Decade 210x225 - LitNet

Decade 

Highlights from10 years of collecting 

for the Sanlam Art Collection

Decade – highlights of 10 years of collecting for 

the Sanlam Art collection 

by Stefan Hundt, Curator. 

This exhibition of 83 works represents 

a selection from the 544 acquisitions 

made by the Sanlam Art Collection 

since my appointment as curator in 1997. 

Having spent my initial training within public 

sector institutions such as the University 

of the Witwatersrand Art Galleries as an 

assistant and then at the National Museum in 

Bloemfontein as curator of the Oliewenhuis 

Art Museum, starting out in a corporate 

environment posed a new challenge for which 

I had little preparation. An appointment at 

a large corporation had never formed part 

of my envisaged future. I knew very little 

about corporate art collections and although 

my museum experience prepared me for 

the basics of administration of a collection, a 

building, staff, and being resourceful with scarce 

funds – the corporate environment presented 

quite different challenges. 

At the time of my appointment the concept 

of a company buying art was accepted 

practice. Indeed the following decade would 

see this concept coming dramatically to the 

fore with the founding of new collections. Like 

Rembrandt, Standard Bank and Sasol, Sanlam 

already had a well-established collection which 

had received significant exposure through 

relatively frequent exhibitions of selected works 

from this collection. From a public perspective 

this collection was part of the make up of 

the company and to some extent reflected 

the personality and ambitions harboured by 

individual powerful executives in charge and 

the character of the company as a whole. 

To the uninformed the acquisition of art 

works by a company is a hermetic process 

supposedly left up to one individual. Although 

this may be the case in some instances, for the 

majority of companies with substantial holdings 

of South African art-works, the purchase of art 

is conducted with the application of the same 

fiduciary prudence that the acquisition of any 

other valuable asset for the company enjoys. 

Informed and expert opinion is sought through 

the structure of a committee appointed for the 

purpose. The discussions and arguments engaged 

in by committee members are generally not 

available for public scrutiny and it is only through 

the publication of catalogues and exhibitions 

of works that some insight may be gained into 

what has been acquired. This closed manner of 

operation produces a veneer of consensus and 

well-being that covers up the substantial and rich 

debate amongst committee members. 

The book published to accompany the 

inauguration of the Gencor now BHP Billiton 

collection in 1997, for the first time in South 

Africa, brought to public attention, the process 

and development of a corporate art collection 

and gave prominence to the opinions of those 

involved in deciding on the general strategy and 

objectives the collection had embarked upon. 

This was a refreshing contribution to the few 

catalogues and books published by companies 

to celebrate their collections. Kendell Geers, 

editor, and Lesley Spiro, a contributor, minced 

no words in their criticism of the collecting 

histories of museums and other established 

corporate art collections, highlighting a lack 

of transformation and timidity that most 

companies had shown in their art-collecting 

endeavours. 

The development of the Gencor Collection 

was soon followed by the founding of the 

MTN Art Collection. Others ensued, placing 

the concept of the corporate art collection 

in the public eye. It seemed that acquiring an 

art collection was an appropriate and correct 

thing for a company to do. Politically, South 

Africa had made a successful transition to 

democracy and big business was confident 

about the country’s future. An art collection 

provided one way, inexpensive at the time, for 

a company to symbolically state its confidence 

in the ‘New South Africa’ while simultaneously 

acknowledging the past. 

A relative veteran, the Sanlam Art Collection 

was established in 1965, and has over the years 

acquired a considerable number of historically 

important South African works. This solid 

foundation provided both a basis to work on, 

as well as a burden of responsibility to continue 

pursuing a collecting mandate of compiling a 

“representative” collection of South African Art. 

What representative meant had already 

been a hot debate in the museum world. 

Whereas a museum is mandated to collect in 

the interests of citizens, and thus has a moral 

obligation to be accountable to them, a private 

company establishes its own mandate, albeit 

this being within a greater context of good 

corporate citizenship or corporate social 

responsibility. The company is therefore at 

liberty to define for itself what constitutes 

“representative” in terms of its art collection. 

For Sanlam to embark on the compilation of a 

representative collection in 1965 was ambitious 

and it took its lead from the museum-world at 

the time. The relatively small art market and 

the socio-political landscape of South Africa 

at the time, guided what was recognised by 

experts to be works of quality and of potential 

value in the future. 

There is little doubt that, historically, art 

museums had neglected to acquire works by 

some of South Africa’s most important black 

artists and had failed to reflect the diversity of 

cultural expression that had developed in the 

South African context. Having acknowledged 

this neglect, art museums have over the past 

two decades actively sought to redress this. 

The Sanlam Art Collection was not found 

wanting and by the 1980s had progressively 

begun to redress the lack of works by black 

artists represented in the collection. However, 

by the mid-1990s, the country and the artworld 

were beginning to experience significant 

change. The first Johannesburg Biennale in 

1995, with its large contingent of international 

exhibitors, expanded the perspective of the 

South African art world in dramatic fashion.

If the late 1980s and early 1990s could be 

described as a period of redressing neglected 

traditions, the late 1990s would be described 

as a time of addressing the contemporary. 

What the Johannesburg Biennale had done was 

to reveal to artists, curators and collectors 

in South Africa the expanded horizon of 

contemporary art-making that was pervasive 

in all the major art centres in the world. The 

Biennale also revealed the narrowminded 

visions and politically motivated administrations 

that had kept a firm grip on the art-world 

locally. South African artists embraced their 

reintroduction into the international arena with 

innovative and groundbreaking approaches to 

art-making. Installation and Performance Art, 

only occasionally practised before, became 

dominant modes of art-making for younger as 

well as some well-established artists. 

For the Sanlam Art Collection, this required 

some rethinking as to how to accommodate 

such developments, while still retaining an 

historical perspective on the South African art 

scene. 

There are, however, some practical 

constraints that limit the incorporation of largescale 

works and installations into a corporate 

collection. For many companies the art 

collection serves as an enhancement of the 

office environment. Art works usually occupy 

the wall space around offices and reception 

areas. As the open-plan office spaces at the 

Sanlam head office in Bellville are frequently 

reconfigured, making the display of valuable 

artwork almost impossible, the Sanlam Art 

Gallery on the ground floor is the principal 

site for the exhibition of the collection. With 

a gallery at its disposal, the collection has been 

able to expand the range of works acquired 

over the last ten years to include installations 

and video-based works that could not be 

tolerably placed in an office environment. 

Gavine Younge’s Forces Favourites II and Jan 

van der Merwe’s Gaste are two such instances 

of sculptures / installations that are displayed to 

full effect in the gallery. Both works deal with 

topical issues of the time. Younge’s installation, 

a simple postman’s bicycle ‘embalmed’ in 

velum, engages the viewer to recall the South 

African military’s incursion into Angola in the 

mid-1970s and the prolonged war in which 

many young male conscripts lost their lives. 

The banality of materials employed and the 

video footage of a countryside populated 

with military wreckage alludes to the futility of 

the war waged to prop up an unsustainable 

ideology. 

Jan van der Merwe’s Gaste strikes closer 

to home. The dining-room suite covered 

in rusted metal is tactile and inviting, yet on 

closer inspection, the recurring video image of 

a discharging pistol—served up as dinner— 

makes the point of how the family home has 

become a site of violence; be it the result 

of criminal intent from outside or from the 

psychic disintegration resulting in family murder, 

both significant phenomena in modern-day 

South African society. 

Where these two installations may 

be understood to reflect the Sanlam Art 

Collection’s strategy to collect works of 

contemporary importance, the acquisitions of 

early paintings by Frans David Oerder, Hugo 

Naudé, Maggie Laubser and Cathcart Methven 

reflect the continued supplementation of the 

historical collection. Although Oerder, Naudé 

and Laubser are already well represented in the 

collection, these additional works contribute 

to a more substantial overview of each artist’s 

oeuvre. The inclusion of a superb landscape 

painting by Cathcart Methven, Giants Castle 

under Snow, Natal Drakensberg adds to the 

Collection’s representation of early South 

African painting under the influence of British 

painting tradition, complementing holdings of 

works by Crosland Robinson, Ada Seaton-Tate 

and Thomas Baines. 

There are further significant additions to 

the historical holdings of the collection, all 

produced before 1950. The two bronzes 

by Anton van Wouw complement another 

two works already in the collection. The 

self-portrait bust by Van Wouw introduces a 

secondary theme in the collection of acquiring 

artists’ self-portraits or portraits of artists. 

In this exhibition the self-portraits of Alexis 

Preller dated 1935, Johannes Meintjes 1954, 

Coenraad Morkel 1996 and Tyrone Appollis 

2006 are examples of such acquisitions. 

The self-portraits not only provide a visual 

equivalent of what the artist looked like but 

also offer an insight into how the artist saw 

himself within the stylistic conventions adopted 

by him at the time. 

Dorothy Kay’s etching The Song of the 

Pick 1938, a popular print in its time, is now 

a rare find and may possibly have been the 

inspiration for Gerard Sekoto’s painting of 

the same theme some years later. A unique 

and rare acquisition is the large painting by Le 

Roux Smith Le Roux, best known for his mural 

commissions. Portrait of Warrior Prince 1925 

by Erich Mayer complements works by Van 

Wouw, Oerder and Wenning who were much 

occupied with depictions of African people, not 

as exotic representatives of ethnic difference 

but as subjects worthy of serious painting, a 

tradition that Gerard Bhengu would continue 

in his own particular style. 

The second half of the twentieth century 

to early 1980s represents an era of South 

African art history that has seen some neglect 

over the last decade. Artists that reached 

prominence from the 1950s through to the 

late 1970s, are not accorded much attention in 

recent art historical writings, despite substantial 

market interest in instances such as Gregoire 

Boonzaier, Walter Battiss, Alexis Preller and 

Fred Page where the trade in these artists’ 

works has achieved record prices over the 

last five years. This period saw a considerable 

expansion within the art-world, particularly so 

in the 1960s and early seventies. Before the 

cultural boycott started taking effect, South 

African artists had embraced concepts of 

European modernism and the domination of 

abstraction in European and American painting 

at the time. 

In this exhibition works by Gladys 

Mgudlandlu, Diedrick During, Ezrom Legae, 

Larry Scully, Johannes Meintjes, Alexis Preller, 

Zoltan Borberecki, Christo Coetzee, Philipps 

Kolbe, Andrew Murray, Simon Lekgetho, Rupert 

Shephard and Fred Page are typical examples 

representative of the diversity of South African 

art of the 1950s and 1960s. These acquisitions 

complement existing holdings, yet with respect 

to the works by Zoltan Borberecki, Diederick 

During, Philipps Kolbe, Simon Lekgetho and 

Gladys Mgudlandlu, these are entirely new 

additions. Artists such as Scully, Borbereki, 

Coetzee, Preller, Meintjes, Page and Murray 

were all familiar with the history of European 

painting and their works reflect the traits of 

once avant-garde but now accepted modernist 

styles. Critics have in the past unfairly 

characterised these artists’ works as derivative, 

effectively marginalizing their contribution to 

South African art history. It is therefore not

surprising that very little documentation of any 

substance on these artists exists, limiting one’s 

ability to assess the extent and quality of their 

production. 

However over the past two decades a 

reappraisal of some of these artists’ oeuvre 

has begun. The exhibition and catalogue 

The Neglected Tradition, the books Images of 

Man by Eddie de Jager, Land and Lives and 

Polly Street, the Story of an Art Centre by Elza 

Miles and more recently Revisions edited by 

Hayden Proud, have focussed attention on the 

contributions of primarily but not exclusively 

black artists. Whereas recent monographs on 

Christo Coetzee, Edoardo Villa and George 

Pemba have revived interest in these artists’ 

oeuvres and attracted the attention of 

academic art history which over the past two 

decades neglected to engage with these artists 

and the period in any meaningful way. Yet the 

1960s through to the 1970s remains a period 

rich with research potential and deserving 

of more attention by collections wishing to 

present a representative overview of South 

African art. 

A number of siginificant works originating in 

the 1970s were acquired. On this exhibition, 

George Pemba Harvesters (1976), Syndey 

Kumalo Horse and Rider (1973), Gerard De 

Leeuw, Die Mag van die Toordokter (circa 1978), 

Ezrom Legae’s, Rooster (1979), Durant Sihlali’s 

Hout Bay (circa 1971) are representative of 

a continuation by these artists with subject 

matter already embraced by them in the 1960s. 

By the early 1970s South Africa and its 

art-world was becoming effectively isolated 

and excluded, from participation in art 

events globally. For some artists, the political 

repression exercised by the white nationalist 

government of the time became the subject 

matter for the development of imagery of 

protest against this repression. Elza Botha 

actively developed such imagery in her 

linocuts of the 1970s. Butterfly Box is one 

example of six linocuts acquired by the Sanlam 

Art Collection in 2002. The box, a top of 

a common school desk, holds captured a 

selection of lino-printed, cut-out butterflies, 

pinned down in a similar manner that a 

collection of lepidoptera would be displayed 

in a museum – yet with no neat arrangement 

or particular classifying order. On the left, is 

a painted list of surnames of political activists 

and convicted individuals incarcerated under 

the draconian security legislation of that era. 

Ominously the last “name” on the list is “GEEN 

NAAM VERSTREK”. In the context of its 

time where the publication of the names of 

banned persons or persons convicted or held 

in terms of security legislation was a criminal 

offence, this work was a powerful declaration 

of conscience. In contrast to the politically 

engaged imagery of Elza Botha, the lyrically 

optical work of Hans Potgieter represents an 

engagement with Conceptual Art, although 

present in 1970s amongst artists such as 

Willem Boshoff and Claude van Lingen, which 

received little recognition at the time. 

By the 1980s South Africa’s isolation was 

almost complete. With the exception of 

some academic exchanges with Europe, the 

art-world was left much to its own devices. In 

reaction to this isolation the inception of the 

Cape Town Triennial competitions (1982 – 1991), 

The Standard Bank Guest Artist programme 

at the Grahamstown National Arts Festival 

and the Standard Bank Drawing Competition 

provided South African artists with platforms 

to exhibit their works nationally. Primarily 

showcasing the fine arts, these exhibitions 

provided renewed energy to the art-world 

and a source for acquisitions by museums 

and companies. The Tributaries exhibition in 

1985 with its inclusion of sculptures by black 

artists from Venda, introduced a broader 

perspective on the production of art in 

South Africa. Objects previously relegated 

to the ubiquitous categories of ethnography, 

expressions of ethnic material culture or even 

township art, were brought into the ambit of 

the contemporary production of the fine arts. 

Few collections at the time recognised the 

significance of these works. Initially described 

as ‘transitional art’ a term long since discredited, 

these works revealed to an urban art-buying 

public a rural tradition of sculpture that had 

operated independently of the established 

art market for some years. By the late 1980s 

works by artists such Jackson Hlongwane, 

Noria Mabasa, Puthuma Seoka, Johannes 

Segogela, Johannes Maswanganye and Albert 

Munyai had entered museum collections and 

were sought-after for inclusion on exhibitions 

travelling overseas. 

Christ Walking on Water by Johannes 

Maswanganye, in this exhibition one of three 

sculptures by this artist in the collection, 

acquired in 2003, is a superb example of this 

artist’s production of enamel-painted figures 

destined for the so-called white art market as 

opposed to figures he produced for Sangomas 

for ritual purposes. Albert Munyai’s Sia Lubuli 

Vha Fhasi Vhalexho is another example that has 

enriched the collection. 

The debates around the inclusion of 

these types of works within the ambit of 

the Fine Arts impugned the authenticity 

of these objects as artistic expressions as 

opposed to curios or craft, and criticised the 

manner in which they were crafted to satisfy 

‘white’ taste and desire for an art production 

purportedly uninfluenced by contemporary 

artistic discourse. Fortunately the patronising 

undertone of these debates was recognised 

and dispensed with. These works have now 

taken their rightful place in a richer and more 

complex understanding of South African art 

production. 

A significant proportion of works acquired 

for the Sanlam Art Collection over the last 

decade are contemporary and those selected 

for this exhibition reflect the diversity of 

tradition and experimentation that makes 

up the contemporary art scene. Despite 

the demand for so-called cutting-edge art as 

manifested by recent competitions such as 

the Brett Kebble Art Awards and the Spier 

Contemporary, artists working in traditional 

techniques of painting, drawing and sculpture 

continue to produce works that are meaningful 

and engaging 

Jacques Fuller’s Die Mollevangers is a superbly 

crafted sculpture of welded copper. The two 

figures, each crippled, dressed up in S&Mregalia 

reminiscent of a Mad Max movie, are 

a wry yet humorous comment on sexual 

fantasy and domination, while Diane Victor’s 

triptych Consumer Violence directly confronts 

the viewer with the uncomfortable relationship 

between sex, consumption and violence to 

bodily integrity. On a more ominous note 

the installation Beauty Bar and photographic 

triptych Nemesis by Leora Farber engage with 

the manufacture of and demands for feminine 

beauty. 

In stark contrast to these confrontational 

works, are the paintings by Walter Meyer and 

Adriaan van Zyl. Meyer’s eloquent use of 

brush mark to render a banal subject, From the

East, a truck travelling along a tarred highway at 

sunset a familiar image to anyone driving along 

the long desolate stretches of national roads 

in South Africa, offers an almost ‘magical realist’ 

version of the traditional landscape. 

Adriaan van Zyl’s painting Hospitaal 

Triptiek 1 from a series entitled Hospitaaltyd, 

is a meticulous rendering of views of the 

Tygerberg hospital in Cape Town. Having been 

a patient at this hospital over an extended 

period of time (Adriaan van Zyl passed away 

in September 2006 after a long battle with 

cancer) allowed the artist to contemplate this 

bleak architecture. The unusual subject matter 

rendered in a refined realist style combined 

with the eerie absence of people, frozen in 

time, has an apprehensive poignancy. 

It is tempting to compile a narrative that 

would place each work on this exhibition in 

context of the broader collection as whole 

but space restrictions preclude such. With its 

extensive and growing holdings the Sanlam Art 

Collection is in a position whereby thematic 

exhibitions drawn entirely from its own 

holdings can be compiled. It is this feature of 

the collection that makes it unique amongst 

corporate collections in South Africa. 

Future acquisitions will continue to augment 

the historical collection with works, which 

will broaden the representation of an artist’s 

oeuvre or develop an historical theme in the 

collection. There is little doubt that South 

Africa has over the past decade produced 

some significant creative talents. Yet a judicious 

and considered approach when collecting 

here is called for. Primary is the integrity with 

which the artists pursues their concept and 

to what degree this becomes qualitatively 

comprehensible to an informed viewer. The 

contemporary art-works acquired by the 

collection over the past decade I believe will 

continue to engage the eye and the mind 

of the viewer. The investment made by the 

collection here is not based on the celebrity 

status of the artist or on the currency of the 

subject matter, but on the confidence that over 

time the artist has the potential to evolve. It is 

this evolution that the collection endeavours to 

represent over time. 

Vita brevis Ars longis 

List of works on exhibition 

1 Alan Alborough 

1964 – 

Untitled 

1996 

wax graphite and 

copper powder on 

paper 

750 x 550 mm 

2003/62 

2 Stefan Ampenberger 

1908 – 1983 

Yellow Houses Thaba 

N’Chu 

n.d. 

oil on board 

495 x 525 mm 

2001/27 

3 Stefan Ampenberger 

1908 – 1983 

The Red Sun 

n.d. 

oil on board 

500 x 600 mm 

2005/38 

4 Tyrone Errol Appollis 

1957 – 

Self-portrait 

2006 

acrylic on canvas 

605 x 505 mm 

2006/39 

5 Gerard Bhengu 

1910 – 1990 

Zululand Landscape 

n.d. 

watercolour on paper 

278 x 368 mm 

1999/85 

6 Gregoire Boonzaier 

1909 – 2005 

Untitled 

1932 

oil on canvas 

380 x 430 mm 

2004/7 

7 Zoltan Borbereki 

1909 – 1992 

Cato Manor 

1960 

charoal on paper 

550 x 750 mm 

2000/21 

8 Zoltan Borbereki 

1909 – 1992 

Praying Figure 

n.d. 

wood 

955 mm (height) 

2000/63 

9 Willem Hendrik 

Adriaan Boshoff 

1951 – 

Hot Cross Bowl II 

1998 

various wood types 

670 x 560 x 185 mm 

1999/6 

10 Conrad Hendrik 

Botes 

1969 – 

Everything is Beautiful 

2002 

oil based paint on 

plexiglass 

1280 x 1280 mm 

2002/27 

11 Josephine Elizabeth 

(Elza) Botha 

1938 – 

Butterfly Box 

n.d. (1971) 

lino cut on paper, 

wooden school desk, 

perpsex 

610 x 465 x 250 mm 

2002/1 

12 Wim Botha 

1974 – 

Pros and Cons 

1997 

carved official 

documents, metal and 

steel 

1520 x 380 x 260 mm 

2004/11 

13 Christo Coetzee 

1929 – 2000 

Janus 

n.d. 

oil on board 

510 x 755 mm 

2002/11 

14 Christo Coetzee 

1929 – 2000 

Face and Figure 

1948 

oil on canvas 

545 x 490 mm 

2003/77 

15 Jacques Coetzer 

1968 – 

Cluster Park 

2006 

digital video 

3 min 15 sec 

2007/1 

16 Gerard De Leeuw 

1912 – 1985 

Die Mag van die 

Toordokter 

1981 

bronze 

557 x 500 x 135 mm 

2006/34 

17 George Diederick 

Düring 

1917 – 1991 

Snoek Seller 

n.d. (1950) 

oil on board 

380 x 450 mm 

2004/20 

18 George Diederick 

Düring 

1917 – 1991 

Sotho Rider 

n.d. (1964) 

oil on board 

890 x 570 mm 

2000/66 

19 Ricky Dyaloyi 

1974 – 

Untitled 

2004 

oil on canvas 

1300 x 1000 mm 

2004/9

20 Leora Farber 

1964 – 

Beauty Bar 

1998 

wax, surgical 

instuments, metal & 

perspex display unit 

1260 x 1250 x 630 mm 

2001/24 

21 Leora Farber 

1964 – 

Nemesis 1 

2003-4 

lambda print 

1345 x 825 mm x 3 

2005/7 

22 Jacques Renee 

Fuller 

1960 – 

Die Mollevangers 

1999 

welded copper and 

brass 

550 x 680 mm 

2000/15 

23 Dorothy Moss Kay 

1886 – 1964 

The Song of the Pick 

n.d. (1938) 

etching on paper 

390 x 325 mm 

2003/78 

24 Job Patja Kekana 

1916 – 1995 

Head 

n.d. 

wood 

340 x 230 x 180 mm 

2004/15 

25 Vusimusi Petrus 

Khumalo 

1951 – 

Maputo Informal 

Settlement 

1996 

mixed media on 

board 

920 x 740 mm 

1997/25 

26 Phillipps Kolbe 

1932 – 2001 

Turning Head 

1968 

bronze 


2001/23 


1932 – 2001 

Wide Head 

circa 1981 

bronze 


2002/28 


1932 – 2001 

Head 

circa 1981 

bronze 


1999/19 

29 Sydney Alex 

Kumalo 

1935 – 1988 

Riding through Town 

1973 

mixed media on paper 

750 x 550 mm 

1998/3 


Kumalo 

1935 – 1988 

Man and Beast 

circa 1981 

bronze 


1999/20 


Kumalo 

1935 – 1988 

Horse 

n.d. 

bronze 


2002/15 

32 Magdalena Maria 

(Maggie) Laubser 

1886 – 1973 

Ou Rosa 

1924 

oil on board 

345 x 280 mm 

2001/16 

33 Le Roux Smith 

Le Roux 

1914 – 1963 

Untitled 

1944 

oil on canvas 

965 x 810 mm 

2004/19 

34 Ezrom Kobokanyo 

Sebata Legae 

1938 – 1999 

Untitled 

1998 

bronze 


1999/24 


Sebata Legae 

1938 – 1999 

Rooster 

1977 

graphite on paper 

310 x 310 mm 

2006/4 


Sebata Legae 

1938 – 1999 

Point of Departure 

1989 

bronze 

445 x 275 x 135 mm 

2006/5 

37 Simon Moroke 

Lekgetho 

1929 – 1985 

Divination Bones 

1969 

oil on canvas 

540 x 440 mm 

2004/27 

38 Adam Letch 

1968 – 

Leaving the Body 

2002 

photographic 

emulsion on paper 

870 x 1950 mm 

2002/32 

39 Ben Macala 

1938 – 

Untitled 

n.d. 

bronze 


2007/22 

40 Lizo Manzi 

1964 – 

Civil War is a Disgrace 

1998 

oil on board 

470 x 665 mm 

1998/2 

41 Gerhard Marx 

1976 – 

Untitled No. 6 

2003 

cartographic paper 

1230 x 890 mm 

2004/1 

42 Johannes 

Maswanganyi 

1949 – 

Jesus walking on Water 

1987 – 1988 

polychromed marula 

wood 

1610 x 1300 x 1000 mm 

2003/82 

43 Ernst Carl (Erich) 

Mayer 

1876 – 1960 

Portrait of a Warrior 

Prince 

1925 

oil on board 

410 x 270 mm 

2005/5 

44 Johannes Petrus 

Meintjes 

1923 – 1980 

Self-portrait Smoking 

1954 

oil on board 

330 x 310 mm 

1999/14 

45 Cathcart William 

Methven 

1849 – 1925 

Giant’s Castle 

under Snow, Natal 

Drakensberg 

circa 1902 

oil on canvas 

720 x 1060 mm 

2002/19 

46 Carl Walter Meyer 

1965 – 

From the East 

2001 

oil on canvas 

495 x 645 mm 

2001/39 

47 Gladys 

Nomfanekiso 

Mgudlandlu 

1917 – 1979 

Birds 

1962 

gouache on paper 

450 x 575 mm 

2005/47 

48 Zwelidumile 

Jeremiah Mgxaji 

(Dumile Feni) 

1939 – 1991 

Dedication to Ruth First 

and Lilian Ngoyi 

n.d. (1980) 

pen and ink on paper 

760 x 570 mm 

2006/42 

49 Coenrad Johannes 

Morkel 

1961 – 

Hotnotsgot and I 

1992 

airbrushed duco on 

board 

1000 x 1200 mm 

2000/17 

50 Albert Munyai 

1956 

Sia Lubuli Vha Fhasi 

Vhalexho (Leave the 

Gaps between your 

Fingers open to feed 

the Needy) 

1999 

wood 

450 x 810 x 310 mm 

1999/95 

51 Andrew James 

Jowett Murray 

1917 – 1998 

Cape Town 

n.d. 

tempera on board 

465 x 615 mm 

2000/24 

52 Pieter Hugo 

Naudé 

1868 – 1941 

Sheep Watering 

1901 

oil on canvas 

350 x 600 mm 

1999/21

53 Hendrik 

Tshivhangwaho 

Nekhofe 

1955 – 

Miner 

2002 

iron wood 


2002/31 

54 Stanley Bongani 

Nkosi 

1944 – 1994 

After the Show 

n.d. (1993) 

bronze 


2001/30 

55 Frans David 

Oerder 

1867 – 1944 

Three Young Men in 

an Interior 

1896 

oil on canvas 

170 x 244 mm 

2003/76 

56 Frans David 

Oerder 

1867 – 1944 

Reading the Bones 

1899 


300 x 450 mm 

2006/44 

57 Fredrick (Fred) 

Hutchinson Page 

1908 – 1984 

Self-portrait with Geese 

1964 

oil on canvas on board 

735 x 480 mm 

2001/42 

58 Fredrick (Fred) 

Hutchinson Page 

1908 – 1984 

District Six C.T. 

1974 

gouache on paper 

355 x 525 mm 

2005/43 

59 George Myaluza 

Pemba 

1912 – 2001 

Harvesters 

1976 

oil on canvas 

490 x 730 mm 

2002/13 

60 Schütz Peter 

1942 – 

Basotho Blanket 

2004 

geluton 

1050 x 360 x 160 mm 

2004/23 

61 Hans Potgieter 

1942 – 2004 

Untitled 

n.d. (1979) 

oil on polypropylene 

netting 

1600 x 2200 mm 

2006/2 

62 Alexis Preller 

1911 – 1975 

Credo 

1965 

oil on board 

490 x 390 mm 

1999/106 

63 Alexis Preller 

1911 – 1975 

Self-portrait 

1935 

oil on canvas 

260 x 200 mm 

2000/9 

64 Stephanus 

Rademeyer 

1976 – 

Vanishing Points 

2002 

light box, mirrors and 

neon tubes 

815 x 1420 mm 

2002/24 

65 Tracy Rose 

1974 – 

L’Annunciazione After 

Fra Angelico 

2004 

lambda print 

1206 x 1570 mm 

2005/1 

66 Jürgen Schadeberg 

1931 – 

Mandela in his Law 

Office Johannesburg 

1952 

2003 

silver gelatin print 

353 x 353 mm 

2003/54 

67 Laurence Vincent 

(Larry) Scully 

1922 – 2002 

Rhodesian Chevron 

1963 

oil on canvas 

605 x 1220 mm 

2001/31 

68 Rupert Shephard 

1909 – 

Initiates 

1956 

oil on canvas 

550 x 400 mm 

2000/10 

69 Cyprian Mpho 

Shilakoe 

1946 – 1972 

Untitled 

circa 1971 

Rhodesian teak 


2007/31 

70 Durant Basie 

Sihlali 

1935 – 2004 

Houtbay 

circa 1970 


745 x 520 mm 

2005/45 

71 Helmut Starke 

1935 – 

Dreams and 

Nightmares of M. de la 

Q #1 

1999 

acrylic on canvas 

1500 x 1500 mm 

2004/10 

72 Gert Petrus Swart 

1952 – 

Joy: A Circle of Fish 

1987 – 1996 

wood 

2200 x 340 x 280 mm 

2001/40 

73 Henry Symonds 

1949 – 

Still Life 

1992 

oil on canvas 

1220 x 1020 

2005/24 

74 Jan van der Merwe 

1958 – 

Gaste 

2000 

found objects, rusted 

metal, television 

monitors, video 

dimensions variable 

2001/51 

75 Jan van der Merwe 

1958 – 

Unknown 

2004 

rusted tin 

2000 x 2000 mm 

2005/25 

76 Anton van Wouw 

1862 – 1945 

Self-portrait 

1925 

bronze 


2000/25 

77 Anton van Wouw 

1862 – 1945 

The Dagga Smoker 

1907 

bronze 


2002/14 

78 Adriaan van Zyl 

1957 – 2006 

Hospitaal Triptiek 1 

- Hospitaaltyd 

2004 

oil on board 

540 x 400 mm 

2007/30 

79 Daine Veronicque 

Victor 

1964 – 

Consumer Violence 

1999 

pastel and charcoal on 

paper 

1720 x 1460 mm 

2003/59 

80 Edoardo Villa 

1915 – 

Heraldic Figure 

n.d. 

bronze 

372 x 275 x 130 mm 

2006/6 

81 Jan Ernst Abraham 

Volschenk 

1853 – 1936 

Riversdale Veldt and 

Mountains 

1925 

oil on canvas 

695 x 1150 mm 

2004/8 

82 James Gavin 

Forrest Younge 

1947 – 

Forces Favourites II 

1998 

bicycle, video player, 

vellum and video 

1070 x 1070 x 550 mm 

2000/32 

83 Asha Zero (le 

Roux) 

1976 – 

Semi-Rambo 

2005 

oil on board 

410 x 285 mm 

2005/8 

Produced by the Sanlam Art 

Collection 

© Sanlam Ltd 2008 

2 Strand Road, Bellville 

Tel 021 947 3359 

Design by Pinewood Studios 

Printed by Koerikai Document 

Solutions

82 74 

81 32 

6 45 

Cover : 61

44 63 49 

4 76 

55 

43 

59 23

22 34 30 

42 16 

50

29 33 35 

70 46 19 

78 58

21 

20 

79 

65 

48 10 

11

Decade 210x225 - LitNet

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