Goodman Gallery supports Red Cross Art Benefit

The 2011 Art Benefit The 2011 Art Benefit in aid of the Red Cross War Memorial Children’s Hospital

hosted by BoE Private Clients

The 2011 Art Benefit in aid of the Red Cross War Memorial Children’s Hospital hosted by BoE Private Clients

Fundraising for the Red Cross War Memorial Children’s Hospital and Paediatric Healthcare in the Western Capewww.childrenshospitaltrust.org.za

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dedication

To each and every person, spirit and heart who has contributed to this event over the years, I dedicate this message to you.

You all know who you are, and know how much love, gratitude and respect I feel for you. You understood the reasons. You believed in the dream. You made what we have achieved together possible.

On behalf of myself, my dear partner and friend in this adventure, Linda and the children, parents and staff of the Red Cross War Memorial Children’s Hospital, I thank you.

Together we have built buildings, lifted spirits, given hope, encouraged others and above all saved lives.

Amanda BlochPatronThe Children’s Hospital Trust

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ADDRESS

The purpose of this auction is to celebrate and help save the life of at least one child by raising funds for the Burns Unit at the Red Cross War Memorial Children’s Hospital in Cape Town. We have planned an event to enchant you, to make you forget, for a short while, the apocalyptic chaos of the world. Like Puck in A Midsummer Night’s Dream, we will anoint your senses with the juice of fantasy for a few hours before returning to reality.

We are grateful to many people for making the event not only possible but a real celebration: the Premier of the Western Cape, Helen Zille, who has so generously and warmheartedly given us the venue and all of its services to ensure that the evening is both prestigious and enjoyable; the artists included in this auction who have wholeheartedly embraced the event and created and donated work. Many of them have also worked and played in the Hospital with the children, showing, as usual, enormous generosity of spirit; Jay Pather and his magical team of beautiful, lithe dancers who welcome you all to the event with wonderful fanfare, and a few surprises; Philip Miller, the superb South African composer known, amongst many achievements, for his work with William Kentridge and for his recent extraordinary collaboration with Gerhard Marx on the cantata REwind, has conceived the music especially for the event; Hasan and Husain Essop for their film, commissioned to raise funds in New York for the Red Cross War Memorial Children’s Hospital. The film, made in a spirit of hope, shows their unusual interactions as they explored the Hospital and made contact with everyday people in extraordinary jobs. It also re-veals the suffering that children and their parents endure and the vital work of the doctors and nurses to help relieve their pain.

Some years ago I was brought to the Red Cross War Memorial Children’s Hospital after I had made a pledge to help revive a sick old building. As I walked through a succession of dingy, depressing corridors serving as wards, I was struck by the compassion and gentleness of the doctors and nurses, who worked together to bring comfort and laughter into a very dull place. These dedicated people sometimes work twelve to sixteen hours a day, operating and caring even though some of them should be officially retired. There are simply no replacements.

The Burns Unit was my last stop. There the pain seemed worse than in other wards. The process of having bandages changed on raw wounds to arrest infection is agonising and some of the children and babies were too sore and traumatised to even cry. A little girl climbed onto my lap. She had no eyebrows, nose or ear lobes. With stumps for fingers, she cheerfully examined my sunglasses, curious about this strange old woman who had wandered into her ward. I had no way of knowing how to touch and hold her as she had extensive burns, and wore loose clothing for comfort. When I enquired as to her age and how much treatment she still had to endure, I was told she was six and would need to be treated till the age of eighteen. Her injuries, like those of so many others, had been sustained in a shack fire. The shacks in Cape Town’s town-ships, small shelters made mainly from corrugated iron, cardboard and plastic, are natural fire

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conductors. The Cape winds whip flames from gas lamps, candles and stoves into raging infer-nos that sweep through the township, destroying homes and lives. Those who can run are lucky. The Red Cross War Memorial Children’s Hospital is there waiting to help.

My greatest passion in life, outside of my immediate family, is art, and on the day I visited the Hospital I decided that somehow I would make this place my second passion, to help heal some wounds, to try to save at least one child. With love, I have coerced and cajoled the artists I know as well as others I don’t, but whose work I admire, to help this cause. The response has been inspiring. All the artists have shown a true spirit of giving through creation. Their enthusiasm has fueled my determination and passion.

There is no way to thank them, except through the results of this auction. And so, with my col-league Amanda Bloch, who is much more dedicated than I, we hope to bring light into the Hospital, banishing darkness where possible, by helping with equipment, furnishing rest areas for tired nurses, painting walls with the help of artists, and even working towards new state-of-the-art operating theatres that will bring the hospital into the twenty-first century!

Memories of the love and pain that I saw on my first visit to the hospital and the promise to myself that I would help come flooding back to me, reinforcing my commitment to this cause.

The exhibition I have curated for you at this event is, I hope, of high quality, and gives you a chance to invest, commercially and spiritually, in the art and in a worthy cause. The names of those of you who have supported us so generously through the years, helping our cause through your purchases and donations, are forever engraved in the stepping-stones of this new hospital. You are helping to save lives in a new and precious nation. Those who are newcomers to this dream are warmly welcomed.

Dreams are made of hard work and perseverance and many have shown both of these quali-ties. Isobel Estorick from Los Angeles, with no South African connection, has dedicated herself to fundraising for the Red Cross War Memorial Children’s Hospital by buying work from peo-ple who have been the victims of xenophobia in South Africa and selling their products in Los Angeles and New York at small exclusive venues. This has enabled her to establish the Simunye Trust, which remits all funds to the Hospital. She is an unexpected guardian angel, and it was her commission that helped the Essop brothers to make their informative film.

We are also blessed by our donors from Italy. After a fabulous lunch hosted by Anton Weavind in a country restaurant above Naples, my dear friends Massimo and Olimpia Mosschino promised they would help. They have been consistent donors to a place “somewhere in Africa”, trustingly contributing to a fantasy hospital they had never seen.

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Marguerite Stephens, mother of generous Anton Weavind, has been my close friend for nearly fifty years. Years ago, struggling to survive, she established a weaving studio now acclaimed throughout the world. She has a waiting list that follows her like a ball of never-ending, unwind-ing mohair, but she was determined to give us a tapestry. As she weaves for William Kentridge she marched into his studio and ordered him to work on the cartoon of the diva so suitably serenading us at this event. On her way out, she casually threw back, “It’s for the Red Cross War Memorial Children’s Hospital you know!” “Fine, fine” came the usual generous response from William, who is always available for help. We thank them warmly, but especially Mags who stopped production on other projects to make this tapestry for us.

Amanda Bloch and I started this project as colleagues full of determination but with little knowledge. The only firm agreement we made was that every penny raised would go to the Red Cross War Memorial Children’s Hospital and there would be no reimbursement or personal financial gain. For this event we decided on fifty-five tables as a maximum. Then the calls came rushing in – everyday more people begging for tables. We must be doing something right, and this is the best reward for hard work.

Through this cause, we have cemented long-lasting friendships and opened many doors for new projects as well. When I am gone, I know I will keep hearing the words “Another ten sold” and I will ask, “Where will you put them?” But that doesn’t matter for Puck has worked his magic, and we are helping to save lives!

Linda GivonCurator

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people, partnerships and prosperity

BoE Private Clients is committed to promoting prosperity through people and partnerships. This commitment underscores our focus on philanthropy, and in particular the provision of services to private individuals whose concern for human welfare and advancement translates into the range of philanthropic initiatives that seek to promote the greater good of the broader public.

Against that background, it is a privilege for BoE Private Clients to host the 2011 Art Benefit in aid of the Red Cross War Memorial Children’s Hospital. As you may know, all proceeds from the event are to be applied to the purchase of specialist equipment for the Hospital’s new Burns Unit, a facility that will provide desperately needed relief for the existing Burns Ward, which was built in 1956 and treats more than 3 500 children with burns every year.

We value the partnership with Amanda Bloch, Patron of the Children’s Hospital Trust, with Linda Givon curator and co-founder of this event as well as those who have been responsible for bringing together the impressive collection of artworks and making this event possible. We salute each and every one of the top South African artists who so generously donated works for auction. And above all, we thank you, the bidders and buyers at the auction, for your presence and your preparedness to support this worthy cause.

Just as the Art Benefit brings together the artists, the experts, the buyers and the beneficiaries, so too does BoE Private Clients offer its services to both donors and non-profit organisations (NPOs). Our dedicated Philanthropy Office — the only institution of its kind in South Africa — facilitates the involvement of clients in longer-term giving through the establishment and structuring of charitable trusts/foundations, and provides assistance to NPOs to enable them to achieve longer-term financial sustainability.

With a history of involvement in philanthropy that stretches back to the company’s origins in 1834, BoE Private Clients is honoured to be associated with the 2011 Art Benefit in aid of the Red Cross War Memorial Children’s Hospital.

Paul FinlaysonManaging DirectorBoE Private Clients

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artists

Aggenbach, Sanell (lot 39)Alexander, Jane (lot 16)Battiss, Walter (lot 28)Bell, Deborah (lot 10 & 11)Bester, Willie (lot 46, 54)Bieber, Jodi (lot 30)Botha, Wim (lot 9)Broomberg, Adam & Chanarin, Oliver (lot 44)Brown, David (lot 54)Catherine, Norman (lot 45)Cianfanelli, Marco (lot 2)Cohen, Steven (lot 27)Essop, Hasan & Husain (lot 25)Gavronsky, Claire (lot 51)Geers, Kendell (lot 19)Goldblatt, David (lot 14)Goodman, Frances (lot 3 & 37)Hodgins, Robert (lot 23)Hodgkiss, John (lot 41)Hugo, Pieter (lot 35)Inggs, Stephen (lot 54)Kentridge, William (lot 32, 52, 54)Koloane, David Nthubu (lot 43, 54)Kumalo, Sydney Alex (lot 6)Langa, Moshekwa (lot 12)Miller, Philip (lot 53)Mlangeni, Sabelo (lot 48)Mofokeng, Santu (lot 40)Muholi, Zanele (lot 7)Murray, Brett (lot 38)Neethling, Jan (lot 24)Nhlengehtwa, Jabulani Sam (lot 22)Oltmann, Walter (lot 34)Payne, Malcolm (lot 54)Poynton, Deborah (lot 13)Richards, Colin (lot 4)Rose,Tracey (lot 31)Rubin, Harold (lot 49)Schreuders, Claudette (lot 29)Searle, Berni (lot 26)Segogela, Johannes Mashego (lot 14)

p.

48203612

69, 573810547056033432632418

46, 0430524472

40, 64, 6854, 73

071419595008473129437116053860363417

p.

62280941224502425321580626

artists

Shakinovsky, Rose (lot 50)Siopis, Penelope (lot 21)Skotnes, Cecil Edwin (lot 8)Stephens, Marguerite (lot 32)Subotzky, Mikhael (lot 18)Tillim, Guy (lot 36)Van den Berg, Clive (lot 1)Vári, Minnette (lot 33)Veleko, Nontsikelelo (lot 42)Victor, Diane (lot 17)Villa, Edoardo (lot 47)Wafer, Jeremy (lot 5)Williamson, Sue (lot 20)

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lot 1

Clive van den Berg Man Flails with a Map, 2009Acrylic on canvas61 x 45.5 cm

Courtesy the artist and Goodman Gallery

lot 2

Marco CianfanelliContain, 2009

Mild steel20 x 36 x 36 cm


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lot 3

Frances GoodmanMy Friends Call Me the Queen of Hearts (The Dream), 2011 Silk, lace, organza, satin, beads and embroideryDimensions variableEdition 2/2


lot 4

Colin RichardsIvory Tower, 2009

Digital print on paper103 x 66.5 cm

AP 2/2

Courtesy Art on Paper

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lot 6

Sydney Alex KumaloJust Friends, signed and dated on verso

Pastel on paper76 x 56 cm

Private collection

lot 5

Jeremy WaferTree, 2006Digital print on archival paper16 x 25 cmEdition 1/10


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lot 7

Zanele MuholiLerato Marumolwa, Embekweni, Paarl, 2009Silver gelatin print86.5 x 60.5 cmEdition 2/8

Courtesy the artist

lot 8

Cecil Edwin Skotnes (1926–2009)Still Life, signed and dated May 1994

Watercolour on paper30 x 46.5 cm

Private collection

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lot 9

Wim BothaUntitled (‘Witness’ series VI), 2011Carved Michaelis Collection catalogues, stainless steel and woodWork in progress

Courtesy the artist

12

lot 10

Deborah BellVoice, 2011Mixed media on paper30 x 20.5 cm

Private collection

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lot 11

Deborah BellWonder, 2011

Mixed media on paper30 x 20.5 cm

Private collection

15

lot 12

Moshekwa LangaUntitled, 1999/2010 Mixed media on paper140 x 100 cm

Private collection

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lot 13

Deborah PoyntonDiorama I, 2011Oil on canvas95 x 95 cm

Courtesy the artist

lot 14

Johannes Mashego SegogelaThe Feast, 1994

Enamel paint on woodDimensions variable

Private collection

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lot 15

David GoldblattMoon over Diepkloof, 1972Silver gelatin print on fibre-based paper30 x 40 cm


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lot 17

Diane VictorMiss September, 2011

Unique print50 x 66 cm


lot 16

Jane AlexanderDig it all Yummy, 2004 Archival pigment ink on cotton rag paper61 x 54 cmEdition of 15

Courtesy the artist

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lot 18

Mikhael SubotzkyHermanus with bricklaying team, Cape Town CBD, 2005Archival pigment ink on cotton rag paper56 x 235 cmEdition 2/7


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lot 19

Kendell GeersFATE, 2010Indian ink on paper103 x 66.5 cmEdition 2/7


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lot 20

Sue WilliamsonYOUTH FACING HISTORY: Krakow, Poland ‘Other Voices Other Cities series’, 2011Archival pigment ink on archival paper60 x 281 cmEdition 3/8Photographer: Michael Kaweski


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ARTIST’S STATEMENT

YOUTH FACING HISTORY: Krakow, Poland is the most recent in Sue Williamson’s ‘Other Voices Other Cities’ series, in which the artist invites young people around the world to workshop and vote on a statement expressing what it means to them to live in their particular city. Krakow is a city where, apart from the beautiful medieval old town, the major tourist attractions are the Schindlers Lift factory and tours to Auschwitz. The Krakow group stand holding their statement against a remaining section of the wall built to contain the Jewish ghetto by the Nazis in 1941 before the ultimate liquidation of the ghetto in 1943.

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lot 21

Penelope SiopisRibbon, 2009 Ink, glue and oil on canvas76 x 115 cm

Courtesythe artist

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lot 22

Jabulani Sam NhlengethwaElla Fitzgerald, 2010Mixed media on paper50 x 60 cm


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lot 23

Robert HodginsPretty Boy Floyd, 1980 Silkscreen66 x 47.5 cm

Courtesy Jan Neethling

lot 24

Jan NeethlingThe Boss, 2006

Etching28 x 38 cm

AP

Courtesy Art on Paper

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lot 25

Hasan & Husain EssopArafat, 2011 Archival pigment ink on archival paper90 x 270 cm

Courtesy the artists and Goodman Gallery

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lot 26

Berni SearleLament VI, 2011 Pigment ink on cotton paper81 x 91 cmEdition 1/5

Courtesy the artist

lot 27

Steven CohenGolgotha # 1, 2007

C-type print80 x 65 cmEdition 1/5

Photographer: Marianne Greber

Courtesythe artist

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lot 29

Claudette SchreudersBird in the Hand, 2007

Bronze and enamel paint38 x 12 x 15 cm

Edition of 25 + 1 AP

Courtesythe artist

lot 28

Walter Battiss (1906–1982)A Rare Plant, 1973Silkscreen on paper43.5 x 63 cmEdition 22/25

Private collection

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lot 31

Tracey RoseCrooningCroonCrooners, 2005

Photograph (set of 23) 84 x 55.8 cm

Edition 1/8


lot 30

Jodi Bieber Tshepiso, 2008Digital print in pigment ink250 x 250 cmEdition 6/10


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lot 32

Tapestry design by William Kentridge woven at the Stephens Tapestry StudioDiva, 2011Mohair250 x 250 cmEdition of 6 + 2AP + studio proof

Courtesy the artist,the Stephens Tapestry Studio and Goodman Gallery

Detail of weaving process in studio

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lot 33

Minnette VáriSelf Portrait (Coua), 2007Ink on paper75 x 55 cm


lot 34

Walter OltmannBeetles and Suits, 2008

Bleach and ink on paper42 x 60 cm


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lot 35

Pieter HugoObechukwu Nwoye. Enugu, Nigeria, 2008C-type print110 x 100 cmEdition of 9 + 2AP

Courtesythe artist

lot 36

Guy TillimRayina Henock and Massiye Henock,

Petros Village. Malawi, 2006Archival pigment ink on cotton rag paper

43.5 x 66.5 cmEdition 2/8

Courtesythe artist

46

lot 37

Frances GoodmanMarried to: Dogs, 2011Beads, sequins, diamante, organza and embroidery thread48.5 x 60 cmEdition of 9 + 2AP

Private Collection

lot 38

Brett MurrayTraditional Weapon, 2010Metal, gold and silverleaf

98.5 x 77 x 4 cm


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ARTiST’S STATEMENT

Sanell Aggenbach’s work primarily deals with the intricate intersection of history and private narratives by consider-ing the process of recall and interpretation. For the past few years her focus has largely been on found images of formal portraiture and archived negatives. In the new work Sonic Swingers she references translucent and tampered photographic film where muffled identities dilute into abstraction and pagan references merge with the ritualised celebration of youth.

lot 39

Sanell AggenbachSonic Swingers, 2011

Oil on canvas50 x 60 cm

Courtesy the artist

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lot 40

Santu MofokengPlaying Pool, Boitumelong Township, 1994Gelatin silver print19 x 28.5 cm

CourtesyMaker

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lot 41

John HodgkissFamily Tree, 1999Inkjet on cotton rag paper61 x 43 cm Edition 4/7

Courtesy the artist

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lot 42

Nontsikelelo VelekoBeauty is in the Eye of the Beholder: Sibu II, 2003

Pigment ink on archival paper61 x 43 cm

Edition 6/10


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lot 43

David Nthubu KoloaneFlight, 2010Mixed media on paper50 x 70 cm

By courtesy the artist and Goodman Gallery

lot 44

Adam Broomberg & Oliver ChanarinRed House #2, 2006

C-type print100 x 76 cm


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lot 45

Norman CatherinePeaceful Sleep, 2008Giclée print82 x 97 cmEdition 6/45

Courtesy the artist

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lot 46

Willie BesterMother and Child, 2011Mixed media57 x 60 x 5 cm

Courtesy the artist

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lot 48

Sabelo MlangeniIdolobha Langakithi, 2011

Gelatin silver print 40.5 x 51 cm

Edition of 5 + 2AP

Private collection

lot 47

Edoardo VillaCouple, signed bottom inside figure and dated 1976Bronze38 x 10 x 10 cm

Private collection

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lot 49

Harold RubinMona Lisa, 2006

Oil and graphite on canvas142 x 140 cm

Private collection

HAROLD RUBiN

Harold Rubin was born in South Africa, lived under apartheid, and is passionate about jazz music. He played the clari-net with people like Kippie Moketsi in Sophiatown, and with many other people and ‘mixed’ groups in the townships. Drawing was his other passion and in 1963 he chose to protest against apartheid through this medium. His drawing of a naked Christ on the cross, with a large bearded head and an expression of agony, attracted a lot of attention not because of Rubin’s excellence as an artist but because the work was perceived as a depiction of Christ as a naked monster. The inscription across the work, ‘Oh Lord you know not what you do’, earned the artist a charge of blasphemy and an immediate trial. Rubin made history because of his acquittal, which set a precedent for the assessment of censorship and the confiscation of artworks. As soon as the trial ended, Rubin emigrated to Israel where he lives and works as a jazz musician and a visual artist, still protesting against injustice. People in South Africa who worked with him remember him as an icon and legend for his protest against the apartheid regime.

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lot 50

Rose ShakinovskyFor Derrida 11, 2011Oil paint and mixed media100 x 70 cm


lot 51

Claire GavronskyRed Crossing, 2011

Oil on canvas101 x 77 cm


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lot 52

William KentridgeUntitled: Drawing for Other Faces, 2011Charcoal on paper29 x 78.5 cm


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lot 53

Philip MillerMusic by Miller; Artwork by Kentridge, 2011Music on vinyl discEdition of 1 + AP

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lot 54

Red Cross Children’s Hospital KidsKronk and Toy Toi, 2011

Mixed mediaDimensions variable

silent auctionFrom the Homage Portfolio to Cecil Skotnes

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William Kentridge

70

Willie Bester

71

David Brown

72

Malcolm Payne

73

Stephen inggs

74

David Koloane

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2011 art benefitArt Auction Terms & Conditions

1 Third Party Liability: Every person at the auction at any time shall be deemed to be there at their own risk and with notice of the condition of the premises and of the items contained therein, they shall have no claim against the Premier, Leeuwenhof Estate, the Children’s Hospital Trust, the auctioneer or the organisers of the event and their representatives in respect to any injury they may sustain or any accident which may occur.

2 All items to be auctioned may be inspected and examined prior to the auction in the gallery area provided at Leeuwenhof. The curator and the Children’s Hospital Trust shall not be responsible for the condition and state of preservation of works and information regarding the works sold. All items will be sold in the state of preservation they are in at the time of knockdown.

3 The catalogue descriptions are made to the best of the curator, Linda Givon’s knowledge and belief and shall not constitute guarantees in the legal sense.

4 Every bidder buys in his/her own name and for his/her own account. Permission for proxy bidding is required from the Children’s Hospital Trust. Telephone bids must have been submitted at least 24 hours prior to auction and describe the item listing the catalogue number and the bid price, which shall be understood as knockdown price. The auction-eer cannot guarantee that a telephone connection to the bidder can be made.

5 The knockdown makes acceptance and payment obligatory. Upon knockdown, the risk of loss, damage, confusion etc. beyond the auctioneer’s or event organisers control in re-spect of the auctioned-off item shall pass to the buyer, who also shall bear the expenses.

6 Payment of Purchases: All purchases must be paid for before any artwork will be deliv-ered to the buyer. All bidders need to have completed a Bidders form with preferred payment method. Payment by Cash, Cheque, EFTPOS, VISA, MASTERCARD are the only forms of payment accepted unless prior arrangements have been made with the Children’s Hospital Trust. Cheques are accepted for payment but always at the discretion of the Children’s Hospital Trust.

7 In the event of default in payment ownership of the auction item in question will revert to The Children’s Hospital Trust.

8 Auctioned items are stored after knockdown by the Children’s Hospital Trust at the ex-pense and risk of the buyer. Insurance of items is at the buyers expense and will not be the responsibility of the Children’s Hospital Trust.

9 Clearance of purchases: No auction lot shall be removed from the gallery area unless authorised and supervised by a representative of the Children’s Hospital Trust, Patron Amanda Bloch or curator, Linda Givon. All lots shall be paid for and removed from the auction floor at the buyers’ risk.

10 Artwork will be shipped or couriered on the request of and in accordance with the in-structions of the buyer and at the buyers risk. All deliveries outside of the Cape Town area will be charged for in addition to the purchase price.

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For further information or the registration of telephone bids, please contact:

Helen WhiteCommunications ManagerThe Children’s Hospital TrustTel: +27 (0)21 686 7860Fax: +27 (0) 21 686 7861Email: [email protected]

The Children’s Hospital Trust

Physical address: Ground Floor, Nurses HomeRed Cross War Memorial Children’s HospitalCnr Klipfontein & Milner Road (entrance on Milner) RondeboschCape Town7700

Postal address: The Children’s Hospital TrustSuite #259Postnet x18Rondebosch7701

Banking details:Account name: The Children’s Hospital TrustAccount number: 0714 33090Branch code: Rondebosch Branch, Code – 025 00911Swift Code: SBZAZAJJBank Tel Number: +27 21 680 4729

Reference: Auction lot number and surnamePBO number: 930 004 493 (public benefit organisation)Trust number: T297/94

Goodman Gallery supports Red Cross Art Benefit

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