THE SOUTH AFRICAN

ART TIMES
Free Global Art Times JOBURG ART FAIR SPECIAL

www.arttimes.co.za • March 2008 • Issue 2 Vol 3 • Subscription RSA 180 p.a • March Print & Distrib. 8 000 copies • RSA Free. Available in Namibia & Zimbabwe

Minnette Vári , The Falls II, 2008. Pigment ink on cotton fibre paper. Courtesy of the artist and the Goodman Gallery.
Page 2 South African Art Times. March 2008
Editorial
The South African
The Joburg Art Fair is burning on homework and placed every of their

Art Times everyone’s lips and ears. Never has

South Africa had such an interna-
tional art fair – for now at least, a blip
March 2008 (here on the big dark continent) on
www.arttimes.co.za the international art radar (over 250
art fairs internationally and counting).
Published monthly by
The real thrill is that for once things
Global Art Information
seem to be well organized, especially
PO Box 15881 Vlaeberg, for it’s first time, the folk in Johannes-
8018, Cape Town burg seem to know what to do. With
Tel. 021 424 7733
Fax. 021 424 7732
this event there is a welcome lapse of
promises by organizers of 10 000’s
Publisher of any artists being included and later
Gabriel P. Clark-Brown pie in face stuff.
Advertising It seems that Ross Douglas and Cobi
Leone Rouse Lauscagne really have done their
leo@arttimes.co.za
own pennies into it , as well as FNB
bold backing. The Fair might be small
in proportion to the SA art market
(there have been groans throughout
the 98% of galleries not invited) but
one has to start somewhere and if
the Fair is a success, you can be
assured that people having woken up
and smelt the possible money in art
fairs. In addition, the success of the
show raises the whole of the SA art
in an international light. My bet, and
congratulations are on Ross and Cobi
and their dedicated team to go forth
and given time make that blip strong
and bright the world over.

King Shaka will be high...

News: press@arttimes.co.za
Shows: show@arttimes.co.za
Artwork: art@arttimes.co.za
Layout and Design
Dog beat
Deadlines for news, articles and clas-
sifieds 20th of each month
The Art Times is published in the first
week of each month. News and ad-
vertising material need to be with the
news and marketing managers by the
15th- 20th of each month.
Newspaper rights
The newspaper reserves the right to reject
any material that could be found offensive
by its readers. Opinions expressed in the
SA Art Times do not necessarily represent
the official viewpoint of the editor, staff or
publisher, while inclusion of advertising
features does not imply the newspaper’s
endorsement of any business, product or
service. Copyright of the enclosed mate-
rial in this publication is reserved.
SUBSCRIPTIONS
NAMIBIA
Call John at:
Tel: +264 81 1286585
ZIMBABWE
Gallery Delta
110 Livingstone Avenue,
Greenwood Park, Harare,
Tel/fax: (263-4) 792135
ael@twinarts.co.zw
Get your copy
delivered to your door
www.arttimes.co.za
but not that high
Patrick Burnett
CAPE TOWN (WCN)
The KwaZulu-Natal provincial gov-
ernment has downplayed reports
that a giant statue of King Shaka is
to be built in the province, refusing
to be drawn on the height or cost
of the structure.
Initial newspaper reports sug-
gested that the statue would dwarf
the Statue of Liberty in New York
by 13 meters, rising 106-metres
into the air and coming at a price
tag of R200m, but Logan Maistry,
spokesperson for KZN Premier
Sbu Ndebele, said: “I don’t know
where they got those figures from.”
He said architects were still busy
with the design and costing, mak-
ing it impossible to give a height
and cost. However, he said: “We
can confirm that it is going to be a
high statue.”
In his State of the Province ad-
dress on February 13, Ndebele
said as part of efforts to attract
investors to the province, a Memo-
randum of Understanding had
been signed on January 8
between the KZN government
and an international developer in
Dubai. He said the project involved
a multi-billion rand investment on
the Northern side of the uThukela
River in the Macambini area.
Maistry said one of Ndebele’s pas-
sions was to “restore heritage and
culture to its rightful place”.
“The premier is of the belief that
culture and heritage plays an
important part in bringing about
reconciliation and peace.”
But DA provincial caucus leader
Roger Burrows said: “At the mo-
ment, the whole thing remains
remarkable vague.”
He said he did not believe the
project would happen until some-
one was prepared to put money
into it. Maistry disagreed with
suggestions that money could be
better spent on social needs.
“We think it is absolutely important
that in order to move forward we
need to know where we come
from. People want to know about
King Shaka, they want to know the
story.”
West Cape News
This years winner of the Mercedes-Benz South Africa 2008 Art Award, Sculptor Kevin Brand
Brand sets the world on fire
Patrick Burnett
CAPE TOWN (WCN) – The first
entry in artist Kevin Brand’s hefty
portfolio of work that stretches
back over 25 years is a photo-
graph of a cast cement work which
says simply, “Kevin Brand Makes
Things.” Brand’s commitment to
making things, spanning back to
1982 as a young graduate from
the University of Cape Town’s
Michaelis School of Fine Art,
paid off in January when he was
rewarded with the Mercedes-Benz
South Africa 2008 Art Award.
A sculptor by training, over the
years Brand has carved out a
niche for himself making things on
a grand and small scale, from the
steps of District Six, made out of
seven tonnes of cardboard, to the
iconic Sam Nzima image of Hector
Pieterson taken during the 1976
Soweto uprising and transposed
on the Leerdam wall of The Castle
in Cape Town.
The judges in the Mercedes-Benz
Art Award recognised Brand’s
work for his commentary on
South African society, his use of
non-traditional sculpting materials
and the way in which his work has
been made accessible through its
location in public spaces.
“Being recognised for the body of
work that you have done through-
out your career, that is the nice
thing about it,” said Brand of the
award, speaking from his offices
at the Cape Town campus of the
Cape Peninsula University of Tech-
nology, where he works.
Many of Brand’s creations have
carried a powerful commentary
about life in South Africa, such as
19 Boys Running, based on the
1985 Uitenhague Massacre or
Never, Never Again, the District
Six piece created out of cardboard,
but this is also not at the expense
of exploring intimate, personal
spaces.
Brand likens this duality to a reali-
sation that it’s possible to embrace
both the Beatles and the Rolling
Stones. A choice doesn’t need to
be made because both can be
encompassed.
“What I’m trying to do is make
sense of my time on this earth and
sometimes there are sad things
to make comments about and
sometimes there are intimate and
happy things you want to make
comments about, so you can do
all those things at the same time,”
he said.
Brand maintains that he did not
set out to work in public spaces
but that some of his work lent itself
to this.
“I make it for myself initially, but
I also like it to be accessible to
people who have not been to art
school or even been to school. I
like to work it so there is some
visual magnet for them and they
can get something out of it.”
Brand’s next exhibition, Set the
World on Fire, is scheduled for
display at the Bell Roberts Gallery
in May.
-- West Cape News

art room
the
South African Art Times. March 2008 C M Y CM MY Page K3
CY CMY

Sexier than rock ‘n roll

Joburg fair aims to use art to keep talented professional in the city
By Aspasia Karras
From: The Times, South Africa

ART is the new rock ‘n roll, and

artists the new rock stars. It’s true
the world over.
At Art Basel and Frieze in London,
celebrities in sneakers make the
100m dash on the opening night of
the art fairs so they can be first to
spend their celebrity dollars on the
dernier cri (the latest thing) of the
art world.
There are about 240 art fairs that
take place around the world, but
some have the kind of cachet and
frisson that attracts the high-oc-
tane, jet-setting types you associ-
ate with the social pages of glossy
magazines.
Art is sexy right now and Ross
Douglas is propelling Joburg into
this heady firmament. I’m not
feeling very heady myself as I
wade through the building site in Were it will all happen: Sandton Convention Centre. (Photo not part of the Times article) Photo: John Hodgkiss
Milpark where his Artlogic offices
are housed the week before the needs creativity and South Africa I have six friends who have been He came to this field via film
city’s debut Contemporary Art Fair is an easy place to be creative. shot dead, but 1 cannot let that production, which he abandoned
is due to open. If you invest in creativity it keeps undermine our hope for the future.” because he was disappointed in
Sponsored by FNB, the fair will creative people invested in the His specific hope for the future lies the prospects of the South African
represent 15 of the country’s top society. in creating “something sustainable film industry.
galleries, six international galleries and commercial, that captures the
and a series of art events — in- London is so clever. It captured it imagination. “In Africa, of all the creative
cluding a show curated by Simon creativity market and as a result it industries art is the only one that is
Njami, the curator of Africa Remix; is a sexy place. If you want keep “We wanted to make a fair that is not reliant on a big economy. Think
an installation by internationally the talented professionals in your sustainable, critically acclaimed of what it lakes to produce a film or
acclaimed South African artist city you have to give them the and unique enough that it will even take a theatrical production
Robin Rhode; and a screening of culture that they can get globally.” attract foreign visitors. We are a on tour.”
William Kentridge films. niche market and unique player in
But after a few minutes with Ross Hosting an art fair in the current the international art world, and the “We are culturally conservative
I’m sold. It’s not that this laconic psychological and economical only art fair in Africa dedicated to in South Africa but we are at a
fellow, who is resting his Con- climate in the country seems al- African art,“We are lucky because crossroads, Contemporary art in
verse-clad feet on a Gregor Jenkin most counter-intuitive — art is not there is a lot of interest. African art its essence breaks down and chal-
designer desk, is particularly excit- exactly a bread and butter issue. is huge internationally and our art- lenges stereotypes,”
able but, in his measured way, he “Our market is busy immigrating ists arc internationally acclaimed.” Perhaps an art fair is precisely
makes a convincing business case Australia,” he half-heartedly jests, what we need right now, as we
for urbanity and culture. “and it can seem a devastating Ross’s company, Artlogic, uses art seem to be battling for our coun-
“We have got to push the creativity blow ... events to promote companies and try’s very soul.
of the city and give South Africans But it’s time to kick off in South brands. In this instance, FNB will
an equivalent experience to what Africa. “We have spent every cent provide the brand kudos. • See www.joburgartfair.co.za
they can get overseas. A country we have here. more in information

Composite
Page 4
Warren Editions creates a ‘democratic’ art market
After years spent locally and overseas Zhané Warren of Warren Editions sets up shop in Cape Town.
Steve Kretzmann
CAPE TOWN (WCN) -- Within
each city are any number of iconic
spaces which get reinvented over
time. In Cape Town, one of these
spaces is the top floor of a vertical
four-floor building on the corner of
Bree and Dorp Streets, known to
many as the Loft.
With its open plan warehouse-
design and screed cement floor
juxtaposed by a sloping loft-style
ceiling, it was a trip-hop rave
home-away-from home for hun-
dreds of Capetonians who partied
away the mid-‘90s.
Fast forward and the Loft shifts
through a muso’s gig space,
offbeat advertising studio ‘Daddy
Buy me a Pony’ office studio and
acclaimed Afro Magazine HQ,
to its latest exciting incarnation:
the headquarters of brand new
print publishing company Warren
Editions, established by Zhané
Warren in October last year.
And as the Loft was indicative of
the zeitgeist of the ‘90s, Warren
seems to embody what is becom-
ing more common in the mid
‘naughties – young entrepreneurs
doing what they love and making
it work for them. In Warren’s case,
what she loves is printmaking
and with a certitude belying her
31 years, she has set herself up
as one of only a handful of print
publishers in the country.
At the top of the long narrow
stairwell Warren, petite as she is,
seems dwarfed by the ample
Photo: Steve Kretzmann
space and light that floods into her
studio and one half expects to find
a squadron of workers beavering
away in the nooks and crannies.
But it seems Warren has all the
space to herself and whichever
artist she happens to collaborate
with.
And although she is yet to publish
her first edition of prints by Hentie
van der Merwe, she already has
six top young artists lined up to
work with her.
South African Art Times. March 2008
As Warren talks of her back-
ground, printmaking knowledge
and how she wants to “democra-
tise” the art market, the answer
to the question: why would an
artist want to come work with her,
becomes clear.
“There is a market for prints,” she
says, “it is strong and stable and is
growing steadily.”
Publishing an edition of prints is at-
tractive to many artists, “especially
if they are working in a slow me-
dium like large wood sculptures,
for instance, which takes ages to
create one piece” and the value of
which would be out of reach for
the average person.
“With prints, more people have
access to your work, it’s an edition.
It’s more democratic. It provides
for the middle market. It’s benefi-
cial to all.”
She says editions of between 20
and 30 prints, each of which is sold
for under R5 000, is best, allowing
middle-income earners who realise
the value of investing in original
art produced by up-and-coming
artists, to enter the market.
But publishing a set of print edi-
tions is not necessarily ideal for
every artist.
“It needs to be an artist whose
work can be translated to print-
making, and whose work I find
exciting and respond to.”
For the artist, experience in print-
making is not essential. “It’s quite
exciting when they don’t have any
experience,” she says, as she
enjoys the process of discovery
the artist encounters.
This may be because Warren
seems to thoroughly enjoy leading
others through the technical proc-
ess of intaglio printing, and her
speciality, aquatint.
Even as a student at Stellenbosch,
she says, she used to prepare
fellow student’s plates simply
because she didn’t mind doing
it, asking nothing more than one
copy of the print in return.
Her mastery of the process led her
to being employed as the studio
assistant during her undergrad
years, cementing her knowledge
and earning her some pocket
money in the process.
Then it was five years spent on a
scholarship in one of the world’s
printmaking capitals, Antwerp,
which led to her expanding her
repertoire and mastering intaglio
techniques little known in South
Africa.
Yet although she obtained her
MFA at the University of Johan-
nesburg in 2006, the term ‘master
printmaker’ is one she shies away
from.
“It’s a rather heavy term,” said
says, but her ability to take care of
the technical processes, and show
the artist how best to achieve
certain effects, frees the artist to
concentrate on the actual mark-
making and creation of tone and
texture, producing a true collabora-
tive effort.
And with Warren Editions taking
care of the subsequent ‘business
end’ – the consignments, gallery
hangings, sales and invoicing
– and handing the majority of the
profits (60%) back to the artist, it’s
likely she’ll soon have a number
of artists knocking on the door to
her loft.
In the meantime, we can look
forward to saving for prints by
Hentie van der Merwe and the
other artists she’s already got lined
up in her appointment book, which
include Paul Edmunds, Conrad
Botes, Claudette Schreuders,
Luan Nel and Henk Serfontein, as
well as Tom Cullberg, whom she is
currently working with. -- WCN
South African Art Times. March 2008
Deception, betrayal at heart of
Pretoria art theft haul
Mike Bollhuis, from Specialized Security Sevice (SSS) examins one of
the recovered South African master art works. Photo: Pretoria News
Steve Kretzmann
CAPE TOWN -- Behind last
month’s investigation and recovery
of large number or artworks stolen
from a Pretoria businessman is a
story of betrayal and broken friend-
ship which has also left a number
of Tshwane galleries red-faced.
Close on a million Rand’s worth of
art was stolen from private collec-
tor and Pretoria vacuum cleaner
salesman Andre Prinsloo, allegedly
by his friend and business partner
Victor Mulder.
And it appears some of it made its
way onto gallery walls.
With 52 works by Otto Klar, an
Adriaan Boshoff landscape and
a handful of other South African
artists included in the haul, it could
well rank as one of the larger art
thefts, in terms of number of works
stolen, in the country.
Although it appeared the paintings,
particularly those by Klar, were
stolen over a matter of months, it
was the theft of the Boshoff paint-
ing, valued at close to R60 000,
which led to investigations being
initiated.
Prinsloo said he had owned 124 of
Klar’s paintings, bought from Klar’s
heir and stepson Klaus Fischer,
and had also collected a number
of other paintings over the years
which he had set aside as an
investment for his “pension”.
But it appeared as if Mulder, who
had been working with him in the
vacuum cleaner sales business
since November last year, knew
the worth of Prinsloo’s collec-
tion – the Otto Klar’s were worth
between R8 000 and R25 00 each
– and had his own designs.
But Prinsloo was unaware of the
work being stolen from his house
until the Boshoff landscape was
stolen during a “staged” break-in at
his house on February 1.
Thereafter, Prinsloo said he im-
mediately began notifying galleries
to keep a lookout for the missing
paintings.
He said it wasn’t long before John
West Art Gallery phoned him back
to say they might have one of his
paintings.
West said he had come to be in
possession of the Boshoff painting
after having purchased it from an
art dealer he knew, who in turn
had bought it from Mulder after
responding to an advertisement in
the Junk Mail.
West said the dealer, upon
meeting Mulder, realised he knew
Mulder’s father, which established
a level of trust.
While negotiating purchase of the
Klar paintings, Mulder apparently
mentioned he also had a Boshoff
painting, which was brought out.
“He bought it and offered it to me,”
said West, who valued it as worth
“between R55 000 and R58 000”.
After finding an interested client,
he “heard from a friend that a
Boshoff had been stolen”.
He said he got hold of Prinsloo
and asked him to describe the
painting.
“I said to him (Prinsloo) I’ve go an
Adriaan Boshoff here that sounds
like it’s the same. If you can send
me a copy of the certificate of
authenticity we can sort it out.”
At this point the head of investigat-
ing firm Specialised Security Serv-
Page 5
ices, Mike Bolhuis was called in,
West told him where the painting
had come from and it was rapidly
traced back to Mulder.
Speaking on February 29, Bolhuis
said “all” the stolen works had
been recovered and Mulder, who
had been kept in police custody
since his arrest on February 5, had
made a full confession.
He said when word went out that
SSS was investigating, a number
of galleries had called to say they
might unwittingly be stocking the
stolen art.
This included a couple of “top”
galleries in the elite Waterkloof
Ridge area, as well as a number of
galleries in Brooklyn.
“Most of them were very embar-
rassed,” he said.
But he said Mulder had been steal-
ing art from Prinsloo for some time
and had gotten good at “spinning
stories” about how he had come to
own the art.
He said Prinsloo’s mistake was
that he didn’t keep his collection
under “lock and key”, but stashed
it in various places around his
house.
He said Mulder, who had pleaded
guilty in court, was unlikely to get a
jail sentence but would most prob-
ably receive a “very stiff fine”.
“It was what we call decisive and
intelligent theft, he had done his
homework and it seemed, although
he stole and sold the artworks
on his own, that he had obtained
advice from other criminals who
dealt in the art market.
“He knew what the work was worth
and asked about one third of the
value when he sold it. This was
enough to make a greedy person
buy it without asking too many
questions.” -- WCN
Bo!fyijcjujpo!pg!sfdfou!qbjoujoht!!cz
Bouifb!Efmnpuuf
xjmm!cf!pqfofe!bu!Uif!Dbqf!Hbmmfsz!
po!Tvoebz!27ui!Nbsdi!3119!bu!5/41!qn/
BouifbÖt!xpsl!xjmm!cf!po!tipx!gspn!
:ui!Nbsdi-!3119!.!3:ui!Nbsdi-!3119!
Uif!Dbqf!Hbmmfsz!tfflt!
up!fyqptf!zpv!up!Gjof!Bsu!
uibu!jt!sppufe!jo!bo!Bgsjdbo!usbejujpo!
xijdi!jt!cpui!fdmfdujd!boe!ejwfstf/!
Xf!spubuf!pvs!fyijcjujpot!npouimz!
upvdijoh!zpvs!jnbhjobujpo!
xjui!uif!vojrvf!dvmuvsbm!tubnq!
uibu!jt!pvs!dpoujofou/
UIF!DBQF!
HBMMFSZ
Hbmmfsz!ipvst;!Npo!.!Gsj;!1:i41!.!28i11<!Tbu!1:i11!.!24i11
Ufm;!,38!32!534!641:!!!Gby;!,38!32!535!:174!!!Fnbjm;!
dhbmmfszAnxfc/dp/{b!!!Xfc;!xxx/dbqfhbmmfsz/dp/{b!!!
71!Divsdi!Tusffu!Dbqf!Upxo
Bnfsjdbo!Fyqsftt-!Nbtufsdbse-!Wjtb!boe!Ejofs!dbset!bsf!bddfqufe/!Sfmjbcmf!
bssbohfnfout!dbo!cf!nbef!up!gsfjhiu!qvsdibdft!up!gpsfjho!eftujobujpot/
Irma Stern (1894-1966) ‘Young Malay Maiden with Black Hair’, Oil on Canvas, 65.8 x 55.5cm, Signed: "Irma Stern" (Upper/Left). Dated: 1938

SIGNIFICANT
SOUTH AFRICAN
INVESTMENT ART
Graham’s Fine Art Gallery boasts the finest selection of South African 20th century
masters including: Frans Oerder, Hugo Naudé, Bertha Everard- King, Pieter Wenning, Nita
Spilhaus, Pranas Domsaitis, Ruth Prowse, Maggie Laubser, JH Pierneef, Irma Stern, WH
Coetzer, Cecil Higgs, Freida Lock, Maud Sumner, Wolf Kibel, Ruth Everard-Haden, Walter
Battiss, Elsa Dziomba, Maurice van Essche, Rosamund King Everard, Fred Page, Gregoire
Boonzaier, Alexis Preller, François Krige, Gerard Sekoto, Eleanor Esmonde-White, Robert
Hodgins, Piet van Heerden, Stanley Pinker, Cecil Skotnes, Erik Laubscher, Peter Clarke,
Christo Coetzee, Helmut Starcke, Henry Symonds, Simon Stone, Karel Nel.

Any potential buyers who want to invest in South African masters and who are planning
to procure a top quality art portfolio, can contact Graham Britz for an appointment.

Shop 46, Broadacres Lifestyle

Centre, Cnr. Cedar & Valley
Roads, Broadacres, Fourways.
Graham Britz 083 605 5000
Sarah Keys 084 568 5639
Gallery 011 465 9192

www.grahamsfineartgallery.co.za
South African Art Times. March 2008
Poor quality print reproductions that were on sale at Mr Price (above) vs quality artist’s print (below)
Top SA artist short-changed by Mr Price
Patrick Burnett
CAPE TOWN (WCN) -- The saying
imitation is the best form of flattery
has taken on a sour meaning
for an internationally recognised
Garden Route artist after he was
astonished to find that poor quality
prints of his work were for sale
at Mr Price Home -- without his
permission.
In an embarrassing move, Mr Price
has since been forced to withdraw
stock of the R159.99 apiece
prints of paintings by artist Peter
Pharoah, after he complained to
the retailer.
“We were so angry about it,” said
Tracey Pharoah, Peter Pharoah’s
wife and manager of the Pharoah
Gallery in Wilderness, about walk-
ing into a Mr Price store in George
in December and seeing the prints.
She said high quality prints of her
husband’s work had been done
legally by Universal Prints in
Germany, but that the Mr Price
prints had been “ugly and embar-
rassing”. It is believed the Mr Price
prints came from reproductions
made in China, copied from the
prints made by Universal Prints.
“The face of one picture is
completely destroyed, she looks
like she has been a victim of
domestic violence,” she said of
the painting African Grace, one of
those copied. Pharoah said the
infringement had been concerning
as people would think the prints
represented the quality of her
husband’s work. Each print sold
could have been a genuine print
sold that would have benefited the
artist.
She said at the time they had
consulted a lawyer, but that United
Prints had since informed them
that they would be dealing with the
legal aspect as they held copyright
on prints.
Contacted by email, Universal
Prints managing director Kejwan
Valandiz did not rule out legal
action, saying his lawyer had been
in contact with a South African
lawyer to “bring the jurisdiction to
Germany”.
Valandiz said he would inform the
European Art Copyright Coalition,
of which they were a member, so
they could organise against
Mr Price.
A Mr Price Group spokesperson
Page 7
said that by the end of January
2008 “all copies of the offending
art work had been recalled from
our stores countrywide”.
“We are appreciative of the fact
that this allegation of copyright
infringement has been brought to
our attention, which has allowed
us to take the necessary corrective
action.” In explaining the situation,
Mr Price said stock was sourced
on the basis that suppliers had
already been cleared of copyright
issues.
“This particular incident involving
Mr Pharoah’s work appears to be
an unfortunate act of copyright
infringement by the supplier. Mr
Price would never knowingly sup-
port this and the matter has been
taken further by our attorneys.”
-- West Cape News
Page 8 South African Art Times. March 2008

Hout Street Gallery

David and Gail Zetler. 270 Main Street, Paarl, 7646. Phone + 27 (0) 21 872 5030 Fax + 27 (0) 21 872 7133
E-mail: zetler@icon.co.za www.houtstreetgallery.co.za Artwork: Peter Fincham, Afternoon Shadows

We represent these artists:

Ben Coutouvidis
Alice Goldin
Wendy Rosselli
Lyn Smuts
Phillipa Allen
Hardy Botha
Theo P. Vorster
Original Art, Etchings, Sculpture, Ceramics. Judy Woodbourne
David Riding
Cecil Skotnes
and others.
South African Art Times. March 2008
Man for All Art Seasons - A tribute exhibition for doyen Joe Wolpe
Joe Wolpe in his famous Wolpe Galley at Impala House in Castle Street during th 1980s. Photo: Harry de Zitter.
Melvyn Minnaar
At the age of 85, Joe Wolpe is the
not the lion in winter, but still buck-
agile in his scouting out of the
art scene, locating the sharpest,
brightest art. Encouraging where
and when required. The legendary
humility and friendliness lingers, so
does the wicked sense of humour -
as well as the invitation to discuss
it all over a cup of coffee.
Observing those blue-grey
eyes dash about from under
those dense brows, beneath the
famous greying Wolpe tangles,
as he assesses an artwork, is an
experience itself. You see him
looking, perhaps a smile playing
on his face, and his mind paging
though a life-long reference library
of visual experience to suss the
painting or whatever placed in
front of him. And then he’ll tell you
what he thinks straight, in an
Green grazing zone, Oil on canvas board, 1,20m x 80 cm
To visit Daniel Novela art studio please book an appointment and for more information on how to get there or for a preview see:
or contact Daniel Novela at: Studio: +27 18 489 1780 Fax: +27 18 489 1777 Cell: +27 82 262 3600
old-fashioned diplomatic dealer’s
way. Of course there are lots
more, but essentially two things
have made Joe Wolpe the famous
art dealer he is: his love and
brilliant perception of art, and
his passion to engage on these
terms with other people, whether
these were/are artists, collectors,
museum personnel, other dealers
or friends.
For decades Wolpe was the art
dealer in Cape Town. Then he
gave it up and, to the surprise
of a few, but the cheer of many,
he started making art. And today
- while some have made it into
the good public collections - Joe
Wolpe’s small paintings and
delicate constructions are mostly
treasured by those in the know,
those close, those who share
what is in essence a Wolpe Cape
culture.
It has been a quiet world this, not
www.danielnovela.co.za or email to info@danielnovela.co.za
too public - all in the nature of the
man, his dealings and art. But
a clever exhibition at the South
African Jewish Museum in the
Gardens is putting the spotlight on
this character without who Cape
Town’s art scene would not be
what it is.
A tribute to the life and work of Joe
Wolpe who will turn 86 on July 9
this year, the exhibition is titled
When Cape Art was Coffee with
Joe and traces his career from the
time he took over his father Max’s
framing workshop in Lelie Street,
through to his work as a gallerist,
dealer in local and international
art, and artist of note.
The exhibition comprises en-
chanting nostalgic photographs,
examples of his own fine artworks,
but also impressive paintings and
sculptures that he facilitated the
acquisition of for private as well.
Conflicting Skies, Oil on canvas board, 76cm x 51 cm
Lute Vink
Studio : 21 Kierieklapper Street,
Leeupoort Vakansiedorp.
Tel : (014) 735-0298
Cell : 082 854 2295/082 546 7780
email : lutevink@absamail.co.za
www.lutevink.co.za
as public collections. The proof of
the famous fine Joe eye is all too
evident in the latter.
Humorous and witty like the man,
the title resounds on a number of
levels, not the least to the fact that
no transaction would have been
finalised without a cup of coffee
shared in any of the venues and
galleries he inhabited over the
decades.
Over coffee the conversation
would be convivial and upbeat,
even when a major sales agree-
ment was being negotiated. And
when concluded, the latter would
be nothing but be satisfactory to
all parties. Wolpe is too much of a
dyed-in-the-wool art lover to flog
stuff foolishly. And local history
stands as testimony, as well as art-
ist careers. finely-tuned exhibition
of Irma
Wolpe and Hayden Proud, Iziko curator, with the painting Arbre Au Tourniquet, Chatou by Maurice de Vlaminck
in the vault of the SA National Gallery.
Wildlife Artist
Page 9
It is possible to argue that his last year, had just become the
Stern’s art at the Wolpe Gallery in National Gallery of what is today
Strand Street in 1966 ignited the one of the most valuable paintings
enthusiasm which now drives her Kitaj’s deliciously enigmatic In the
current auction sales to beyond darling of the international scene
the millions. It was a wow of a and getting this picture for Cape
show. Town was a triumph.
Turn the clock to 1983 and the
buzz of his famous space upstairs So was the acquisition of an-
in Impala House in Castle Street, other of the great late-20th century
and it is the turn of Francine works in the Iziko collection: Frank
Scialom Greenblatt to set the local Auerbach se Head of Julia (1981)
art world alight with her gloriously and, in 1985, a valuable earlier
exotic, erotic female nudes on a painting, Maurice de Vlaminck’s
very large scale. For weeks this Arbre Au Tourniquet, Chatou
exhibition was the talk of the town, (1910).
while Joe held firmly onto his These works, beautifully on show
naughty smile. in When Cape Art was Coffee with
That was the same year that Joe are genuine proof of Wolpe’s
Joe Wolpe quietly negotiated the skills as international art dealer.
acquisition by the South African But, in the final instance, a grand
in the Iziko collection: Ronald tribute to his remarkable eye for
Mountains (1982). Kitaj, who died great art.
Photo: Harry de Zitter.
Daniel Novela Art Studio
One of worth visiting art places in South Africa is the studio
of Daniel Novela, one of the black landscape impressionists
that South Africa has ever produced before. His studio is
situated in Khuma between Klerksdorp and Potchefstroom.
Just one and half hour to drive from Johannesburg to see
this humble international and highly gifted artist.
This is an opportunity for all serious art collectors: individu-
als, groups, executive corporate, art galleries and Museum
Curators, art auction Managing Directors and many others.
Among those who have visited Novela studio
is the world renowned Mr Carlos Parreira, the current
BafanaBafana Coach as well as Mr Robert Du Preez the
Managing Director of Mr Price who all have made a good
collectiopn of Daniel’s work.
Page 10 South African Art Times. March 2008

Lynette ten
Krooden
Cell: +27 82 880 1953
E-mail: ltkdesign@mweb.
co.za, Web Page: www.art.
co.za
©

Dawn in the mist

320 x 320mm
Goldleaf and acrylic on paper

Roswitha
von Glehn
Wildlife - drawings, watercolours & woodcuts
Landscapes - in oil & watercolour

Tel +27 11 787 1983

email kayglehn@global.co.za

Joan Abrahams Heather Auer

Art & Sculpture Gallery
The present thrust of the work by artist,
Joan Abrahams, has been to explore painterliness,
produce objects and push towards post-modernist
Heather Auer – Simon’s Town
work, which integrates narrative and identity, both
Quayside Centre, Wharf Street
historically and geographically, as well as commenting
Simonstown
on issues of psycho-socio-political significance.
-
Tel /Fax: +27 11 486 1368 Heather Auer - Hout Bay
Mobile: +27 82 850 1072
Email: joanabra@mweb.co.za Shop 3, 22 Main Road
Hout Bay
www.art.co.za
http://www.saatchi-gallery.co.uk/yourgallery/ 0827792695
artist_profile/ Joan+Abrahams/12596.html 0828289205
Tel/Fax 021 7861309
Title (left): Book l Mixed media (paper, material, info@heatherauer.co.za
string, staples, ink), 104.5cm x 75cm. 2006 www.heatherauer.co.za

Fiona
Ewan
Rowett

0832673013
rorowett@altonet.co.za
white noise (of daily life)
South African Art Times. March 2008 Page 11

Cape Town’s largest contemporary art gallery

exhibiting works by leading South African artists

Exclusive

Carmel Art distributors of

Pieter
66 Vineyard Road, Claremont van der Westhuizen
Ph: 021 671 6601
etchings
Email: carmel@global.co.za 1MFBTF
DPOUBDU
VT
GPS
NPSF
JOGPSNBUJPO
Website: www.carmelart.co.za full selection on website XXXBGSJDBOBSUTBGBSJTDP[B
GSBO!BGSJDBOBSUTBGBSJTDP[B









ELLIOTT ART STUDIOS

VILLIERSDORP

STUDIO & GALLERY OF DALE AND MEL ELLIOTT

Venue for SA’s most popular Art Workshops
For full details & colour brochure contact us:
Tel: (028) 8402927 Fax: (028) 8402927 Email : dale@daleelliott.co.za www.daleelliott.co.za

Oil painting by Dale Elliott Oil painting by Mel Elliott

Custom Stretched Canvasses

Hand made Easels

Painting & print stretching Artist: Ann Gadd

Tel: 021 448 2799 Fax: 021 448 2797 ArtStuff now available on the Garden Route
Free delivery within Cape area artstuff@webmail.co.za www.artstuff.co.za Call Paul Tunmer 083 2610084

Glendine at Alice Art Gallery, Ruimsig from 12 June 2008!

Live Performance by the Parlotones

Call us for more details.

Alice Art, Ruimsig : Drive 217, Ruimsig, ROODEPOORT T) 011 958-1392 C) 083 377 1470, aliceart@global.co.za www.aliceart.co.za
Alice Art, Hartbeespoort : Scott 110, Schoemannsville, HARTBEESPOORT C) 083 325 0358, aliceart.harties@gmail.com
Alice Art, Witbank : h/v Mandela & Bethal Str. Winkel 16, River Crescent Cntr, Modelpark WITBANK C) 082 389 7478 aliceart.witbank@vodamail.co.za
We pay tribute to the life and art of

Marion Burnett
(1952 - 2007)
Leopard in Bronze (life size number 2 of edition of 12). Last work by Marion Burnett.
Photography by Shooting Range Photography (Hes Range) Cell 082 378 0255 hes@shootingrange.co.za www.shootingrange.co.za

The Philip Harper Galleries

Hermanus, Western Cape
www.thephilipharpergalleries.co.za
We specialise in South African Art, both Old Masters and select Contemporary Artists, catering for both corporate and private clients
Oudehof Mall, 167 Main Road, Hermanus, Tel: 028 3124836