Mon, 27th Mar 2017 15:00

Historic, Modern & Contemporary Art

 
Lot 166
 
Lot 166 - Christo Coetzee (South Africa 1929-2000)

166

Christo Coetzee (South Africa 1929-2000)
Black Rose Africa

oil and sand on canvas

Artwork date: 1970/1
Signature details: signed and dated; signed, dated 1971, inscribed with the title and the dimensions on the reverse
Exhibited: Goodman Gallery, Johannesburg, Christo Coetzee (solo show), 1971, illustrated on the invitation.
Literature: Barnard, C. (1971). Skilders in die son. Die Huisgenoot, 9 April 1971: 36–38, colour illustration on p.36 to 37. Denney, A. (1971). Christo Coetzee. Artlook 53, April: 40–42, illustration on p.40.

Sold for R477,456
Estimated at R200,000 - R300,000


Condition Report

Recently cleaned and revarnished, minor surface dirt, otherwise good.

Please note, we are not qualified conservators and these reports give our opinion as to the general condition of the works. We advise that bidders view the lots in person to satisfy themselves with the condition of prospective purchases.

 

oil and sand on canvas

Artwork date: 1970/1
Signature details: signed and dated; signed, dated 1971, inscribed with the title and the dimensions on the reverse
Exhibited: Goodman Gallery, Johannesburg, Christo Coetzee (solo show), 1971, illustrated on the invitation.
Literature: Barnard, C. (1971). Skilders in die son. Die Huisgenoot, 9 April 1971: 36–38, colour illustration on p.36 to 37. Denney, A. (1971). Christo Coetzee. Artlook 53, April: 40–42, illustration on p.40.

(1)

212.5 x 212.5 cm

Notes:

Christo Coetzee left his basement studio at Rue de l’Hotel Colbert, a stone’s throw from the Cathédrale Notre-Dame de Paris, in 1965. He bought a dilapidated house in the mountain village of Finestrat in Spain, which he restored and lived in until he returned to Tulbagh in 1972.In April 1971 Coetzee was visiting South Africa when Chris Barnard, Afrikaans author and playwright, interviewed him and his wife, Ferrie Binge-Coetzee, for Die Huisgenoot at her house in Pretoria. Outside, on the lawn and in bright sunlight, photographer Hoffie Hoffmeister photographed Coetzee, holding the square canvas of Black Rose Africa. Binge-Coetzee mentions in her recollections (Ballot 1999:13), the magnificent stained glass rose windows of the Notre-Dame as a recurring inspiration for Coetzee’s circular paintings.The circle made its way into Coetzee’s paintings of the 1950s by means of found objects, in the form of ping-pong balls, bicycle wheels and coins. What fascinated Coetzee, according to Ballot (1999:35), “is the multitude of mysteries and ideas distinctively associated with the circle as a perfect and closed unity and symbolic source of energy”.In Black Rose Africa the rose-pattern formed by a myriad of predominantly black dots is overpainted with irregular petal-like forms (the half of the infinity symbol that characterised Coetzee’s earlier work), textured by means of parallel hatching.In an interview with Linda Goodman for the arts journal Artlook in 1969 (Ballot 1999:108) Coetzee elaborated on the symbolism and subsequent importance of the circle in his work: “Well, this symbol for me stems from pop art, where, in the fifties, people were taking very mundane objects, and using them as a symbol. I never have been a pop artist, but in the same way that Warhol, Rauschenberg and Lichtenstein were using various symbols in advertising to convey meaning to their paintings, so I took the symbol of the circle and used it to synthesise my work, to control it, to give it a form and a basis, and that circle has remained with me ever since, right throughout my work.”Black Rose Africa was considered so significant that it was selected for the invitation of Christo Coetzee’s solo exhibition at Goodman Gallery in 1971.

Johan Myburg

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Auction: Historic, Modern & Contemporary Art, Mon, 27th Mar 2017

The Inaugural Cape Auction offed a diverse range of top-quality historic, modern and contemporary works. With a focus on critically engaged art and a curated approach, seasoned and new collectors competed to acquire significant works.

Aspire’s commitment to the growth of the art market saw international records broken in recognition of exiled South African artists. Louis Maqhubela’s Exiled King, a definitive, politically motivated work, sold for R341,040 - three times his previous record, and Albert Adams’ Untitled (Four Figures with Pitchforks), his first appearance at auction, sold for R136,416. Top prices were also achieved for established artists including J.H Pierneef, William Kentridge, and Edoardo Villa, and contemporary artwork fared exceptionally with record prices for David Brown, Steven Cohen, Mohau Modisakeng, Moshekwa Langa, and Mikhael Subotzky.

Viewing

Friday 24 March 2017 | 10 am – 7 pm
Saturday 25 March 2017 | 10 am – 5 pm
Sunday 26 March 2017 | 10 am – 4 pm

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