1st Sep, 2019 9:30
Modern & Contemporary Art
28
David Goldblatt (South Africa 1930-2018)
The farmer's son with his nursemaid, the farm Heimweeberg, near Nietverdiend in the Marico Bushveld. Transvaal (North-West Province), 1964
gelatin silver print
Artwork date: 1964, printed 2006
Signature details: signed and dated in pencil on the reverse
Literature: Other examples from the edition are in the permanent collections of the San Francisco Museum of Modern Art (SFMOMA), San Francisco; National Gallery of Victoria, Melbourne; Victoria and Albert Museum, London; Pier 24 Photography, San Francisco., from an open edition
Sold for R318,640
Estimated at R150,000 - R250,000
gelatin silver print
Artwork date: 1964, printed 2006
Signature details: signed and dated in pencil on the reverse
Literature: Other examples from the edition are in the permanent collections of the San Francisco Museum of Modern Art (SFMOMA), San Francisco; National Gallery of Victoria, Melbourne; Victoria and Albert Museum, London; Pier 24 Photography, San Francisco., from an open edition
(1)
28 x 40.5 cm
Notes:
In 1964, David Goldblatt undertook a trip to the Marico Bushveld, near the Botswanan border. Prompted by the imminent launch of Herman Charles Bosman’s book of short stories Unto Dust, Goldblatt set out with South African Tatler editor Sally Angwin to photograph the land and the people who called it home. Goldblatt had only recently begun to take photographs full-time, and his work photographing the Afrikaners began the year prior. The trip proved to be fortuitous: among the photographs taken was the image in Lot 31, perhaps one of the most important and best known from the resulting publications Some Afrikaners Photographed (1975) and Some Afrikaners Revisited (2009). Another example of this image is planned for the cover of the forthcoming Steidl re-issue of Some Afrikaners Photographed.Highly regarded for both its incredible tenderness and complexity of subject and elegant composition, this work is a succinct appraisal of a particular moment in South African history and has been widely exhibited and even more widely reproduced. In speaking more generally about the project Some Afrikaners Photographed, Goldblatt alludes to the ambiguity and open-endedness that characterizes this landmark photograph, saying “I’ve learnt with photographs that if I’ve done my job properly I haven’t made judgements for the viewer. They’ve got to find their way into the picture and, often, what they find is not what I saw.”
Kathryn Del Boccio
Sources:
[1] Kent, R. (ed.) (2018). David Goldblatt: Photographs 1948-2018. Sydney: Museum of Contemporary Art Australia, p.28.
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Auction: Modern & Contemporary Art, 1st Sep, 2019
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