsciously into
adulthood. Also exhibiting is
Cecil Byrnes’ ‘Power of men’s
clothing’, which explores how
men’s clothing is a mighty tool
to indicate image, position,
status or power.
89 Sir Lowry Road, Woodstock
Email: fishermike@mac.com
Simonstown Community Hall
18-29 Nov, Just add Water,
photographic and art exhibition
by Donald Barnett.
C. 082 455 5806 Email:
bagend@iafrica.co.za
www.donaldsart.co.za
VEO Gallery
From 3-10 Nov, Hope in Motion:
Everyday Heroes, The Chaeli Esoteric Love, Jonel Scholtz,
& Exhibition. Able-bodied and
Alice Art, www.aliceart.co.za
differently-abled artists will be (Top right) Sharle Matthews
, The Wreath, Raw Vision Art
selected for exhibition, as well
as to donate work to be auc-
Gallery, Cape Town
tioned, to benefit The Chaeli
Campaign. Auction will take
place at 7:15pm on the open-
(Below) Richard Rennie, Kitty, as shown at the Epsac Art Gallery
ing night. For more information
Gum Trees Clarens
visit www.chaelicampaign.
co.za
28 Jarvis Road, De Waterkant,
Green Point, Cape Town. T. 021
421 3278
www.veo.co.za
Woodstock Industrial Centre
5 Nov, Night of 1000 Drawings,
a one-night-only art exhibition
showcasing the vast and varied
creative talents of the city. Get
involved by drawing anything.
Every donation goes on display.
For Doodle sessions email:
capetown@1000drawings.
co.za or visit
www.1000drawings.co.za
Philadelphia
Lifeart
From 28 Nov, exhibition at
Die Meul, paintings by Leonie
Brown.
Molly Townsend in her studio, Fish Hoek Photo: David Robinson
C. 082 449 8475 Email:leonie@
lifeart.co.za www.lifeart.co.za
Stellenbosch
Art on 5
Permanent exhibition of paint-
ings and ceramics by Maryna
de Witt, Pera Schillings, and
Karen Kieviet.
7b Andringa Street, Stellen-
bosch T. 021 887 7234
Stellenbosch Art Gallery
19 Nov-9 Jan 2010, paintings
by Pauline Gutter.
34 Ryneveld Street, Stellen-
bosch T. 021-8878343
www.stellenboschartgallery.
co.za
Elgin
Oudebrug Gallery
30 Oct-15 Nov, paintings and
sculptures by Sheena Ridley,
Prof. Pierre Volschenk, Xhanti
Mpakama, Susan Mitchenson,
Paul Andrew and Niel Jonker.
Grabouw, Elgin T. 021 859 2595
 No matter how you see South African Art, we cover it x 3
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 The South African Print Gallery
presents:

Katherine Bull’s
Holiday in Cape Town Series (1999)
Saturday 07 - 28 November 09

107 Sir Lowry Road, Woostock, Cape Town. www.printgallery.co.za