THE SOUTH AFRICAN

ART TIMES
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
JOBURG ART FAIR SPECIAL
Free Global Art Times
Minnette Vári , The Falls II, 2008. Pigment ink on cotton fbre paper. Courtesy of the artist and the Goodman Gallery.
Page 2 South African Art Times. March 2008
The South African
Art Times
March 2008
www.arttimes.co.za
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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 fgures 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 confrm 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
King Shaka will be high...
but not that high
Patrick Burnett
CAPE TOWN (WCN) – The frst
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 offces
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
This years winner of the Mercedes-Benz South Africa 2008 Art Award, Sculptor Kevin Brand
Brand sets the world on fre
The Joburg Art Fair is burning on
everyone’s lips and ears. Never has
South Africa had such an interna-
tional art fair – for now at least, a blip
(here on the big dark continent) on
the international art radar (over 250
art fairs internationally and counting).
The real thrill is that for once things
seem to be well organized, especially
for it’s frst time, the folk in Johannes-
burg seem to know what to do. With
this event there is a welcome lapse of
promises by organizers of 10 000’s
of any artists being included and later
pie in face stuff.
It seems that Ross Douglas and Cobi
Lauscagne really have done their
homework and placed every of their
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.
Editorial
South African Art Times. March 2008 Page 3
UJ_ArtGallery_Ad_83x200 2/22/08 2:12 PM Page 1
Composite
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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 frst 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 frmament. I’m not
feeling very heady myself as I
wade through the building site in
Milpark where his Artlogic offces
are housed the week before the
city’s debut Contemporary Art Fair
is due to open.
Sponsored by FNB, the fair will
represent 15 of the country’s top
galleries, six international galleries
and a series of art events — in-
cluding a show curated by Simon
Njami, the curator of Africa Remix;
an installation by internationally
acclaimed South African artist
Robin Rhode; and a screening of
William Kentridge flms.
But after a few minutes with Ross
I’m sold. It’s not that this laconic
fellow, who is resting his Con-
verse-clad feet on a Gregor Jenkin
designer desk, is particularly excit-
able but, in his measured way, he
makes a convincing business case
for urbanity and culture.
“We have got to push the creativity
of the city and give South Africans
an equivalent experience to what
they can get overseas. A country
needs creativity and South Africa
is an easy place to be creative.
If you invest in creativity it keeps
creative people invested in the
society.
London is so clever. It captured it
creativity market and as a result it
is a sexy place. If you want keep
the talented professionals in your
city you have to give them the
culture that they can get globally.”
Hosting an art fair in the current
psychological and economical
climate in the country seems al-
most counter-intuitive — art is not
exactly a bread and butter issue.
“Our market is busy immigrating
Australia,” he half-heartedly jests,
“and it can seem a devastating
blow ...
But it’s time to kick off in South
Africa. “We have spent every cent
we have here.
I have six friends who have been
shot dead, but 1 cannot let that
undermine our hope for the future.”
His specifc hope for the future lies
in creating “something sustainable
and commercial, that captures the
imagination.
“We wanted to make a fair that is
sustainable, critically acclaimed
and unique enough that it will
attract foreign visitors. We are a
niche market and unique player in
the international art world, and the
only art fair in Africa dedicated to
African art,“We are lucky because
there is a lot of interest. African art
is huge internationally and our art-
ists arc internationally acclaimed.”
Ross’s company, Artlogic, uses art
events to promote companies and
brands. In this instance, FNB will
provide the brand kudos.
He came to this feld via flm
production, which he abandoned
because he was disappointed in
the prospects of the South African
flm industry.
“In Africa, of all the creative
industries art is the only one that is
not reliant on a big economy. Think
of what it lakes to produce a flm or
even take a theatrical production
on tour.”
“We are culturally conservative
in South Africa but we are at a
crossroads, Contemporary art in
its essence breaks down and chal-
lenges stereotypes,”
Perhaps an art fair is precisely
what we need right now, as we
seem to be battling for our coun-
try’s very soul.
• See www.joburgartfair.co.za
more in information
Sexier than rock ‘n roll
Joburg fair aims to use art to keep talented professional in the city
Were it will all happen: Sandton Convention Centre. (Photo not part of the Times article) Photo: John Hodgkiss
Page 4 South African Art Times. March 2008
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 foor of a vertical
four-foor building on the corner of
Bree and Dorp Streets, known to
many as the Loft.
With its open plan warehouse-
design and screed cement foor
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’ offce 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
space and light that foods into her
studio and one half expects to fnd
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 frst edition of prints by Hentie
van der Merwe, she already has
six top young artists lined up to
work with her.
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 benef-
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 fnd
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 fve 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
profts (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
Warren Editions creates a ‘democratic’ art market
After years spent locally and overseas Zhané Warren of Warren Editions sets up shop in Cape Town. Photo: Steve Kretzmann
South African Art Times. March 2008 Page 5
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03081 CGAD Art Times Anthea Del 3/5/08, 10:52 AM 1
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 fnding 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 certifcate of
authenticity we can sort it out.”
At this point the head of investigat-
ing frm Specialised Security Serv-
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 fne”.
“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
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
GG_ArtTimes_260x395_250208 2/28/08 10:32 AM Page 1
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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
Shop 46, Broadacres Lifestyle
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Any potential buyers who want to invest in South African masters and who are planning
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South African Art Times. March 2008 Page 7
Patrick Burnett
CAPE TOWN (WCN) -- The saying
imitation is the best form of fattery
has taken on a sour meaning
for an internationally recognised
Garden Route artist after he was
astonished to fnd 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 benefted 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
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
Top SA artist short-changed by Mr Price
Poor quality print reproductions that were on sale at Mr Price (above) vs quality artist’s print (below)
Page 8 South African Art Times. March 2008
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
Hout Street Gallery
We represent these artists:
Ben Coutouvidis
Alice Goldin
Wendy Rosselli
Lyn Smuts
Phillipa Allen
Hardy Botha
Theo P. Vorster
Judy Woodbourne
David Riding
Cecil Skotnes
and others.
Original Art, Etchings, Sculpture, Ceramics.
South African Art Times. March 2008 South African Art Times. March 2008 Page 9
Green grazing zone, Oil on canvas board, 1,20m x 80 cm Conficting Skies, Oil on canvas board, 76cm x 51 cm
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.
To visit Daniel Novela art studio please book an appointment and for more information on how to get there or for a preview see:
www.danielnovela.co.za or email to info@danielnovela.co.za
or contact Daniel Novela at: Studio: +27 18 489 1780 Fax: +27 18 489 1777 Cell: +27 82 262 3600
Lute Vink
Wildlife Artist
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

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
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
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 fne artworks,
but also impressive paintings and
sculptures that he facilitated the
acquisition of for private as well.
as public collections. The proof of
the famous fne 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
fnalised 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 fog
stuff foolishly. And local history
stands as testimony, as well as art-
ist careers. fnely-tuned exhibition
of Irma
It is possible to argue that his
Stern’s art at the Wolpe Gallery in
Strand Street in 1966 ignited the
enthusiasm which now drives her
current auction sales to beyond
the millions. It was a wow of a
show.
Turn the clock to 1983 and the
buzz of his famous space upstairs
in Impala House in Castle Street,
and it is the turn of Francine
Scialom Greenblatt to set the local
art world alight with her gloriously
exotic, erotic female nudes on a
very large scale. For weeks this
exhibition was the talk of the town,
while Joe held frmly onto his
naughty smile.
That was the same year that
Joe Wolpe quietly negotiated the
acquisition by the South African
in the Iziko collection: Ronald
Mountains (1982). Kitaj, who died
last year, had just become the
National Gallery of what is today
one of the most valuable paintings
Kitaj’s deliciously enigmatic In the
darling of the international scene
and getting this picture for Cape
Town was a triumph.
So was the acquisition of an-
other of the great late-20th century
works in the Iziko collection: Frank
Auerbach se Head of Julia (1981)
and, in 1985, a valuable earlier
painting, Maurice de Vlaminck’s
Arbre Au Tourniquet, Chatou
(1910).
These works, beautifully on show
in When Cape Art was Coffee with
Joe are genuine proof of Wolpe’s
skills as international art dealer.
But, in the fnal instance, a grand
tribute to his remarkable eye for
great art.
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.
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. Photo: Harry de Zitter.
Page 10 South African Art Times. March 2008
The present thrust of the work by artist,
Joan Abrahams, has been to explore painterliness,
produce objects and push towards post-modernist
work, which integrates narrative and identity, both
historically and geographically, as well as commenting
on issues of psycho-socio-political signifcance.
Title (left): Book l Mixed media (paper, material,
string, staples, ink), 104.5cm x 75cm. 2006
Tel /Fax: +27 11 486 1368
Mobile: +27 82 850 1072
Email: joanabra@mweb.co.za
www.art.co.za
http://www.saatchi-gallery.co.uk/yourgallery/
artist_profle/ Joan+Abrahams/12596.html
Joan Abrahams
Wildlife - drawings, watercolours & woodcuts
Landscapes - in oil & watercolour
Roswitha
von Glehn
Tel +27 11 787 1983
email kayglehn@global.co.za
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
Heather Auer
Art & Sculpture Gallery
Heather Auer – Simon’s Town
Quayside Centre, Wharf Street
Simonstown
-
Heather Auer - Hout Bay
Shop 3, 22 Main Road
Hout Bay
0827792695
0828289205
Tel/Fax 021 7861309
info@heatherauer.co.za
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
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
Custom Stretched Canvasses
Hand made Easels
Painting & print stretching
Artist: Ann Gadd
ArtStuff now available on the Garden Route
Call Paul Tunmer 083 2610084
Tel: 021 448 2799 Fax: 021 448 2797
artstuff@webmail.co.za www.artstuff.co.za
Free delivery within Cape area
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
ELLIOTT ART STUDIOS ELLIOTT ART STUDIOS
VILLIERSDORP VILLIERSDORP
Cape Town’s largest contemporary art gallery
exhibiting works by leading South African artists
Carmel Art
66 Vineyard Road, Claremont
Ph: 021 671 6601
Email: carmel@global.co.za
Website: www.carmelart.co.za
Exclusive
distributors of
etchings
full selection on website
Pieter
van der Westhuizen
Photography by Shooting Range Photography (Hes Range) Cell 082 378 0255 hes@shootingrange.co.za www.shootingrange.co.za
Marion Burnett
Leopard in Bronze (life size number 2 of edition of 12). Last work by Marion Burnett.
(1952 - 2007)
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
We pay tribute to the life and art of

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