drypoint etching from 1 copper plate and 2 hand-painted templates on Vélin d'Arches Blanc 300 gsm paper
Artwork date: 1993 - 1998
Signature details: signed and numbered 27/35 in pencil in the margin
Literature: Badder, S. (2009). William Kentridge/Oleg Kudryashov: Against the Grain, Washington DC: The Kreeger Museum, another edition illustrated on the front cover and p.17.; Law-Viljoen, B. (ed.). (2006). 'William Kentridge: Prints'. Johannesburg: David Krut Publishing, an example from the edition illustrated in colour on p.47.
Sold for R2,048,400
Estimated at R1,000,000 - R1,500,000
drypoint etching from 1 copper plate and 2 hand-painted templates on Vélin d'Arches Blanc 300 gsm paper
Artwork date: 1993 - 1998
Signature details: signed and numbered 27/35 in pencil in the margin
Literature: Badder, S. (2009). William Kentridge/Oleg Kudryashov: Against the Grain, Washington DC: The Kreeger Museum, another edition illustrated on the front cover and p.17.; Law-Viljoen, B. (ed.). (2006). 'William Kentridge: Prints'. Johannesburg: David Krut Publishing, an example from the edition illustrated in colour on p.47.
(1)
sheet size: 120.5 x 92 cm; framed size: 134 x 105 x 3.5 cm
Provenance:
Private collection, Cape Town.
ABOUT THE ARTWORK
The iconic Blue Head is an important and significant etching that stands as a testament to William Kentridge’s distinct mastery in printmaking and employment of thought-provoking themes that not only explore complex social and political issues but also delve into the nature of being human.
In the early 1990s, Kentridge started working on large-scale copper plates with master printer, Jack Shirreff at 107 Workshop in Wiltshire, UK. It is here that he created a series of dry point prints of a head, with hand painting and torn shards created from varying templates that allowed for versions to be produced in orange (editioned 1993), blue (editioned 1993-8) and green (never editioned).
Printed in a limited edition of only 35, the Blue Head series is extremely scarce and highly sought after. Here, Kentridge’s trademark and moving use of blue imbues the work with more pertinent layers of meaning and visual symbolism to evoke deep emotions and intellectual contemplation.
Conceptually, the Heads are a continuation of the artist’s well-known 1989 dry point Casspirs Full of Love. Though, in Blue Head, the depiction of an individual disassociated male head, tilted back with eyes closed, offers a more elegiac image.
The composition of Blue Head is both dynamic and contemplative. The head is positioned in the centre of the picture plane against a blank background, which emphasises its isolation and allows the viewer to focus solely on its presence. The lines that form the head's contours are fluid and gestural, suggesting movement and a sense of inner vitality. This juxtaposition of stillness and dynamism results in an intriguing tension in the work.
Kentridge's use of etching as a medium adds depth and texture. The head is depicted in a simplified and stylised manner, with fine and expressive lines that capture the essence of the form. The etching process involves incising lines into a metal plate, which is then inked and transferred onto paper. This technique allows for intricate and deliberated linework, resulting in a richly detailed composition. Here, the etched lines intensify the overall expressive quality of the work and enhance the emotional resonance and introspective mood. The effect is similar to the artist’s charcoal drawings.
The torn paper shapes inked in a deep blue give shape to the contours of the head. The addition of this vibrant colour is immediately captivating. Blue is often associated with introspection, contemplation, and melancholy. It can represent a state of mind or an emotional landscape. In Kentridge’s oeuvre, blue is associated with water and a state of grace and bliss.
Blue Head was produced during a pivotal time in South Africa’s history, a transitional period which saw the release of Nelson Mandela and the first democratic elections in 1994. As with much of Kentridge's work, Blue Head delves into these profound themes of identity, memory, and history, prompting one to reflect on the complexities of individual and collective consciousness, as well as the forces that shape and define people.
Marelize Van Zyl
COLLECTOR'S NOTE
Other editions of Blue Head are in the Smithsonian Institution collection in Washington D.C and the National Gallery of Victoria in Melbourne, among other private and important public collections.
Printed by Jack Shirreff at 107 Workshop, Wiltshire. Published by David Krut, London.
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Auction: 20th Century & Contemporary Art, 7th Jun, 2023
Aspire Art will impress collectors with this focused, boutique-style auction in Johannesburg. A feature of the carefully compiled collection is a strong focus on contemporary African artists. Collectors of contemporary works from Africa will be spoilt for choice with works by Thierry Oussou (Benin), Richard Mudariki (Zimbabwe) and Banele Khoza (Swaziland). Local contemporary favourites include Nandipha Mntambo, Cinga Samson and Gerhard Marx amongst others. Contemporary photographers are also well represented with works by Aida Muluneh (Ethiopia), Kudzanai Chiurai (Zimbabwe) and South African international superstar, Zanele Muholi, while important historical images are included with works of Winnie Mandela by Alf Kumalo and a portfolio of twelve works – chronicling the hardships of apartheid – from Ernest Cole’s seminal House of Bondage (1967).
A highlight of the sale is South African modernist Alexis Preller’s, Adam (1972) – a recently discovered, never before seen, work forming part of Preller’s series of Adamic-themed works from the late 1960s and early 1970s. Other significant modern pieces include a unique terrazzo sculpture by Edoardo Villa, still lifes by Maggie Laubser and works by Cecil Skotnes, Walter Battiss and J.H Pierneef.
The sale concludes with a special section of William Kentridge editioned prints led by the impressive Blue Head (1993 – 1998).
Viewing
Viewing will be open from Friday 2 to Wednesday 7 June 8:30 to 16:30 and Saturday 3 June from 10:00 to 14:00.
Currency conversions are based on the exchange rate at the auction's start time and date. Bidders should verify the current exchange rate on the day of the sale. All invoices and payments must be made in South African Rands.
Logistics
While we endeavour to assist our Clients as much as possible, we require artwork(s) to be delivered and/or collected from our premises by the Client. In instances where a Client is unable to deliver or collect artwork(s), Aspire staff is available to assist in this process by outsourcing the services to one of our preferred Service Providers. The cost for this will be for the Client’s account, with an additional Handling Fee of 15% charged on top of the Service Provider’s invoice.
Aspire Art provides inter-company transfer services for its Clients between Johannesburg and Cape Town branches. These are based on the size of the artwork(s), and charged as follows:
Small (≤60x90x10 cm): R480
Medium (≤90x120x15 cm): R960
Large (≤120x150x20 cm): R1,440
Over-size: Special quote
Should artwork(s) be collected or delivered to/from Clients by Aspire Art directly, the following charges will apply:
Collection/delivery ≤20km: R400
Collection/delivery 20km>R800≤50km
Collection/delivery >50km: Special quote
Packaging
A flat fee of R100 will be added to the invoice for packaging of unframed works on paper.
International Collectors Shipping Package
For collectors based outside South Africa who purchase regularly from Aspire Art’s auctions in South Africa, it does not make sense to ship artworks individually or per auction and pay shipping every time you buy another work. Consequently, we have developed a special collectors’ shipping package to assist in reducing shipping costs and the constant demands of logistics arrangements.
For buyers from outside South Africa, we will keep the artworks you have purchased in storage during the year and then ship all the works you have acquired during the year together, so the shipping costs are reduced. At the end of the annual period, we will source various quotes to get you the best price, and ship all your artworks to your desired address at once.
Aspire Art will arrange suitable storage during, and cost-effective shipping at the end, of the annual period.
Collections
Collections are by appointment, with 24-hours’ notice
Clients are requested to contact the relevant office and inform Aspire Art of which artwork(s) they would like to collect, and allow a 24-hour window for Aspire Art’s logistics department to retrieve the artwork(s) and prepare them for collection.
Handling Fee
Aspire Art charges a 15% Handling Fee on all Logistics, Framing, Restoration and Conservation arranged by Aspire.