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NEW AVAILABLE WORK | Gerard Sekoto, Commuters, c.1946-47Image of Gerard Sekoto, oil painting, 1946
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NEW AVAILABLE WORK | Vladimir Tretchikoff, Herb Seller, 1950Image of Vladimir Tretchikoff, Herb Seller 1950
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ONLINE EXHIBITION: J.H. Pierneef, Farmhouse, Rustenburg, 1945Image of JH Pierneef, painting, landscape with trees
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ONLINE EXHIBITION: J.H. Pierneef, Die Wynkelder, c.1928
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NEW AVAILABLE WORK | Irma Stern, Figure in blanket, hills and huts beyond, 1929Image of Irma Stern, portrait, charcoal on paper
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Specialists, advisors, and dealers in Modern and Contemporary art from Africa, the African diaspora and global South.
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NEW AVAILABLE ARTWORK FEATURE
Vladimir Tretchikoff
Herb Seller, 1950
A Portrait of Quiet Resistance
Painted four years after Vladimir Tretchikoff’s arrival in Cape Town, Herb Seller (1950) is one of the artist’s most poignant and culturally layered portraits. Far removed from the mass-market success of Chinese Girl, this early work honours a real figure: Mrs Wilhelmina Kleinsmidt, a Cape herbalist who sold traditional remedies on the Grand Parade.
Rendered in dramatic light and rich colour, with early hints of the turquoise tonality that would become his signature, this portrait offers more than aesthetic appeal. It is a deeply humanistic document of its time, produced in the year the apartheid government passed the Group Areas Act, a law that redefined land, belonging, and identity in South Africa. -
Constructing Belonging: J.H. Pierneef and the Geometries of Quietude
Considering Identity and Landscape as jointly constructed through formal and ideological means.
ONLINE EXHIBITION
This exhibition brings together a focused selection of works by J.H. Pierneef (1886–1957), one of South Africa’s most influential and contested modernists. Traversing five decades of artistic production, the collection invites viewers to explore how Pierneef constructed a vision of South Africa’s landscape shaped by aesthetic order, ideological nostalgia, and formal innovation.
In the context of contemporary debates around land, heritage, and historical memory, Pierneef’s images continue to demand engagement — not as fixed icons of Afrikaner nationalism, but as complex artefacts of modernism, shaped by and shaping the ideologies of their time.
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